Excuse the Intermission
Alex and Max take you on a journey through film with this discussion podcast about movies.
Excuse the Intermission
A Deep Dive into Jeremy Saulnier’s Rebel Ridge and Coralie Fargeat’s The Substance
Have you ever wondered what would happen if "Rambo" met "Michael Clayton"? Tune in as we unravel the brilliance of Jeremy Saulnier’s latest thriller "Rebel Ridge." With riveting performances by Aaron Pierre and Don Johnson, we dissect the film’s intricate themes of asset forfeiture, rural corruption, and its thrilling action sequences. This episode isn’t just a review; it’s an exploration of Saulnier’s meticulous filmmaking and his knack for creating gritty, immersive worlds. We draw intriguing comparisons between "Rebel Ridge" and Saulnier’s earlier works like "Green Room" and "Blue Ruin," highlighting his commitment to adult-oriented narratives.
Our conversation extends to the visceral impact of films like "Titane" and the thought-provoking body horror of "The Substance." We debate the provocative themes of female representation, particularly in the context of Hollywood’s unrealistic beauty standards and the intense influence of social media culture. By exploring the transformative performances of actors like Margaret Qualley and Demi Moore, we provide a deep dive into how these films challenge societal norms and evoke strong emotional responses. This episode is packed with personal anecdotes and heartfelt reflections on how these films resonate with us and the broader audience.
As we gear up for the upcoming Gig Harbor and Tacoma Film Festivals, we share our enthusiasm for the premieres, Q&A sessions, and local film showcases that make these events so special.
How's it? I'm Alex McCauley and I'm Max Vosper and this is, excuse the intermission a discussion show surrounding movies and, on this episode, two September releases that each of us have as contenders for favorites of the year ahead on the pod. We will break down the substance a new body horror feature that explores beauty standards, self-worth and power, and the latest Netflix hit, rebel Ridge, which is a powerhouse thriller that tackles injustice and corruption. We also have a mini festival preview for both the Gig Harbor and Tacoma Film Fest, so we hope you'll stick around for that. Talk to you on the other side of this break. This episode is presented in partnership with the Gig Harbor Film Festival. The Gig Harbor Film Festival will take place this September 26th through the 29th in beautiful Gig Harbor, washington.
Speaker 2:Hosted at the Galaxy Uptown Theater, this year's festival will feature 85 wildly rich films from across an array of genres. This year's festival will showcase five world premieres, one US premiere and 48 Washington State premieres, while also bringing films from 13 different countries to Gig Harbor. The festival opens with the world premiere of the Dogfather, the Legacy of Don James, which chronicles a time in history that changed Washington Husky football forever.
Speaker 1:This year's attendees will enjoy exclusive premiere screenings, Q&A sessions following the film blocks and, for VIP pass holders, an immersive all-access experience, including epic parties and events throughout the four days. Digital programs are available now via the festival's website and for more information on scheduling, VIP passes and general admission tickets, please head over to wwwgigharborfilmcom. You can also follow the festival on Instagram at Gigharbor Film. Okay, Max, it's the last Tuesday of September. How are you doing today?
Speaker 2:Oh, we're good, we're in the thick of it it is. You know, it's interesting that summer is always kind of thought of like the big movie time, right, the big blockbuster time, but right now is the busiest time of the year by far. And it started off with a bang for sure.
Speaker 1:It really did and I wouldn't say with like two sleeper hits. I think we all knew that Jeremy Saulnier was coming out with a new film this year. The Substance was one that we were really looking forward to. But these are two gut punches of film here that we've gotten during the month of September and it's hopefully only going to continue to get more intense, more emotional, more impactful when it comes to some of the big award contenders that we're going to get throughout the remainder of 2024. On a personal note, we're both very excited for the upcoming local film fest season.
Speaker 1:We'll touch on a few movies here at the end of the recording, some that we're fortunate enough to host Q&As for, sit on as jurors for in certain short film blocks.
Speaker 1:But overall just always a really fun time around the Pacific Northwest when we get to see the local film blocks, the late night film blocks, what the feature films are, what the documentaries are going to look like, and so really excited for that. You know one movie that I see a lot of people talking about this year as like a sleeper for screenplay and a few other things I was golden derby yesterday looking up some oscar odds fancy dance, a film that was featured at the tacoma film festival late last year, and so you kind of just never know when some of these movies are going to pop and hit now. Of course, that movie was fortunate enough to feature lily gladstone, so that raised it to a certain level of um. I got a certain amount of eyes on it, of course, with that casting, but just really fun, because you never know. You never know what could happen. Um, also, too, I know that you're busy at at school we were talking about this before we got on the mic. I've been busy the explorer corner podcast doing it's back.
Speaker 1:It's back an audiobook for charlotte's web so I will say this it's really nice to sit down with a professional right now and not be talking to a teacher or a student who is very nervous for their first time being on mic. Where, where, actually where?
Speaker 2:are you in charlotte's web? I don't even really remember charlotte's web, other than a pig, wilbur right wilbur well done and and then, of course, the titular, charlotte, which is a spider, I'll tell you where I'm at.
Speaker 1:I could recite it front to back, back to front, because from recording each chapter with the teachers out of order right, it was just kind of at their availability.
Speaker 2:Oh, that's cool, Quentin Tarantino style.
Speaker 1:Very much, so Very non-linear in the recording process and then, however, in the editing process. I'm going back and all the teachers they're worried about. You know their teachers. They want to sound good when they're reading aloud. They do this for a living, literally. However, they stumble over words at the beginning of a sentence. They're so worried that they're not going to sound like they know what they're doing, and so I just, I assure them, just give me time in the edit. If you stumble over a word, if you want to redo something, just stop, go back to the previous sentence. I'll make you sound great.
Speaker 1:However, though, now I have to live up to my end of that bargain and go back through and meticulously comb through each episode. Fortunately, they're only like seven or eight minutes long, but I'm taking out every single little tick. Yes, I could put together an asmr track from these teachers and what they've done. Um, people get the giggles, you know. It just goes on and on and on, and so been a fun process, but, um, yeah, and you know what letterbox followers of mine, you will now know the reason why I log the. I think it's the 2006 charlotte's web starring dakota fanning, here in a couple of weeks. Wait, wait, there was a movie of charlotte's web.
Speaker 2:Let me look fanning here in a couple of weeks. Wait, wait, there was a movie of charlotte's web. Let me look this up real quick.
Speaker 1:On letterboxd I know there was a car.
Speaker 2:There was a cartoon movie, right I? I think I remember watching that as a child, correct?
Speaker 1:yes, but when I look up the actual charlotte's web film, it was in 2006, um, and it does star dakota fanning. And then here's some of the voice talent in it Julia Roberts voices Charlotte, steve Buscemi voices Templeton the Rat.
Speaker 1:John Cleese as the main sheep, oprah Winfrey as Gussie the Goose, cedric the Entertainer as Golly the Goose, reba McIntyre's on there, kathy Bates, robert Redford, thomas Hayden Church, andre 3000, sam Shepard the list goes on and on here. So I don't know, maybe one that I revisit in a couple of weeks, and now you'll know the reason why. But I digress. It's been a lot of fun. We're here to talk about some wild movies, some R-rated movies here today.
Speaker 2:Really excited.
Speaker 1:So let's start with Rebel Ridge. Rebel ridge is technically the fifth film from jeremy saulnier, um, a really efficient, I would say, director who has a certain lane and stays in it. His first film, murder party, more of like a student film. It's just over an hour long. Worth a watch. It's a fun one. Around halloween time it was more horror. And then, I think, the one that really put them on the map, green room, um, which comes after blue ruin, blue ruin, which is really good though which is really good, but I don't think that a lot of people were aware of until something like green room came out.
Speaker 1:Green room was sort of in that. I think when we did our a24 bracket, we had that in like phase one that was kind of one of the pillars uh, phase one of a24 bracket.
Speaker 2:We had that in like phase one.
Speaker 1:That was kind of one of the pillars of phase one of a24, and then that's really when jeremy started cooking and people started paying attention um to his work. And so now here he is with rebel ridge. I saw you log this movie before me. It was a popular one on letterboxd maybe two weekends ago now, um, but just like I said in the in the opening, a powerhouse thriller.
Speaker 2:So maybe first start to talk about kind of your relationship with, with sonye's films and then kind of what your expectations were going into rebel ridge, what you had heard yeah, I mean green room is is like one of my top 100 favorite movies it's a five-star film for you yeah, it is, uh, as far as like, like this is like my comfort food, like really, I I think the word efficient, was, was, is is brilliant for for jeremy like really efficient slick, but like scary and very serious thrillers grounded, grounded, so grounded. Right, these are the it's so based in reality, where you don't have. And even something like rebel ridge is like yes, it's an action thriller, but like in the most, again like physical, grounded, tactile. Uh right, like it's not, it doesn't have your big explosions or anything, like we, it is really just people against people, and I think that also goes back to green room.
Speaker 2:Like it it's really just people fighting against people. Uh, and there's there's like some desperation in his films and some, um, you, some real, real stakes and people, people that you like get attached to, especially in green room, you know, get killed off, uh, who you don't think like, and a lot, and it's a lot, of darkness there's. There's a lot of darkness in all his stuff and uh, just smartly written, great thrillers, uh, so I really love his filmmaking style rebel ridge is.
Speaker 1:I would just to put a bow on that and just kind of how I feel like he approaches his films. He approaches them with such a level of I don't know if education's the right word, but like knowledge on the subject where you watch something like Green Room and you're like, oh, this guy knows a lot about kind of the underground punk scene in the Pacific Northwest. What a weird niche. They're almost documentaries, right.
Speaker 2:They do feel that way.
Speaker 1:Right, yeah, and you watch Blue Ruin and you're like you must have known somebody who held a grudge and went on like this revenge tour because this feels so personal. Yeah, very, very researched, and went on like this revenge tour because this feels so personal.
Speaker 2:Yeah, very, very uh, researched. Researched is a good uh. All of his films I feel like, and, and this again, uh, rebel ridge is about, you know, a, a practice that cops, I guess, in rural areas, you know know, do uh, what is it called Like a asset for?
Speaker 1:seizure or something. Yeah, where they can take if they think expenditure is maybe in the war. I don't know.
Speaker 2:It's like if you have a lot of money on you and they think you are going to do use that in a future crime, they're allowed to take that money and by saying we, we think you may be using whatever this could be it could be anything that we seize off of your person during an arrest.
Speaker 1:We could then just make the assumption that you were going to use this money, this weapon, this vehicle, anything. We hold the right, we reserve the right to assume the worst, basically and think that you were going to use this for a future crime.
Speaker 2:Which is a crazy. I had no idea. I had no idea that was a law, right, you know that can be weaponized honestly. But yeah, this you know, rebel Ridge deals with that, and I think I mean. Firstly, the performances in this film are are some of the best of the year aaron uh pierre, who came on to this project late because originally john boyega was of star wars fame was going to be in this film.
Speaker 2:Uh, another thing I love about jeremy's films is that like location, location, location or on location. You know, green room is very much in the backwoods of oregon. This movie is very much in the swamps of louisiana, um, and like the countryside of Louisiana.
Speaker 2:So you've got these counties, yeah, these unincorporated territories really yeah, so you've got a great setting already, but then the performances in these films are, or in this film particularly, I mean, just Aaron Pierre is just a powerhouse and he is. He is very one note through it. But. But what he is physically doing with his face and his eyes, like his voice, might be monotone through the whole thing and very calm, but there is. There's so much rage behind his eyes going on and it and it, you know it, goes up a level each time you see him because of the way he is being treated in this film and the way that he is wrongly accused of of, you know, wrongdoing.
Speaker 2:Uh, and then on the other side, don Johnson, who you know we talked about I, when your dad came on the podcast, we talked a lot aboutami vice and how big that show was. And don johnson is just someone. When he shows up in a film, whether it's you know jango, knives out. You are just so delighted to see him. Yes, and he is so good in this movie as a bad guy.
Speaker 2:He is just so his gravitas as a, as a bad man who's who's like specifically a bad white man a bad white man who has just got the biggest horseshoe of chew in his fucking lip through the whole movie.
Speaker 1:And we talked about spitting at the end of last episode, right, and we teased that we would talk about spitting more. We'll get there.
Speaker 2:He's so good, he's so fucking good and so captivating and him against Pierre, who is a giant man to begin with and is very intimidating. There is a power struggle and it's believable, right, because this is don johnson's town, you know it's, it's it's a western really, right, like aaron pierre comes to town and uh, you know, and then and finds some bad men who are running this town and then has to, you know, high noon it um, it's, it's a thrill ride and it's crazy too, cause I believe it's.
Speaker 2:How long is it? It's two hours, two hours, two hours and 11 minutes. But man, I am, I was so locked in, I was so into it. I it's funny cause I was watching it with Kaylee and her wonderful brother and sister-in-law were in town we all decided to sit down and watch it one night. You know, half of the group fell asleep and so, like we had to, we had to pause it and so I got to watch it over two nights but, like I, locked in, completely locked in, never lost interest. Um, it was man, it was, it blew my mind, I was really I, and I'm a sucker for these kinds of movies.
Speaker 2:I've heard Jeremy say he wanted to make Rambo meets Michael Clayton and it delivers. On the Rambo side, where you know there is action and there is fighting and there is physicality. But then on the Claybo side, where you know there is action and there is fighting and there is physicality, but then on the Clayton side, there is corruption, there is mystery, there is smart dialogue that, like again, you have to be because you don't really understand what, what's the law, what the laws are, you have to be locked in and it just elevates that script, so much well, and I think that's where something like michael clayton is a good comp, because you watch michael clayton and so much of that movie is is dialogue that you have never heard of before, situations that you aren't familiar with, and the movie that movie does such a good job of shedding a light on something without making it feel like spoon-fed exposition, and that's what this one does.
Speaker 1:Where forfeit us, uh, forfeit assature or whatever it is you know, chatter network article coming soon here on the website.
Speaker 1:um, we'll do a deep dive into into the malpractices of the police departments in the american south. But it's just so. It's so good because none of this that the anna sofia robb character is giving a little bit of exposition, um, or is asked to deliver a lot of it, um, for kind of just the, the black and white nature of really what's happening here. Aaron pierre gets it explained to him by the cops a little bit, by the don johnson character a little bit, but again that goes back to the research thing that you're talking about within the script where, like, a good script is going to communicate all these things in a way that doesn't feel handholdy so much good stuff that you said there in the intro.
Speaker 1:I want to, I want to start with again the knowledge that you can tell that that Jeremy has for this genre and the respect that he has for the audience's intelligence, and I love that. I'm finding that to be just like to become more and more valuable in every single movie going experience that I have where it's just like I just want to feel like I'm being respected as an audience member, and so what this movie does so well with its protagonist is give you moments of gratification, I guess you would say as far as, like, I want to see yes, I want to see the good guy come into town and set these bad guys straight lived in a world of john wick and we've lived in a world of all these grandiose revenge stories where murder and violence are so secondary and feels like such an empty act.
Speaker 1:right and so many of them like you're just waiting for aaron pierre to start, you know, like snapping guys necks in this police department and in this town and you can tell he has the physical capability to do it. But there is such a good pace to the action and I'm not even gonna say about it's just there's such a good pace to the action in this movie where I think that's part of how it keeps you locked in because you are just waiting to see what this guy has up his sleeve and and to find out more about his backstory. And you do in a way that again doesn't feel like oh my God, it's Jason Bourne.
Speaker 1:And we're going to have a whole franchise now we need eight movies and we need to see what the Treadstone program is like. We need to see what this Pace program is like. Program is like. No, we just we understand through this very, very nuanced character that he is a he. He can be a killing machine if needed, but also he is trying to do the right thing. He's trying to get his cousin out of a dangerous situation If he goes to the state penitentiary and he understands that the way to do that is to come into this town, even though he has sensed the corruption from the jump, and try to have manners and try to do the right thing.
Speaker 1:Like he's also not just this villain, right, right, who is completely unreasonable, like and and we're going to talk about a few certain scenes here in a minute but like there are moments where both characters do things that are completely against type that you would not expect in a film of this nature. So I love it for that. I think. I think that the way that the actors carry themselves physically and then their, their emotional intelligence is, is really well communicated to the audience and, again, that just respects your intelligence as you're watching the film. So I love it for that.
Speaker 2:I think one of the best lines in it is when, uh, I believe her name's, uh, Jenny off, or officer Jessica is looking up, is research or like she's Googling uh.
Speaker 1:Terry Richmond.
Speaker 2:Yeah, pierre's uh uh character and she finds a wikipedia page about it's like non-lethal marine training or something like that this is the pace program yeah, yeah, pace program and she, I think at one point she goes oh, he's on the wikipedia page, so good, and it's just, it's just brilliant. It's just really brilliant writing, uh, and a great way to use the internet but also like to explain like, oh, this guy, without without like giving any sort of backstory, really this guy is dangerous and like, and he is very capable of coming in here and and you know, and it's also really interesting that he, he never really, he never really gets violent, right, like he he takes guns and stuff and then like, tears them apart, right Like, unloads them and and makes, makes them nonlethal. And he is constantly I don't even think he ever, really I don't think he ever fires a gun. He fires like a smoke grenade launcher, but again, non-lethal. And that is really, I think, a really smart choice because, again, you can, I think you can train an actor to do those moves and we don't have to go in and do shaky camera and no one's getting beat up and no one's getting beat up and no one's getting killed and like, really, you are just like and again, I think it puts you on the edge of your seat, right, um, it's, it's, yeah, it's a, really it's a great movie.
Speaker 2:And and some great side players too, right, david denman, who a lot of people recognize from the office, who just looks like a very like you know, white cop, like a typical cop. Uh, emory cohen, who you know I don't know if I've seen emory in a movie since brooklyn when he was the love interest of, uh, uh, serersha, sersha ronan so, and he's doing like his best. Um, richard jewel, who's that actor?
Speaker 2:uh, he's doing his best on the wait for it yeah, yeah, I mean yeah, and he looks like a back, you know, a back country country boy, uh. And then you know dana lee shows up for a hot second. James cromwell, uh, has a, has a cup of coffee. In this film just really, really well casted all the way through. Um, beautiful, beautiful composition all the way through and like this movie looks really good for a Netflix film.
Speaker 2:Unbelievable. It looks unbelievable. I mean honestly it should be. It's such a bummer that this wasn't on the big screen. Like think about experiencing this, because I actually had no idea this movie was coming. I had absolutely no idea, and maybe we touched on it earlier in the year, but I had totally forgotten that Jeremy was putting out another movie. And for it to just now, on one hand, for it to just show up on netflix one night and surprise me, that's amazing. But if it had gone to theaters and, like I was able to see this on the big screen, I mean I think it would. I think it would have made a huge amount of money, because I I think it. Also it's interesting that it toes the line between like cops are assholes, but cops can also be, you know, good guys, right, like there are, there are corrupt and evil cops in this movie, and then there there are cops that end up being what you want a cop to be.
Speaker 1:Well, and even without asking you to sympathize with the police officers who are partaking in this, there is a car ride and a conversation really just a monologue that is delivered by Don Johnson where they are driving and you do not know the fate of Aaron Pierre in this moment and you haven't quite seen exactly what Don Johnson is capable of. And in this moment he is explaining to Aaron Pierre exactly why he and his police department have to do what they have to do. They are doing, they are seizing these assets, they are using these funds to keep their police department afloat.
Speaker 1:And they're using it to help adjacent police departments in these different counties, because they're losing money. They're just hemorrhaging these funds because if they don't and if they don't hold these criminals for petty offenses, misdemeanor offenses, for 90 days and keep their jails full like the town's basically just going to go bankrupt.
Speaker 1:They're already broke Right and and so you are understanding the state, like you, in real time as an audience member, are starting to understand the stakes and and you know that, aaron Pierre, just from watching any movie ever, it's on him to try to, to, to be the one that that upsets this and sets things right. And so, in most movies you would think, here comes the showdown, like this is the high noon moment, this, these are the two gunslingers in the middle of the street.
Speaker 1:However, they just happen to be in this car and I said to you last week I was like I don't know if I felt and maybe it's just the setting right of being in a car, but this is the kind of level, this, this is the kind of tension that is on the same level as like the border crossing in Sicario, totally, where, because you're just moving along and you don't know what's coming next, but you know something's coming you are on the edge of your seat. And now now this turns out to be one of the huge, I would say, bucking of the trends for this film Is that this particular section of the film ends in an unlikely compromise between the good guy and the bad guy, to where, once it's all said and done, you're not really sure how we get, like, where are we going to get another hour's worth of the run time from? And that's the only time when I think the film dips a little bit and it loses some of that tension. But that's just because it is built up so well over that first hour and reaches this amazing crescendo where aaron pierre, for the kind of one and only time in the film, does have an explosion of emotion. It's not violent, but he, he is out of control, I would say.
Speaker 1:Whereas the entire film you were like, this guy has the answer. He's playing chess and everyone else is playing checkers, and this moment he loses it a little bit. There's another police officer there, the Deadman character, and he's armed, and so you're like someone could die at any moment. You know, like you, just it's so good, it's so well done, and then the way that it ends with this compromise, it's just something you don't see all that often, and so, again, it just speaks to the script, it speaks to the, the thoughtfulness that, uh, that the filmmakers had, that jeremy had, and it's incredible to find out that this film was like a five-year production, because it doesn't feel choppy, the way in which a movie that has gone through I don't know if it went through- I think, I think covided it.
Speaker 1:Yeah, casting affects it, casting affects it.
Speaker 2:I mean John Boyega, I believe Walked away because it was the way the character Was written Too hard, too hard Something.
Speaker 1:It could be elemental, we don't know the full story, but, just like when a movie has Production, stops and starts and comes back With a different actor, you just don't. This movie just feels so tight. It feels like that the vision was always there and so it's so good to see that that's the final product that we get. Is this really tight, cohesive narrative? Because it's kind of a miracle once you start to read all the production notes and everything like that. So I love that scene because I felt like that's about as as on edge as I've been in any movie all year. Um, and even going back to you know, like oppenheimer has a little bit of that like when civil war has some of that civil war does have some of that that's a great call, actually from this year um few and far between, though, when a
Speaker 2:movie can really make you feel like that, so I love that part of it yeah, it would have been so interesting to see this film with John Boyega because, I mean, just physically, john Boyega is nowhere near the size of Aaron Pierre.
Speaker 1:It doesn't feel like it right. Maybe they could have shot him to look like that Sure, but I just I feel like I think that's.
Speaker 2:Another brilliant thing, is that going with someone like Aaron Pierre, who a bit of an unknown unknown. I mean he's been, he's, he's done stuff, he's a working actor, he's he was in a Barry Jenkins, uh, the underground railroad, um. But like having that unknown just I think really again helps you really just get in to the seams of this movie.
Speaker 1:So then Don Johnson, who I think you know like he'll never get the kind of credit that he deserves for a role like this, and it's going to end up being, you know, probably his 10th most cited work on on on the Wikipedia page or whatever the case may be, but he's so good in this role as this despicable.
Speaker 1:Yet I don't want to say he's not, he's not relatable, but you just feel like you know. You know people like this, or maybe just the fact that you know that people like this in the world exist really gives the character more, more of this. Like you invest in the bad guy almost as much as you invest in the good guy, because, like he's trying to do the right thing, he's getting this new jail built for his town and yet he's just, of course, going about it the completely wrong way.
Speaker 2:Right, but he even, like, gives respect to the Aaron Pierre character. You know, in that in that moment where they come to a compromise after the car ride and so like that does make you empathize a little bit with him, like oh OK, yes, he's probably a real shit bag but it's not like he's racist. Yeah, like I think there's people in his department who are 100% made out to be bigots.
Speaker 1:Yeah, emory Cohen, emory Cohen for sure, but like that's not. Like there's there's a distinction there between between the don johnson character and some of the other people in his department. And so, again, just like those little nuances that are so good, I gotta touch on the chew and the spitting, because I've been wanting to bring this up on a pod for so long. When, when a bad guy in a movie, when anybody in a movie, is trying to communicate disgust or hatred towards another character, the like long stare and then kind of like tongue clearing, lip flick and spit that comes hurling out of the mouth towards that character's foot when it's captured, you got to put this into a film, man.
Speaker 1:Like you got to work a disrespectful spit into one of your movies because it is so effective. I wish I could do this in real life to people when like well, yes, yeah, yeah, okay, yeah, bring it to the pickleball court tim beats me and instead of saying good game, I just spit towards his feet.
Speaker 2:Oh, I just wanted to. I'm going to do that to Tim just for fun. Who says no right?
Speaker 1:I was with Blaine last night. He would have done it towards you at the end of your fantasy football matchup.
Speaker 2:if you were there, god damn it. Rebel Ridge is fantastic.
Speaker 1:How do you feel Now we also talked about this a little bit I mean, the ending, with so much of it being non-lethal, is great, it it kind of it does turn into this big showdown where now this movie takes place outside. It looks great, it looks beautiful or whatever. It does feel to me a little bit, and green room has some of this also where, like the movie, when you're near the police station or when aaron pierre and anna sophia rob are like moving around the town, it just feels really tight, it feels so lived. In same thing with green room, with, like, the concert venue and and kind of this, like it's.
Speaker 1:It's sort of like a farm that they're on right where where the concert's taking place, like a warehouse yeah out in the woods kind of, and then once we start to get away from that, it just it doesn't obviously feel like one of these superhero movies where the third act just is a big set piece right, but it does feel a little bit to me like they were like okay, this movie's called rebel ridge, we have to make some action take place up at this historic war monument type of thing and that's gonna bring in some sort of allegorical meaning about, you know, everything that's happened here historically with oppression and wrongdoings, the law enforcement and everything like that. So I was really happy to see them really bring the conclusion of the film back to the police station and then you kind of get this chase out of town, which is cool. I think.
Speaker 2:I think that's the one thing like you just got a little silly kind of you don't need.
Speaker 1:You don't need rebel ridge in the movie right you can call it rebel ridge, and like it's fine, like I was fine, not having that mean anything yeah, same I, it's just a.
Speaker 2:It kind of represents I mean, it represents the, the town, and the, the cops, but then also aaron pierre's character, right, yeah, and so like yeah, I, I did find that one moment where they're like we're gonna meet at rebel ridge and then, and then nothing happens there. Maybe that's intentional to be like uh, you know, you thought, you thought this was going to be the showdown, but no, it's not. Um, our characters are smarter than that, which also again makes it feel very grounded and real and tactile. Right like in a john wick movie, john wick would have dropped down from the tree at rubble ridge and killed it had all these booby traps, all of a sudden right so so yeah, I think that's a great choice and and but then also, do you even need it in the movie?
Speaker 2:probably not. You could just go straight back to the police station, because the police station is is really great and like there's this weird like hangout spot next to the police station where a bunch of hillbillies hang out well, that's where they're building the jail like they don't even have contractors or or state workers or anybody else like that, the the folks who are employed by the police department they're sure not going to be.
Speaker 1:Yeah, they're sure not going to be the officers they're not going to be the ones building it, so it is your neighbor and he's got, you know, his 22 rifle like just in the back of his car but again I love that because don johnson he's, he has the respect of all these like delinquents in his town where he can, when he and aaron even the judge like is totally listen, james cromwell can just cash checks playing a judge in the south for the rest of his career if he wants weird character again.
Speaker 1:That's where the movie gets a little bit, I think, kind of like I would never say clunky, because I think this movie it always is moving at a really good pace. But when it does kind of become like a detective story a little bit, I was in on it and it's still good because that's kind of where the like it is still sort of. That's kind of where the like it is still sort of a mystery movie.
Speaker 1:But I'm like don't go full scooby-doo where it's like we're in the basement and we have to, you know we have to find the clue and then like, oh, it's gonna catch on fire and we got to get out like, yeah, that's all, it's just little things like that. I think we both put this at four and a half stars on letterbox. Only thing they really stopped it from just kind of being like a perfect movie. Now again like is rebel ridge as good as the godfather? And in terms of like a five-star movie and a five-star movie no, but like this movie is almost perfect, yeah so it really is given a four and a half stars felt pretty easy to me.
Speaker 1:Yeah, yeah and uh, and it's got iron maiden kicking it off just a great use of number of the beast.
Speaker 2:It's so exciting because you know, jeremy, you hope what. How long ago was green room?
Speaker 1:green room was maybe 15 or 17 yeah, so it's, it's been.
Speaker 2:It's been some years, let's not well, and hold the dark. Hold the dark was his movie in between those, which is a netflix movie and again, that's one where had that movie have played in theaters?
Speaker 1:I do not think that it would have been all that successful, but that is also on location, on the alaskan wilderness and it looks great like jeffrey right. Jeffrey right, yeah riley keogh scars Skarsgård.
Speaker 2:It's a really good one. I'm going to fire that up.
Speaker 1:So yeah, it's tough to say, and that was in, so that was in 2018. Hold the Dark was Okay, and that puts Green Room right before that in 2015. So a guy who works at a good pace, I would say as far as like he doesn't rush things and he doesn't take too long a time off. Because had rebel ridge come out on a normal production schedule, right, had there not been like this five-year choppiness, probably would have been, you know, and then, of course, the pandemic, but it probably would have been like a 2021, 2022 release if everything was quote-unquote normal and
Speaker 1:so we'll see, I hope. I hope he's encouraged. I'm sure he's seen the warm response to rebel Ridge, so I hope he's encouraged to continue to make the kind of movies that seem to interest him. Cause the way that I put it in my letterbox review is that, like Jeremy Sonia is a hard throwing right-handed pitcher that has a nasty fastball and he doesn't care if you know it as the batter, he doesn't care if you know it as the audience. Like that's just what you're gonna get. Yeah, you're gonna get a 97 mile per hour fastball three times down the middle. Got a little michael man in him. He's got a little michael man in him where, where he like, he dives into these worlds right, he's very interested in crime yep, and criminals, I would say, and that's where you get the attention to detail.
Speaker 1:With a character like don johnson and rebel ridge or patrick stewart in green, where, like he fleshes these characters out, he just doesn't make them quote-unquote bad guys, totally nameless gray faces, right. So it's, it's really good, it's really exciting that there's somebody like this, who, who's working, who's like a legit working adult filmmaker legit working adult filmmaker very rare.
Speaker 2:It's very rare, very rare these days. Keep making movies, jeremy.
Speaker 1:We love it because you see, other guys try to do this right. Like I think a movie that I was thinking about would have been so interesting, like, had he have directed Cherry the movie with Tom Holland that one of the Russo brothers tried to go and make and you can just tell like you're. I don't know if that was Joe Russo or who, but like you can just tell, I think it was both of them?
Speaker 1:Was it like? You guys are kids? Yeah, you don't know how to make a movie like this for adults right, whereas jeremy he just gets it. Yeah, he makes adult movies for adults it's really nice to see we love it okay it's in your top 10 where do I have this film right now? It is, I believe, inside my top 10. Yeah, 400 stars. It better be, and the year hasn't been that. It's been pretty good, but it hasn't been that it's been.
Speaker 2:It's been a really interesting year and it's just going to continue to get more interesting.
Speaker 1:I I thought it was going to be a total it's at 13 for me right now, but let's talk this out in real time. Ahead of it I have inside out to a completely different movie, so hard to compare. Kinds of kindness is in front of it. I I like Kinds of Kindness. I think I like Kinds of Kindness more than Rebel Ridge. Yeah, I have Maxine ahead of Rebel Ridge.
Speaker 2:I like Rebel Ridge, maybe not. Yeah, I like Rebel Ridge better than Maxine. I think I like.
Speaker 1:Rebel Ridge better than Maxine. I have the Beast in front of it.
Speaker 2:I personally like the Beast over Rebel Ridge.
Speaker 1:I have Twisters in front of Rebel.
Speaker 2:Ridge I in front of Rebel Ridge. I like Rebel Ridge better than Twisters. I think I might as well. Yeah, we'll get to Twisters at the end of the year.
Speaker 1:Sure, I have Romulus ahead of Rebel Ridge. I definitely like Rebel Ridge better than Romulus. I think again almost like the Inside Out 2 thing. Hard to compare, that's like an Apples to Oranges thing, but I think movie is probably rebel bridge, yeah, and then I I mean I don't like it more than my top six, yeah, but so yeah, it could, it could pop in there, it could pop in there it can play. It can play in the top 10 um a movie that 100 plays in my top 10 uh, your number one movie of the year.
Speaker 1:It's my. Did you see that? Of course, number one movie, I mean I didn't have to look.
Speaker 2:I did not have to look. I knew. I walked out of the theater after this theater experience and I was like this is this is the most Alex core movie that we have maybe ever covered on on the pod.
Speaker 1:It very well could be. So this is Coraline forgets the substance. Corley, corley, corley, excuse me, corley forgets the substance. My goodness, this is.
Speaker 2:You're right, this is everything I want in a movie.
Speaker 1:It is. This movie has deep meaning to it. This movie's got a maniacal sense of humor to it. This movie is beautifully made, yep, well shot, extremely well acted. It has length to it. I and I'm saying that with like. I'm saying that like, I'm reviewing like a great three course meal, like it is delicious it is so good.
Speaker 1:And then, above all else, I was talking to our friend, heath triller at length about this movie, because we wanted to talk about about the deeper meaning. We wanted to talk about everything that that this film is trying to communicate. But at the end of it I was like you know why this movie's fucking awesome? Because it's gnarly it's so gross it's so gross.
Speaker 1:It's so gross. Yeah, I, I love it for how nasty it is and I love it for how. You know, cronenberg, I think we'll see what happens with the shrouds. The shrouds is not gonna be as viral quote unquote as as this movie, but I think what people hoped crimes of the future might do for a younger generation because it had leia seydoux and it had kristen stewart in it and maybe it was gonna like turn some people on to body whore. That just didn't really happen. I think that when titan came out of can and people were like julia ducar news second film, raw, had this huge cult following online. Maybe that's gonna turn some people on to body whore. That worked, yeah, and people still really like to tan. I still really, really really like to tan.
Speaker 1:Nothing hit, I would say, in the way that the substance has hit, as far as like going viral. I see it everywhere on Instagram right now. People are reviewing it left and right on letterboxd and I think because I think because of maybe it's to me more, maybe it's Margaret Qualley, but I think because of just how slick it is, that's what people are being attracted to. Where it's like, this is the movie that, for whatever reason, is piquing people's interest into the subgenre of horror that is body horror, into the subgenre of horror that is body horror, and it's turning people on to people like David Cronenberg or to like Julia Ducourneau, or they're going back and watching Corley's first film, revenge, and so I love it as like kind of this gateway movie.
Speaker 1:That it's interesting because I think about how I would say in a good way, it's heavy handed in its message and there's layers to it for sure, like we are dismantled. We're trying to dismantle the patriarchy. We are talking about beauty standards within Hollywood. We are talking about so many different things Self worth, we're talking about how women perceive themselves, and now this is going to get tricky.
Speaker 1:We're two white guys talking about a movie that is about as I would say it is, dissecting the just like female thought patterns and beauty standards and the way that we will never we will never know how women feel about themselves and what society has done Um and to to women and their confidence, and how you need to look a certain way and dress a certain way. And then you know you put that on top of this story being about pop culture and life in Hollywood, just like things that are so foreign to us. I'm just here to say that, like as a body whore experience, I was grinning ear to ear. I was so pleased by what I was seeing because I was like this is going to make people think this is like a heartbreaking story that is also super gnarly, yeah, and funny, yeah, but tragic it's all these things rolled into one it is, so I went and saw this with erica I really wish er Erica was here to talk about this with us, and Kaylee I do wish Erica was here as well.
Speaker 2:And yeah, it is a harrowing movie about women and what they go through as far as how they are perceived in the world and their struggles with the patriarchy. As, as you said, and and I, I loved it. I loved it for that, like it it is. It is in your face with that messaging and it is it. It's interesting too because, like, I was trying to pick out when in time this movie takes place. Right, because at first I thought it was like the 80s it, it's almost.
Speaker 2:It's almost like purposely made to be timeless, which I think is brilliant. But it's also like this weird, I think, alternative world where, like this jazzercise, it feels like exercise show is like the biggest thing it feels to me like a david lynch setting for a film where, like twin peaks, feels otherworldly the moholand.
Speaker 1:The los angeles that we have in moholand drive doesn't feel like the los angeles that we live in, and yet there's all these familiar sites and and characters, and so I I'm totally with you where I was, because at first there's like some older cars being driven around you know, uh, there's an absence.
Speaker 1:People are like using pagers yeah, right, yeah, but but then also people are driving like brand new mustangs right and cell phones and their cell phones and yet, like, one of the most popular shows is a morning show about like jazzercise yeah, so it's just where people are wearing leg warmers and it's like, is this, it is I?
Speaker 2:but I think that's all intentional, I think I think it's totally off balance and it's so pop arty, it's again so in your face and um, the direct, our director, carly corley corley has such a unique way of editing her films and her filmmaking style is so aggressive and exciting and and provocative right, and I mean revenge is is almost the same way, and so to see it again in in this setting is it was just so good it was. It is a really scary movie and I want to know what you thought, because walking out again like kaylee and I think she'll be okay with me sharing this but like she was deeply affected throughout the whole movie, like she was going through a roller coaster of emotions, um, and, and you know she was like it's a very sad movie for sure and I think about the scene when and spoilers ahead yep, the scene when, uh, dimmy mo, you know, in the mirror getting ready to go out for drinks with that old high school friend that she met, if, Demi gets nominated and like that's got to be the clip.
Speaker 1:God forbid, I don't think it'll happen. Yeah, but like I was thinking back to like when but it might, it might happen.
Speaker 2:When has this happened?
Speaker 1:Natalie Portman and Black Swan a very similar role. Black. Swan was the first thing I thought of when I walked out and I'm like that scene in the mirror is her Black Swan moment and yeah, black Swan underrated body horror film, totally A woman going through these transitions.
Speaker 2:But it's the scenes where there is nothing supernatural happening in that movie that are some of the most impactful, and it's the same in this one in the mirror yeah, and and it is is just so sad to watch demi more, who I mean, you know, is demi more and like, is, you know, gorgeous in her own right, like, but going through what she's going through and and, and you know, going crazy and like wiping the makeup off and it almost looks like clown makeup at one point and she does.
Speaker 1:She does like the joker where she smears the lipstick into a smile right and so and so up to that point it is again.
Speaker 2:Again it's a very sad, depressing, harrowing tale. And then it does take kind of a right turn and goes deep into this body horror and I was wondering how you felt about it because I walked out being like man. People are gonna love this movie for the last 30 minutes and I hope that, like the first you know hour and a half like, doesn't get lost, because that to me, if they were able to stick with that, I think this is a five star, perfect, like one of the best of the decade. I I think some of the, the body horror and the and and I'm mr practical effect over here but I think some of that last 30 minutes stuff kind of dilutes what the, the feeling and the uh, you know, the, the depressing aura of of that first hour and a half is yeah.
Speaker 1:So my answer to that is it comes back to the length for me, where I feel like at least for me watching the film, somebody who loves body horror movies and thinks back to like how elephant man and the fly have maintained a place in film history as being these harrowing tales of a person's psyche and and kind of how what's happening to them on the outside is more reflective of what's happening to them on the inside, whether that's trying to showcase beauty as in the elephant man's case or you know, kind of the, the de-evolution of man in in the flies case, and so I love I knowing that coralie is a student of the game, right like she, she knows that fans of cronenberg are going to show out for this movie, she knows that people who have been studying the genre and been fans of the genre for decades are going to show out for this, and so I think that what she does in the opening 90 minutes of this movie is it pulls you in and really gets you thinking about what we do to ourselves, and that's so effective by giving us two different characters who we keep being reminded throughout the film are one, you are one, and so I love that.
Speaker 1:Because and that's another thing too that I just feel like has zero effect on on my rating or my appreciation for this film is like I don't care about the science of it, you know, I think that the rules of the substance are well spelled out and we understand another film that I think that there's so many movies and I hate doing this, but you know, just being like, well, it's a little bit of this, well, it's a little bit of that, but like in requiem for a dream, when they are in the prison and jared leto pulls up his arm and marlon wayne's looks at it and it is black and it is infested because he has shot up into it over and over and over and over the. The substance to the point where the elizabeth?
Speaker 1:sparkle character has become that, just like black rot has, has just become, uh, you know, the fountain of youth for her. I'm like, because that doesn't really happen until the back end of the film. I'm like this is so effective. I like you get it like this movie. It's about all these other things. It's also about like addiction addiction and abuse or substance use and abuse.
Speaker 1:And so I think, I think that, as outlandish and I was crazy and as like, this movie turns into society, this movie turns into carry, this movie turns into so many other great movies. At the end of it, it's not lost on me how we got there, yeah, and I think that that's done so well because that, well, you know the, the elizabeth character, the demi more character, is given multiple times throughout the movie to the opportunity to stop it and and she herself can't do it.
Speaker 1:Because of this, because of what the character has achieved and in a way it's still what she has achieved, then too right, she's living this life, but, like the back and forth kind of the tragedy of of living two different lives at once, it's projected throughout the whole film and then, I think, intentionally right, the last 20 to 30 minutes goes off the rail and we even get the third title card of a character Monstromo or whatever it is. Um Elizabeth.
Speaker 2:Eliza Sue, Eliza Sue yeah.
Speaker 1:They're like combined Um, and that's just like you know, we talk about this with with directors all the time, like when you kind of get the blank check, when you get, when you get the opportunity to do something like this and if this is what you've had in mind and this is like your vision, and no one's going to stop you from it, and you can let your production team and your special effects team and your makeup team just go crazy, like, let them, yeah, you know, so go for it. I love that and I not that.
Speaker 1:I think that, like that probably wasn't lost on you as a practical effect guy like I freaking because we even get a thing moment we literally get a thing moment where there's just a head crawling away and it's just like in you know mcmurdo, when all of a sudden that the spider head is crawling away and someone goes, you got to be fucking kidding me like there's literally that moment at the very end of this film, and so, like the homage to special effects and body whore and and kind of creature features of the past is so apparent here where I'm, like I love balancing the strife and and the heartbreak of life in Hollywood and and life as a woman in these unrealistic beauty standards that we hold ourselves to, with everything else that the film accomplishes.
Speaker 1:I think that it's like the perfect pairing. There's neither side of the coin that I feel like was done worse than the other, and so that's the only reason why I think that like it's not that difficult for me at least, to lose like I'm never going to lose sight of what happens in the first half of this film. Now, if that back half had been done poorly or had been done in a way that I feel like it's over the top on purpose, right, it's almost becoming, um, like a, a satire of body horror films because of how hardcore it goes where I'm like how did this not get like an NC 17?
Speaker 1:rating you know, know like it just goes so crazy like there's more blood in this movie than yeah, then like kill bill or something like that. You know and so I just think that it because both sides, both both missions of the film were done and executed so well. I don't think for me that I would ever be able to say that like I've. I you know, this movie lost sight of what it was trying to do. I think that it was.
Speaker 1:It accomplished exactly what I was trying to do pay homage, but then also get people thinking about you know, the standards in which women are held to, that that hollywood holds, anybody to, that pop culture has, you know, like we've just turned into this all of.
Speaker 2:I mean instagram, like it is just that influencer culture. Yeah, it's kind of ridiculous.
Speaker 1:Um, what was your theater like? What were the reactions that you were getting? Uh, I had people howling in the last half of the film, or?
Speaker 2:in the last like 30 minutes and I think that that's fine a lot of, a lot of like, you know, people like, people like, like a lot of, a lot of audible noises through and and me as well, like, I Brother, when we're pulling our own teeth out.
Speaker 1:We're pulling teeth out I was losing it, squirming like crazy.
Speaker 2:The amount of needles going into skin throughout the whole movie is is very hard to watch for me. Um yeah, there was a lot. There was laughs, there were, there were use, there were. Oh my God, it was like it was. It was a good theater and it was, it was.
Speaker 1:It was packed at the grand and to hear that Cause I I saw this show before you. Yeah, you caught like an eight o'clock.
Speaker 2:I caught a five o'clock and yeah, and definitely a youthful feel throughout the theater, which is great, which is amazing um, however, like okay, so this is interesting.
Speaker 1:I'm sorry to cut you off but like my mom asked me after I told her that I saw this movie. She's like I was thinking about going to see that and I was like five thousand percent, don't go see this movie yeah however, you know what?
Speaker 1:there's nothing more that I because there's a, there's a few teachers at school too, and and one of my program directors, um, who loves movies, goes to the grand all the time, and I told her. I said this is my favorite movie of the year. I told this to my mom this is my favorite movie of the year. I would love to know what you think about it as an older woman. I I.
Speaker 1:I said the same exact thing to my mom but I cannot recommend that you go see this movie. I I because I don't know if you would walk like if and if you walked out, then you walked out, but I wouldn't want you to hold that against me, you know well, no, I told her that I went and saw it and she was like oh, I really I think I want to see that.
Speaker 2:You know how is it. I was like mom. Oh, I really I think I want to see that. You know how is it. And I was like mom. You might pass out Like you might, like I, I, I want you to see it, I think you should see it.
Speaker 1:But you like. I would love nothing more than to talk to your mom, to my mom, to anybody, to anyone over the age of 45, you know, uh to.
Speaker 2:Because because, again, and you know again, I wish erica was here to talk about what she was experiencing. She was, because what I could tell from from you know, watching the movie with her, yeah she was gleeful and and just having the time of her life where, and then you know, again, again. I sorry Kaylee if this is too much information on the pod, but Kaylee was was emotionally disturbed. Well, here's the thing and so it's, it's really interesting. I, I, I, just I want, I want to get every woman we've ever known.
Speaker 1:So watch this movie and like and sit down and talk to me about well, kudos to Kaylee for leaning into those feelings and acknowledging them and talking to them about you, talking to you about them. Those feelings, because I feel like, up on multiple rewatches, the more rewatches I give to this movie, I do think that once and now, this is coming from me, mr desensitized don't watch anything revenge corley's first film.
Speaker 1:Watched it over and over one of the like kind of one of the og movies of this podcast. Like talked about it on our uh show and tell episode.
Speaker 2:You know we did a movie swap for it like so many years ago the star earrings, of course I suppose the star earrings, and then the uh, the fucking guy, he's, he's, he's one of the board guys in the in the boardroom yeah sitting on the couch um, really good.
Speaker 1:And also the way that um dennis quaid eats the shrimp is a lot like how the men there's close-ups of men eating in that film and also like a blood falling on ant, and the sound design is like the exact same for those two different scenes.
Speaker 1:I loved it. Just, she's an incredible filmmaker. Um, I digress because I think that I think that what's going to work on multiple rewatches, once you become desensitized to the body whore and to all the insane practical effects to the body whore and to all the insane practical effects, the amazing practical effects and all the overt sexualization of, especially margaret quali's character which is all done intentionally, of course, but like what's going to resonate and what's going to work and continue to work, rewatch upon rewatch upon rewatch, is the messaging of like not only is has society filled women has, have men failed women in society, but also like a lot of this story too is, I think, about how like women beat each other up, they beat, they beat themselves up and they beat each other up because you not only have you, you have two characters that are supposed to be one right.
Speaker 1:And and they're confrontational from the beginning. Confrontational, one is so jealous of the other and becomes resentful to the point where she just is total. She's a total sloth Once it goes back to Elizabeth, and then, once we go back to sue, sue starts to abuse the substance because she cannot let elizabeth herself take back over right.
Speaker 1:And so I just I think that I think also those little moments, all those, all those nuances are just going to hit harder and harder and harder upon every rewatch, which again might make it hard for some people to revisit over and over, because those themes are only going to continue to build and impact you. But I think that's the success of the film yeah, and I think that's actually.
Speaker 2:I do love that that we're reminded through the whole film, like you are one. You are one because that is a really good theme within a theme. There too, where it it is, you know, that is like the the self um worth or self self-conflict that every person has within their head. Like is this, this is good for me, but this, you know, this is what I really want, or something like that. You know, like it is, it is really really a complex movie.
Speaker 1:When you break it down to that level, absolutely. I mean it. It's kind of the daily struggle of just like should I eat right, right, yeah, totally or not. Should I exercise, yeah, or go home and binge watch something, yeah should.
Speaker 2:Should I leave now and make sure I'm early to work, or should I leave in 10 minutes?
Speaker 1:Scroll on my phone in bed for 10 more minutes, exactly, yeah, so so I don't know it's, it's such, it's such a think piece and it's also again just like so gnarly and so nasty yeah. So I love it because I think it's equally effective in both those things. Let's Talk just a little bit about the performance and then I'd love to get your, because if we just put an early over-under number on Oscar nominations, I think that could be really fun for this film because I don't really think it'll happen, especially after looking at some early odds, but it would be a fun exercise nonetheless.
Speaker 1:Demi Moore is incredible in this movie. It's been a long time since audiences have gotten to spend time with her like this, so I think that she's. I mean, I just thought that she was remarkable so vulnerable she's willing to be stripped nude in multiple scenes, have her back cracked open literally and go through incredible prosthetic transformation throughout this film. I mean this is kind of unprecedented for somebody who isn't at one time was like the biggest movie star in the world so, yeah, yeah, no remarkable.
Speaker 2:I mean and and I think again speaks to the overall message like a lot of people are going to come out of this movie and be like where has Demi Moore been?
Speaker 1:Yeah.
Speaker 2:And you know, watch the movie Like that's what happens you know, in this it's a great meta text In this fucked up world, yeah, in this fucked up industry Like that is what happens when you hit a certain age as a female. What happens when you hit a certain age as a female and it's, it's sad because and god, it would be so amazing if she gets a nomination or and at any of the award shows, because independent spirit awards anything think about the performances that we might have, you know, lost out on, uh, over the years.
Speaker 2:Uh, because she is, she is spectacular and and it it seems like she is and I'm sure she's been working, but like it seems like she should be like one of the top movie stars of today, right with this performance, or one of the best, most celebrated, most prestigious movie stars of the day, because what she's able to do physically and then, but then also, you're right, full send with the prosthetics and the transformation and she's, she's also like wickedly funny in moments, um, but then also devastatingly sad and beautiful and it's just uh, it's, it's a remarkable performance by her, she's able to pull off a character, too, that you feel like has become I mean, clearly, she's become a prisoner to her own vanity.
Speaker 1:She has this giant portrait of herself in her incredible apartment that overlooks los angeles. However, you never feel because of where the story begins. You know we never see that conceited side of her, and so I love that too. It's just like another little nuance to the character that I think works really well. And then there's Margaret Qualley who listen, margaret's been cooking for a while. You know, I put together together after watching this film because this is one of my favorite movies of the decades. So then I was like but what are my favorite movies of the decade? Um of the 2020s? Of my top 10? She's in three of them. Now she doesn't have this kind of presence, right.
Speaker 2:Well, that's not exactly true, because in sanctuary she's it's a two-hander.
Speaker 1:Yeah she's yes, she's right there, and so in sanctuary she's amazing.
Speaker 1:That's a top 10 of the decade for me, and then also in poor things, that is a much more secondary yes, like yeah like she's just, yeah, she's not even really co-starring, but she's featured in the film right, so credit to her because she's working with extremely exciting directors. She's taking on parts that require a lot of bravery and she's doing so. She's been doing this, going back to once upon a time in Hollywood, going going all the way back. Her Netflix series made really good. She's also very vulnerable in that film.
Speaker 1:I believe she's now 30 years old, or just past age 30. She is entering, I think I don't know what and I don't know what her projects are coming up, but she is entering what could be like the most exciting part of her career as far as the movies that she's able to get off the ground now and and star in, and so I I mean, like I don't know who else you would put your stock in. As far as young actors in Hollywood, like I think she's on the short list with people like Zendaya, florence Pugh, timothy Chalamet, you know, like it's it's a short list that I think she has now crept on to yeah, as as far as people who I will be there on opening day when they have a movie come out yeah and these are now.
Speaker 1:You know, she's right around our age. She's kind of our generation, but a little bit younger, and so it's just it's so cool to see her and to only have this relationship with her via these films that aren't on disney plus I'll just put it that way, I don't know what you think.
Speaker 1:And and also, too, she's. I just don't think she's like. She just looks amazing in this movie, and now part of that is like me being the problem right, because I'm just like oh my gosh. They make her out to look so hot in this movie, and she is. But the fact that she's willing to like, lean into that and let the camera objectify her is so important to this role, and so, again, it just like oh and that's what the movie is.
Speaker 1:I mean, it's centered around the male gaze, like that that is, and so the fact that she is like, yeah, I'm in, yeah, I just like, hats off to her, kudos to her, because, and you know I I can't release this on physical. Oh right, so that we can watch the feature come on movie, oh movie, movie's great at their packaging yes, yeah we will 100 get an awesome blu-ray because of this being a movie release.
Speaker 1:Um, but I cannot wait to see, like the featurettes of, of demi and margaret and Corley on set working together.
Speaker 2:Well, apparently I've. I've read that it was a really hard shoot for Margaret, like okay, to the point where I think she said in a couple of interviews like this is the most she's ever like consumed alcohol. Oh, uh, like she apparently had a bit of a a struggle. Uh, you know, going to set and set and well, I don't like hearing that, yeah uh, and so we want margaret to be to be good and healthy and and happy and keep making amazing movies, because she is really fantastic in this role.
Speaker 2:Uh, I just I don't, I don't want her to, you know, I I just always worry about you know actors when the messaging is so strong in a film exactly when it is something so dark and and deep, honestly, like just I I hope she is she is putting herself first, putting herself first and and, but then also, like I hope she does, keeps, keeps doing these crazy roles right keep doing them. You know, I think we were saying this about emma stone when poor things came out like she's another one on that list. Yeah, keep doing these provocative, weird stuff because that, in the long run, that will be, that will be more important than you know. Florence pew being black widow.
Speaker 1:2 or whatever.
Speaker 2:Yes uh, and so yeah, yeah, I, I hope, I, I think you're right, margaret is on that list with those, those actors and uh, as far as like most exciting performers in Hollywood the substance is remarkable.
Speaker 1:It'll be in theaters. I hope for a while, yeah, dennis quit.
Speaker 2:What'd you think of Dennis quit? So originally it was supposed to be Ray Leota. Oh then Ray sadly passed away.
Speaker 1:Gosh. We've seen leota kind of be a womanizer and in roles past which I think would have been really interesting, almost like a um again going back to rebel ridge, kind of like a self-aware casting of like what you expect this character to do. The dennis quaid character is really interesting because that's not really the relationship we have with him as an actor. He's more of a dad kind of. You know, one of these american dad kind of kind of guys.
Speaker 2:I mean also just played reagan.
Speaker 1:He's literally in theaters right now playing a president. Right, I'm a problematic president at times, of course, but like nonetheless, it shows you the type of roles that he typically gets cast but I think also someone we haven't seen in a very long time this is true, and also someone who I thought was entertaining as a caricature of a certain archetype that we all know exists in hollywood oh, yeah, his just the slimiest, most objectifying piece of shit.
Speaker 2:His name's harvey I mean, it's it, it's right in your face I didn't even catch.
Speaker 1:That is his name, is harvey.
Speaker 1:Well, boom what one needs to be said and I love that he is like the pied piper of all the studio execs in the third act of the film. Just all these disgusting men, the kind that you would see around the table at the end of requiem for a dream again. You know, just these rich white men, old rich white men who want nothing but showgirls and in bikinis on again, now, again. This is just like I'm not. I don't need to have these questions answered or even ask them in the first place, because I think that the message is clear, but like what kind of new year's show is this?
Speaker 1:where there's topless women yeah, and all the studio execs are in this studio watching and it's very fever dreamish right where, like it's kind of again, kind of lynchian, almost feels a little bit like black swan, what's real, what's not? Um, nonetheless, effective I get it. But so, yes, I thought that I thought that quade was, was he also was somebody who you could. Just I was leaning into it and and was willing to go there. Yeah, the film for the message, so I gave him credit.
Speaker 2:I gave him credit. I thought he was really good.
Speaker 1:Okay. So the Substance, go see it at the Grand. I'm not sure, but also okay. Here's another thing Shout out to the Grand for screening this, because the Grand has a great sound system. And now this movie, oh my goodness, the score of it of it, incredible. And because of how good it looks, I also want to tell people like, if it's on a big screen near you, go see it on the biggest screen possible. It's not one of those that you really might think needs to be seen, like at a multiplex, but go do it, because then that's where kind of we can put the little bow on. This conversation comes into play. If I'm at the Academy, I'm nominating this for production design, for sound, for cinematography, for costume, for hair and makeup. Like this to me needs to be the poor things of this year where it's the weird.
Speaker 1:That's a great call of this year where it's the weird that's a great, great call the weird auteur vision that just has an insane level of craft, to where that kind of notoriety then not makes but lets the academy also nominate it for things like best actress, potentially best director, potentially, potentially, potentially best pitcher. So I don't know what are your reads?
Speaker 2:I think under under the line nominations across the board, I, I, I. In my review I called out production design, I called out sound design, I called out cinematography. Like, if, if it can get those nominations. And then listen, oscars, I we say it every year. You want people to tune in. Fucking put demi more on the nomination list. Put her on the list. That is going to get so many people to. Everyone loves a. You know, a quote-unquote comeback story, and it shouldn't even be a comeback story.
Speaker 1:But you just did it with brandon frazier.
Speaker 2:You do it all the time right yeah, do it with demi more, put her, get her up there get her at the show. Um, I, I think it would be. And gosh if, if there's a world where, yeah, if they can nominate this for best picture, amazing, I want to live in that world and I think it just speaks.
Speaker 1:It would speak to the diversity that they're going for, and and you're right, poor things was a huge like surprise kind of last year right and maybe this can be the poor things of of 2024 that's a great call.
Speaker 1:It's from an international filmmaker, it from a, from a female voice. It's a controversial film. I think it's doing all the things that the academy is saying that they are trying to promote, when it's done so well and hopefully, voters think that this film communicates its message well and so I could see it happening. But I'm still. I'm still doubtful, but there has been precedent in recent years.
Speaker 2:Is there? Is there any world that it gets a best director? I don't think it gets.
Speaker 1:I don't think, because that's only five, right, right, and so I think that you're gonna see, you're gonna see them played a little bit more safe this year. I think, with, with the um, like, and and also too, I you know, I think, like you got to just pencil certain people in, like, I think, sean baker's just in for anora, I think that there's certain people who are just in, and so that then always creates the discussion where, like, not really nominating five people, you're nominating like two, just because certain people and now, like we haven't seen anora, we've heard amazing things almost seems like it's sort of like sean baker's award to lose this year perhaps.
Speaker 1:However, I'm like a part of me is is like no one, having not seen a lot of the films are going to be nominated, I'm like is anybody gonna do it like this, though, you know?
Speaker 2:I, I mean think about it. Okay. So we know anora is gonna be up there. We think maybe that any villain knew denny villanue. But do you or are they waiting? Are they gonna wait for dune 3 for that?
Speaker 1:so listen, I I think I said this back on our dune episode and I was like, because dune 3, messiah or whatever it is has rumblings of being like really odd, odd perhaps, I think, if they wait but do you think denny's gonna make it odd?
Speaker 2:sure, the book is really odd, but I don't know if that lends in or leans into denny's filmmaking this is.
Speaker 1:This is true, this is true. But I think I think right now, this is sort of one of those like however the saying goes, you know, like an egg in hand, an egg in the hand is better than an egg in the basket, or whatever. It is like you, what you have in dune 2 is a sure thing. So I think you should I think you should pump out as many nominations as you can for dune 2.
Speaker 2:Yeah um, but yeah, I, I mean, as far as award ward, season go, seasons go, I I don't know if there's there's not a bunch of hard-hitting, like we gotta, you know, celebrate. I mean, maybe what gladiator 2 is gonna have a bunch of noms, like does ridley scott get a nom? Is gladiator 2 even gonna be good? You know, I, I just I, I think there might be a lane. There might be a lane and and the, the awards show, the oscars, wants to be more international, wants to be younger, wants to be more inclusive to, to all people. Why not? Why not give uh coralli a nomination?
Speaker 1:here, okay. So what I have here are the far too early golden derby prediction I. Love it. Top of the list is Sean Baker for Enora yeah. Jacques Adard for Amelia Perez.
Speaker 2:Okay, I haven't seen that.
Speaker 1:No, and that's the Zoe Saldana Selena Gomez film that's going to come out a little bit later. Brady Corbett for the Brutalist.
Speaker 2:Oh yeah, All the Oppenheimer boys are now Brutalist boys.
Speaker 1:Listen man Brady Corbett.
Speaker 2:Great filmmaker boys are now brutalist boys. Listen man, brady corbett, great filmmaker, great actor, my guy from funny games and melancholy.
Speaker 1:Yeah, I had no idea that he was a director. Um big fan of his. Steve mcqueen for blitz and edward burger for conclave. Those come on. Those are your five right there outside.
Speaker 1:Of that is denny. Denny right now is on the outside looking in at six. Ridley Scott for Gladiator 2. Of course, rommel Ross for Nickel Boys, greg Cuadar for Sing Sing. Pedro Almodovar for the Room Next Door Just won the Golden Lion at Venice. So that rounds out your top 10. Scrolling down here now, it's interesting because Luca, who has the potential to be nominated for this twice this year, isn't listed until 15 for his upcoming film queer. You have uh. Oscar darlings have passed, like pablo lorraine for a film called maria that's coming out. Todd phillips for joker folly, all it do. Uh garland for civil war is there?
Speaker 2:no way.
Speaker 1:It's not until you get to 25, until Coralie is listed here. That's disheartening. Right behind her is Francis Ford Coppola for Megalopolis, so at least she's ahead of Francis right now I want to see Francis and Coralie in a head-to-head match. Dev Patel is ahead of her for Monkey man right now.
Speaker 2:Give me a fucking break, so I'm throwing this whole list out.
Speaker 1:Maybe she makes a push right Like let's campaign for this. I don't know, We'll be on the train, All right. So that's the substance. It's my number one of the year, Hovering around the top 10 for you.
Speaker 2:It's right at 11, right now and again, I just felt coming out of it. I was like man, if they would have stuck with the vibe that the first 90 minutes goes and ended it. Honestly, again Black Swan came to mind Like if they would have ended it like Black Swan and, instead of going full, splatter gore, you know, body horror.
Speaker 1:So I do think that that was. That was a little bit of my issue with the film too, whereas I feel like there were times in the runtime earlier, obviously, than what we got that would have made sense for them to end it there, but then I was never disappointed because I was like. I trust where you're still going to take me.
Speaker 1:Yeah, I mean it's, and I'm not saying it's bad, it's not bad, it's just I I do think it dilutes a little bit, a little bit in, in my personal view all right, we'll play the same game that we did for me with rebel ridge, with you for the substance, because whereas I had rebel ridge right outside the top 10, you kind of have the substance outside the top 10. So, at 10,. You have Kinds of Kindness.
Speaker 2:Yeah, I think I like Kinds of Kindness and that darkness better.
Speaker 1:At 9, you have the Bike Riders.
Speaker 2:I've got to watch the Bike Riders again. I really enjoyed it, but I think maybe Flexible, yeah, flexible.
Speaker 1:At 8, you have Challengers. Yeah, I like Challengers better. Okay, maybe flexible. Yeah, flexible at eight. You have challengers.
Speaker 2:Yeah, I like challengers better, okay then I doubt you'll you would swap it over dd. Maybe depends on your mood, kind of maybe. Yeah completely different films completely different you could say the same about sing sing, sing, sing was, I mean sing sing got me yeah, okay, and then I don't think your top five rebel rage snack shack, snack shack.
Speaker 1:Yeah, I need to watch snack check again.
Speaker 2:I was really high on that and then I don't think your top five Rebel Ridge, Civil War, Snack Shack, Snack Shack. I need to watch Snack Shack again. I was really high on that First Omen still right there too. You already know.
Speaker 1:Come on, dog.
Speaker 2:Another kind of body horror. You could say.
Speaker 1:Oh, you could say you could say All right, we're going to take a short break and then we're going to come back and give you guys a little preview of the local festival season. All right, we're back in. The first film festival that we're going to preview is, of course, the Gig Harbor Film Festival takes place this upcoming weekend at the wonderful Galaxy Uptown Theater over in Gig Harbor, washington Excuse the intermission is proud to be a media sponsor for this event and we're really looking forward to quite a few films here on the on the slate. This year the film festival opens this Thursday, so today, with the dog father, the legacy of Don Jamesames.
Speaker 1:Don james, legendary football coach at the university of washington, coached there for nearly two decades and is responsible for a ton of rose bowl wins, notoriety there in the 90s. Um, and really putting the program on the national map. And so this should be, this should be a big hit. I mean the gig harbor area and the entire South Sound area really, when you're talking about 45 to 60 miles, a 60-mile radius surrounding the UW campus. There's alumni everywhere. People love their football around here in the state of Washington, so I'm expecting this to be a pretty fun story Like show me this over the boys in the boat, sorry.
Speaker 2:UW.
Speaker 1:Go Cougs Bottom line like go cougs bottom line, go cougs from max uh, no, I'm, I'm excited.
Speaker 2:I love sports documentaries, so, uh, and to see one about, uh, the huskies when they were actually good, hey, that'll be great so that'll be a lot of fun.
Speaker 1:Um, and then you know, the party really gets started friday a full slate of film starting at 9 am, and then they don't stop until 8. 45 is the last, uh, start time for the, some of the late night short blocks, and so a bunch of really good stuff in here. I personally am looking forward to the way we speak. The way we speak is a film that is directed by former guest of the show, ian ebright, who we've had the pleasure of interviewing before. I will be doing a q a for both screenings of of this film here.
Speaker 1:Quick synopsis is that an up-and-coming writer refuses to leave the spotlight when his best friend and debate opponent suffers cardiac arrest, leading to an obsession over his new opponent in a growing riff with his ailing wife. So another film that, like we'll see how this is very different from Ian's previous film, pinwheel Horizon, which was more fantasy driven, kind of post-apocalyptic sci-fi. Yeah, this sounds like it's going to be a little bit more heady right, like a little bit more heady right, like a little bit more psychological, and so I'm really excited to see um kind of where where he takes this story and to be able to ask him the questions, of course, after the screening.
Speaker 1:So, looking forward to the way we speak, you can catch that film, uh, friday, friday morning, uh, pretty early in the day, 1130 AM. So if you can get off work early and make it to the festival, come through and then, if not Saturday, wake up 9.05,. Great way to start your day for that screening as well.
Speaker 2:Yeah, and I'm sure we will be sitting down talking to Ian, so you know we'll get some great insight on the making of that film. I love the short films and, being a film student now, short films they're so important so I'm always really excited to see some great blocks and there's always good blocks. Here at Gig Harbor, locally Sourced is showing at 9 am on friday and saturday at 11 20 again. These are all films from washington state filmmakers. Very excited to see that they were all made in washington. That's what we love, uh, to see as as local filmmakers and as podcast hosts of a film podcast.
Speaker 2:Right, I have seen I know I have seen one of these films already at a different screening earlier this month called Burglar, and I'm excited to see that again on the big screen because it's a very it's a great film, it's fun, it's thrilling, it's got a little bit of everything in there. Um, I'm also really looking forward, of course, to the strange batch and to the what the fuck categories, uh, for short films this year in what the fuck category, or wtf as they're calling it in the program. Uh, we have another guest who was on our show what Less than a month ago Maybe a month ago.
Speaker 1:A couple months ago For the release of Maxine.
Speaker 2:Yep Chicken Boy by, of course, directed and written by Matthew Rush. I believe he stars in it as well. He was hyping it up. I'm very excited. When he was on the pod, I I also think he got into chicago horror fest, uh. So this movie is going to be around it's it's popping around to different festivals, but to see it here, uh, in gig harbor and and again, we're going to be able to hang out with matthew.
Speaker 1:so very excited for that another one that I want to recommend is Fish War. Fish War plays twice Friday at 6.15 pm and then Saturday at 4.05 pm. I will be hosting the Q&A for that film after the 4.05 screening. This is about the state of Washington and how they've had a pretty troubled past of arresting indigenous tribal fishermen and how that really was like a declaration of war against indigenous people of the area once the state of Washington started to do that. Just legal battles that culminate, that have culminated and some like landmark Supreme Court cases.
Speaker 1:Obviously, these issues are very sensitive and unique to our part of the country here and 50 years later not much has changed and people are still going to battle over things like this.
Speaker 1:You see the different initiatives kind of throughout society, at least here in the Pacific Northwest, even down on my micro little level. At an elementary school, we have a fourth grade project, like a year long thing, where they raise salmon and then go and release them at a hatchery because the numbers have been depleted so much, and the different laws that have been put into place to where you can and cannot fish and what it's done to these indigenous tribes. So this will be. I'm really looking forward to this film because this will be, um, I think, a very emotional watch for a lot of people and kudos to the Gig Harbor Film Festival, because they always go after movies like this, and and and so do a lot of film festivals around the area. Right, but I think it's so important to always highlight these, these stories that have historical relevancy, um to the to them. So Fish War is one that I can recommend.
Speaker 2:Absolutely. I'm also going to be doing the Q&As for the Strange Batch and or the WTF. I'm going to be affiliated there with Silver Screams for those sessions In the Strange Batch. Another friend of the pod, molly muse uh, who of course is a filmmaking or is a director here in seattle, um, who also her filmmaking partner and best friend, brit harris. Both have been on the pod before. Uh, they have a new film out called ghost town. Excited to see that film. Uh.
Speaker 1:Uh, again, I've seen it. It's pretty good.
Speaker 2:And uh again, just familiar faces and uh, friends from years past. Uh back at the festival.
Speaker 1:Yeah, there's a lot of Washington state premieres as well here. Um, that that, I think, will be incredible to see on the big screen. That's something that these filmmakers always talk about the Gig Harbor Film Festival being so unique Because it is not at an art house theater. These aren't screens being popped up in community halls or anything like that. You're in a big megaplex, and so that's going to be really exciting. One that I'm really looking forward to is is one that's called gig harbor is another story. This kind of just feels like only in gig harbor right.
Speaker 2:Would you have a?
Speaker 1:movie like this where, at 5 30 am on a sunday morning in august 1976, 1976, while much of paris was on summer holiday, a film director acted on a challenge could he cross paris in nine minutes to meet his lover? And what if that were in gig harbor? So there's, there's this, there's this film. What I think that this movie is in response to is there's a movie out there I I know I've logged it before on letterboxd where it is one continuous take about a man crossing Paris in high speeds. I've got to look this up to see what to see if that's what it is about. And so I'm very curious Did someone drive across Gig Harbor at a high speed early in the morning to try and meet someone? Like what? What happened here? To try and meet someone? Like what? What happened here? So yeah, this seven, the 1976 film. It translates to rendezvous and it's an incredible film. You can watch it on YouTube, I'm pretty sure it's eight minutes long and it's just like some incredible. It's stunt work, really is what it is. And so I cannot wait to see how this, this Washington state premiere film, gig Harbor, is another story, how that movie is in comparison with with this 1976 French film it says filmmaker in attendance and Q and a after the film. So I will certainly not be missing that, which is a part of the locally sourced film block.
Speaker 1:Then we have the Tacoma film festival. We can give a small plug for this. However, there will be many more Tacoma Film Festival centered episodes to come. Tickets are still available and we highly recommend that you guys get them early, because this year the Tacoma Film Festival is about four days shorter than it normally is, and so it's a much more concentrated batch of films. It runs from October 10th through the 13th and so you know there won't be as many, I think, repeats within the programming, and so that just kind of highlights the importance of getting your tickets early and securing your spot for some of these shows.
Speaker 1:Um, we're really excited for the centerpiece film, the rainier beer story, the odyssey, because that's that's a movie that we know the quality of the centerpiece film, the rainier beer story, the odyssey, because that's that's a movie that we know the quality of the filmmakers attached to that, the peterson brothers. They put together a great documentary, helped produce a great documentary on the ventures right um last year, and so was that two years ago now. Gosh, I can't even remember um. I think it's two years ago two years ago now.
Speaker 1:so we know that they've been working really hard on this film, so super excited for that. But of course there'll be more information on the Tacoma Film Festival to come. So that'll do it for our episode on this. One more film festival.
Speaker 2:I want to shout out.
Speaker 1:Before we get out of here. That's right.
Speaker 2:And just kind of a personal pat on the back for Alex and I.
Speaker 1:I can't believe we've buried the lead we should have led with this.
Speaker 2:Alex was definitely part of this production, but a film that I made for school called Nightstock was officially selected into the Hollywood Horror Fest, which takes place October 4th through the 6th so between the two in between our two local fests.
Speaker 2:I'm going to be flying down to la to attend that festival. I'm so very excited. Huge congratulations. Uh, thank you so much. Like uh just just blown away this. This festival is going to be really cool. It's it's two days of just back to back to back to back to back to back to back screenings of horror movies. Uh, there's, there's lots of films there. They apparently they throw a really great party, uh, at the end of of sunday night, and you know there might be. So they have this award called the Vincent Price Award, where they honor someone who has done a tremendous amount of work in the horror genre In the past. They've brought out Joe Dante, they've brought out Sid Haag, they've brought out Cassandra Peterson, they've brought out last year they brought out John Landis.
Speaker 1:Whoever they're going to bring out this year and I don't think they announce it until till the fest. So very excited.
Speaker 2:Yeah, you get a geek out, I get to geek out at some horror legend. If john carpenter, if they get john carpenter to leave his xbox and come hang out with us in Hollywood, I'm going to lose my shit.
Speaker 1:What if he asks you to take a green-looking drug via syringe? Carpenter, yeah, would you do it?
Speaker 2:Anything that man wants I'll do. So yeah, very excited to go down and experience a film fest.
Speaker 1:As a filmmaker, for the first time. That's so cool. Congratulations, man. Yeah, thank you so much.
Speaker 2:That's awesome and very proud of Nightstock, and thank you so much for all your help during the production. Man, heck, yeah, couldn't have done it. It takes a village to make a movie. Uh, I got a pretty good village up here um well, if you ever need me, you know.
Speaker 1:If you got to call in phone a friend while you're down there, for for anything, yeah, absolutely, just let me know I'll be sending you updates, for sure, please do. How do you?
Speaker 2:okay, speaking of one more thing on the substance the guy working customer service for the substance whose voice is that yeah, that's a great question as well.
Speaker 1:Do you think? How many people, what kind of operating system we talking about? What's? What's the control room? Look like at the substance headquarters because my guy answered quick and it was the same guy, every time same guy every time every number has their own person attached to it, maybe you have like your own, like five oh three.
Speaker 2:That was the guy for five, oh three. But then how? How do you know? How do you know that?
Speaker 1:there's going to be a five oh three, like there's an operator plugging you in to like the switchboard and they're just like oh phone number coming for five oh three.
Speaker 2:Or is it just one? No, it's got to be. It's got to be more than one person. More than one person. Do you think there's?
Speaker 1:more than one drop box to like. Are these? Are these like the Amazon? Drop off yeah they're all in these weird alleys Because I'm thinking in Los Angeles, the spot that Demi Moore was going into, I don't know, there's maybe 20 spots on the wall, 20 slots and only one other looked active with a number on it. Listen, more than two people in the greater Los Angeles area.
Speaker 2:There was another question At one point. When she's in there, she hears something right yeah, and gets scared and runs out. Right, right, right. That never comes back.
Speaker 1:No, I think that's kind of the Black Swan nature of the film, though, when we're in our own head.
Speaker 2:The chicken bone coming out the ass.
Speaker 1:No, she pulls it out the belly button. Well, yeah, but it bulges out the ass when Quali sees that that's a remarkable scene. It was insane.
Speaker 2:She pulls the chicken bone out. It's a full chicken leg. Be careful down there in Los Angeles, brother. I will Be on the lookout for so good, it's a full chicken leg. It made me be careful down there in los angeles.
Speaker 1:I will, I will, yeah um, okay, so be on the lookout for, uh, this upcoming week for special episode drops, because of course we will be recording live over the upcoming weekend and at the beginning of next week at the gig harbor film festival, so that will change next week's regularly scheduled thursday release program. But of course there'll be a ton of good stuff coming out of the festival. So be on lookout for an episode or two then. Until next time, follow excuse the intermission on Instagram and the two of us on letterbox to track what we're watching between shows, and we'll talk to you next time on ETI, where movies still matter nice, nice.
