Hobbes & Shaw - Virgo Season Continues with a Story Told Almost Entirely in Visuals

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That was such a dramatic button push.

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It's take two.

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And we know it.

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We know it from that very dramatic button push.

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You want to tell me

just what we're dealing with here?

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It's my sister. Family business.

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When it's the fate of the world,

it becomes my business.

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Well, I guess for the beginning of this,

could you give me a

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why we are watching.

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There is so much in that. Why.

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Why, why are we watching this?

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More Virgo season, Another Virgo.

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Oh, cool.

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What have you done with your life?

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Take two: Virgo season

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is what we all agreed on yesterday.

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I took notes For God sakes.

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It's on the *bleep*

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group calendar.

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but that's it. So it was Virgo season.

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Yes. Because it's Robbie and Jaclynn’s

birthday weeks.

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And so we picked favorite movies

and I mine was inspired

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by the fact that I watched it

literally on my birthday in: 2019

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And it was great.

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And in part I think it was great in part

because it was just a great day.

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It was my birthday,

my first sober birthday.

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I had a milkshake that I was obsessed

with that I think about all the time.

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please read the milkshake recipe.

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It's called the Samoa cookie shake.

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Cookie, vanilla

ice cream, dark chocolate and caramel

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roasted macadamia nuts,

coconut cream and toasted coconut flakes.

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It does a lot of storytelling efficiently.

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like,

this is the movie I hope to make one day.

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Like, It sets up the story really quickly.

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It does some visual stuff.

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You know exactly what you're doing,

what the tone is.

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So it does it really well.

Really quickly in your in.

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I had a very specific experience

watching it the first time, which was,

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I thought,

I thought Jaclynn was going to hate me

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because I was watching it and I was like,

oh my God, this is like,

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I do not like this.

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Like I really do not like. Starts off

not that great. Yeah.

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And but it and it sort of continues.

Not that great.

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And and there's a he slid that.

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No no no but like I recognize how skillful

like how skillful it is.

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I recognize how well it's made.

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I recognize that it has all these elements

of things that I love.

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It's got witty banter.

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It's got, it's got funny cameos.

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I actually laughed a lot we should note

that my experience watching this was.

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Me quoting it before it happened.

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Yeah. You were watching.

Yeah, I was that person.

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Were watching it

as if I had also seen it 12 times.

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Yeah. I mean.

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nobody should watch a movie with me, I do.

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I was like, we're going home.

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And then like, like Hobbs is like,

we're going home.

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And Cole's like, really?

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Really?

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Yeah. I'm sorry.

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That's rude because I thought

I thought the exact opposite.

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like, I thought, oh, I should be

watching this with Jaclynn and Cole.

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Like, that's what I thought. I agree.

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it would be a bummer to miss out

on, like, this fun, absurd experience

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that I get to take,

like my serious friends through.

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And like,

this is actually really well done.

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But also there's like a sense of humor,

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playfulness and absurdity to it

that I want everybody in on.

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So the only thing that would be

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I wouldn't unfriend you guys

if you hadn't liked it.

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in trying to get myself hyped.

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And that is what this requires.

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It's a hyped movie.

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I realized David Lynch directed it

and I gasped.

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is now a David Leitch Fan Club podcast.

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And his wife to his wife is executive

produce is everything he does.

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And I have no doubt she's actually

a giant part of why everything works.

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I'm like, why so?

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Well, he's such a good director, mean,

you should actually probably Google him.

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And like, I did this before.

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Guy that the guy.

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Yeah I love fall guy

I a thing that will never stop

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making me upset

is that fall guy wasn't a giant success.

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Yeah, yeah.

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The promise before it

like oh my it just so. Yeah.

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So he, David Leech was a stunt guy,

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and then he was a stunt coordinator,

and he, like, he loves stunts.

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He loves stunt people. He loves.

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And so everything he does, especially fall

guys like a love letter to stunts.

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And I think you see it so

well in this action film of the precision.

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And it's such a like high, low

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mixture of like believability

and absolutely unbelievable.

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And it is it's like, I believe that Hobbs

took his giant muscle arm out

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a window and like, picked up somebody off

a motorcycle, like I believe it.

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Even though, like.

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Physically and. Physically.

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Yeah.

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There's no amount of strength

that prevents broken joints like whatever.

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Yeah. Yeah.

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And so it just it's very believable.

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And he, I just think he does

genius up. So he did John Wick.

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Oh he did.

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Blond. I telephoned. Yeah. He's done

all the John Wick.

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I think he was on all of them.

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But I think he's like uncredited

on some of them.

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Or he

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I thought Cole had seen it.

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I did a you admitted you had it right.

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You tried when you said 12 minutes in.

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Oh no, I don't know

if I'm going to like this again.

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Don't call it always given up. That was.

Yeah.

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That's okay.

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Yeah. And I was like, yeah, I get it,

I don't get it.

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I think you're right about the beginning.

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Like it just it sets up everything.

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It's going to be And I knew exactly

what I was getting into.

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a thing that I feel strongly about it

is so visually perfect.

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the precision of the visuals for me

is what really gets me.

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they didn't speak for like 12 minutes

that's like the whole arc of the story.

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That was the thing.

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The thing I want to do is I want to

sit down and I want to go shot by shot.

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And I also want to sit down and count

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the amount of dialog

because there's not much dialog.

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If you take out the insults.

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it's even

because insults aren't really dialog.

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It is.

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It's mostly like punchy one line

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jokes, the insults

and like a tiny bit of exposition,

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I think it's visually precise

in a way that I find extremely impressive,

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what I actually want to do with this film

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is I want to sit down

and talk about every shot,

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And this is a storyteller

talking about the story, but I.

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Really shot has a.

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Story it does if you watch the

like editing and the visuals,

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so the the opening scene comes

in, they're juxtaposed next to each other.

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It's like split screen.

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And you start to see Hobbs

and you start to see Shaw.

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starts to happen

is that they're very much the same.

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Yeah.

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And like they do that

so visually throughout it so many times

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and I loved that.

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So at the beginning, you already know that

these are two dudes who think they're

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diametrically opposed to each other,

who are pretty much the same.

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And so you already start

like connecting it visually.

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And so they're both like eating eggs,

but they're eating eggs differently,

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like they're both in bed, but

they're both like in the same size bed.

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And garage doors

open on the exact same playing frame.

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They answer the phone, right.

They both answer the phone.

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They hear that they're like on a mission,

and they both give it a B

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and then say where

they see it at the same time.

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Well.

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That's cool.

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Right? They're not like asking details.

They're not asking how.

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They're just like where I know it's

now and I'm going to go

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But what was really cool to me

and this is like cinematography

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nerd stuff, but like a lot of times

characters will have a color story, right?

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So like and maybe that color

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will shift over the film to like show

what they're going through.

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But so for, big part of this, like,

juxtaposition, Hobbs is, rust colored

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and Shaw is blue very, very clearly

and like so each side of the screen,

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you have your color story and like, rust

colored on the left and blue on the right,

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and you're kind of following them around.

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And in my mind I'm like,

okay, each has their own color story.

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and then all of a sudden

they get in their cars and the color swap.

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but the characters stay the same.

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And to me, that was like such a, like,

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subconscious thing of like,

they're the same, right?

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Like it's

like they're these two different people.

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But yeah, like the color switches

and it switches on the side of the screen,

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but the colors stay, the characters

stay the same,

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and just the ways that they're like

constantly trying to show you that

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these guys are actually, like,

much more aligned than you would think.

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And I love that because, like,

one of the things I don't like

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about films like that

I didn't like about Freaky or

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Friday was like, there's so much yelling

and there's so much like disagreement.

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And so I like that visually.

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They weave the two of them together

in ways that like make your brain like,

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calm your brain and weave them together

in a way that's not so discordant.

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I just think that's really cool.

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Like the visuals

me are like more than the story.

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So I put you to a hard task, right?

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Like we're storytellers talking story.

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And mostly I'm just obsessed

with what they do visually.

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But anyway, that color thing

was really another thing

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that I like rewound

and kept watching, being like,

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when does that switch

and why does it switch?

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And do the character switch back?

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At first,

when the switch happened with the cars,

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I was like, so angry

because that's a mistake.

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This guy, this this guys.

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Yes, we made the switch.

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Yes, I noticed it

I noticed it in the theater.

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It's very jarring, but it's also like,

oh, that's like a it's a choice

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because they're interchangeable

to an extent.

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I like that it's an element of story

because it absolutely is.

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It is.

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I mean, I.

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Kind of. An eye roll.

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Of the, the channel that's

being the medium, that's being used.

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Right.

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each of his stunts has a story to. Yes.

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It's arc.

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there was a scene where, Vanessa Kirby

and the Rock are fighting at the beginning

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because he's cornered her

where he basically picks her up and lifts.

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Her from there.

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One hand.

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Yeah, yeah, with one hand.

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And it's just like this far away shot.

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And then you get his face

saying something,

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and then you get her looking down

and it's like she's she's capitulated.

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Yeah.

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And I really there was something

very like, both grounded and sort of,

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and just sort of amazing about it,

he is so big and so powerful.

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And she's so tiny. Yeah.

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and this is where these two people end up

in this particular situation.

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I really I liked it.

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And it needed to be shown

because it's like as much as we can

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pretend that, like, she's a badass

and like all these impossible

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things are happening,

you do kind of need to be like.

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But she's also like, he literally

could pick her up with one hand.

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Yeah, and just hold her at bay.

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They gave her a great amount of power.

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Like two scenes later, even two lines

later where the Rock is interrogating her,

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and he mentions you learned a lot

about a person by fighting them.

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I don't think you to this person

because you were not fighting to kill me.

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You were fighting to get away.

You got it, right? Yeah.

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They do.

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They keep the I agree, like, it's like

she got kind of bested in an easy way.

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But she never loses her,

like, power or autonomy.

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Like I don't feel she was unsafe

and I didn't I wasn't like, oh yeah.

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Once again, like, the lady's too

tiny and weak. Yeah.

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I mean, you're right.

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It was like you weren't fighting to kill.

So yes, or I'm not dead.

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Those are the types of things

that I wanted more of like

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there wasn't a lot of chemistry

between the two of them,

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but those kind of things

are the things that build chemistry.

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You're like, yeah.

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Oh my God, this guy sees me. Yeah.

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Like whether it's not romantic,

it's just like, okay,

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this guy doesn't think that I did this.

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That to me was a big chemistry.

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Yeah.

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It was it was like very seen

and like very understood.

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And when he comes back later

with the quote that and she says

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is that Nietzsche and and and she and

he says and he says, no, it was Bruce Lee.

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I was like, that's great.

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Like that's you know, it's

it's like it's so clever and so fun.

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And and it was the callback, right? Yeah.

It was a callback.

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And then and then and then he was like,

no, it's Bruce Lee.

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So good. Yeah. Jeff reminding me

I loved that.

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as an element of relationship building.

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It was just very effective for me.

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Was so good at, effortlessly

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getting us to the next thing

that there was a cut from the Rock

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crewing up or suiting up

and getting ready for the fight

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that when they cut to a close up of Idris

Elba, in my mind,

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I was like, the next shot is going to be

this whole army of the bad guys in Samoa,

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and we're going to skip

all of the traveling in between.

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We're just going to go with it.

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Yeah, they didn't do that,

but it was almost just as quick.

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It was.

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But yeah, they're they're fast.

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It's I think it's really efficient.

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This is certainly very smart escapism

it just pushes you along

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and on its own, on its own merits,

on its own rhythms.

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And it's a lot of fun to watch.

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it was amazing how quickly the story

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set me up to accept the unbelievable,

like the physically impossible.

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Yeah, yeah, yeah.

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And I was just, like, accepting,

accepting, accepting, accepting,

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accepting,

and I was ready to accept the entire film.

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But now, in retrospect and near

the end of its Jaclynn had won.

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I lose that So we're watching it.

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And this bothered me in the theater,

and it's bothered me every time.

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And this is the first time

I finally, like, paused it

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and like, went back

and then went shot for shot.

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in the last scenes were in Samoa

and the fight is going on.

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Hattie Vanessa Kirby now has a timer,

a little timer

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strapped to her back of 30 minutes, 28

minutes, 30 minutes.

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It is. Count it.

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Yeah, it's perfectly 30, which I also find

a little ridiculous, but that's fine.

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30 exact minutes strapped her back.

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You just elbow bad guys. I'll show up.

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Pitch dark.

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Pitch dark. Middle of the night.

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Absolutely black. Dark night.

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We see fire going up the lake.

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Jason Statham gets in his big fancy

truck and, like, drives

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a ring of fire around,

you know, very Johnny Cash.

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And then it suddenly day.

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Yeah.

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And close like, well,

maybe like maybe the sun has come up

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and I was like, no, it like it's been.

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And then we get a shot of this

like countdown clock

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and it's been nine minutes.

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And even if you're like,

okay, maybe the sun has come up,

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like maybe we were at dawn

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and maybe I'm seeing, like,

something peak over the horizon.

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Even if you do that still it's like

ten a am, like it's so bright.

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It's like 10 a.m..

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And it drove me crazy.

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And as Cole said, he's like this.

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Like, you've sat here now for two hours

and 20 minutes and this is the thing

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I was like, yes, that brought you out of

that is yeah,

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we've all agreed

this is taking place on Planet Earth.

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Yeah.

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The rules of Earth are the same.

Everything else I've said.

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Okay, fine, this is a special thing.

But yeah, it really bugged me.

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And so we went back

and I will say again to the editing

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and the efficiency of the editing, because

Cole was like, cool is fine with it.

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He was like, no, I'm in.

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And so I'm like, okay, what happened that

that we were okay with it.

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So it goes pitch dark, pitch dark.

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They go, we need a chopper.

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I don't know why I always have to say it

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like Arnold Schwarzenegger,

but we need a chopper it cuts to a chopper

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in front of the sun like a rising sun.

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And then you come back in there

in the light and so close, like, oh,

319

: 00:13:45

I saw sun and I, I, my brain said, yeah,

the sun is now up and I'm in.

320

: 00:13:50

And I thought that

that was really interesting.

321

: 00:13:51

So they do a really the

I think the editing is also fantastic.

322

: 00:13:55

Yeah, fantastic.

323

: 00:13:57

And I think that that was a good example

of sort of like I'm so curious.

324

: 00:14:00

Like I want to ask him like I assume

they ran out of days to film.

325

: 00:14:03

So they can keep filming at night

or it was a choice

326

: 00:14:08

where they were like, the fire stuff looks

so good in pitch dark,

327

: 00:14:12

but the actual climax fight scene

needs light to see it.

328

: 00:14:17

Yeah,

329

: 00:14:18

because you're not going to have

the same thing with like,

330

: 00:14:20

the trucks

stacking up in the middle of the night.

331

: 00:14:22

Like you need the contrast,

you need the light. So I want to know.

332

: 00:14:25

I want to know, like,

was it just a big f up?

333

: 00:14:26

And they were like, well,

we got to do what we got to.

334

: 00:14:28

Do or just where.

335

: 00:14:30

when we were talking about, I was like,

336

: 00:14:32

they're facing all the fiscal constraints,

all the time constraints.

337

: 00:14:36

And this is the point where they break.

338

: 00:14:39

And yeah, you were like they said, nope,

not worth it.

339

: 00:14:42

Yeah. Daytime.

340

: 00:14:43

We're not making Andre's

kitchen deal or kitchen.

341

: 00:14:47

We're not making Andre's kitchen or meal.

342

: 00:14:50

My dinner

343

: 00:14:51

with Andre.

344

: 00:14:53

Well, they're not making Andre's kitchen

either.

345

: 00:14:57

They're not making my dinner with Andre.

346

: 00:14:58

They're not making also.

347

: 00:15:00

With, heat and weight.

348

: 00:15:03

Have either

you seen, My Dinner with Andre? Yes.

349

: 00:15:06

Should not.

350

: 00:15:07

Dave, has Kwesi be Andre in a remake?

351

: 00:15:10

Oh, I can see that.

352

: 00:15:11

I can see that.

353

: 00:15:12

Yeah. Yeah, I think about that every day.

354

: 00:15:15

I feel.

355

: 00:15:15

I feel like I'm back in film. School

and I'm so cool.

356

: 00:15:18

Because I'm talking about Hobbs and Shaw

and you guys. No no no no. So.

357

: 00:15:21

So I was on my phone and it

and and it might have felt

358

: 00:15:24

like I was ignoring you,

but I was looking something up,

359

: 00:15:27

you see?

360

: 00:15:28

Then I'm going back

to. Have the best of. Us. I'm going,

361

: 00:15:32

did you

ever see, the Blues Brothers? Yes.

362

: 00:15:34

at the end of the movie

or near the end of the movie, right

363

: 00:15:36

before the big car chase with other cops

364

: 00:15:38

and everything, they have just performed

at, like, 8:00 at night, right? Yes.

365

: 00:15:42

and then they go under

and they get in their car

366

: 00:15:44

and there's that famous line.

367

: 00:15:45

It's 106 miles in Chicago.

368

: 00:15:46

We have a cigaret for.

369

: 00:15:48

and then they start,

and then the car chase begins

370

: 00:15:50

and then there's a lot of car chases

and then there's like a fade out

371

: 00:15:54

and then the fades up again

and it's morning. Yeah.

372

: 00:15:56

And they're driving through Chicago

373

: 00:15:58

and I don't know where they were,

but it was like: 10:00

374

: 00:16:00

And then it was sunrise.

375

: 00:16:02

And to drive 106 miles is like,

I don't know, it's like maybe two hours,

376

: 00:16:06

maybe an hour and a half.

377

: 00:16:07

And so, like I remember clocking that of

going like, wait a minute, wait a minute.

378

: 00:16:11

It was like it's two hours later, but

it's like eight and nine in the morning.

379

: 00:16:15

But there's something about the, thinking

or the atmosphere of thinking

380

: 00:16:20

that they've been driving all night

and they've been been chasing all night.

381

: 00:16:23

The vigil. Had to be.

382

: 00:16:24

Okay. Yeah, yeah, yeah.

383

: 00:16:25

Like, sure, sure.

384

: 00:16:26

Like and that's that's

what this should feel like.

385

: 00:16:28

And you feel like, you know.

386

: 00:16:29

And I don't know if that's the

387

: 00:16:32

if that's the case with this

because I didn't even catch it.

388

: 00:16:34

I mean, it bugged me in the theater.

389

: 00:16:36

Call was like,

I can't believe you think that

390

: 00:16:37

I've seen this as many times as you have

And you didn't think about it?

391

: 00:16:41

But so I do wonder a little bit

392

: 00:16:42

if they did pickups

393

: 00:16:43

on the timer on her back, if they realized

like they added that in later

394

: 00:16:47

because it does sort of have a feeling

of they fall through the night.

395

: 00:16:51

And this is like a really long battle

because the fire goes down

396

: 00:16:56

like we do, start to see the fire go down

and it's much lower and the data.

397

: 00:17:00

And so it has this feeling of like

all night long this has been happening.

398

: 00:17:02

And now we're like in the dawn of day.

399

: 00:17:05

But the thing that totally messes

that up is like,

400

: 00:17:08

it's been nine minutes

according to the timer on my back.

401

: 00:17:11

So I wonder like also,

perhaps the plan was that

402

: 00:17:14

it was like this whole long thing,

but they felt like

403

: 00:17:16

the stakes weren't high enough

or there wasn't enough urgency.

404

: 00:17:18

So then they're like, we should probably

add a timer in on Vanessa Kirby's back.

405

: 00:17:23

Yeah, I don't know.

406

: 00:17:24

I'd love to ask

I have a personal history with

407

: 00:17:27

timers that is fraught.

408

: 00:17:32

Sure.

409

: 00:17:32

a frequent collaborator and award

winning mystery writer,

410

: 00:17:37

somebody you've worked with also,

we started doing documentaries with

411

: 00:17:41

and in Mystery World.

412

: 00:17:44

A ticking time bomb is like the number one

suspense device.

413

: 00:17:48

Sure.

414

: 00:17:49

And working with, like, people

tangential to mystery writer.

415

: 00:17:53

They all they're only note for every like,

dark scene that we did was.

416

: 00:17:58

So we put a timer on screen.

417

: 00:18:01

It's the timer big enough.

418

: 00:18:04

how do we feel about the timer.

419

: 00:18:06

You're like what about everything else

that's happening in the scene. Right.

420

: 00:18:09

You know. That time.

421

: 00:18:10

What about

when like essentially the Prince of Saudi

422

: 00:18:13

Arabia says I'm going to murder you okay.

423

: 00:18:16

But how long does it take.

424

: 00:18:18

Yeah that that's an okay,

So I hate timers.

425

: 00:18:22

But I. Mean, with.

426

: 00:18:23

Maybe the studio noted that was like,

you know, this needs a timer.

427

: 00:18:27

And it does. It works.

I mean, it does like, we know, we know.

428

: 00:18:29

We have been told through this whole

if we're going to get into plot and story

429

: 00:18:33

for this film. Sure.

430

: 00:18:34

We have been told the whole time

that it's going to take her 30 minutes

431

: 00:18:37

to get her out and like,

she needs a special machine and it needs.

432

: 00:18:40

So I mean, you do kind of need to see it,

but it makes I got new idea.

433

: 00:18:44

Yeah.

434

: 00:18:45

the timer is destroyed in a big

in a big truck accident,

435

: 00:18:49

and now it's on her back, and she has been

436

: 00:18:52

in a helicopter

that then just plummeted to the ground

437

: 00:18:56

and then I was like,

oh my God, one of the boxes broken.

438

: 00:19:00

And then she gets up.

439

: 00:19:02

She's like,

she's been thrown out of the helicopter.

440

: 00:19:04

And all of a sudden.

441

: 00:19:05

It's off and.

442

: 00:19:06

She's on her back and she gets up

and the thing is fine.

443

: 00:19:09

And I was like, oh, come on, iPhones.

444

: 00:19:11

IPhones

should be made of this kind of material.

445

: 00:19:13

Yeah. Yeah.

446

: 00:19:14

They made a big deal

about how delicate the.

447

: 00:19:18

Yeah, yeah it was. Yeah. Yeah.

448

: 00:19:20

She literally lands on her back.

449

: 00:19:22

Yeah. She. Yeah, yeah. It was like.

450

: 00:19:23

It really fell apart towards the end.

It does I'm sorry.

451

: 00:19:26

That's a start to question

a lot of things to the very end.

452

: 00:19:28

That's another thing at

453

: 00:19:30

I don't have an issue with this

because I've been under similar pressure

454

: 00:19:34

to not do something realistic because

we're shooting a Broadway commercial.

455

: 00:19:38

We need to see Jessica Chastain's

fucking face Put her face on it.

456

: 00:19:42

Yeah, it doesn't matter.

It doesn't matter if it's real. Yeah.

457

: 00:19:45

Whereas, like, the real scene is like,

she covers her face.

458

: 00:19:48

Right? With her hands to weep. To weep.

459

: 00:19:51

Yeah. We got. Gotta.

460

: 00:19:52

There's gotta be. Smiling.

461

: 00:19:53

Pretty glamorous, dewy face.

That's great.

462

: 00:19:56

every time that there is a very story

driven,

463

: 00:20:00

reality driven reason

that they need to have a mask on,

464

: 00:20:04

it is on one second.

465

: 00:20:07

There's some reason we see. Yeah.

466

: 00:20:09

I'm sorry.

467

: 00:20:10

We are too good looking for these.

Stay on.

468

: 00:20:12

I'm getting on a motorcycle.

I better take this off.

469

: 00:20:14

Yeah, literally. They do.

They put them on, but they're gone.

470

: 00:20:17

Yeah, those are way

too too many hardy bodies to be put in.

471

: 00:20:21

Yeah. I'm actually.

472

: 00:20:23

The other thing that really takes me out,

like big time is all of a sudden

473

: 00:20:27

Jason Statham, all of a sudden

Shah starts talking very sideways.

474

: 00:20:31

And it just it happens all of a sudden

you just you're just not you.

475

: 00:20:35

Did you notice it? Do.

476

: 00:20:36

Yeah. When he was driving. Yes. Yeah.

477

: 00:20:38

I read about it online

and I guess it's like it's

478

: 00:20:41

a thing that your mouth does

if you have a Cockney accent,

479

: 00:20:44

which he does, and he plays it

up really big in his movies.

480

: 00:20:49

So it's sort of his like action

figure voice.

481

: 00:20:52

just noticed that. Yeah, you did.

482

: 00:20:53

Notice it, you know, except. For.

483

: 00:20:55

But like. Yeah, yeah, it's crazy.

484

: 00:20:57

Yeah, yeah, I.

485

: 00:20:58

Think they do a lot of, action

movie voice.

486

: 00:21:02

And so I think that was him doing action

movie voice.

487

: 00:21:04

I like when Kevin Hart made

kind of fun of it

488

: 00:21:07

when he started talking like that.

And they're like, what are you doing?

489

: 00:21:09

Yeah, I like that. I did. It.

490

: 00:21:11

That was the most

I've ever liked. Kevin Hart.

491

: 00:21:13

Yeah. Hey. Yeah.

492

: 00:21:15

I don't really.

493

: 00:21:15

Like I don't like, heavily dislike him,

but I'm just like,

494

: 00:21:18

I know that he is not my cup of tea. Yeah.

495

: 00:21:20

And I've had his fans

496

: 00:21:22

tell me so specifically the ways

in which he is not my cup of tea.

497

: 00:21:27

And just dunk on me for it.

498

: 00:21:28

At the end of the longest shoot.

499

: 00:21:31

Of the year,

I called you from the Staten Island Ferry

500

: 00:21:35

to say they sent me on a shoot.

501

: 00:21:38

And we don't have any, like, location

permits.

502

: 00:21:41

Paper signed.

And it's sort of like a brand.

503

: 00:21:46

They're not

gonna be able to use any of this footage.

504

: 00:21:48

This entire shoot

has been a waste of a day.

505

: 00:21:51

And the pas Chanel

506

: 00:21:53

the most earnest person in the world.

507

: 00:21:57

Just a great human.

508

: 00:21:58

She was like, well,

we can still just enjoy this ferry ride.

509

: 00:22:03

And, And I laughed.

510

: 00:22:06

Really hard.

511

: 00:22:07

Like it was, That was hilarious.

512

: 00:22:09

Sure. Now, I didn't know you were, so.

It's just amazingly funny.

513

: 00:22:12

And it's like, that wasn't

514

: 00:22:14

a joke to you.

515

: 00:22:16

That's the definition of earnest.

516

: 00:22:19

That's great.

517

: 00:22:20

And so we got into a really long

discussion of, like.

518

: 00:22:23

So what's funny to you?

What's funny to me?

519

: 00:22:26

She loves Kevin Hart.

520

: 00:22:27

Loves Kevin Hart, the jungle.

521

: 00:22:30

Jumanji, Jumanji.

522

: 00:22:32

That was the funniest movie.

523

: 00:22:33

that was her favorite funny movie.

524

: 00:22:35

Yeah.

525

: 00:22:35

And she, she had me describe, like,

what I thought was funny.

526

: 00:22:39

I was like blah blah blah blah blah.

527

: 00:22:41

I was like, I guess you could call it like

528

: 00:22:44

dark humor.

529

: 00:22:44

And she's like, I don't think that's

you like dark humor.

530

: 00:22:47

So like deadpan.

531

: 00:22:50

I was like, yeah, deadpan.

532

: 00:22:52

And she said, oh,

so you don't like funny stuff,

533

: 00:22:57

That could describe you pretty well.

534

: 00:23:00

We'll get to this with favorite lines,

but I like how I like that

535

: 00:23:03

this plays with genre

and it makes fun of itself within itself.

536

: 00:23:07

And it calls to other things.

537

: 00:23:09

and it doesn't feel tired in the way

that like a lot of meta stuff can.

538

: 00:23:13

So I think he does a really nice job

of sort of being a character

539

: 00:23:16

that makes fun of.

540

: 00:23:17

It's like it's making fun of the movie

during the movie

541

: 00:23:20

in a way that's like a helpful, I think.

542

: 00:23:23

Robbie, did you not like it?

543

: 00:23:25

You're just afraid to tell me

that you didn't like.

544

: 00:23:26

No no no no no.

545

: 00:23:27

I did it, okay.

546

: 00:23:28

it's one of those movies.

547

: 00:23:29

If I saw it on TV, I would send it

and watch it for a little while.

548

: 00:23:32

the big problem I had with it

and problem might not be a word.

549

: 00:23:35

It just wasn't my cup of tea

in terms of like that.

550

: 00:23:38

heat and weight situation,

the weight and heat situation.

551

: 00:23:41

Like I really, the relationships

really need

552

: 00:23:44

to be strong for me

to really be engaged in this.

553

: 00:23:48

and for me,

like all the elements of, of those things

554

: 00:23:53

were there without them

actually having any heat and wait for me.

555

: 00:23:56

That's fair.

556

: 00:23:57

I mean, no,

557

: 00:23:57

there was sort of stated and said,

but they don't necessarily have heat.

558

: 00:24:01

Right. Yeah.

559

: 00:24:02

I would disagree with for each of us,

what is heat and weight

560

: 00:24:05

and how can we describe. That.

561

: 00:24:07

I were to just, sum it up in eloquently.

562

: 00:24:09

Heat is chemistry, So it's like the level

of intensity of the relationship.

563

: 00:24:14

Yeah.

564

: 00:24:15

and weight is like how grounded and earned

is something the weight is more about

565

: 00:24:20

like the level of intensity of the scene

or the level of.

566

: 00:24:23

the level of caring, the level of concern,

the level of whatever it is

567

: 00:24:26

you're playing in the moment.

568

: 00:24:27

they complement each other.

569

: 00:24:28

this is a movie about family

570

: 00:24:30

and this is a movie about families

standing up for each other,

571

: 00:24:33

and this is also about, family members

who have betrayed one another.

572

: 00:24:38

In, in some context.

573

: 00:24:40

And I found myself not caring and,

because.

574

: 00:24:45

Things had not been set up in a way

that like, lent

575

: 00:24:48

depth to,

people's feelings about one another.

576

: 00:24:51

where there was we care about family,

this is about family.

577

: 00:24:54

But it's not.

578

: 00:24:55

It's told. It's not shown.

579

: 00:24:56

if something is going to tell me

that it's about something,

580

: 00:24:59

then I want it to be about the thing

that's telling me that it's about.

581

: 00:25:02

And and if it doesn't, then

but the thing that you said about it

582

: 00:25:06

being part of a larger universe

and that might be somewhere I will say

583

: 00:25:10

it is a spin off of like a nine series arc

that even I haven't seen.

584

: 00:25:15

So it is funny

that I have such love of it, but I think.

585

: 00:25:19

That would.

Have how much like a marvel movie.

586

: 00:25:21

Yeah, I think a lot of it comes from like,

you have this history over nine movies

587

: 00:25:25

or whatever it was when this one came out

yeah, yeah.

588

: 00:25:28

I think they shortcut some of that. Wait.

589

: 00:25:29

So I think it's a, it's

you can watch it standalone as we all need

590

: 00:25:33

and like understand it

and they give you enough.

591

: 00:25:36

I don't know that the fast

592

: 00:25:37

and the furious movies are known

for their like depth of emotion.

593

: 00:25:41

So I don't know that it ever gets like

heated and grounded as we would say, like,

594

: 00:25:44

you need to know what's happening.

595

: 00:25:46

You need to have the history and.

596

: 00:25:47

Like to read it. Makes it.

597

: 00:25:49

Yeah, yeah,

it makes it a lot more enjoyable.

598

: 00:25:51

And it makes it a lot more enjoyable

with, like, a huge group of people.

599

: 00:25:53

That's a so. Yeah.

600

: 00:25:55

so it wasn't that I didn't like it,

it was just that

601

: 00:25:57

I think there were parts

of parts of the movie I couldn't access.

602

: 00:26:00

That's fair.

603

: 00:26:00

didn't.

604

: 00:26:00

That was the most diplomatic way

that you could describe the situation.

605

: 00:26:05

It's a it's I made it.

606

: 00:26:07

I can access. Yeah. You break up line.

607

: 00:26:12

I mean, I think you said this before we

started, like, it's not the movie's fault.

608

: 00:26:15

I didn't like it.

609

: 00:26:16

It's just like a bunch of people

made the movies.

610

: 00:26:18

A bunch of very skillful

people made the movie,

611

: 00:26:20

and and they made this thing,

and it's like, well, okay, it didn't.

612

: 00:26:24

I mean, I'm going to do some things

that people don't like.

613

: 00:26:27

I've like, I've had people walk

out of things that I've been doing, and.

614

: 00:26:29

That's such a that's such a brag.

615

: 00:26:32

And what.

616

: 00:26:34

Having people walk out of stuff

you've made, that's.

617

: 00:26:36

It doesn't feel like it's the.

618

: 00:26:37

Opposite of love. Isn't different.

619

: 00:26:40

Right. You a big react?

620

: 00:26:42

I would know press is bad press. Robbie.

621

: 00:26:44

People walk out of your stuff. That's.

622

: 00:26:46

Yeah, but be proud.

623

: 00:26:47

But I didn't like

I don't blame them for doing it.

624

: 00:26:50

It's just.

625

: 00:26:50

It's just the thing that I'm talking about

doesn't appeal to them.

626

: 00:26:53

Or the thing that, like

I've written, doesn't appeal to them.

627

: 00:26:55

And that's, you know, that's. Everything's

not for everybody.

628

: 00:26:57

Yeah, it's great that people take this

stuff seriously, but it's also like,

629

: 00:27:01

there's a Kurt Vonnegut quote about you

don't have to get upset about it.

630

: 00:27:05

It's just like it appeals to you

or it doesn't.

631

: 00:27:06

As for literary criticism in general,

I have long felt that any reviewer

632

: 00:27:10

who expresses rage and loathing for

a novel or play or poem is preposterous.

633

: 00:27:15

He or she is like a person

who is on full armor

634

: 00:27:18

and attacked a hot fudge sundae

or a banana split.

635

: 00:27:21

That's great.

636

: 00:27:22

That's amazing. Yeah, it's a good visual.

637

: 00:27:25

Kurt Vonnegut.

638

: 00:27:26

Yeah. Who is favorite movie is.

639

: 00:27:28

My Life Is a duck in. A circle. Yeah. So.

640

: 00:27:31

And yeah, like, actually the fact that

it's it's your favorite movie makes it,

641

: 00:27:35

it makes me like it even more,

642

: 00:27:40

We have got to get out of here.

643

: 00:27:43

I acknowledge that there.

644

: 00:27:44

There's a lot going on.

645

: 00:27:47

Seems like a good time

to do favorite lines.

646

: 00:27:50

Oh, I love being outsmarted by tall,

647

: 00:27:53

flightless birds, either. Oh.

648

: 00:27:59

But we got dressed up.

649

: 00:28:04

I mean,

650

: 00:28:04

we're in pleated periwinkle safari shorts.

651

: 00:28:08

Cool. Yeah.

652

: 00:28:09

How bout if we just go ahead

and do favorite lines?

653

: 00:28:15

All right, all right.

654

: 00:28:16

Naked actors. You finished? Whoa!

655

: 00:28:19

Oh, Jaclynn Cole.

656

: 00:28:25

I think it would behoove us

657

: 00:28:28

to move on to favorite lines

658

: 00:28:31

immediately.

659

: 00:28:36

Who pissed off the bird?

660

: 00:28:37

And why was it cold?

661

: 00:28:42

By a naked ostrich. Oh.

662

: 00:28:46

No. You were great.

663

: 00:28:49

I'm just saying that I'm saying.

664

: 00:28:51

Them right now.

665

: 00:28:55

That's good, that's good. Cool.

666

: 00:28:56

Yeah, I will go ahead.

667

: 00:28:58

Oh, no. No, I have scenes I love.

668

: 00:29:00

I have a couple of things. Okay.

669

: 00:29:02

Yeah.

670

: 00:29:03

I found the line. It's true.

671

: 00:29:04

We got bigger problems

than your fragile ego.

672

: 00:29:06

And just a moment ago,