The future isn’t coming, it’s HERE, and so is our RECRUITED guest, screenwriter Jono Matt! With his cccccombo breaker choice “Minority Report” (Dir. Steven Spielberg 2002) Starring: Tom Cruise, Colin Farrell (“The Recruit”), and Max Von Sydow. We say “bonjour” from the UK, make sure to note the existence of “Juwanna Mann,” get a much belated “atta boyz,” for our debut episode choice, and where the hell are all the mag lev trains at?!
Plot: John works with the PreCrime police which stop crimes before they take place, with the help of three 'PreCogs' who can foresee crimes. Events ensue when John finds himself framed for a future murder.
Recorded 4/24
2hr 21mins
**All episodes contain explicit language**
Artwork - Ben McFadden
Review Review Intro/Outro Theme - Jamie Henwood
"What Are We Watching" Theme - Matthew Fosket
"Fun Facts" Theme - Chris Olds/Paul Root
Lead-Ins Edited/Conceptualized by - Ben McFadden
Produced by - Ben McFadden & Paul Root
Concept - Paul Root
The future isn’t coming, it’s HERE, and so is our RECRUITED guest, screenwriter Jono Matt! With his cccccombo breaker choice “Minority Report” (Dir. Steven Spielberg 2002) Starring: Tom Cruise, Colin Farrell (“The Recruit”), and Max Von Sydow. We say “bonjour” from the UK, make sure to note the existence of “Juwanna Mann,” get a much belated “atta boyz,” for our debut episode choice, and where the hell are all the mag lev trains at?!
Plot: John works with the PreCrime police which stop crimes before they take place, with the help of three 'PreCogs' who can foresee crimes. Events ensue when John finds himself framed for a future murder.
Recorded 4/24
2hr 21mins
**All episodes contain explicit language**
Artwork - Ben McFadden
Review Review Intro/Outro Theme - Jamie Henwood
"What Are We Watching" Theme - Matthew Fosket
"Fun Facts" Theme - Chris Olds/Paul Root
Lead-Ins Edited/Conceptualized by - Ben McFadden
Produced by - Ben McFadden & Paul Root
Concept - Paul Root
Guys, I nerded out.
Speaker 2:I won't lie. Hey everybody, this is Paul, I'm Ben. Today we have a guest with us, jono.
Speaker 1:Jono Matt. Hey, nice to see you, nice to see you guys. Welcome, so good to see you.
Speaker 2:I'm going to break down this podcast really quickly. Normally what we do is we take a movie that's seven years old or older. It is not part of a major franchise. It's two hours and twenty-two minutes or less. But Jono did the c-c-c-c-combo breaker and he had access to my Letterboxd list which, if you pick a film from our lists on, Letterboxd at PaulXBadly At RunBMC. So this movie is technically three minutes over this typical length. I'm out that we allow. I know, I think this is on my list too.
Speaker 4:Probably is yeah.
Speaker 2:It's crazy. We've been asking for a movie, this entire podcast, something that's like Spielbergian, and I think this one kind of hits it. I think somebody got it.
Speaker 1:By definition. Yes, it is by Steven Spielberg. Spoiler alert the fact that you guys have gone so long without a Spielberg kind of reminds me of the hot news of the day, which is Criterion is doing its first ever Tom Cruise movie. Yep.
Speaker 2:Is it Magnolia, which is insane? No, not Magnolia. Oh, should we play a game? I think Jono, and I know what it is yeah, color of Money.
Speaker 1:Keep going game. I think jono and I know what it is. Yeah, color of money keep going.
Speaker 4:I'm trying to think what would criterion do go back further?
Speaker 2:that was a hard hint we gotta finish this at some point good point, uh, go back further.
Speaker 4:Yeah, what year was color of money?
Speaker 2:87 seven, it's not, I don't know. Top guy, that movie keep going, something there he's, something there he's going to say the Risky Business, there we go.
Speaker 1:That's the one, oh weird.
Speaker 2:Yeah, the first, tom. Cruise.
Speaker 4:Criterion. That's wild, it's crazy.
Speaker 2:I think it deserves it. No, I know, but like I don't know Magnolia also deserves it. Oh good, cruise criterion. What if they just do it in cruise? Chronological criterion ccc yeah, what if they just do it california chicken cafe style, but do them all in like the chronological of what they want to do?
Speaker 4:on their uh.
Speaker 2:Look, I'm a big vanilla sky fan, so I could write I'm doing that anything with kurt russell man jerry mcguire, there we go, I would like jerry, m like to see that.
Speaker 1:Jerry Maguire. He was no slouch in bed Cocktail. Pass that one we don't need. On the Criterion we did Days of Thunder on this podcast With Travis Great episode.
Speaker 4:And we talked about how Cocktail is just like another version of that movie.
Speaker 1:It's a very weird movie, but we're not talking about that movie. We're talking about and can't say what.
Speaker 2:I think about it.
Speaker 1:Keep going. You're killing it. We're talking about a different film. It is the 2002 motion picture, just hot off of the height of the Matrix, it's hot off the height of Vanilla Sky, it's hot off the height of 9-11. A lot of things happening in the world, truly, and the powers that be. This is almost like the. It's like WrestleMania 5, when the superpowers team up for the very first time. We have Spielberg, we have Cruz.
Speaker 2:This is so exciting and it was all kind of it didn't happen like by accident, but it also wasn't by design. No. Like it all. It just kind of happened, but Ben how are you?
Speaker 4:I knew, you know, I knew I had an in and I didn't want to interrupt him, Of course not. So you can't, I'm doing well, uh.
Speaker 2:I, you're spinning gold. Yeah, I'll interrupt you, just like now.
Speaker 4:I, yeah, I'll interrupt you just like now. I understand you can interrupt me as much as you want. Go fuck yourself. You know I'm doing okay, getting ready to go up to Seattle for the weekend to see the wife perform her one-woman show. Yeah. And yeah, kind of kicking it around, Cool man.
Speaker 1:What's the logline of the one-woman show?
Speaker 4:Oh, I believe the logline she uses is it's about Joan of Arc and mental health Mine, not hers.
Speaker 1:Amazing, amazing.
Speaker 2:Yeah, unfortunately, we'll have had its run by the time this drops Potentially, yes, it'll be in LA at the.
Speaker 4:Broadwater in the last weekend of April 26, 27.
Speaker 2:Yeah, so just remember. Bless this, jess, folks. It's going to be around here and there. She's excited, isn't it?
Speaker 4:It's so good, the goal is eventually Edinburgh. Oh okay.
Speaker 2:Well, there you go. We have folks that listen in Ireland, scotland. There you go. Yeah, I was going to get that. Bonjour, nine.
Speaker 1:Jono, how are you so good? I just got back from New York. I got to see some friends on Broadway. That is a constant reminder that there are insanely talented people out there that perform eight times a week. And I'm a screenwriter who sits in front of a laptop and, you know, hangs out with his dog. I'm a no-talent asshat and these people are incredibly, incredibly gifted and the whole time I was just blown away, saw some really great shows. High recommend Titanic, fantastic, bonjour, bonjour. This has been said yeah.
Speaker 4:You're in great company. We're both no talent asshats. Oh, I love it I love it.
Speaker 2:We're in the trifecta everybody.
Speaker 4:Here we go, paul, how are you?
Speaker 2:I'm all right. I'm just really, really stoked to be here and more than anything like stoked about this movie. It's been a wild day Cut. I got laid off from my job today. I got paid today. I'm fine. I'm fine, I'm fine.
Speaker 3:But it's just like it's been a wild day. I know how that feels. You know what I like to do. Yeah, I know what you'd like to do. You'd like to find the guy that did it.
Speaker 4:Rip is still beating hard out of his chest and hold it in front of his face so he can see how black it is before he dies. Actually, I was thinking about filing agreements with the union.
Speaker 2:Well, the world's a twisted place. Uh, resume, okay, that's for me as I edit, I guess. But uh, no, today's, uh, today's one. Good, I've been like super looking forward to this. I have been putting off watching this movie for a while, as I've been wanting to watch it because I was hoping someone's going to bring it to this podcast and here, I am put, your dream realized.
Speaker 4:You know, my grandfather used to say hope and hope in one hand and shit in the other and see which one fills up the fastest. In this case, the hope filled up faster. I don't know if you were shitting in your other hand, but I know, I think do pop. Pop is wise yeah, we've already determined I am your father my grandfather used to say that too.
Speaker 2:Wishing one hand or wanting one hand, shitting the other, tell me which one fills up faster. Wow, Northwest grandpas.
Speaker 1:My grandfather had 14 children and way too many grandkids and during Christmas, whenever somebody would be bouncing a ball near him, he would say I will give you $10 to bounce that anywhere else in the house, drinking his doers and water, living his best life, love it my grandfather frequently be like would you go play on the freeway?
Speaker 2:amazing awesome, your grandfather was Abe Simpson, or whatnot.
Speaker 1:RIP yeah.
Speaker 2:Oh man. Well, now that we've talked about how we're doing, let's talk about what we're watching. What am I watching? What are we watching? What are we watching? What are we watching? What are we watching?
Speaker 1:What are we watching? What are we watching? Double dipping. We are doing a little sugar with Colin Farrell. Oh boy, that might pay off later. And then we're also doing a little Ripley. Not the Matt Damon version, this new guy has a version. It's all black and white. It's fantastic On the old Netflix.
Speaker 2:We're like five episodes in Andrew Scott.
Speaker 4:There we go. Hot Priest From Fleabag. Gotta love Hot priest and uh moriarty yeah, and I think he was in skyfall.
Speaker 2:Let's, let's go through. Yeah, when he was in skyfall, I was like.
Speaker 4:We all know this guy's bad right yeah, like that's moriarty. We all know he's a bad guy. And then it was like flip, he's bad. I'm like okay. Got me I do like him as a performer.
Speaker 4:It's funny. Those two shows were on me and Jess. We had three shows up, for which one are we going to start, and we chose the third option, but we're going to start those two at some point. The third option was Renegade Nell, which we were watching on Disney+. There we go, but they're both good. You like them both. But they're both good, you like them both.
Speaker 1:I'm really digging. Ripley Sugar feels like it doesn't know what it is at the end of the first episode, but I think it'll get there. I mean, it's Colin Farrell.
Speaker 4:Is it like LA?
Speaker 1:Noire, yeah, la Noire. They have a really fun creative editing gimmick that they utilized in post-production. It was an idea that the director had in post where this detective, who inherently just loves the movies that he's kind of in right now, so he is in a Bogart film. Practically that's like the setup of the show. Every so often, when he like sips a cocktail, it'll just cut to footage from a Bogart film of him sipping a cocktail and my girlfriend immediately clocked. It's like, oh, that's how he thinks of himself right now, in this moment. It's a really interesting creative device but like it constantly tethers you to the genre that they are referencing in a great way interesting, awesome.
Speaker 4:I think that was the coolest part. I'm a big feral fan oh, yeah, same.
Speaker 1:We should talk about him like in the context of a great movie. We will oh it's gonna happen.
Speaker 2:It's gonna happen, it will. We have an order that I like to go by oh yeah, we have a very specific order, oh yeah paul, what are you watching?
Speaker 4:what are you watching?
Speaker 2:now me. Yeah well, my order was you, but I'll break the order. I just, for the very first time, watched the steve coogan film, the trip steve coogan, and uh, oh boy, uh forgetting his name.
Speaker 4:Yeah, steve coogan, michael kaiten it'll come to me, enjoyed it.
Speaker 2:I think I'm gonna like continue down that road because apparently there are three or four of them and I think that I think there's four yeah, that's something I want to do. I feel like like it was like Michael Winterbottom, rob Dryden, yep, that's it, but really, really, really fun movie Wasn't totally unexpected, it was just something that I kind of like put off. You put that off, stop it, stop it.
Speaker 1:Just watch the show.
Speaker 2:Yeah, in terms of TV, I picked Palme Royale back up and that's a really solid show.
Speaker 4:You're liking it.
Speaker 2:Yeah, I kind of came on here and was like I feel like this is going somewhere and I liked that. That suspicion was correct. Yeah. Yeah, it's. The cast is so great and the the story is really starting to move. It's one of those things like started out with that little bit of a slow burn, but it it gets you. Ben, what are you watching?
Speaker 4:Well, I'm surprised I'm the first one to mention that we all saw Civil War, which is the first time I was going to let one of you two.
Speaker 2:What are the odds that we were all in the same theater I know it was so lovely.
Speaker 4:It was Highly enjoyed that experience. I can't wait to see it again. I really don't want to say too much because I know that a lot of people probably haven't seen it.
Speaker 1:No, it's funny you say you can't wait to see it again, because I saw it the next morning.
Speaker 4:Oh nice. Yeah.
Speaker 1:Oh, okay.
Speaker 4:Yeah.
Speaker 1:That was a quick rewatch for me. I had a great time Again in IMAX. Just fantastic tightrope of tone that film.
Speaker 2:Yes, absolutely. I thought it was excellent, absolutely.
Speaker 4:I love the soundtrack. I've listened to the soundtrack a lot.
Speaker 2:The soundtrack is fantastic. Fits perfectly with like the pacing of the film and helping and the feeling of the vietnam war vibe, you know, yeah using buffalo springfield-esque music. Yeah, it's something that's nuanced and I appreciate that like something that's like we're gonna make you think go beyond what we spoon feed you, etc. Uh, it's a challenging movie which I think, like that doesn't happen a whole lot anymore In my experience.
Speaker 4:At least for blockbusters. Yeah, for sure For bigger films. That's exactly what I mean, and I think it's A24's first IMAX. Oh, I don't know.
Speaker 2:Is that true? I don't know if Lighthouse was or I don't think Lighthouse was. That's probably true deserved it. Yeah, the other thing I watched was I watched a little movie called old henry.
Speaker 1:Oh, western, it's a western oh then blake nelson, the director's name is great yeah potsy potsy, yeah, yeah, it's two peas right.
Speaker 4:Yep, uh, and it was like one of his maybe his first feature. Really enjoyed it. I love tim blake. Nelson Stephen Dorff is in it as the heel Great.
Speaker 2:Nice. I love a Stephen Dorff heel turn man. It's a really good like slow burn little Western action.
Speaker 4:If I say anything more, it's a spoiler, but as I'm getting ready to direct, I'm like immersing myself more into these Westerns that I haven't seen or I have seen, I'm familiar with, and so that was one that people were like oh, you have to watch, you have to watch that, you have to watch that, and I watch it and it delivers and I recommend it nice, yeah, excellent.
Speaker 2:I love a good western. I feel like they're few and far between, but now this is the time. I want to. I want to get. Let's do it. I want to get to this baby let's it I had a pre-recognition, and. I know. I'm going to enjoy this. Ben, tell me things.
Speaker 1:Archaeology is the search for facts.
Speaker 4:We all watched a little movie called Minority Report. It is a 20th century dreamworks entertainment. It was in 2002. Pg-13, two hours and 25 minutes, quick quest. What's the first movie that comes to your mind when you think of the dreamworks logo?
Speaker 2:shrek, I was gonna say the same thing shrek, for me too.
Speaker 4:Yeah, there we go. Budget 102 million adjusted, that's once 177 million. It's a lot opening weekend, june 23rd 2002 it's pretty close to my birthday. Just 36.7 million adjusted is 63.7. That's so weird.
Speaker 2:That's like the same numbers reversed 36.7, 63.7 oh, it's weird that you noticed that they were just slightly rearranged. I think I'm starting to have an effect on you.
Speaker 4:Your insanity, number jokes and whatnot.
Speaker 2:By the way, I feel like an opening weekend on a movie with that budget now I think is just considered dead on arrival.
Speaker 1:Yeah.
Speaker 2:Which is so sad for so many people. Sorry say that again, if your budget is 102 and your opening weekend is 36, and it's now you're fucked sure it's over.
Speaker 4:Yeah, final gross north america 132 point, or sorry, 132 million. 229.1 million adjusted. Final gross worldwide 358.4. That adjusted is 600 and 222 million adjusted 22.
Speaker 1:Can we put a pin on the final gross, because there are fun facts about that. Oh sure, yes, yeah, okay great.
Speaker 4:I'll put an asterisk there. We'll come back to it. Other releases this weekend Lilo and Stitch and Juana man.
Speaker 2:That happened, that's real, I know. I had to put it.
Speaker 4:Yeah, because it happened I understand.
Speaker 2:This podcast is for historical reference.
Speaker 1:And Juana man.
Speaker 2:And Juana man happened. That's real.
Speaker 4:Okay.
Speaker 2:Someone's going to bring it.
Speaker 4:Please don't. I do not want to watch that.
Speaker 1:That's the day Ben quits Did it. Are you telling me that Juana man came out this week? And now I'm looking at the weekend top five. I don't see Juana man. It's not in the top five.
Speaker 2:It did not, somehow did not make the top five.
Speaker 4:Spoilers Wild People love Juana man. The weekend top five, though, were this movie, lilo and. Stitch Scooby Doo. James Gunn written. The Born Identity and the Sum of All Fears.
Speaker 1:A little Matt versus Ben weekend which is really fun. We got born identity. Matt Damon. Some of all fears. Jack Ryan, ben Affleck. Yeah. Kind of nuts that they're going toe to toe that weekend.
Speaker 2:I did not even think of that while I was putting the I would say. I would say Matt won that weekend.
Speaker 4:I'd say born identity in the long run, yeah.
Speaker 1:It. I would have liked that one that weekend. I'd say Born Identity In the long run. Yeah, it turns out, if you drop a nuclear warhead on a city at your midpoint, people are like I'm not into this movie anymore.
Speaker 2:And they kill the president, and then all of a sudden, it's like, by the way, it was the Nazis the whole time, the Russian Nazis. And you're like, oh, those are the worst Nazis. I think that's what the movie expects from you, I think that's what the movie expects from you.
Speaker 5:That's a hat on a hat that's evil on top of evil.
Speaker 4:It feels like a almost like an Indiana Jones choice, Doesn't it?
Speaker 1:If they were racist Russian Nazis, that would just be too much.
Speaker 4:I mean, aren't Nazis inherently racist?
Speaker 1:Yes, good point.
Speaker 2:I just assume they're like massively racist, like imagine they're like trying to keep. They're like we're nazis but we're not like race we're like pc, nazis we're like pretty cool we're pretty.
Speaker 4:We're pretty woke nazis. We just got canceled, by the way just like the word for saying nazis, it's over for us top five films this year the lord of the rings, the two towers, harry potter and the chamber of secretsrets. Spiderman, Star Wars Episode II, Attack of the Clones. Men in Black 2.
Speaker 2:May I tell a quick story? I worked at the movie theater at this point.
Speaker 2:I was installing a light bulb replacement. I got shocked when I was on the ladder and like flew down to the floor and kind of pulled a whoop whoop like a Harry Home Alone 2 thing and ended up fine and went home for the day and was like I feel fine. And then called them and was like can I get my employee ticket to Men in Black 2? And they're like yeah. And then I showed up and they're like you're fired. And I was like mm-hmm.
Speaker 1:I thought you were going to say you got electric superpowers or something.
Speaker 2:I didn't say I didn't.
Speaker 1:Oh, good point, I never said.
Speaker 4:I didn't.
Speaker 1:Four of those top five films are the second in their respective franchises.
Speaker 4:Other films from 2002, ice Age, my Big Fat Greek Wedding, red Dragon, panic Room, insomnia, collateral Damage, john Q Catch Me If you Can. And Steven Seagal as Steven Seagal in Steven Seagal's Half-Past Seagal I haven't seen that one. Yeah, I think that was made up by Paul. Was Steven Seagal ever in a production of the Seagal?
Speaker 4:It's gonna happen, I have time right it feels like something that would be an idiocracy, or like come see steven siegel's run as constantine in the siegel steven steven, I have an idea for you to stop being in russia and whatever does he live in russia?
Speaker 2:yeah, he, he does yeah he uh is an insane person and always has been. Steven, come back, we're going to do it's perfect. Steven livingston, sie, they can do it in original. I'm making this with you now.
Speaker 4:They can do it in the original Russian. It's Chekhov.
Speaker 2:There you go, beautiful, no problem.
Speaker 4:Letterboxd average 3.7. Again, follow me on Letterboxd. I run BMC.
Speaker 2:You can follow me at PaulXBadly and don't worry about anything else. That's all you need, roger.
Speaker 4:Roger Ebert gave this four out of four stars. He abandoned his thumbs and went to stars, I guess.
Speaker 2:This is post-Cisco life.
Speaker 4:Yeah, rip. Rotten Tomatoes 89%. Metacritic 80. Major award wins nomination it was the Oscar nominee for best sound editing.
Speaker 2:Paul, I'm going to talk about some folks. The director of this film is Steven Spiel spielberg. I will note the legitimate accidental typo where it says steve spielberg whoops jaws the terminal munich wanted to make sure I mentioned munich whenever I can.
Speaker 4:I love munich. It's one of those like casual spielbergs that falls to the wayside for a lot of people yeah, don't let it.
Speaker 2:People like munich dude fuck. Yeah, great movie writers. Scott Frank Logan out of sight John Cohen. This film doesn't he like? John John Cohen, this is. This is the thing. I don't know and then, uh, the novel was Philip K Dick guys, can I confess that I came in a little too prepared.
Speaker 1:I read the short story wow, dude, you're my hero, continue this is where you're gonna lose me as hero and be like you have too much time on your hands. I read the john cohen draft from 1997 and then I read the shooting draft by scott frank, nerd alert. This podcast is going to turn into a lot of me talking about how much I love screenwriting and the craft of screenwriting, especially as it pertains to my all time favorite screenwriter, and the reason that I wanted to bring Minority Report to the table. Scott Frank, he's just the man.
Speaker 4:I mean Logan. Are you kidding me, logan and Adam don't forget Marley and me.
Speaker 1:Guys don't forget Marley and me.
Speaker 2:I intentionally left that off because I was like that's a bummer, but I'll go and mention Logan. Not a bummer at all.
Speaker 4:Spoiler the dog dies.
Speaker 2:I just want to say, like I love that you were like. I'm coming in with guns fucking blazing.
Speaker 1:Guns blazing.
Speaker 2:I love that.
Speaker 1:Yeah, my often writing partner and I just have different philosophies on how to approach things. He's strikingly handsome and he's kind of lived his whole life like I can go to bars and just hang out and people will approach me. And so he sometimes approaches pitches that way where it's like if we just like show up, they'll probably like us and I just overcompensate. I'm just like I'm going to show that I did all the work possible.
Speaker 2:I did not know that you and Ben were best friends. There we go.
Speaker 4:I appreciate that level of preparedness. I think that's great.
Speaker 2:I don't know how inside baseball this is, but it's like when I watch something or whatever and they're like this jet or this weapon or whatever, sometimes I'm like, does this make sense? Is this period appropriate? Is this, I don't know If sense. Is this period appropriate? Is this? I don't know if it's like, if you want to ground me, like, don't show up with something like a future gun.
Speaker 4:in the western movie you watched well, paul, you're grounded, keep talking about people uh, the director of photography of this film was janush kaminsky jerry mcguire he was no slouch.
Speaker 2:Jerry mcguire, amistad, saving Private Ryan. War of the Worlds from 2005. What do people feel about War of the Worlds from 2005?
Speaker 1:briefly, as I left Civil War and some people in my group were like man, I liked Children of Men better. I brought up War of the Worlds because they like Children of Men as a near future, post-apocalyptic story and that's why they would compare it to Civil War. Because they like Children of Men as a near future, post-apocalyptic story and that's why they would compare it to Civil War. Sure, but in the movie Children of Men that guy has precious cargo that can save the world and that's so much different than Civil War. I would compare Civil War if you're doing like crazy near future thing to War of the Worlds, because in this movie, war of the worlds and civil war, they can't save the world, they are just experiencing this and trying to survive as a makeshift family. I haven't thought about that movie for years, but I brought it up in, you know, the AMC just right after our movie going experience the other day.
Speaker 4:That's interesting.
Speaker 2:So you do like war of the worlds.
Speaker 4:I think it has moments.
Speaker 2:I think it has moments. I think it's, I think it's an experiential thing to a degree and it has moments, but also, like tim robbins, I think, if you boil it down, that scene is is very good oh yeah, that's like the height of the movie like a lot of the set pieces are cool.
Speaker 4:I mean, I've been to the universal fucking plane crash, uh yeah must go.
Speaker 1:You have to bring every tourist that comes from omaha, nebraska, where I'm from. They have to go to that because they understand like, oh, making movies is crazy and hard yeah, and enormous yeah, every time you go through that set I'm like where are the bodies? Where are the bodies?
Speaker 2:I always just go to the water world thing and I make them sit through like six in a row. The water world's pretty good it is is spectacular.
Speaker 1:I take people there and I make sure to film their reaction when the plane pops over, because it's just fantastic. It's so good. It shocks everybody. Yeah, 10 out of 10.
Speaker 4:Especially the first time it's like there should be no movie called Waterworld, there's just a Sun Show, absolutely.
Speaker 2:It's like when you watch a really great movie. For me it's like when I've I've seen blade 10 times, but I sit someone down to watch blade and I just stare at them and smile like, yeah, my brother's gonna happen historically in my family my brother we have a thing called the look back because, his best friend his best friend nixed him doing the look back because he would be like you have to watch this movie and then like it'd be a moment and my brother would be like looking back and he'd be like stop looking at me.
Speaker 4:Now I feel like there's this expectation of how I'm supposed to react I'm gonna get back on track, I promise yeah onish kaminsky the fablemans and cool as ice starring vanilla ice incredible music john williams never heard of jones series.
Speaker 1:Never heard of him. The Indiana Jones series Never heard of him.
Speaker 2:The Star Wars series, the Home Alone series, the Harry Potter series. Interesting he's good the GOAT Producers. There were many, including Jan de Bont. But, Walter Parks, who did War Games and Sneakers, and Ron Shusset, who did most famously the Alien series. Thomas Cruise, mapprether IV, or Tom Cruise, starred in this film. Mission Impossible series, top Gun, top Gun, maverick, tropic Thunder, color of Money, colin Farrell as Witwer. The Banshees of Inishirin, the Batman in Bruges I appreciate you kept in Bruges on there.
Speaker 1:You have to say the Recruit.
Speaker 2:Oh, and the Recruit with Al Pacino.
Speaker 4:How about?
Speaker 2:Hearts War my SWAT.
Speaker 1:Yep.
Speaker 2:Tigerland man. Oh, Tigerland's good, that's a good feral.
Speaker 1:My lovely girlfriend. If she found out that you did not cite the recruit, she would find you and murder you.
Speaker 2:You know it's going to be crazy.
Speaker 1:That is a cinematic perfection to her and she does the look back. She'll make friends of ours. Watch the recruit of any movie, any movie.
Speaker 5:It's a weird choice yeah, it's like a really formidable film in her, her childhood.
Speaker 1:Uh, it's an important film um. I have seen that against my will a lot, but I love colin.
Speaker 2:I love colin, yeah yeah, I was literally like I was gonna look at you, john, and be like, by the way, I'm gonna cut it out and make it just seem like I said the recruit, but now, like I have to make, sure this all stays, that all stays. It's an important film, it's an important film the recruit. It's like al pacino was handing the baton to colin farrell man it's pretty deep absolutely.
Speaker 4:oh, you didn't mention Alexander either, so I'm very excited. Came and went.
Speaker 2:No, oliver Stone denied. Okay. Max Von Cito, rip, was Lamar Burgess, not what it says on this sheet that I wrote. Flash Gordon Judge Dredd what Dreams May Come, which we reviewed on this program in our very first episode. Look back at it, won't you With your ears? Samantha Morton was Agatha, the whale in America.
Speaker 1:Sorry, could.
Speaker 2:I just comment.
Speaker 1:I think it's just the boldest lead-off hitter in the history of podcasting. To just be like, hey, come along with us on this journey.
Speaker 2:I thought so too what dreams may come is the first episode.
Speaker 4:That was my choice.
Speaker 1:It's just a strong lead-off batter. I'm really proud of you guys. Thank you yeah we took on. We took on a lot yeah we really tried.
Speaker 2:I also like after we watched it, I go ben, we're watching, like my. It flops between like robocop and and white men can't jump and I was like ben, we're doing white man can't jump, next episode, like I need a slam dunk pun intended. I cannot have another one dreams become steve harris was jad question mark, interesting name. Yep, the rock diary of a mad black woman the skulls he's incredible in the rock.
Speaker 1:Oh, forget the practice as well. He had his moment oh, yeah, oh.
Speaker 2:We don't normally always mention tv, but if you like legal dramas, the practice is great. It's incredible. It's like dermot moroni or, uh no, dylan mcdermott those two always get confused.
Speaker 4:Also, I have to point out, in your next meal, mcdonough meal there's so many typos on this one he is a meal. He is a snack. I'll give that to him.
Speaker 2:Those, those eyes. Neil mcdonough, fletcher, ravenous. If you haven't seen ravenous people. Street fighter. Legend of chun li. If you haven't seen street fighter. Legend of chun li, for me it's a tuesday. Oh, I probably won't ever see it. Timeline lois smith, dr iris heinemann, run all night ladybird and twister, which was the last episode you just heard from us, which was produced by steven spielberg and Dubois I mean, we can just tie so many things to this movie at this point.
Speaker 1:But Lois Smith, really small tangent on her, she's been working forever. She can be found in this motion picture called East of Eden where she's macking on James Dean and spoiler alert for a little while from now in her one scene in this film she just plants one on Tom Cruise, unscripted. Yeah, just 2002. Just, she still got it.
Speaker 2:She still got it. I love like the kind of like, confidence of like, not only does, it's almost like Robert days of thunder starring Robert Duvall. She's in one scene in this movie and you're almost like is this starring Tom Cruise? After you see that scene for a couple minutes Some fun facts we have fun facts, fun facts, everybody. It's fun fact time.
Speaker 1:For the scene where Anderton Tom Cruise holds his breath in the bathtub. Steven Spielberg was going to create air bubbles rising with CGI, but Tom Cruise took it upon himself and learned how to do it, Because he's Tom. Cruise, he's Tom Cruise guys. Cinematographer Janusz Kaminski did a bleach bypass on the film. That basically means he skipped the bleaching of the silver halide crystals in the film in order to create the desaturated silver tinted colors. Wow man, I wish I knew any of what that meant.
Speaker 4:It looks washed out.
Speaker 1:Sometimes it looks washed out. Yeah, I can point out some parts where it looks incredibly washed out and I loved it. Yeah, so Steven Spielberg originally planned to produce this film with Jan de Bont. Jan de Bont is famous for the cinematographer of Die Hard. He also directed Speed One of the great action films, great action films. But he had just made a bomb of a movie called the Haunting. It's a horror movie with Owen Wilson. I don't know how that doesn't work.
Speaker 1:It came out in 1999, and because Spielberg saw that it was a bomb, and because Spielberg wanted to work with Tom Cruise, he took over the director reins. Directors Cameron Crowe and Paul Thomas Anderson are cameos in the film as men staring at Tom Cruise on the subway train. Also in the scene, just like floating in the background, is Cameron Diaz, tom Cruise's co-star from Vanilla Sky. Early on in the development of this movie, uh, matt damon was set to play witwer and meryl streep was set to play dr heineman that's interesting, I can see that that's.
Speaker 1:That's still a fun and, yeah, it's good casting either way and actually when I go into my nerd session about screenwriting, the original cohen draft has a much bigger role for witwer, so I'm sure that's why they got matt damon at the time interesting. At a different point development of the movie. It was intended to be a sequel, prequel or side story to the 1991 classic total recall and that's my bad 1990 oh my bad, you screwed. Now I look like an ass.
Speaker 2:I'm gonna keep it in that it was my bad, I'll keep it okay and uh.
Speaker 1:To determine what the world will look like in the year 2054, spielberg brought together 23 futurists for a brainstorming session. He wanted a reality-based future instead of a science fiction.
Speaker 4:Informed one which is really interesting, because a lot of that technology is like pretty like. I mean we don't have spider robots or whatever, but like not yet you know the like tablets. And the one thing this movie doesn't do which we do have is there's not a cloud in this movie no like files have to be physically moved from point a to point b, while there's little data chips, yep this brainstorming session probably sounds amazing and, if you like, steven spielberg brainstorming sessions like here's my first tangent on why I love screenwriting.
Speaker 1:You can find the brainstorming session between Spielberg, george Lucas and the writer Lawrence Kasdan when they thought of the movie Indiana Jones. They recorded it. They transcribed it. It's absolutely epic. It's one of the greatest like. For me it was almost like the Rosetta Stone of screenwriting, because you can see how to like field really great ideas and like make them better. You can also see how they navigate awful ideas like what if Marion was 14 years old when they first had a relationship? It's just wild. It's an incredible piece. You can just Google that.
Speaker 4:Yeah, it's just wild. It's an incredible piece. You can just google that. Yeah, it's strong. That's awesome, paul. Would you like to reveal the?
Speaker 2:surprise. Oh no, we have surprises. I think he's gonna actually like this okay is there a red ball?
Speaker 4:is there a murder that we have to go stop, kind of yes, and that murder of fun we want you to try to formulate what the log line is for this movie wow, I passed it off to ben without him knowing.
Speaker 2:I wanted him to be the one to ask what the logline is for this movie. Wow, I passed it off to Ben without him knowing. I wanted him to be the one to ask you.
Speaker 1:Oh, this is the easiest, greatest, simplest logline ever. Awesome, spielberg and Cruz. That's it. No, that's all it needs for me to sign up and go.
Speaker 4:You know what's funny? I was thinking, do you think? When the script landed on Cruz's desk and he saw the tagline, which is everybody runs, he's like I'm in oh my god, yes, how much do I run? I'm one of the everybody right, I want to run, I'm running right now he's in the middle of jogging while the script's in front of him. But I will give a logline a shot. Go for it logline.
Speaker 1:You're selling it in an elevator. So uh, logline is in a world where the cops can see into the future and stop murders from happening. The chief of police is found to be committing a murder and must go on the run to prove his innocence. I mean, yeah, that's pretty solid, that was pretty clunky. But I mean, you can iron that out, yeah, yeah.
Speaker 2:But in like 30 seconds, like that's pretty solid.
Speaker 1:I'm in, will you do?
Speaker 2:the. I mean honestly, and I want to, before you actually read the log line. I'm like read the log line no, don't do it. No, do it, no, don't do it. The big thing that this movie. I think it's really right as there are some municipalities that have started to use like predictive tech about what they think people might do.
Speaker 1:Oh yeah.
Speaker 2:As well as like spot shotter or spot shooter or whatever, all sorts of stuff Like where surveillance is getting more intense than I think people necessarily realize, and I think this movie nails so many things in a lot of ways.
Speaker 4:Again there's.
Speaker 2:Way to bring that core group of people together and execute what they did in that brainstorm.
Speaker 4:Again, like self-driving cars, they have facial recognition software.
Speaker 1:Everywhere.
Speaker 4:These things are all advertisements that are like geared towards the individual.
Speaker 2:Everything's designed to sell to you.
Speaker 4:Yeah, when you're out in the world.
Speaker 1:You're buying something yeah, it's, that's the mission. Hello, mr yakamoto, how are?
Speaker 2:those assorted tent tops. I love that.
Speaker 1:That that's like a fun little like feels like a little spielberg, like this movie's silly I have a lot of things to highlight about the silliness of this funny movie and he does that too, in Indy too where?
Speaker 4:it's like he balances those tones so well in action and adventure and tension and then silliness and kind of cartooniness. But we should take a break and I think this episode is probably brought to you by running.
Speaker 2:I think we should. It's brought to us by running. Somebody ran by, by dropped it, like we. They ran a marathon, a half marathon, ran it back, picked it back up ring ring.
Speaker 4:Hey, paul, is your refrigerator running?
Speaker 2:you better catch it yes, oh, uh, the actual log line to this movie. Before we break. John works with the pre-crime police, which stops crimes before. Did you read this already? Am I nuts?
Speaker 1:I didn't read it.
Speaker 2:I think my logline Was so good that it's not necessary. Maybe, not, it might not be.
Speaker 1:Do we break protocol? I'm going to read it.
Speaker 2:John works with the pre-crime police, which stop crimes before they take place, with the help of three precogs who can foresee crimes. Too many C's and P's Events ensue when John finds himself framed for a future murder.
Speaker 4:Which, to me, that logline is pulled apart by producers who are like they need to know what this means. They need to know what this means. Too many details. It's this year, it's this.
Speaker 2:Stop with the details. We're going to run out of here, but we're going to run right back.
Speaker 4:We're going to take. We're all going to run a quick mile, great Anderton, wait what Run?
Speaker 2:Thank you, we're cooking now, baby.
Speaker 4:We're cooking breakfast in the morning.
Speaker 2:I got a sweat going. Are we recording?
Speaker 4:We started recording. We're back. We took a sprint.
Speaker 2:I got a sweat going. I ran a 5K, then I ran an 8K, then I ran a 22K, then I ran a 1K, then I ran a 6K, then I came here.
Speaker 4:Then I ran a 2K.
Speaker 2:Then I came back.
Speaker 4:I did some Michael Scott carb loading before oh yeah, time to carbo load john how you feeling.
Speaker 1:I'm feeling good. I actually kind of feel like we are the precogs right now.
Speaker 2:Yeah of us and we're predicting who who's the dumb one? Dash, I'm him. I like first pick in the draft dumb one.
Speaker 1:Dash, I'm him. I like that. One First pick in the draft, dumb one.
Speaker 2:Got it Okay. Which one's the one that is going to be least responsible and least disturbed?
Speaker 4:Great, it's funny as we're talking about this because, watching that role, I was thinking when I first met my wife, Jessica Aaron Martin her head was shaved yeah. Whoa, and I was thinking she would have been. She would have been a fucking phenomenal, agatha oh, yeah, she would she'd kill, without question.
Speaker 1:I'm glad you didn't say dash right there I'm dash um, I'm gonna do a small tangent into screenwriter town again. No, please, uh, because the original draft of this movie, which was written by that cohen fella who's? He's an author, he's got some, he's got some books out there and he's got a website. The original draft of it was all set in this like retro future. It looked like the jetsons, 1950s. Everything was going to be throwback vibes, throwback, uh set design with a little mix of high-tech stuff, and that's what he like.
Speaker 1:His draft is just seeping with a lot of like the spider stuff. There's this thing called the crab, which is this autopsy crab. So whenever they find a dead body, there's a lot of dead bodies. In his draft. There's this autopsy crab which, like splits it apart and figures out how it died. Whoa, the real hook of that movie is Tom Cruise and Danny Witwer are partners who just like long for the days when they could be detectives, and now that like crime is always solved for them, they're just like grumpy about it. And they're kind of interested in that.
Speaker 1:And they're just like God, this sucks. And they're just like God, this sucks. And then, finally, the end of act one, tom's neighbor is the red ball. Essentially the precogs say like hey, your neighbor, who's just like Tony Soprano. Basically he's going to kill his wife and Tom tells him and the guy decides oh crap. It's like Tom gives him a heads up so he can run, except the guy chooses to kill himself instead. And he's like man, if I'm going to commit murder and I'm going to get locked up forever, he decides to kill himself. And now Tom's really doubting the system at the end of Act 1. He's like man, we should just go back to solving crimes and not like locking people up before they commit the murder. And then suddenly he is found to be guilty of a future murder, and it's the murder of his partner, and he doesn't know why. And so like that's the hook of that movie.
Speaker 4:It feels like much more of a noir.
Speaker 1:Very noir, very contained. There was like four speaking characters in that movie. It feels smaller contained. There was like four speaking characters in that movie. It feels smaller. The the climax of the film has tom cruise pulling agatha out of the. That's still the midpoint. It's still pulling agatha out of the milk, but danny witwer is revealed to be the bad guy at the end of act two and he's gonna kill the other two precogs, which which are Agatha's brothers, and so she's like you have to go stop him. And that brings them together into the sequence, like into the place that Tom is supposed to kill, supposed to kill him.
Speaker 1:Danny Willard and Danny Witwer is like I'm going to kill dash the dumb one. Yeah, yeah, I'm okay. Don't, oh, don't, and then Just come on. And it's basically Tom has the choice Do I kill my former best friend partner and fulfill the prophecy, or do I let him kill the precog and he decides to kill his partner, Fulfilling the prophecy, and at the end of it it's like well, pre-crime was right, we just didn't get there in time.
Speaker 4:Oh interesting, so it's a different.
Speaker 2:Yeah, it's an entirely different message do you feel like the draft that they ended up going with, like the shooting draft or what have you was like, ultimately like your preferred, or was there one that you're like? I don't know. I feel like I really wanted to see x so I so prefer the movie that we got okay, yeah, yeah.
Speaker 1:It is. It's because of some, just like core elements. The opening scene is almost exactly the same in the original draft, except for one massive choice. In the original draft by Cohen, it is just through the perspective of the killer. He hates his wife. It's not that she's cheating, it's just that she's nagging and he and she sucks. According to him, yeah, and, and really it's kind of deeply unmotivated, he's just a shitty husband. And then when he goes to decide to kill her suits, now, yeah. And then when he goes to decide to kill her, oh my god, these pre-crime cops roll through and stop him at the last second and it's like, and that's the hook of the movie, everybody wow. And what they miss is at the last second. And it's like, and that's the hook of the movie, everybody Wow. And what they miss is at the beginning of this film. The opening line is murder and you see a murder happening and then it goes into like 15 minutes of the best filmmaking maybe Spielberg has ever done. I know that's hyperbole.
Speaker 2:No, I'm going to slow you down, but I like that. I like that you're coming with strong. Takes that first.
Speaker 1:15 minutes explains more convoluted, crazy rules of a world than he's ever had to do. The heavy lifting done in the first 15 minutes of Minority Report are absolutely incredible. I don't disagree. And that is all on the page from the opening jump. That is all on the page from the opening jump. And they get so, so granular with how this they pull off this movie, just like the little things, like when they say murder, two balls roll out and it's like oh, this is weird. Yeah, we have a red ball. Oh man, that means it's, that means it's immediately going to happen. And we have a dumb character there, not Dash, we have Colin Farrellrell. Who's this guy that needs everything explained to him which is a great element.
Speaker 4:It's a great. It's a harry potter element. We gotta play cinephile.
Speaker 2:Yeah, we do but I also like the colin farrell, like at, sometimes like playing coy I think, like. He's so goddamn good in this. He's so good.
Speaker 4:I think that trajectory of a character from thinking he's the heel of this movie to the ally is a really, really, really strong character. And that his death is actually like sorry, we're getting ahead, but his death is actually like upsetting Right.
Speaker 2:Because he's on to it. Yeah, by the way, this movie came out 20 years ago. If you haven't seen this and you're like, oh my god.
Speaker 4:It's shit, but you know, it's also like I recently watched the Fugitive and in a similar way, where Tommy Lee Jones feels like the heel and he's like, oh no, he's actually, he understands now and now he's going to help him. There are so many things that are.
Speaker 2:You and I have talked about this, ben like sometimes as an actor, it's like it feels like it's a stronger choice to be like. I can't cry right now. I will not cry Rather than crying. Sometimes, crying feels like the weak choice. Sometimes, having a character that goes through a genesis like that, that's a strong choice and it's hard to do to get an audience to jump on board with you, and I think this movie does it really well, really well.
Speaker 1:We're going to play Cinephile. Oh, I love Cinephile. Let's do it.
Speaker 4:So which stack would you like, the right or left? Well, shit.
Speaker 2:One of us is going to lose. That's fine we usually do. Which is pretty standard, we'll go left.
Speaker 1:Your left that guy.
Speaker 4:Okay, that guy, and then you get the freebie on there.
Speaker 2:So you get to pick it and you get that first movie and then we ranking as well as their current watch. And now current ranking.
Speaker 1:Amazing, all right, oh, I got Michelle Pfeiffer. Okay, what's? The movie you got there on the freebie Scarface.
Speaker 2:Okay, I'll take Batman Returns.
Speaker 4:That was a good one, paul. That's the one that was immediately in my head that I was about to say okay, uh, I'm just gonna take the l so we can move on.
Speaker 1:Wow okay, fair enough, could. Could you and I go one-on-one, keep going?
Speaker 2:we can go for a second yeah, one fine day.
Speaker 1:I am sam good stardust.
Speaker 2:The Story of Us.
Speaker 1:Ant-Man Quantumanium.
Speaker 4:No, that's not the right title.
Speaker 2:Damn it.
Speaker 4:It's Ant-Man and the Wasp Quantumania.
Speaker 2:Ant-Man and the Wasp or White Oleander.
Speaker 4:Those are my answers too Ant-Man and the Wasp, and then Ant-Man and the Wasp, quantumania. There we go.
Speaker 2:You know what we all tried. So Ben lost. What was your first experience with the film minority report?
Speaker 4:so I mentioned that this movie came out june 23rd 2002 hey, hey, which would have been the summer after my sophomore year of college and sorry, high school. I'm not that old and uh. I saw this movie at the Redmond Town Center, which was the movie theater that I'd make my parents drive me to classic.
Speaker 2:We all know it, love it and I loved it.
Speaker 4:and you know when you're I don't know how old I was 15, 16, I think I just turned 16, I was about to turn 16, my tastes were still being honed, I guess but I remember really enjoying it and ultimately buying it on the DVD when it came out. I think it was one of the first that I ever bought and I still own that full screen. Yeah. Sounds on the DVD.
Speaker 1:You also have.
Speaker 2:Transformers Revenge of the Fallen. I know I have that.
Speaker 4:Yes, thank you, paul, you own some weird shit. I also have Super Mario Bros.
Speaker 2:You do have Super Mario Bros on DVD. Bob Hoskins baby bros.
Speaker 4:You do have super mario bros on bob bob hoskins, baby people magazines three times sexiest man alive. Since that time this has become a routine watch for me so this was a five, and it's it's routine.
Speaker 2:And now what?
Speaker 4:it was a routine watch, like to the point where it's like I'm doing, like I'm cleaning the house, putting on my report. I'm like doing something on my computer my report. I watched this movie like four months ago guys. Okay. And then I watched it again two days ago.
Speaker 2:This was like me with Roadhouse, like I watched this movie a lot.
Speaker 4:Oh, I'm so excited. So this is like a soft five, hard four and a half.
Speaker 2:Yeah, soft five. That's a little, because I can only get as hard as the four and a half. I can't even get to soft five.
Speaker 4:Yeah, this is like a soft five, hard four and a half. Yeah. Okay. Depends on the day I like it. Red balls are my, are my ranking Okay, so five red balls. Five red balls.
Speaker 1:Wow, who else? Who would like to go next? It's Jono, after you and then me. Yeah, yeah, my first time seeing this in theaters Cinema Center in Omaha, Nebraska. I got dropped off, went absolutely loved it. I did have a few problems. My 14-year-old self was like oh, I have some third act problems.
Speaker 4:You sit down, Mr Spielberg, I got some news for you dipshit.
Speaker 1:So I in the moment was four hits of clarity.
Speaker 4:Yes, and in your current viewing.
Speaker 1:In my viewing as of this weekend. After 10-plus years of professional screenwriting, I still have some third act problems and I am for Mr Yahimoto assorted tank tops. How'd those?
Speaker 4:tank tops look for you, yeah.
Speaker 2:Okay, yeah, so this was a few days before I got fired at the regal because I gotta get fired till like the next week for men in black, I think, or something. So I definitely. I saw this movie on opening day. Wow, absolutely loved it as an employee, had a great time, saw pieces of it a few more times, bought it day it came out. I think I've watched it once on dvd great. Probably pieces on tv a couple times and probably a few years ago I bought the blu-ray, watched it. Whatever that first viewing, I'm on a high.
Speaker 2:I'm five cogs all the way, that last viewing I had, most recently, what have you and getting it to work. Today I almost had a meltdown where it's like it was just black for a while. Oh no.
Speaker 2:And then after like 60 seconds, the movie started playing. It's almost as if the trailers were missing and I'm like is this disc degradation? What is this? But either way, I watched my Blu-ray. I'm at four and a half cogs. I'm similar to Jono, where there's like some third act stuff. That's like it's a little slow or like a little kind of like oh yeah, I mean I have a buttload of issues in the movie. I'm not calling you out for giving it a 5. It deserves the 5. What did I say?
Speaker 4:before what I was saying. Like sometimes a movie is just that good even though you have issues for it. I have issues with this movie.
Speaker 2:I think this movie is really funny, partially like it's like the eye stuff like when tom, why don't we, why don't we start?
Speaker 4:why don't we start? But the movie's really funny and so it's just one of those things like I.
Speaker 2:I give it a little bit of rope, sure, like some of the dumb shit. So four and a half cogs, start it the, the.
Speaker 1:Can I say last thing before we start? Yeah, because it's a great segue. Pause the eye stuff. You mentioned the eye stuff. Scott Frank and the original screenwriter, john Cohen, did an interview together and they said this is really a marriage of two screenwriters, two people telling their story. And Cohen said I added a lot of the tech, I added a lot of the futuristic stuff and all of the eye stuff is me. Thank you so much, John Cohen.
Speaker 2:Yes, dude, chasing the eyeballs down is hilarious, also the way he puts them in his hand is like a Charlie Chaplin bit.
Speaker 4:Absolutely Whoa no.
Speaker 2:It's like one of those. Yeah, okay, we're starting the movie. Start the movie. Start the movie. Start the movie.
Speaker 3:Start the movie. Start the movie. And now our feature presentation.
Speaker 4:We already kind of talked about how the movie starts.
Speaker 2:It's our second movie with a cool logo.
Speaker 4:Also I have to mention because I don't know. I told Paul when you brought this that I don't think Spielberg is my favorite filmmaker Absolutely. And like we haven't, I can't believe we haven't had one.
Speaker 1:It's so weird it forced my hand, I showed you guys the preliminary list and then when I looked through the episodes and I saw the massive lack of Spielberg on there.
Speaker 2:Good yeah, thank you.
Speaker 4:The choice episodes and I saw the massive lack of spielberg on there. Good, yeah, the choice was made. Yeah, it's so bizarre it's just how bizarre, how bizarre.
Speaker 2:But the opening of this movie is phenomenal absolutely fantastic the going from dude, just like that shift of tom cruise. In the moment I'm probably skipping a lot the gross pre-crime, airy, gross pre-crime I sold him a dishwasher, but like he's so meek and like it's so well performed and that bleach that's on there, it doesn't feel like some like digital saturation that's been added. There's like something that adds to, like that neo-noir feel, like it's something that's like really effective, like, and it doesn't feel like something to be like. Doesn't our shit look cool?
Speaker 4:I mean, one of the main tropes of la neo-noir is they're reversing the noir of being dark and shaded. It's bleached and washed out yeah and this just takes it to that next level. I love it.
Speaker 1:Yeah, and personally, and the fact that they accomplish so much, just exposition wise, while also knocking off a few of these little character moments. Go back in your head and imagine the very first time Tom and Colin interact. Tom is wielding the screen and when he goes to shake Colin's hand, it fucks up his screen. Yeah, and so just in that moment, spielberg, that's not in the screen, and when he goes to shake Colin's hand, it fucks up his screen. And so, just in that moment, spielberg, that's not in the script, it's an added sense of conflict. These two guys are on different pages, quite literally.
Speaker 2:No, I love that. Well, and like the whole thing with Eric Gross. The idea is that this guy is being cheated on and he is going to kill his wife.
Speaker 4:And the lover right lover as he catches his wife. He kills them both. I think he kills them both.
Speaker 1:He drowns the guy in the bathtub.
Speaker 2:Yeah, the old double red ball there you go, the ari gross that like she where she's like don't cry, and as he's ready to like kill her, kill them both, as far as we can tell, and anderton's like breaking all this shit down on the screen and sometimes I think we forget, partly because the effects in this movie are so good that shit's not there, yeah, and cruise is so fluid with flipping and I don't know if spielberg's like do this, do this, do, or how much. Who's saying what are doing I?
Speaker 4:also really like the, like the way that some of the visuals of how the precog see things, I really just it's a different perspective, like an unusual perspective of the situation that you wouldn't like. I just think of the shot of him putting his glasses on and the and the scissors sitting there like glistening and you see them before they come down. It's a great shot, yeah.
Speaker 2:The, as you were saying, jono, like the exposition, where it's like we're just gonna start out like bang, like this is in a mission.
Speaker 2:This is the world we're in, this is what we're doing, this is what exists, this is how things are. People have fucking jetpacks. People can predict murders, like they're like holograms and blah blah, like this is happening. This is where we are in that very moment. You get get that the movie takes itself very seriously. It's a very serious movie where it's like, hey, murder's a really fucking big deal and we're going to take it really really seriously through this whole movie and so many movies, I think just don't do that, especially from the era.
Speaker 4:I love the kid on the merry-go-round.
Speaker 2:Yep, oh, so great.
Speaker 5:Spinning it back and forth Back and forth, back and forth.
Speaker 1:Also, just the process. There's a dedication to the process of this. Like he just very succinctly, very practiced, goes through and explains to the Supreme Court justices this is what we're doing. You are the witnesses, we have a red ball, and then he shows them all the evidence that they like, agree verbally that they are seeing the evidence, and then he's just like he's an architecture major, like you see how he puts on so many detective hats. Like he knows the architecture. They're looking up his ID. Oh my gosh, that building burned down where they supposedly live Meanwhile and this home styles.
Speaker 1:Yes, meanwhile meanwhile and this is the brilliance of the script by scott frank is we are cutting to real time man figuring out my wife is cheating on me. There's a guy out there who looks awfully familiar. We're getting little disturbing shots as we cut back and forth, like spielberg does not waste a transition. One of the transitions is just a picture of abe lincoln with a knife going or scissors going through his eyeballs yeah and the kid is making a little mask and it's just like it's such a jarringly violent image yeah, so innocent, because it's just kids making crafts.
Speaker 2:Yeah, for school yeah, yeah, that kid's probably gonna get a c plus, like it's not a crime, it's okay.
Speaker 3:But it goes back to the that thing of freaky eye shit like it is scissors going through his eyes, yeah, yeah, and the guy is forgetting his glasses windows to the soul yep, you know how blind I'd be without them, and that echoing over and over and over.
Speaker 2:Well, like we cut back to anderton and and colin farrell being like, where anderton like pretty succinctly is like yeah, we have these people that live in this milk, that have this psychic vision that like if you murder somebody, we're going to get you. And Colin Farrell is like can you dumb it down a shade? And Tom Cruise, this is such a fucking brilliant writing device for people that like spoon feed it to me. Just give it to me. Really fucking succinct Log line, it rolls the ball well, why'd you catch it?
Speaker 4:but that's later, isn't it? No, it is a tad bit later. It is later. Sorry my fault, but like that's a beautiful piece. Oh yeah, they have to go arrest this dude yep yeah, I gotta go arrest the guy. I gotta go swat him like a couple of kids swat some dude on their playstation or whatever.
Speaker 1:Yeah, when they halo him well, and yeah, they introduced the halo which, like, basically paralyzes turns you into like a zombie yeah turns him into a vegetable and in that moment what's so fun is spielberg directs the hell out of the first 15 minutes we arrive there. We stop him three seconds before the murder's about to happen it is yeah, it is almost as he's holding his hand that the watch is going off and it's like hooray, we stopped him. And then Spielberg is so good because suddenly the angels of death roll through the skylight and it's suddenly a horror film for like the next 40 seconds, yeah.
Speaker 1:And that halo gets brought out. You're not seeing it through Tom Cruise's eyes or the cop's eyes. You're seeing it through the murderer's eyes and really in this moment he's a victim. The cop's eyes. You're seeing it through the murderer's eyes. And really in this moment he's a victim, he's like oh my God, don't put that on me. Don't put that on me. It is, it's straight out of Texas Chainsaw Massacre.
Speaker 4:It's like, it's terrifying, and it makes you feel like there was a 100% chance he was going to do this and yet you still don't know.
Speaker 2:You still don't know. Well, and outside of that, as they arrive, I don't know what's. What's the morality here, like, let's say they're three? Seconds later and he hits her in the arm with the scissors and that's the extent of it. Would it be like dealing with the police, police where it's like okay, now you're gonna go through a?
Speaker 4:trial and whatever, but that would be a proof that pre-crime doesn't work right well and that's the big sticking point here, as he just likes to run through.
Speaker 2:What does Anderton like to run through? The lower, the six, the sticky poops, no, the.
Speaker 1:Whatever the name of it, he likes to go visit the set from Clockwork Orange. Yeah, pretty much.
Speaker 4:Well, he goes jogging again.
Speaker 5:There's a lot of room in this movie, but it's in there what's the drug?
Speaker 2:yeah, clarity, that's it you get clarity from neuro neuro narrowing narrowing which to me and you said clarity.
Speaker 4:It's like a thing that I think just shuts off all your anxiety, all your nerves just are immediately like boom, yeah what is the name of the neighborhood they kept talking about, because it's like it's the neural stacks, something like if I know that's ready player one.
Speaker 2:It's like the lower depths, I don't know but yeah, he again.
Speaker 4:We get the reveal of uh, you know, in the land of the blind, the one-eyed man is king I love that dude.
Speaker 2:Super great, you know the effects are a little effects are a little 2002, but it's alright, the eyes are not great like in HD on my TV at home.
Speaker 4:I'm like oh it's a little mummy, return Resident.
Speaker 1:Evil 1 on. Ps1 but how many of your listeners would you say are screenwriters?
Speaker 2:two three, I'm not sure they're gonna love this.
Speaker 1:One of my favorite shoutouts, uh, that I can give to anybody that wants to write movies is go read this book called the sequence approach. It's a lovely crash course on how to write movies because it's like 18 pages long, oh, and then it's just a bunch of examples and then it's like and? But the philosophy of the sequence approach is your film is a bunch of short films just smooshed together, as long as your films have an objective to each of the sequences, obstacles in that sequence and then an outcome that directly influences the next sequence. This movie is so perfect at exemplifying why that is such a good screenwriting tactic, because 15 minutes into this movie, sequence one ends. We successfully get the guy.
Speaker 1:Sequence two of this movie is oh no, john anderton has to uphold the system and you're gonna see the complications with that are his personal life, he has a drug problem, he has the emotional anxiety of losing his son and all that. Those are the obstacles in this one, and then you know we will get there. But like, the reveal at the end is like the end of this sequence is what launches us into the movie. It's just a really good little screenwriting tangent for you all.
Speaker 2:We were talking about some of all fears and how it's like you detonated a nuclear weapon outside of the White House. Now, that's true lies, but in some of all fears they detonate a nuke at the end of the second act or whatever, and you're like okay and then I don't feel like we go anywhere, like this movie resolves what we feel is the big thing, and then it's not the big thing that is a classic noir trope fucking.
Speaker 4:The mystery I think you're trying to solve is not the mystery you're actually trying to solve.
Speaker 2:So many have done it so ineffectively and in the neo-noir genre. It's just so satisfying to get it hit so hard for me. Well, it's so Well, it's like, and it's not perfect.
Speaker 4:It's human, so like, let's jump to his apartment, which is Full of advertisements, which I do love.
Speaker 2:Dude, Pepsi and Aquafina.
Speaker 1:And the cereal box, where the characters like yap at him and he throws it with such precision. You know tom worked on that for months. He consulted second graders around the world at frisbeeing, that fucking cereal box.
Speaker 4:It was absolutely incredible and he's watching a holographic like home video of his son who is learning how to run more running.
Speaker 2:There's so much running dude, I just and taking drugs. This is kind of where we get the big max von seed out. Now it's like the next day, yeah, and lamar hunt slash purchase who's lamar? Hunt. Why did you put that? I think I had lamar hunt, the former or current owner of the Kansas City Chiefs, in my head for some reason, that is his name, that's the most typos on any sheet I've done.
Speaker 2:I will say there were a good five or six on there, but this is where they meet and Anderton says the thing that is just so fucking key that I think so many of us we watched her for this program oh yeah Her. Her for this program oh yeah her.
Speaker 2:This to me is more like technology is used for surveillance control and to sell you shit that's what it's used for, because it's not perfect, it's human, it's designed to do what we tell it and that's what we, a lot of these folks, want it to do yeah and when that's the big reveal too. You get it right at the beginning of the movie where anderton says to in the situation, it's not perfect, it's human well, that's manipulated.
Speaker 4:Isn't that what uh whitworth says he's like if there's an if there's a problem where says that part there's a problem, it fly. Yeah, there you go, it's human it always is.
Speaker 1:Yeah, yeah, you called out whitworth the scene just a second ago with the rolling ball. So that's this Fun fact about that scene. John August, famous fellow podcaster.
Speaker 2:Yeah.
Speaker 1:He was the hot screenwriter at the time. He was brought in for a month pass on this script between like when Scott Frank had to go away for another project, and to this day John August said I only added one scene to that script in all of my months of working on it. It was the ball scene. That is so good. It's so good.
Speaker 2:So glad I listened to script notes.
Speaker 1:And the reason he's proud of that is because every other draft, the question of how this works, persisted through the entire goddamn film. Persisted through the entire goddamn film until he thought of that where, if people don't remember, if they're listening and forgot it's tom cruise rolls a ball to his nemesis colin farrell. It rolls off the table and colin farrell catches it. Tom cruise poses the question why did you catch that? Colin says because it was gonna. Tom Cruise says but it didn't.
Speaker 4:Yeah, it's great. It's so good, it's simple and it's brilliant. It's so simple and he's using what's already been pre-established.
Speaker 2:And also they've laid the ground too, where Lamar has been. Like you, watch out for this fucking Whitmer guy. He's no good. He's no good. I'll protect you.
Speaker 4:Like I like, I'll protect you like I'm I'm your daddy I'm looking at ben, you're, I'm your zaddy, right, my zaddy.
Speaker 2:Yeah, that's what we decided. Okay, but this is where anderton is like I gotta look into whatever all this shit is that's going on with the precogs and the minority report.
Speaker 4:Hasn't heard that. We haven't heard that, hasn't heard the term exactly, no, no, what we're fucking up. What we've gotten is that they they went into the, they went into the temple, and there's this whole thing about you have to not think of them as human Wentworth makes him go in the temple. He shows that he has a warrant and that he is there to basically prove that this is not, this is a flawed system, before it goes nationwide, right right, and that he's going to show that this is not going to work.
Speaker 2:And he's mostly, though he's looking also into John's personal life, anywhere he can poke holes, especially if it can be with Anderton. Yeah, because he's pissed off at him.
Speaker 1:Yeah, for sure Can I do a side tangent on the meta casting of 27-year-old Colin Farrell. Yeah, this guy was crushing it at the time. He was a hot new thing he was the hot new thing the recruit.
Speaker 2:The recruit the recruit.
Speaker 1:He was in the recruit. He was taking Britney Spears on red carpets, coked out of his mind. It was what a time to be alive if you're Colin Farrell, but also Tom Cruise at the time is like 40 years old and people are like man. We've been with this guy for three plus decades. It feels like he's been around forever. Is it time to pass the baton? And it just really feels like and you know the metaphor of running Like it feels like somebody is nipping at his heels. Oh yeah, I agree with you.
Speaker 1:And this or Colin brings it, this movie Really does.
Speaker 2:I agree with you this Tom or Colin brings it this movie it's right here.
Speaker 1:This is the second interaction with him where he like big dicks him. He has like this warrant and he's like let's go. For the first time ever he's forcing Tom Cruise to go into the milky bath like next to the precogs. Tom Cruise has never done that. Now he has because Colin Farrell told him to. It's fantastic.
Speaker 4:I love that too, and that's when Agatha grabs him after they all leave and says like do you see? And she is seeing this drowning woman, and that is a motif that continues on throughout.
Speaker 2:Yeah, we see this and that music that hits is great Sorry.
Speaker 4:Oh my God, no, please don't apologize, the like semi-religious sort of like gospel music that plays. It's so good.
Speaker 1:Oh yeah, Dude.
Speaker 2:Colin Farrell, just at this moment too I felt this a little bit with Ryan Gosling has this moment in Ides of March where he and George Clooney are in a kitchen and there's this moment where Clooney is kind of like you're not there yet and I mentioned it with another movie too, where it was like a batons being passed. With this Colin Farrell is so confident, he's so strong in his energy, in his position.
Speaker 4:You can tell he's put a lot into the character backstory here he's so fucking grounded in that role, I have to say the gum chewing very asshole-ish.
Speaker 2:It's meant to be.
Speaker 4:He's also Irish because he talks about raising in Dublin, even though he doesn't have his dialect which I think is really interesting. I talked about his dad, something on the steps. Yeah. And then the Catholicism.
Speaker 1:Which when I first watched it I was like ah, that's kind of hammy, like he kisses the, he kisses the cross later. But I actually love blind faith being instrumental to the antagonist character, like yeah, he just, it's perfect in a movie about a lot of sight and seeing into the future, and all of that. The guy just believes in something without any evidence.
Speaker 2:Well, which is kind of great well he's just like only god can judge, I think is ultimately like what he has another. He has a bunch of great scenes in this movie, but this is also where we get tim blake nelson. There's not somebody in this movie that is not a person who can hit a fucking home run at any moment yeah truly tim's bringing it dude and apparently that yawkey like boston accent. He was asked to do that and he we go for a ride he's really good though that's really good.
Speaker 2:It comes off as like an old, like carnival barker or whatever to a degree, but it's like affected, like I'm like okay, buddy, like yeah what's the first tim blake nelson movie that you remember him being in?
Speaker 1:oh brother.
Speaker 2:Yep, that's.
Speaker 1:I think it might be that for me, but I'm not sure yeah probably that the line that just kind of stuck with me a few scenes afterwards. Tom cruise says anything else going on in here, that is against the rules. Yeah. And what it led me to believe is that in the Minority Report world there is like a seven part Netflix series about Tim Blake Nelson's like treatment of these patients Playing the organs and shit. It's very weird. His relationship is uncovered. It's a true crime story.
Speaker 4:Like something weird is going on, tim. My question I guess I would pose is is this the way they are the only ones that hold prisoners, or is this how the country holds?
Speaker 2:prisoners. I think it's just the pre cops. That's a humanitarian nightmare. What are we doing these people?
Speaker 4:are just kept vegetables stacked in the ground.
Speaker 2:You get an idea. This is the first time Anderton's seen this. It really does feel that way, and Tim Blake Nelson's telling you about part of what's so incredible about I think I'm about to say what you're thinking of that's so incredible about this movie almost every scene has this really natural feeling, almost unintentional button.
Speaker 2:And it's edited so beautifully. When he says Tim Blake, after Anderton, is seeing what's going on with Ann Lively. What's a minority report? This stuff doesn't add up who's breaking the rules or doing what. And Tim Blake Nelson says you finally crawl your way out of one hole just to fall into another. And it's just like it's just telling you like he's gonna crawl out of this.
Speaker 4:Whatever you sound like a simpsons character sure see, because what the line for me is the bart, the line for me is careful chief, if you dig up the dead, all you get is dirty that's good too it's a good one I like that spielberg got dirty with this too again, but there's little moments of like that feels very noir, yeah.
Speaker 2:I think that's what that button thing is. I think you just said it way better than me, so I'd like you to stop talking.
Speaker 1:All right.
Speaker 2:Please talk.
Speaker 4:I can't do this, okay, you know, I can't do this. Paul has left the building. So we will continue.
Speaker 1:It's your podcast now I heard the car just back out.
Speaker 4:Well, you couldn't hear it, because he drives a. Oh great Is it. Stand away from foot cycle.
Speaker 2:Also it's mentioned, there are dozens or at least a dozen cases like Ann Lively, where there's like a minority report that gets dumped. That may not be accurate.
Speaker 4:Well, they talk about. So the thing they talk about is, it's not the minority port, yet that that phrasing, I don't think comes till later not until really still you're thinking, you're thinking of, you're thinking of jono's like offended.
Speaker 2:No, you're thinking of the vivid.
Speaker 4:It's a uh. They see a repetitive vision which they call a um echo an echo. Those are the things that get disregarded because that goes.
Speaker 2:Echoes get disregarded because they're not always the same.
Speaker 4:No, because they just assume that they're the same. They just assume they're the same thing and they just write them off, right they? Dump them either way. They dump them away.
Speaker 2:It's this thing that they are like. Nobody needs to know about this. I mean, it's like a redundancy.
Speaker 1:Nobody needs to know this is imperfect File storage in 2054 is very expensive. We would never want to hang on to this Again. There's no cloud in this universe. The amount that Apple charges, yeah.
Speaker 4:They have to go Literally when he's like for that. We have to go for a ride. They have to go to the patient to find a video file that is on some sort of little computer system.
Speaker 2:So much of this movie. Next to his wiener that's computer system. So much of this next to his wiener, that's where I keep my computer. So much of this movie gets so many things it seems like so right, yeah, and so many things seem so world specific.
Speaker 1:We're jumping ahead, but there's nothing more emblematic of like so right, so wrong than a guy holding a newspaper that live updates. Oh sure, yeah, that's just an ipad now, or your phone yeah but like you're so close yeah.
Speaker 4:It's a fun idea the newspapers don't exist anymore.
Speaker 2:Are we all going to die, everybody? So this is where Anderton gets his own red ball.
Speaker 1:Such a fun sequence because he's in there. You said exactly what I was going to say the red ball, it's not even a red ball, it's it's a crimson ball, because the red ball is a crime of passion.
Speaker 4:I believe, yeah.
Speaker 1:Oh, okay. And so this is like hey, a murder is going to happen in 48 hours. We got time, Will you get me? A piece of cake. Right, right and Jad, just like here's the scenery. He's like I'll get myself a piece of cake.
Speaker 4:I'll get one for me. Yeah, why not?
Speaker 2:Sure Thanks, thanks boss, thanks Get myself a piece too.
Speaker 1:We also get a lovely piece of just like Tom Cruise acting where he's like no, this can't be right. I love confused Cruise. He's just like, because he's always like, leaning in, trying to figure it out. And then you get the Supreme Court. Justices are like is that what I think it was? I don't understand what I'm seeing.
Speaker 4:I don't understand what I'm seeing. So the way that he puts it back, he puts up it on and like, sees and starts to like see himself and the technician, wally Wally, is like seeing it up on the ceiling. There we're starting to connect the dots. He's starting to connect the dots, and this is before the ball comes out. This and this is before the ball comes out. This is John Anderton. Yeah. Right, and that's when the ball comes out and he grabs it and sends Jad away. Yep.
Speaker 4:Turns off the video things and then he's like trying to figure out more before he's going to GTFO and Wally says something like I always liked you, chief, you're always nice to me, you're always nice to me. I'll give you two minutes Before.
Speaker 1:I hit the alarm. Everybody runs, that's so good.
Speaker 4:Here you have the classic the person who supported the system is now being chased by the system. Yeah, the elevator. Are you going to go to the?
Speaker 1:elevator. Oh, I was just going to say man versus system. Here is my type five on Tom Cruise and his filmography and the choices he makes. There's no more heroic role that you can have as a movie star than man vs System. Look at Tom Cruise's entire filmography Top Gun, maverick, man vs System. He's just a man vs System character. The Firm Holy crap. He wants to be a lawyer. The System turns on him, maybe.
Speaker 2:Jerry Maguire so good, so rewatchable. Jerry Maguire's the firm.
Speaker 1:So good, so rewatchable. Jerry Maguire's the opening salvo is I hate the system, let's fix it. And they go. Nope, you're fired and he's fighting against it. Yeah, every single movie.
Speaker 2:All the right moves.
Speaker 1:Yep. All, all of his movies are exactly that.
Speaker 4:My buddy and I, mission Impossibles, they're all, oh, every single one, every single one.
Speaker 1:Yep, it's so cool how a friend of mine, we will sit down and like go through famous actors and try and figure out like what is the bonding agent? How do they choose their roles? Man versus system is the most obvious for Tom Cruise.
Speaker 4:Absolutely. And jaw acting he's so good, like when he's so good like when he's like when he's internalizing something as an actor.
Speaker 2:It's like it feels very sincere, no matter what the frame is. I don't know if anybody knows their framing better.
Speaker 4:I call it jacking, and if you have another, jacker, you have to like jacked off together you gotta be jacked up, jacked off, jacked out and speaking of jacking off, they go to the elevator him and colin farrell hottest.
Speaker 2:That moment is great. That lexus commercial tricked me, by the way. Like when it cuts to the lexus commercial, there's an edit right before that happens.
Speaker 4:Oh but before we get to that car though, the the elevator, like I, just because he gets in the car, right, he gets into the car after because he gets in the elevator, and that's. Danny has figured out that he's an addict and that he has this sad backstory and he says something like I know what you did, John. And John thinks immediately that he's onto him for this murder yeah, and then puts the gun to his fucking face, and he was like I don't hear a red ball, John, and then that's so good.
Speaker 4:And the look on Farrell's face of like this man might just kill me right now. It's so fucking good and that's why he lets him leave.
Speaker 1:It's so amazing. It's fantastic. Also all done in a one-er. Yeah, and another small thing that people can go watch you can go Google after you listen to this awesome podcast is there's this YouTube video essay series called Every Frame a Painting. Oh, it's great, it's incredible, I love it. The invisible Spielberg winner is highlighted in one of the episodes and that is a 45 second shot with about nine different compositions within it as Tom.
Speaker 1:Cruise heads to the elevator as he gets in, as Colin stops it, as Colin puts his fist on the wall to like assert dominance, as Tom flips him around, puts the gun to his head. It's so good, spielberg's the master, he's the GOAT, it's amazing.
Speaker 2:It's really incredible. I know he hasn't gotten the car yet. It's just like they cut to before he gets on the elevator. The movie cuts to the first, the beginning of a Lexus ad.
Speaker 5:Oh, that's what you're talking about. What's wrong with my movie?
Speaker 2:sorry, like I, think the editing on that is so good. The movie is so atmospheric and part of it is like that commercial. It seems like that that bleach effect is dropped for just a couple moments oh funny and, as you're talking about the composition of the shot, it starts there and then whips through all this stuff yeah, like, and it's just when.
Speaker 4:Then, when we get outside into the car, his car is like bright. No, his car is black. At this point, he doesn't have the red one yet right Right, not yet, but the world is very shiny and gray and white and we move, the cars, drive down on the walls.
Speaker 2:They're all maglev, they're all magnetic levitation.
Speaker 3:This is merely superconductor. Electromagnetism Surely you've heard of it. It levitates bullet trains from tokyo to osaka. It levitates my desk where I ride the saddle of the world, and it levitates me and he's calling lamar futurist believer.
Speaker 4:Right, he's gonna call lamar to say like yeah, it's like max my father figure?
Speaker 1:definitely not the guy that would ever betray me.
Speaker 2:Yeah, this is what's going on did anybody early on when they saw this movie go? This is the bad guy, like the authority figure, like the government guy's the bad guy I, I don't remember okay when I first saw this, I had just watched chinatown okay, yeah, so inadvertently.
Speaker 1:I kind of just thought any old guy you consult along the way is gonna stab you in the back okay, I mean, that's the classic la noir thing is that the corporation is the bad guy yeah, I like the way they unfold it, though, the way the young appeals Max von.
Speaker 4:Sydow is, so he seems like a grandpa.
Speaker 2:Yeah, he's so lovable, but this chase, like with the maglev cars and stuff so fun the effects in this movie hold up absolute iron. They're like bulletproof. I agree like the eyeball thing is a little weird and there's one other shot, but like, ultimately, when you consider how many effect shots are in this movie, it's wild and when you compare it to other 2000 era, yeah effects.
Speaker 1:Yeah, yeah, oh, yeah that don't hold up, yeah chase also has one of the top three silliest moments of the movie is when he interrupts a yoga class and there's the inverted. Uh, small bit of homework for everybody. Um, go check out the lady that was upside down in the yoga class. Her IMDb photo is the all-time greatest IMDb photo ever. Her name is Bonnie Morgan. She's a contortionist. She also played the scary lady from the Ring. Oh wow. Same era yeah.
Speaker 1:What a gig. But like you, look at her, I probably looked at her IMDb photo for 15 seconds before I could really figure out what the fuck was happening.
Speaker 2:Say please tell me it's her doing some sort of contortion. Very much so.
Speaker 4:I like this is still the time too right 2002, when people are like yoga, that's just people making weird shapes with their body. That's going to go out.
Speaker 2:No one's gonna care. Now. Cruise goes through this amazing chase with everybody after him, including Colin Farrell. We still have jetpack moment.
Speaker 4:Yes, and first we go, which was shot right over here on the Warner Brothers set.
Speaker 1:Oh yeah, there we go. He's running around the city and he's just being clocked everywhere. He goes so good, which is great, by all the eye scanners.
Speaker 2:And then ultimately by the things that are just there to sell things to you.
Speaker 1:That's all they're there to do, absolutely Not to surveil you, and then his jet pack colleagues like surround him. We get that incredible moment where it's like don't run, don't run, John.
Speaker 2:Hey.
Speaker 4:John.
Speaker 2:Mule McDonough on his busted busted knee.
Speaker 4:Yep. Hey John don't do it, man. Everybody runs Everybody runs.
Speaker 2:I love, that exchange.
Speaker 4:You can see you can see what I do too, cause the just as characters you know, they have a history together. Yeah, they've done this a hundred times, yeah.
Speaker 2:They both know how this is going to go. Yeah, they don't, can you?
Speaker 4:I love that whole upward chase on the fire.
Speaker 2:It's so fun.
Speaker 1:The way it's shot too. They're going through floors in the apartment.
Speaker 4:Oh my God, it's silly.
Speaker 1:It's silly. They're burning like hamburgers along the way. They bump into somebody's like dining room set.
Speaker 2:Yeah, I do feel like they can't get through. Yeah, yeah and then they do.
Speaker 1:You know, the music video turned down for a while exactly. The daniels saw this and they're like what if we do?
Speaker 2:it the other way and add a boner, and I, yeah, do it with butts and boners, that's all their.
Speaker 4:They add boners to all their movies and it always works always works, but the the little character moment I love is after he knocks the uh, one of the soldier, one of the dudes packs off and he's like do you have a grip, do you have a grip?
Speaker 2:and he has, yeah, the fire beautiful moment, because you know that he's like yeah, you're like oh, this this guy doesn't want to kill me, right he's gonna he's still gonna help him you stay on his side, but then he hits him when he hits him with a six stick.
Speaker 1:That's a great little oh, and patrick kill patrick so great, wonderful bit of just like how this world works non-lethal. They don't have a demonstration of like. If you touch somebody with the six stick, they barf.
Speaker 2:It's just, they call it a six stick and then they hit somebody. They show you what it does and it pukes everywhere. It's great. It's great it follows. Perfect, like improv rules if you're working with someone who's good when it's like yeah, I got this six stick and then it's like now we're gonna show you what this does.
Speaker 4:yeah, like immediately why, when you said, if you're working with someone, that's good, your eyes like travel away from me yeah, don't worry, that was harsh, it has nothing.
Speaker 1:Hold on, hold on yes and uh.
Speaker 4:Yes, and sometimes we don't do things that are good the.
Speaker 2:This is actually, I think, my favorite scene of the movie. The lady who did didn't create pre-time.
Speaker 4:Well, first you gotta go through the car factory. The car fight.
Speaker 2:I almost fucked that up again. Wow, the car fight is absurd. Now the concussion gun thing.
Speaker 4:Again, coming back to what you were saying there's silly moments. The car fight is silly as hell.
Speaker 1:So silly.
Speaker 2:It's so ridiculous.
Speaker 1:Wild, crazy. Fun fact is Spielberg stole this from Alfred Hitchcock. Alfred Hitchcock always wanted to set a fight scene in a Model T construction line Interesting and just like in one of Henry Ford's factories. And his gimmick was what if the car was built around the hero? And by the end he got to drive the model t out oh, he always wanted to do that yeah, yeah, you just didn't have the effects for it and whatever. And spielberg remembered that and was like fuck it, lexus, let's roll which is a fascinating.
Speaker 4:It's like the car is fueled and the garage door is open and it's just ready to drive.
Speaker 2:That's a, that's a moment for me where I'm like and I wonder like, is the car electric? Is it like? What is the car? How does the car booga looga looga looga?
Speaker 4:yeah, essentially, but again, like the door is just like open for the car as it turns out, it's okay.
Speaker 1:I love that also heading into that scene, we have the best bit of running by a non-tom cruise character in this film the shot of of Colin Farrell sprinting into the factory. Oh yeah, is movie star caliber running? I'm sure like Tom was looking at dailies and been like this mother. Yeah.
Speaker 4:Also his little wave in the car when they when they like, knock him in and he's like and he smiles, you hold out like a hero moment.
Speaker 1:Another thing is like when we are introduced to the concussion guns like the sound wave guns. Oh, the knucklehead henchmen are using two hands like bitches, and then tom cruz gets his hand on one and he just whips it around with one hand like a goddamn hero it's like straight out of like t2, like absolutely so cool, 10 years removed from t2 that's wild to think about, but like, yeah, absolutely.
Speaker 1:But now, yeah, he drives his new red car. I'm so excited to talk. It's so cool, ten years removed from T2. That's wild to think about, but like, yeah, absolutely.
Speaker 4:But now, yeah, he drives his new red car.
Speaker 2:I'm so excited to talk about this lady. No, yeah.
Speaker 4:And we get to the, which is a great conversation and is a great place. I'm glad he goes there because he understands they're not going to. That's not a place they would look for him.
Speaker 2:No, you got to go a place, that's like out of running range.
Speaker 4:Yep, they're looking in distances where he would normally run. I believe this conversation is where he hears about the minority absolutely okay this.
Speaker 2:I love that. All the exposition that's done here, delivered by her pop quiz hot shot.
Speaker 1:How long do you think this scene is in minutes three?
Speaker 4:four. Well, what does this mean? You mean like the conversation?
Speaker 1:yeah, yeah from yeah when he gets in there starts his chitty chat. Six minutes perfect, nailed it winner it's six minutes.
Speaker 2:Yeah, again, I've watched this movie, like every year I just I love that she is like I didn't create pre-crime. We did these monstrous experiments on junkies and people that people didn't care about, to try to have some sort of success with this so we could they did like Stranger Things Control people.
Speaker 4:Yeah, yeah, doing Stranger Things.
Speaker 2:Season four yeah, or the First Omen, if you've seen that. But yeah, we've all seen the storyline to whatever degree. I just love her reveal of it and her like hatred of it.
Speaker 1:She is chewing scenery like no one else in this movie. Here's a random theory. Tom Cruise gets bit by a plant in route to the greenhouse. Is all of this a little heightened in his mind because she is weird, like she is not totally a normal human being?
Speaker 4:it's just odd. Yeah, yeah, I just thought that was interesting.
Speaker 2:I think she's also kind of a hermit yeah, I think she's kind of lost it, based on what she has done in her life yeah, yeah I think she like has some sort of cognitive.
Speaker 4:She's like the dude from google, who fucking quit google and moved to europe after he created the algorithm in youtube that says you like this, would you like to see more? Oh yeah, because he was like I fucking created.
Speaker 2:Uh, alt-right yeah he's not happy about that yeah, and like a thing that I try to say like you never truly know what people are capable of you put a scared animal in a corner you never know and where she kind of says that same thing like they'll do, it'll do anything to survive but that's a moment I remember forever the grabbing the plant and yeah, the chips are down, everything just wants to live so if this movie had meryl Streep that means right around this time she would have been an adaptation, where she loves her plants and minority report.
Speaker 1:So I presuppose, what if you had brought the character from adaptation the Donald written version, oh my God Into this movie and yet Cooper's doing lines of blow in the corner, just like, just like, waving to Tom?
Speaker 2:that would be an entertaining version of the scene would it be better, I don't know doing ghost orchid powder, banging it out? Yeah, it would have been wild. It was the guy with the white van. We don't need the precogs. We don't need the precogs. We also had Harry Potter in the chamber of secrets.
Speaker 4:So maybe we have some Mandrake screaming Yep, absolutely.
Speaker 1:Now she gives him a mission, which is get some new eyes.
Speaker 4:Find the minority report.
Speaker 1:Find the minority report. In order to do so, he'll need some new eyes.
Speaker 4:So he's now convinced that for his you can have it done for a few thousand bucks on the street. For this, quote unquote murder that he's supposed to commit, which he is 100% not going to, according to himself, that there must be a minority report, which, to her, it always comes from the most powerful precog, of course, the female.
Speaker 1:In the sequence approach. What does he need next? He needs new eyes in order to achieve his mission. So what's freaking awesome about that is the next 18 minutes of this movie. Are I gotta get some new eyes and successfully try and get to my old office?
Speaker 4:Get back into the castle, by the way.
Speaker 2:Jono, you're still my hero because if I had my way, I would write down time codes for so many things. I would time code so many things. I love a time code.
Speaker 4:But we introduce. We have the new character Peter Stormar, so many things. I love a time code, but we introduce Womp Womp.
Speaker 2:We have the new character, Peter Stormar baby, oh my gosh.
Speaker 1:Yeah, womp, womp, totally made up. Fun fact about this sequence is that Steven Spielberg grew deathly ill, or was called to go to film some scenes from Catch Me If you Can, and he hired Terry Gilliam to film just this scene 100% makes sense. I totally made up facts that I just made up on this.
Speaker 2:Oh, okay, I would have believed you Like.
Speaker 1:this scene is so weird.
Speaker 4:Straight out of Brazil.
Speaker 1:Dude Straight out of Brazil.
Speaker 2:This is probably my second favorite scene in the movie, because we talk about the way that the movie will kind of at the drop of a dime, about the way that the movie will kind of at the drop of a dime, be able to add tension in one way or another.
Speaker 2:It's like the comedic tension it adds with Colin Farrell and the elevator and the alarm. With this one, Anderton needs the new eyes after the doctor like gives him his like shot of like chill juice or whatever he's like, by the way, you put me in jail.
Speaker 4:Oh good, I love that.
Speaker 2:Yeah, Anderton falls asleep, and what we are going to wake up to like it's just such a great little.
Speaker 1:Put him in jail for lighting his patients on fire.
Speaker 4:Oh yeah, and they were under conscious. But I love the line like why do you want to keep him? My mother gave him to me.
Speaker 2:It's really good, actually so great. Yeah, my mother gave them to me. It's really good, actually so great. Yeah, the main thing that I've talked about a little bit, that I forgive the movie for, is like some of the stuff with the eyeballs, where it's like somebody wouldn't have just like changed that eyeball lock or whatever I mean that's, that's a thing that I have too.
Speaker 4:That's a little thing where I'm like I don't really care that much. Yeah, I mean, but also, but also like you would think, but if they, you would like signal something so they know that he was there. Yeah, yeah.
Speaker 2:It's just like a string of awesome scenes. The government packaged version, like your history book version of like this is what the precogs do. Their life is amazing. Yep and the precogs prevent all.
Speaker 4:yeah, and it's all just bullshit.
Speaker 2:It's just government bullshit.
Speaker 4:You got to mention, though before that point. Point he's in this quote-unquote ghetto. Yeah, they've been like just searching this is spiders.
Speaker 2:This is, oh my god, I almost missed spiders they're just searching. All of this is where they assume he's at, and so they're just searching everywhere. They deploy eight spiders to get him because he's hungry sony wants to eat, yeah so great he's like. What do you think?
Speaker 4:four patrick wants there's four floors, one per floor. Eight, I want to get out of here and they, they introduce these little like spiders and it seems to be routine in this world, everybody just knows like they show up and you yeah, and this is where we get the top down shots of birds eye view of the floors where you have all these different like people arguing and they stop me to argue. To watch these spiders, just to scan their eyes I made a note.
Speaker 1:What Spielberg chooses to feature in this is a couple having sex interrupted by spiders. Domestic violence interrupted by spiders.
Speaker 2:Yeah, in the slums. A dude pooping, interrupted by spiders yeah, three for three.
Speaker 1:Great job, spielberg.
Speaker 4:I laughed pretty out loud when I said a dude pooping.
Speaker 2:Yeah, I can't believe I almost skipped the spiders because like also like the, the underwater bubble moment, like talking about suspense, like tension, whatever, oh my god it's like terry gilliam ridley scott yeah, yeah this sequence. I I love the way that this movie seems to blend so many styles and, apparently, like so many writers, like so many scripts, ideas from scripts, whatever. There's another movie that I really adore, called last action hero.
Speaker 2:That had many, many, many writers oh yeah, and it's really something when someone likes spielberg or a studio or a combination of both can go this works with this and this works with this, because like, that's what happens behind the scenes in a lot of these cases and like, good lord, what a job what's nuts about?
Speaker 1:uh, scott frank, when he got onboarded onto this film, he glanced at the original draft. They sat down and they said what they really liked and disliked about it. And then he was like sorry, spielberg, I can't do it. I have three other things that I'm working on. And Spielberg ultimately convinced him, like, just write the first act, just give me a first act. And so, according to Scott Frank in one of the interviews, he's like I didn't really want to do this. So I wrote the first 40 pages with the entire goal of getting fired as soon as I handed them in. So what I?
Speaker 2:did is.
Speaker 1:I made my hero incredibly flawed. He's a drug addict who's the head of a fascist crime unit. He lost his son and now wants to punish the world. So drugs, dead, kid, impotent cops. That was my first strike. The second strike was I wrote a mystery within a mystery for a filmmaker who had never made a mystery movie and he told me in private he does not like mystery movies. So that was strike two. Strike three was I jammed every single side character with a bunch of fucking dialogue. This movie is far longer than it needs to be in the first 40 pages, according to scott frank, and he turned them in and he's like great, so I won't have to work on any more of that movie, I'll be immediately fired and I can focus on the other three things. And spielberg called him the next morning and before spielberg could say a damn thing, scott frank goes you of course don't want to make this movie, right. And spielberg said this is the only version of the movie I want to make.
Speaker 2:Keep going because it's so great it is there there is like a gritty realism to the like big brother, like the surveillance, make you buy stuff, even things like maglev, where it's like hey, hey, at some point we're going to live in a society where only people that can afford fancy Lexuses have cars and everybody else, like you, get places by using magnetic levitation. That it seems like is divided by the government or whatever. I just love that. It seems like Spielberg and Cohen and Scott Frank and all these people like it's just so fucking cohesive. Yeah.
Speaker 4:I don't know man. We see that the SWAT can basically predator people. They see body heat. Oh, yeah, yeah, yeah and when they see one disappear, they're like what do you think a big cat, or like a cat. It's like that's a pretty big cat. Yeah.
Speaker 4:Because he goes into the ice bath. The fucking spiders finally get in there and they don't sense anything and the one of them just starts to leave and you see its leg underneath the door and the bubble pop and the leg stays for a second and then suddenly they all flood the room. Like 20 of them get in there. And we've been told that if he removes these bandages too early, he's going to go blind.
Speaker 2:It's like looking at the eclipse without the proper eyewear.
Speaker 4:Yeah, he'd like go full trump there. The goblins do nothing, and why didn't he go blind? Anyway, uh, but he's that like it's so tense of him, like he's letting the spider open the blunt and like scan it and this is as the swat are like on their way to the door ready to bust it down and then finally it scans it and, like it's not him, let's eat. And they're like it's not him, let's eat, and they're out, and they're out.
Speaker 2:Yeah, they're gone.
Speaker 4:Which is great.
Speaker 1:I think this sequence also if you were to ask anybody that saw it 20 years ago just say some things that you remember from the movie. They'd say spiders, yep. And doesn't Tom Cruise almost eat a moldy sandwich?
Speaker 2:Yeah, and drink some gross milk. Oh, the lunch he leaves for him.
Speaker 1:Weirdly like iconic this sequence.
Speaker 4:And that is very Terry Gilliam. It is you guys really nailed that.
Speaker 2:Bless you. Yeah, that was mostly Jono, that's right.
Speaker 1:You know what? I'm going to take all the credit for that one. I'd like to thank.
Speaker 2:Brazil.
Speaker 1:I'd like to thank.
Speaker 2:Time Bandits. Will you thank 12 Monkeys please?
Speaker 1:I'd like to thank 12 Monkeys, I think.
Speaker 2:Ben jumped onto it before I did. Maybe I gave Ben credit. He didn't. He's just being right giving you the credit.
Speaker 4:I fail upwards most of the time. Me too, the tour guide.
Speaker 1:We gotta go get Agatha.
Speaker 2:We gotta go get her where he contorts his face with like the shot.
Speaker 1:I love this sequence for the fact that they're like so, tom, you've got new eyeballs, but you gotta like have a mask to go in there, and he goes time out.
Speaker 2:I got the vanilla sky mask, no problem he's like masks are my mission thing.
Speaker 1:Can't fuck with my masks in my mission. Yeah, he loves masks he loves a mask. He loves a mask. He's like what if I just like inject some old into myself?
Speaker 4:Yeah, I'm like cool, yeah, that works, but I'm not going to do it in the privacy of the place I'm at. I'm going to do it when I'm in public.
Speaker 1:Yeah it when I'm in public.
Speaker 2:Yeah, yeah just right here some kids behind some children. This is where he, like infiltrates right to get agatha infiltrates.
Speaker 4:He goes through a fucking tunnel and walks in yeah, and still much.
Speaker 2:Infiltrate his original eyes to get in which?
Speaker 4:it's like come on and we get the busser keaton when he drops the eyes and has to chase him.
Speaker 2:I die, I die it it's this.
Speaker 1:It's so fucking shot of the movie.
Speaker 4:Yeah him, dropping the eyes and then chasing the way he stumble, runs after him with his dumb face and the way he holds it to open it when he's like very carefully.
Speaker 2:It's very funny. It's really good physical acting. And now wait, I gotta jono does it better than anyone, partly because he's just this is rating system this. I think this is the moment right where he goes to the gap well, first he has to get into the, the temple oh well, I I really want the line, I'm jumping all over. He's like no, no, no, no, no no, what are you doing here?
Speaker 4:what are you doing here? And then he grabs wally he goes. Oh hey, john, oh hey, yeah, because he sees his face and he's like happy do you guys remember what they interrupt wally doing?
Speaker 1:oh it's creepy. Wally's so weird brushing her teeth. Brushing her teeth and talking about how his mom brought a date over to his house, no, into their house.
Speaker 4:He lives with his mom, of course.
Speaker 1:Of course Wally lives with his mom. I thought that guy would be higher paid. He does handle the future.
Speaker 4:Is he in love with Agatha has?
Speaker 2:to be, I mean, like that's the thing it's like has to be. I mean, like that's the thing he does, these same things for Art and Dash, right, Doesn't he?
Speaker 4:Like brush their teeth. Yeah, yeah, he fluffs them, oh boy. Well, look they're. What is the milk made? Of. What are they doing? Into the milk. What is? The milk, the milk's gone bad. And then they just, they must do something into the yeah, they must, it's creepy.
Speaker 2:Yeah, they must, it's creepy. Electrolyte and something nutrient thing.
Speaker 4:Oh, like in Idiocracy, it's got electrolytes.
Speaker 1:It's got electrolytes. Did you say it's cum? Oh, random Idiocracy. Crossover for this film, please, while he's it's with Blanche Grave In Idiocracy. You know that season 59 of Cops is definitely still playing yes In the. Minority Report universe Cops is still playing.
Speaker 4:Which is so funny because Cops is Great crossover Free on.
Speaker 2:Pluto TV has its own channel, just saying.
Speaker 4:Cops is one of the worst and most racist shows.
Speaker 2:Oh my God dude Cops is a nightmare, so how does Tom Cruise escape with Agatha?
Speaker 4:Wally, lets him go.
Speaker 1:Well, I think Wally just lets him go the way they came in. No, no, no, he goes. Hey, agatha, remember that movie starring Jim Carrey called the Mask, where you can just flush yourself out of any?
Speaker 2:scene oh, that's right.
Speaker 1:And he flushes himself out of the scene. I forgot the part about the Jim Carrey movie the mask. This is as. Danny.
Speaker 4:Witwer is now taken over looking at the crime scene. Yeah, and he's looking at the crime scene and they've thought there's three people there there's the guy who shoots, there's John and then there's the man in the sunglasses and none of them want to help him.
Speaker 2:None of them want to help Wit. He's not at this.
Speaker 4:No, there's four people here and then he like sees like he does a quick, you know blade runner.
Speaker 1:Enhance, enhance yeah enhance what is that ncis?
Speaker 4:oh sorry, enhance what does? That look like to you and he's like it looks like a female and he's like that's agatha.
Speaker 2:And that's the moment that he's a good detective and he makes it clear at a couple different points like I'm not shitty at this he's coming back, which is like something that endears me to him anyway, okay, now do I please you do the line so well of like the automated system at the gap hello, mr yakamoto.
Speaker 1:How are those assorted tank tops?
Speaker 2:I just love where he's got agatha and stealing clothes for her and stuff and it's still even as he's stolen. This assume you assume he's got Agatha and he's stealing clothes for her and stuff and it's still even as he's stolen. This assume you assume he's dead. This dead man's eyes like everything, is just trying to sell to him.
Speaker 4:It's amazing, the trip through the mall which was filmed in.
Speaker 2:LA Really yeah.
Speaker 4:I had to look it up. I was like I think I've been to this mall.
Speaker 1:I love the wait. Is it weirdly the same mall from like Jackie Brown?
Speaker 4:I don't know, oh, I don't know. It's in like central LA, it's probably the same one as Commando Her like being able to precog everything about the chase.
Speaker 1:The fun and games have begun. Yeah, but we still got to go. We still got to go to Rufus, you know we got to go. We got to go peep into Agatha's mind.
Speaker 4:Oh right, mind, oh right, that's right. Before we go to the mall.
Speaker 1:Yeah, oh, they go to the vr thing before I pulled a paul no, no, it's all in the same moment because we gotta go see about what's in her mind.
Speaker 2:Yeah, we pull out the same yeah, the weird vr sex murder fantasy club. Yeah, it's kind of odd because have people seen strange days.
Speaker 4:I have not, I have not the katherine bigelow movie watch that movie but witwer is on to it because he's like this system that John has is like privately made to like. Look at his own memories.
Speaker 1:And he just opens the keyboard and it's got a picture of the guy that made it. But it's good detective work.
Speaker 2:Some of it is a little convenient.
Speaker 3:We'll say that, but it's also pointed out by at a point.
Speaker 2:I just love that. By the way, the guy in the vr place that, like the p, the, the precogs and everything, did anybody notice he has a triangle tattoo I'm not saying, just saying so this is where it's clarified that anderton has no minority report right he screams it at agatha.
Speaker 1:Where is my minority? Yeah, and she's like there is none.
Speaker 2:There is none in the vr thing, that's right now it's kind of a bummer and it's playing moon river during the mall chase, by the way. Yeah, but I didn't think they were gonna play moon river bang, second act.
Speaker 4:But do it, baby it's funny that you mentioned hitchcock, because I thought of hitchcock a few moments time, especially in the third act, the way he shot with the angle, the shadows and the lights and Lamar and the party. This feels like a North by Northwest. Absolutely At this point, yeah.
Speaker 1:It really is the most fun sequence in the movie because she's like grab that umbrella, no context, just grab it, and then it's like you see the balloons.
Speaker 4:Stop here. Wait, wait, it's so thrilling.
Speaker 1:It is such a good use of a superpower in such a subtle way. Throw some change to the bum.
Speaker 2:Put it in my hand damn it Like the bum's mad about it Drops the money and like her performance throughout.
Speaker 4:this is like she is in absolute shock.
Speaker 1:Well, she has the most heartbreaking line to the movie Dude she's like the anchor.
Speaker 2:Yeah, which is?
Speaker 1:Is it now? Kills me because she's staring out the window. This is on the way to the mall, but is it now? Yeah, like you could just.
Speaker 4:she has an incredible performance that has no like it's alien Like this person has had no human Well and like physically she's like not her body is Not capable of walking around.
Speaker 2:Yeah, she's staggering, she's crying, she's screaming, she's like atrophied and like, just like all this, it's so perfect and like this is a person that's just on complete sensory overload. Yeah. Without feeling like somebody who's acting at me. Oh she's phenomenal. It's like that's the worst possible thing you can be when you are playing like an anxious or overwhelmed character is acted at me.
Speaker 4:Don't fucking do that and she wants to help him.
Speaker 2:Yeah.
Speaker 1:In a big $100 million blockbuster. How do you get away from the big brother cops? You open your umbrella and step outside, like that is an amazing end of the sequence and we just get to move on with the movie.
Speaker 2:It's so good, oh, it's great. The sound design in this movie is, by the way, also incredible. I think it was nominated for the Oscar man. We're now in a hotel with Agatha.
Speaker 1:Confronting Krohg.
Speaker 4:We're going to confront the guy who killed Anderton's kid and he's seen the visuals but's seen in the vision. He's seen the building first. Then he sees the billboard of the sunglasses guy going yeah, he's seen fucked up numbers in the hotel, the woman laughing uh with the pipe in the lobby. Yeah, the dude watching porn at work the dude watching porn at work.
Speaker 1:That actor's name is william maypother. Oh yeah, that is the cousin of one tom cruise maypother. Oh, that's correct?
Speaker 4:yeah, why he kills it at watching porn at work. I'm not a piece of shit and it's what we do here.
Speaker 1:As he says, or as tom cruise says, I need to go forward. Agatha says don't go, you know your future, you don't have to do it. And that is the moment that she's pulling him back and he's pulling her forward. It's a two shot and if you can kind of conjure it in your head, it's, it's framed, so both of their heads exist 50 50 on the frame oh one looking one way, one looking the other way.
Speaker 1:Here's my hot take, best shot of steven spielberg's career. Oh, it is absolutely the entire film in a single frame. If posters were hot dog length, that would have been the poster and it was incredible. But it puts black bars on my tv. It is so good. That's the shot that breaks my heart every time because his conviction of going forward despite what she's telling him you control your future, you know your future, you do not need to go forward. It's actually. It raises the question tom, why don't you just sit in the lobby and not kill a guy? But that framing says this guy can't be stopped. He needs to go see he has to at least.
Speaker 4:He has to at least solve why he might kill this person.
Speaker 1:He knows they won't stop.
Speaker 2:Yeah it won't stop, yeah, it won't stop.
Speaker 4:They're going to keep chasing him and he doesn't really know that.
Speaker 2:Like, I agree that that shot is really really beautiful, there's a thing about his cat that really pisses me off, or my cat that really pisses me off is that they know they're really good looking. Yeah, that shot knows how good that shot is.
Speaker 4:And there's like a part of me that's like God damn it, stop it. But when he gets in there, that's when he sees what we call it an orgy of evidence. Dude hell yeah, he finds a photo. Well, he finds a photo of his son with whoever this dude is.
Speaker 2:Leo Crow. Leo Crow, the guy who Anderton's supposed to kill this whole movie.
Speaker 4:Just rewind real quick. Real quick, because when we first saw this vision, the words that were said were anderton wait, goodbye, anderton wait, and that leads to the gunshot, which is what we're sort of like building up building yeah to cruz's performance in this moment. I I just really, really the emotional grounding that he has when he sees the photo. She's like fucking slinking down the wall like you don't have to do this, and he's like, no, they're right, I am gonna kill this man, I'm gonna kill, yeah, yeah I'm not a I'm not a father.
Speaker 4:I've never. I I don't have a son, but, as paula said, I have a cat who I pretty much determine is my son and like he's your child this is my child, his performance there. I just I'm so emotionally there with him. I'm like you know what, yeah, if I thought this guy took my fucking eight-year-old son and killed him, I'm gonna fucking kill him.
Speaker 2:He's dead the moment when he decides not to kill him is maybe some of my favorite acting of his career through a brilliant career of phenomenal acting in a bunch of great shit.
Speaker 1:When he makes this choice of like.
Speaker 2:I'm not gonna do it, I'm not going to do it. And you want him to do it and you know he wants to do it and he doesn't and you're like do it, do it. And I'm not usually that person.
Speaker 1:The brilliant piece of business that the screenplay and the director give him is you are so heartbroken because you just found the guy that killed your son. He still doesn't know that he was set up, but in that moment he found the guy that killed his son and he's going to choose not to kill him and they give him the business of. You have to read the Miranda rights now and he's just crying through it. He's so sad. And then the biggest twist of the movie happens. As he's reading the Miranda rights, leo Crow says but then my family won't get any money You're supposed to kill me.
Speaker 4:You're not going to kill me. The guy said that if you kill me, my family Everything's gone, everything's taken care of. And that's when we get what are you talking about? And he's like no, I'm not going to kill you. And then Leo grabs his gun hand and he's like, let go of the gun.
Speaker 2:Leo, let go of the gun. He's like kill me, kill me, let go of the gun. I think tom cruise comes in to this situation with all these photos everywhere and all this other stuff and he's doesn't kill this guy in this moment because he comes, he's in the conclusion as a cop, where he's like something's fucking not right here. Yeah, that's part of why he doesn't kill him. Is like that's never revealed to us. I don't think necessarily like we wait for wit were to do that in this next scene, but I think about the orgy of evidence. But for me as an audience member, I remember my first viewing.
Speaker 4:I was like, oh, this is not right but that's what he he's on to that I think yeah, I think he's on to like there's something, there's something nefarious going, because the guy says, like the guy he came to me, he told me, if I pretend, I kill, you, kid. So he his gears are moving, like ours are.
Speaker 1:Gears are moving which is really great writing to me the introduction of Leo Crowe in the script is he walks in and Scott Frank calls out and he does something peculiar. He looks at his watch and like that immediately tells the reader time that like something is up with leo crow, but tom cruise is unaware of all that until he is reading the miranda rights. Yeah, I truly believe tom cruise is just like this guy killed my kid yeah and then the wave of why is all this all?
Speaker 4:here, yeah, and then let go of the gun. He's telling him to let go of the gun because he wants to arrest him. Uh, he's like come on, you're coming with me. And he's about to turn away, and and that's when he says, anderton, wait. And the goodbye crow is like you're going to jail. And he pulls the gun to himself and basically commits suicide with like by cop.
Speaker 2:Well, and then like falls out of the window.
Speaker 4:Yeah, just like the vision and then the vision the prophecy is fulfilled. And he's holding a gun, like it was. Everybody sees she's screaming, agatha's screaming, and like it happened, regardless of whether or not he wanted it to.
Speaker 2:And Witwer and the homies sweep like right in in the next scene. So this is where we get like that moment of Witwer being like you know how many like in my history, of being like a homicide detective, how many orgies I had, and it's like, Colin, be honest.
Speaker 4:You were in Alexander detective. How many orgies I had, and it's like colin, be honest you.
Speaker 2:You were an alexander dude. Many orgies, many, but like a man could have slipped in there. Who would have known? Who would have known?
Speaker 4:but in alexander mostly.
Speaker 2:Men, yeah, I'm just being creed from the office. But yeah, definitely no. But like the, when wit was like, you know how many orgies of evidence I had, like approximately or exactly. Fucking zero for both, like none. What is this?
Speaker 1:I'm sorry guys here's the point.
Speaker 1:Don't apologize where my love for this movie starts to actively take some hits because, it's minute 103, when Tom Cruise looks at a picture of his son on the bed and says I'm gonna kill this man. That is what we've been building towards. Holy shit, he's going to do it. At that point in the film there's 42 minutes left. Yeah, and that is an odd calculation by the filmmakers. Yeah, I do not know better than them. They're gods among men, but that is a weird choice. Not a weird choice. But that is a weird choice. Not a weird choice. But that is a deliberate choice and has one effect is the next sequence is really whitworth's sequence. For the next 12 minutes, he will lead the film and then it will result with the baton not getting passed back to tom cruise but to tom's wife. Yeah, and so for, that's the weird part for me.
Speaker 1:Effectively 20 minutes of the film after he chooses not to kill Leo Crow. Tom is not behind the wheel of this film and you can do that in a movie like LA Confidential, which is the hot movie right now as everybody is developing this film. It's the two biggest movies I would say like, as they're thinking that are comps for this if they're making this movie in 1999, 2000 are holy shit. The matrix is huge, holy shit. La confidential is huge.
Speaker 2:Not cool as ice.
Speaker 5:Not cool. Come and see, Wasn't like hey, he's not as proud of that.
Speaker 1:Otherwise I would have said Leo Crow could have been cool as ice Could have been vanilla ice Would have been drop that zero and get with the hero.
Speaker 4:I took a kid, put him in a barrel. I was gentle. I was gentle. Whatever, nick, I was gentle. Oh my God, I was gentle I was gentle, I was gentle, I was gentle.
Speaker 1:I may have some thoughts going forward because of that. Because we're although he's amazing, we have we, just as you were saying orgy of evidence hasn't seen an orgy. You quickly cut to some hot Colin detective work with Max. He's back at Tom Cruise's house. The single best closeup of Colin Farrell's life is in that scene, as he's like breaking down the scene. It's just like Janusz is just like got his twinkle in his eye and he's got like the the projector behind him and it's just like this really shallow depth of field, not a wrinkle on 27 year old, freaking Colin Farrell's face and he's just he's being smart and it's like too smart. This guy's great. And that's when max busts out the villainous line.
Speaker 2:Do you hear that?
Speaker 4:oh my god, dude, that's so good to come back to that yeah, kind of like no red ball this is a little spider, this is kind of where the movie picks up.
Speaker 1:Actually oh where, talk to me goose where?
Speaker 2:where's like this is all bullshit. What's really going on? Because I'm like chomping at the bit, to be like let's get to the thing. The witwer lamar like film study scene actually works for me pretty well it's awesome, I like that scene quite a bit the next scene with agatha what happens at the end of the Witwer scene he's dead, he's gone. Witwer dead. Witwer gets shot by Lamar because Lamar says oh, I hear no.
Speaker 4:But I love that Witwer has turned into John's ally at this point.
Speaker 2:Yes, it's great, and he's only his ally for a hot second, which, like as an audience member, you're like shit, now where do we go? That's the one flaw with that scene, and it's a big flaw, right. It's like you killed that guy and now we've got to have another person do the thing that I wanted this guy to do, or whatever, as an audience.
Speaker 4:It is an interesting like structural choice. Choice yeah, but you have to have lamar.
Speaker 2:Do that now, because you killed leo crow. You have to reveal lamar now. You have no choice this agatha thing where she's explaining like this is what your son would have been like as an adult.
Speaker 4:Like that doesn't float super much for me this time, watching for me yeah I, I actually cried in that moment and I don't know again, not a father. Yeah, it was the performance of watching. I mean, her performance is very muted and quiet and like she's good, beautifully, but it's watching them, listening and seeing these visions of what this life could have been. I don't know why it affected me more this time of seeing like what it would have been to have this little boy that changed their life and then ruined their life.
Speaker 1:Is it a beautiful scene in the wrong place?
Speaker 2:Maybe that's kind of how I feel that feels like an act two scene not an act three scene.
Speaker 1:It really asks us to be like whoa. Are we resetting everything in this?
Speaker 2:movie. That's how I feel.
Speaker 4:Thank you, it almost feels like and I think I understand why they didn't. I feel, if you, it almost feels like and I think I understand why they didn't do that, but it almost feels like he should have gone to his ex's place in the before the chased and kill leo crow it almost feels like he should have gone to his ex-wife's place and then like got chased out of there or something and had that little like sequence. Maybe yeah, because it does it the leo crow does feel like a cap that should such a fun climax to a movie?
Speaker 4:yeah, yeah, but we are on to the next mystery. Right, he gets hailed.
Speaker 2:John gets haloed he, yeah, he gives up, he gets haloed and and agatha goes back in the milk superpowers creepy, creepy, ass wally yep, dude, this is where he like leans in and he's like you're my number one gal, or whatever You're like dude, fucking chill out, and this is also when we get.
Speaker 4:you're part of my flock now, john.
Speaker 2:Yeah, tim Blake Nelson man, I love him in this movie You've been putting in the hours on Tim.
Speaker 1:He dials it up.
Speaker 2:I do like that. John Anderton is prisoner number 1109, not only because there's 11 in there. But Ben, what's nine plus one?
Speaker 4:Nine plus one is 10. Plus one, that would be 11. Illuminati I'm just saying the transition now to John is now and that was the hotel room too, 1109, wasn't it it? Was just nine, it was 11?
Speaker 2:Oh, 1006 or 1009, right.
Speaker 4:Not 11. I tried but the um the it starts to feel more and more like a slow boil Hitchcock to me, which is such an interesting choice for it to be in the third act. Right, it's a weird tonal shift, his wife has now gone, like she is now the protagonist, she's the protagonist of the movie for the next five minutes of the story.
Speaker 1:She's the protagonist of the movie for the next five minutes of the story. Yeah, she, it's not long yeah. But Tom Cruise is such a star that his absence creates a black hole, that it feels so much longer than five minutes.
Speaker 3:Whenever Poochie's not on screen, all the other characters should be asking where's Poochie?
Speaker 1:It's really almost just a scene, her and Max, and Max slips up and reveals himself to be the bad guy.
Speaker 4:I'll look into this and see who drowned. What did you say? Her name was?
Speaker 2:I said her name was Ann Lively. I didn't say she drowned, yeah.
Speaker 4:And the look on his face like but he can't kill her right here in his office before he's accepting an award, and his secretary is right there, well, and somehow anderton's eyeball is still working and she's using it it's still. It's still working, it's still working yep they're not deteriorated.
Speaker 4:They have a very. They have a backed up list of people they have to uh remove security yeah, yeah, the no-fly list in the minority airport world minority reports. Dc is yeah, oppenheimer got a security clearance. Clint snapped john anderton. Oh yeah, it's gonna take a while it's gonna take okay that's fair yeah, he was pretty deep in.
Speaker 2:He really was, and so this is the biggest thing about the movie, the whole crux of the movie, the whole idea of this movie. Everything is politically motivated by lamar burgess, who was one of the co-founders of pre-crime, and he is about to become one of the most powerful people on the face of the planet when we we find out that echo the murder of this woman and lively, and this is what we discovered a little bit with with dan whitworth, danny whitworth, right if?
Speaker 4:somebody if somebody saw that murder, saw how it happened, and then it's all over. He created it exactly the same way, they would see his neck go and erase it. And so this is when we get the reveal in the party right where he's accepting an award he's getting, like he said, general, or a general in the civil war would get a, a gun from the civil war.
Speaker 2:They would get this with gold-plated, gold-plated bullets.
Speaker 4:And they're. Except he's accepting this Cause this thing's going to go national, right, yeah, and he's getting all the accolades.
Speaker 1:And that's like a skateboarder getting sponsored. He's just really excited about it.
Speaker 4:And this is where it gets a little Ethan Hunty for me, where you.
Speaker 1:Oh yeah.
Speaker 4:He's having the conversation and he's in a hood and he's like roaming around.
Speaker 1:He's ghost protocoling it, yeah, yeah.
Speaker 4:But, they're projecting Agatha's current vision, which is the murder exactly how it played out, but it was Bill Lamar just replicating how it looked before it got stopped and drowning and lively.
Speaker 2:This is where, to me, the writing really sings a a lot. It's. There are so many threads in this movie, so many, and we basically come to the reveal and lively was one of those people that was like experimented on or whatever a homeless person, and is agatha's mother yeah and this is agatha's like motivation, this, and she knows who her mother is like this is.
Speaker 2:Agatha has skin in the game and it makes so much of the movie, makes so much sense yep like in terms of agatha's motivation for me, as well as, like anderton, coming to the realization of like, oh, these are like fucking people and what I'm doing is, and this whole thing and whatever lamar's thought up is like not the way they came after me. Yeah, they fabricated stuff about me. Yeah, like, what have I done to people?
Speaker 4:and he's not. Humanity is now on the on the run to find anderton in this kitchen.
Speaker 2:I don't yeah, yeah, party's over. Welcome to the party. You've been cogged.
Speaker 4:Yeah, and at the same time, the red ball is going right and it says John Anderton's going to get murdered, yep. And I think what is prominent here and what John comes to realization is that pre-crime might work maybe for part of the time but that's not enough of a time to arrest somebody right you can't be like. Well, they made it 75 chance they were going to kill that person, so we should turn them into vegetable and put them on the ground.
Speaker 2:Yeah, the final discussion between anderton and max von seed out beautiful like the way that anderton has planned that and executed it like. So basically, you're going to be hoisted by your own petard.
Speaker 4:Yep, one way or another yeah, like no matter what either you kill me you're gonna go away yeah or you don't kill me pre-crime doesn't work win yeah, yeah, you know your future, so you can change it. That's another aspect and this comes back to what you're saying the original script, because then he just decides well, I'll just kill myself I actually like that lamar, just I think it's a great choice. He's like well, I'm fucked either way, right?
Speaker 2:well and like I'm my, my way, my um, the implementation of, of my control, my old weird elk, slodge, creepy white dude like can go away now. Yep, like this is like my way is wrong and I'm sorry I did this to you, my son, my sean, like essentially, like it's really fucked up the way that max juancito legitimately is like this, is like my son and what he thinks he's willing to do to protect him because he thinks his son believes so deeply in what his father's legacy is or something, I don't know.
Speaker 2:It gets really murky with that, but I actually love that.
Speaker 1:Yeah.
Speaker 2:Their fucked up relationship is great.
Speaker 1:And he leveraged the death of Tom's kid. Yeah, again, he knew that he would be a good soldier, because this guy would just want to make sure that never happened to anybody else.
Speaker 2:He was always pulling the strings, like never trust your elected officials, but please vote.
Speaker 4:Just the way that it's shot again. Just rang as Hitchcock again. Yeah, because Lamar's in the doorway and the door light is just like cast onto the patio. It's an awesome shadow. It's a sharp shadow. It's gorgeous.
Speaker 2:And the smoke that rises between them after the shot. Oh my lord I'm sorry, my boy it's really good, so good but now, uh, john and laura, the john's original wife, whom, this is one of the issues.
Speaker 2:I have the happy, so this is my biggest issue with the movie still technically kill leo crow, according to their I think the gun just either went off and hit the window or went off and like sure it passed through, like a lot of the people they let go didn't do anything no I'm not trying to kill someone yeah
Speaker 1:I'm not trying to I think he has a witness that in samantha morton okay, I'll be like too, that's just hey uh, leo, kind of like wanted that shot to the chest yeah, and also like he was getting framed by a bunch of monsters.
Speaker 2:But hey, believe it or not, folks, we made it looks like we made it.
Speaker 4:Precogs get to live in a cabin in the woods which is only going to work out for them until Ash shows up and he's going to come in like hey guys.
Speaker 2:I do not like the shot transition whatever. Like the reveal of the precogs. It looks a little odd to me.
Speaker 4:There's something like uncanny valley or something. They're wearing bad wigs.
Speaker 1:I like the idea yeah, yeah, it's a lovely happy ending, sure.
Speaker 4:I don't know if I like their happy ending. I don't know if I needed the Anderton pregnant wife that feels so clean. Yeah, too clean. Like you're going to get back with your wife, who you broke up with in the first place, because you lost a kid together, which makes total sense to me.
Speaker 2:Yeah, that relationship. You had to go through this to process that and then be with your wife and start over. That's what it took. Yeah, it's like like, oh, to a degree, like, hey, we learned at the end of speed, like when you are reunited through, like at this traumatic experience. It can't possibly last.
Speaker 4:But let's have a baby anyway, but we're at the end of the movie yeah, we are at the end of the movie.
Speaker 2:I do agree, though. When he comes in from behind her and like holds her, I'm like, come on, like, and she's pregnant. It's a little much, come on.
Speaker 4:Anything you want to add before we rank this movie. Jono, I hate to tell you you're still my hero.
Speaker 2:You did well, thank you.
Speaker 1:So, man, I'm conflicted because I love your guys' love for this movie and it's so interesting I thought we would all doggy pile on what I believe is just the bloated third act. It is I agree, and I get like it is the tropes of the noir. It's actually the intent of Scott Frank from the beginning. He's like a mystery within a mystery. I just I think there is a way to tidy up both stories at a far faster clip. Maybe even at the same time.
Speaker 1:Yeah, I like in my head I was thinking like in that moment that Leo Crow is like I didn't kill him. I didn't kill him. He said he would set me up for life If you got to see Tom Cruise exit Sad Father and go back to detective for a moment and if we had given him all the clues to solve this. In that moment I'm in an exhilarated place. If he is like thinking of all the clues that have been there and then, holy shit, pre-crime is busting like about to bust down the door. He goes on the run. Both colin farrell and Max Van Sandow are like on the tail with the pre-crime unit because, like this is the capture of the prodigal son you know, and so like I think it could all happen at once. Yeah, and in my head that version of the climax would have to be like done in a deft way, but like everybody is still useful. But like, imagine in the end they run up to the roof of the place, like just to set it in a little more cinematic place than like the apartment. They run up to the roof of the place. He's fully surrounded, the freaking vehicles come in, max is there and his other enemy, colin Farrell is there, but Tom Cruise makes the case. I was set up by Max. Like he, he knows that the crime was repeated and like you would need to have him know and have him spot it before. And I and I got to thinking this is literally on the drive here.
Speaker 1:I was like why would Tom Cruise notice the waves Like you would? Just that's the key, that's the clue that that Colin notices Tom would have Cruise notice the waves Like you would. Just that's the key, that's the clue that Colin notices. Tom would have to notice them. Why would he notice the waves? Why would that be important? And I'm like, oh, there's a shot that comes out. Thank you, could have been added in act two. Remember in how sean disappears his son. Yeah, the lasting image is tom cruise is underwater looking up at his son and the watch falls in and it would create ripples and it's almost like if you replay those ripples three times in the movie and he's just focused on the ripples, the lasting impact, his son had on him wow.
Speaker 1:And so he's just, like, always thinking of those ripples. And then when he is in the mall with, with, uh, agatha, he's looking at her vision, he's looking at the other vision and he sees the ripples. He does not need to call it out, in that moment, he's just, he just thinks this is weird and he's more concerned where's my minority report? Like he's, he's split in his focus. So in climax you get to play all three videos. You get to play his mind, the little ripples of the watch. You get to play the precogs vision of the first death. And then you get to play the Max Van Sandow like other version and it just plays the ripples all three times.
Speaker 1:And in that moment Tom Cruise convinces Colin Farrell that's the bad guy, max is the bad guy and Colin Farrell, that's the bad guy. Max is the bad guy and Colin Farrell, that's his hero moment, turning on Max and it's a 2v1 that way. And I think that could have been the climax. That would be 5 minutes after the Leo Crow moment and you would solve it all right then and there, and I think like it could have been cool, like Max Van Sandow could still kill himself, like he could still like when they in fact, when they bust out the halo, to be like we have to arrest you, like Tom Cruise could grab the halo from that close-up and crack it in half. Be like that's not what we're doing. He killed somebody. Like there's no fucking pre-crime prison for the boss. He's going to real prison.
Speaker 1:Yeah, yeah prison for the boss, he's going to real prison. Yeah, yeah, and like max, max can back up and like choose to jump off or something and like imagine if he like jumped and landed in a fountain and there was ripples around him. I don't know, but like that to me is five more minutes of a film and it goes from being two minutes, two hours and 25 minutes to like a tight hour and 50 minutes. Yeah, and Tom Cruise is the hero from the beginning to the end. And that's my off the cuff pitch of how to do Scott Frank's job in 1999, when I was 14 years old.
Speaker 1:Like that is so. You were ready, I was ready. No, that that's like there's so many flaws with that idea. But, like in my head, I need to wrap this movie up within five to ten minutes.
Speaker 4:My only refute for that would be that feels like an action movie.
Speaker 1:Absolutely.
Speaker 4:And I think this movie is trying to sit pretty heavily into a noir at this point, that's my only, that's yeah.
Speaker 2:Yeah.
Speaker 4:I, which is why it takes itself very slowly. Yeah, yeah.
Speaker 2:I think I didn't really want to. We went through the third act more quickly, which is interesting because of how it is like a little bit oversized. But I just how it is like a little bit oversized, but I just I don't think I want to be that far away from the person that's been driving the story for that long and it's nice that they give him like this, I guess, on paper it's nice that there's like this opportunity for his wife to go in and be active and them to like reunite, but it's also not necessary for me.
Speaker 2:So it's one of those things where, when that ultimately does like happen we were talking about like oh maybe this needed to happen in a different order, I think, like going well, I'm sorry, studio audience or theater audience.
Speaker 2:This person, uh, as you have seen, has really been going through it and, uh, he doesn't have contact with that person anymore and he's kind of on his own but, I also understand, like ben, what you're saying, where it's like well, if we're doing our best to rewrite this, like how do we do it like kind of within the genre that's there or whatever. But I also agree where it's like there. The third act for me is like it can be a little bit of a slog at times and I do feel that this character that I've become really endeared to in danny witwer, uh where it's like why did you throw that away?
Speaker 2:like you just kind of took, you just kind of threw that away. You could have like endeared me to him more. You could like there are other things that could be, and again that's the most confidential moment.
Speaker 1:but yeah, what the?
Speaker 2:fuck do?
Speaker 4:I do? Yeah, definitely, but and also we, we got to see her go toe to toe with Tim Blake Nelson, so he goes. How did you get in?
Speaker 2:I guess I have the eyeball, don't you know, but now we need to.
Speaker 4:We need to rate this, and no one chose eyeballs I almost did out of here. So, johnno, you're the guest. You get to pick how you would like who, what order you would like people to share their new rankings, if they've changed I'll go last.
Speaker 1:Okay, I choose to go last, I'll go I'll go first, since I'm clockwise from you. I think that's fair. Yeah, dash, go right ahead.
Speaker 2:It's weird, it's difficult for me to bring this down, but I think I am at four cogs. I just I have so much fun with this movie. But y'all both, like just brought up a lot of good points where there are things and we heaped a lot of praise on this, but it is one of those things where there there are a couple points where the engine goes like I mean it takes a second to yeah, it takes a second to cough it out.
Speaker 2:But whenever we try, ben and I like to qualify when I say four. If somebody's like, oh yeah, that one best picture, I'd go. Oh okay, like it's not four out of five, but it's worthy of any and every accolade it could possibly get, because it's that good it's yeah it's a very high quality. It's up there with the great cruises and there are a lot of great ones there's a lot of great like there's color of money, there's cocktail and do you put cocktails above color money and then the recruit at the top?
Speaker 4:That's an interesting order. Junior crews and taps. I am going to be a hard four and a half balls, red balls, which is a totally great score.
Speaker 2:Wow, red balls.
Speaker 1:I'm going to be four orgies of evidence. Great yeah.
Speaker 4:We got four balls, four orgies. And what were you? I am four cogs.
Speaker 2:I just this is one of those movies where it's like if you're a psycho and you're like, I can turn on minority report in the background, do that. Do that, if you're not.
Speaker 4:Yeah minority report in the background. Do that, do that. If you're not, yeah, I'm looking right dead at you yeah, that's a psychopath.
Speaker 2:That's a psychopath? Wait, probably not at all, but I just want to make fun, I guess. Okay, but like also, if, uh, you don't want to put this on in the background and you want to sink into your couch or whatnot, it's just such a fucking quality film good, it's so good it's so well made I. I want to talk about the music for an entire other podcast.
Speaker 4:Tune in to Paul's solo podcast, where John Williams goes.
Speaker 2:You know what the feeling was in Jurassic Park, where we could feel this, or the feeling Like none of it feels like it's been recreated, but he's just so good at creating mood and tone. What a master, what a master.
Speaker 4:Jono, thank you so much. Thank you, guys, jono, our first. Spielberg.
Speaker 1:Oh, and I love Spielberg. He's on my Mount Rushmore. Yeah, 100% yeah.
Speaker 2:I abide by the four Cs as we've discussed Craven, carpenter, cronenberg and Kubrick. If you're a dash.
Speaker 4:Because he spell Kubrick with a C. Oh, that's such a dash thing, oh dash. Our bookend themes are Jamie Henwood.
Speaker 2:Our what are we watching? Theme is Matthew Foskett, our fun fact theme. Don't you know it, it's Chris Olds.
Speaker 4:Oh, fun facts, fun facts. We don't have a fun facts theme. Oh, we do now, but on our last episode, one of our last episodes, we did the Last Starfighter and Chris Olds was here and we were like, do you want to give us a theme for that? He was like I don't know, Fun facts fun facts.
Speaker 2:These are the fun facts. And now it's. I just put some flutes and some harp. Beautiful and now, jono, is there anything that you want to talk about? Anything you want to plug? Anything you want to pat yourself on the back for? Anything?
Speaker 1:like that. I'm writing a Shrek spinoff right now, so I'll plug that It'll be in theaters in five years. Starting Donkey Can't say Spoilers.
Speaker 2:Spoilers Awesome. I'm super looking forward to that. I love that you asked that DreamWorks question even more now.
Speaker 4:We were all like well, shrek, do you want to know my favorite movie from last year?
Speaker 1:Puss in Boots the Last Wish. I fucking love that movie. It's so good.
Speaker 2:I'm like afraid.
Speaker 1:I love Cats too much. I got hired for this movie the week that came out it honest to god. And then I went to that movie knowing nothing about it, and it felt like being on the on deck circle and having the previous batter just hit a grand slam, the crowd going crazy and you're like copy Okay, fuck, all right, great, awesome.
Speaker 2:I'm following that. Following that, by the way, ben McFadden does our interstitial themes. You can follow me on letterboxd at polluxbadly. You can follow ben on letterboxd at polluxbadly. Aside from that, mind your own fucking business. Thank you so much for tuning in.
Speaker 4:Where can they follow you if they want to?
Speaker 2:uh, my instagram is jono matt j-o-n-o-m-a-t-t you're about to get many dozen more followers dozens there are a dozen of them Dozen Love that.
Speaker 4:Thanks again, we're gonna sprint out of here sawing the air.
Speaker 2:We're gonna go very fast.
Speaker 4:And we'll probably have you back at some point. Thank you so much for coming.
Speaker 2:Thank you If you'll come back. You're coming back.
Speaker 4:See ya.