"Before The Devil Knows You're Dead" serves as a profound exploration of familial dysfunction, characterized by the stark performances of Ethan Hawke and Philip Seymour Hoffman, under the masterful direction of Sidney Lumet in his final cinematic endeavor.

Kyle was honored to be joined by Seth Keys and our guest host, Mozart Gabriel, who most recently directed Metallica's music video "Inamorata."

More on Mozart: Gabriel is the son of Native American famous artist Tony Abeyta, and up runner Project Runway season 11 star Patricia Michaels. Born in Santa Fé NM. Gabriel was raised in Chicago IL, till the age of 5 and moved back to his native Reservation Taos NM. From 2000-2003 Gabriel was home school in the fine arts in Venice Italy by his mother and his father who attended his Masters in NYU. Gabriel took part in theater in New York, and landed small parts with Nickelodeon, a Nisa commercial, and the Ron Howard film The Missing. Gabriel was A student for the 3 years he attended in Landmark School for his struggles in Dyslexia. Soon after he spent 2 years at the Chicago Academy of The Art's for Music and Media Arts. Graduating from From Vancouver Film School in 2012, along with his acceptance as a Sundance Institute Fellowship Writer. He worked in Nashville TN for 2 years producing Music Videos, for The Foxies, Stereo Specter, and Hannah Aldridge.

Enjoy ads from our friends over at Revisionist Almanac and Shoot The Flick.

The episode delves into the intricate dynamics of the characters, whose seemingly simplistic motivations rest beneath the surface of a heist gone awry—a narrative device that Lumet employs to expose the moral decay and emotional turmoil that permeate their lives. We examine how the screenplay, penned by Kelly Masterson, effectively intertwines elements of suspense with deeply personal stakes, reflecting the complexities of betrayal and desperation. As we dissect the film's thematic richness, we also contemplate the broader implications of its portrayal of New York City, challenging the notion of the metropolis as merely a backdrop, while recognizing its role as an active participant in the narrative. Join us as we unravel the layers of this compelling film, revealing insights that resonate with the essence of human frailty and aspiration.

Takeaways:

• The film 'Before The Devil Knows You're Dead' serves as a profound exploration of familial dysfunction, showcasing the dark undercurrents that can exist within perceived ordinary lives.
• Ethan Hawke and Philip Seymour Hoffman's performances are lauded for their depth, highlighting the nuanced portrayal of complex emotional states that resonate with audiences.
• The screenplay, penned by Kelly Masterson, reflects a remarkable debut at the age of 50, emphasizing the idea that it is never too late to pursue one's passion in filmmaking.
• Director Sidney Lumet's final film encapsulates his lifelong mastery of storytelling, blending tension and character development in a manner that is both compelling and unsettling.
• The film's editing style, reminiscent of works like 'Pulp Fiction', reinforces the narrative's urgency while maintaining a rhythmic flow that keeps viewers engaged throughout its duration.
• The use of New York City as a backdrop is subtly integrated, yet it raises questions about the authenticity of the setting, suggesting that the emotional landscape is more critical than the geographic one.

Companies mentioned in this episode:

• Columbia
• Vancouver Film School
• Sundance
• Metallica
• Smithsonian
• Harwood
• Coen Brothers
• Twilight
• Sidney Lumet
• 12 Angry Men
• Murder on the Orient Express
• Green Day
• Paramore
• Michael Jackson
• Mariah Carey
• Corn
• Switchfoot
• Kelly Masterson
• Snowpiercer

Mentioned in this episode:

Shoot The Flick Podcast

Foreign.

Ladies and gentlemen, welcome back to the Movie wars podcast.

We're back with my friend Seth, and we got an amazing guest here, Mozart Gabriel.

How you doing, my friend?

Doing fantastic.

We're so glad you're here.

Me, too.

Tell our people who you are.

Hi, everybody.

My name is Mozart Gabriel.

I'm Navajo, and I'm Taos Pueblo Native American.

I'm a filmmaker.

I went to Chicago, Columbia.

But for high school was the Chicago Academy for the Arts for Film and Storytelling, and then Columbia, and then after that, it was Vancouver Film School and a graduation of cinematography and Production design.

That school is very intense.

It's from.

You work from 8am to midnight every single day, including the weekends, and your longest vacation is three days, and half of the students end up dropping out.

Yeah.

And you have to work every single position.

I think that in term two, we have to work every single job once a day.

And so it's intense.

And after that, I got into Sundance.

I was a writer for Sundance for a long time, a colorist for Sundance.

And, hey, then I got a master's degree in stop motion animation and another master's green color grading and another master's grade in color grading.

And then I got my latest video that I did get to work with was In a Maratha by Metallica, which was a really intense project.

Metallica's wonderful, gorgeous, wonderful.

Thank you.

Absolutely fantastic people to work with.

And.

Yeah.

And I've been working in film professionally since I have to sound very douchey about it.

Here we are at the Filmmakers Lounge, and I've been working on film professionally since I was 11 years old.

I worked for galleries for the Smithsonian, Harwood, and professional museums in the United States.

And he also painted our most prominent set piece right there.

Get that slap, y'all.

Yeah.

With each word, I got more excited about the perspective that you're going to bring.

I just.

Because I just nerd out.

And I like that you clarified the professional thing, because I've.

You know, we've interviewed a lot of people for this podcast, and I also know a lot of people.

Like, I have friends that moved to LA to do it.

Right.

There really is a distinction between the career aspect of it and people that say they have a career.

And I know a lot of people that post.

Post about their career in it, and I know they ain't doing.

Yeah.

So I.

I actually really appreciate the distinc.

Well, welcome.

We're so glad to have you.

This is a good movie to have you on, too, by the way.

Yeah.

Yeah.

I Am this weekend.

Next week.

Yeah.

Oh, Brazil.

I can't wait.

That's gonna be preview for next week, y'all.

Even though we film these back to back.

But you don't know that until now.

I am so stoked.

I've had this movie on my list forever before the devil knows you're dead.

This movie caught me is.

You ever watch a movie in, like.

So I like to do this sometimes I will just go straight in.

I won't read a summary.

I don't do review.

I don't look at the cast, although you can see on the box.

But I.

Sometimes I just like going in cold.

Yeah.

And this was one of those.

And it ended up being just one of the most pivotal movies of my life when I did that.

Philip Seymour Hoffman is one of my favorites of all time.

And after he died, I didn't realize, like, a lot of people felt that way.

That was kind of a launching point because before then, Philip Seymour Hoffman had done a lot of work, but he had.

He was all over the place.

He had done Twister, like we were talking about.

And a lot of people like, that guy's weird.

He's funny, kind of a weird guy.

But he had a lot of supporting roles.

Yeah.

Flew very under the radar for a while.

Yeah.

And then he does this movie.

And I have to say, there is something.

You know, there are actors who.

They have a thing that only they can do, that subdued anger.

When he's at the table with his brother in the restaurant, he's, like, interrogating him, and he looks like he's about to literally explode, but he's.

He's still quiet.

Yeah.

That quiet.

Just anger.

And that was literally the moment was like, he's one of the best actors of all time.

Yeah.

Just the way he did that, especially.

Like, right after, because you see him so angry.

And then that moment, as soon as he gets all the answers he wants, he's, like, still mad, but he's showing love to his brother.

He's like, all right, we're good.

You're good.

Obviously, still hitting the fan, but it's like that weird double side where he's, like, so pissed, but then he's like, you're still my brother.

Yeah.

There's also that famous performance when, you know, he finds out that his.

His wife cheats on him.

Right.

Yeah.

He just pours the rocks over the glass.

Right.

It's just Visual.

That moment was so good.

I forgot, too, when I rewatched it, like, oh, my God, this.

He's not saying anything, but he's saying everything.

Yeah, yeah.

Literally at the same time.

Yeah.

This.

I'd never heard of this movie until you told me about it.

And same with you.

I purposefully didn't look up anything.

And I.

I didn't even know Ethan Hawke and Philip Seymour Hoffman and Melissa Tomey were all in it until I just opened it up on itunes, like, oh, wow.

Okay.

Lots of good people in this movie.

And, yeah, it completely blew my mind.

Like, it was.

It was.

It's so well written, so well directed, so well casted.

Everyone.

Everyone's doing their job in this.

It's.

It's always refreshing after starting with the Crow series to, like, see a movie I've never heard of and it actually be good.

Yeah, I know, right?

You've had a lot of nasty surprises.

I'm very wary with this guy whenever he tells me to watch any movies because I'm like, is this gonna be another shitty of Angels?

Like, what are we doing?

Well, the other great thing about the film was the.

The music.

Right.

It's the same composer who's done every, like, Coen Brothers film.

When I was listening to it, it was reminding me a lot of, like, who's this composer?

And I thought a lot of Fargo.

Yeah.

You know, I still need to see.

Yeah, I've seen quite a few.

We did the Big Lebowski not too long ago.

Nice.

And, yeah, there's.

There's so much I looked up on IMDb.

The music composer done everything.

Even the Twilight movies.

Yeah.

Oh, wow.

Yeah.

Yeah.

That's fantastic.

He's done, like.

I was looking, I was like, wow, you literally are just the go to dude.

Yeah.

You know?

Yeah.

And huge range.

The director, Sidney Lumet.

No.

You know, he's passed, unfortunately.

This was his last film, but Serpico.

12 angry men, murder on the Orient Express.

That's right.

I would.

I don't think this is an exaggeration.

Hundreds of films on his resume before he passed.

Yeah.

Stretching.

I think it was a 50 or 60 year career, which is absolutely insane for anyone in Hollywood to have a fulfilling career for that long.

Yeah.

And to have so many.

How did you encounter the film?

I thought so.

I was.

I was watching it, and I'm always.

I'm always very confused about certain aspects of certain things.

The first thing is, is that we get into the film and they're having sex.

Right.

And I always think it's really interesting about the way that we use sex and.

And especially during that time.

I feel like sometimes when we.

When we watch sex, it becomes distracting.

The one thing I will have to say from the, from the get go.

When I was a kid, I was lucky enough to work with Ron Howard.

I got to be in one of his films called the Missing.

You'll see me for like two seconds as an Apache captive.

But I got to talk to him about certain amounts of things.

And one of the great things that he told me is it's like, so you want to be a filmmaker, right?

I was like, yeah, yeah, yeah, yeah, yeah.

Like, great, great, great.

Did you do a lot of editing?

I was like, yeah, I'm working with Final Cut.

And this is me at like, I think 10.

And he.

Yeah, I'm about 10 or 11.

And he's just like, great.

So the most important thing you're going to have.

There's two important things I have to tell you.

The.

The first important thing is, is when you're editing, make sure that an edit stands on its own.

Start watching movies without sound because, you know, sound is going to be key for everything.

But if your cut and your edit can stand by itself, then that means you're a very good editor.

It's just like a great example is, have you ever seen the Italian Job that just came out?

I was like, yeah, well, those guys are actually only driving 5 to 10 miles an hour, but it's the roaring engines that make them sound like they're driving 100 miles an hour.

Yeah.

I was like, whoa.

Blew my mind.

And that's what, like, inspired me.

And I'll go back to whatever this is that we're gonna talk about.

So keep the editing in mind.

And then the other thing is, the other thing he said is, it's like the other thing is, is, is your script a page turner?

And, you know, that's such a brilliant thing to always think about because sometimes we get into film school, sometimes we write movies, and we're just like, oh, just wait for it.

Yeah.

Oh, just wait until the end.

Oh, you just have to wait.

Oh, we'll get there.

Don't worry.

It's like nobody wants to wait.

You know, everybody wants to see if we want to turn the page that.

Is this gonna sell the book?

This film that we're all talking about was a great example.

Is it's.

It's a page turner.

Yeah, yeah.

It's.

It's cut and the editing is cut like a page turner.

You know, there's The.

It's got like the Pulp Fiction kind of method of editing, right?

Yeah.

I kind of like the Rashomon almost style, how it's edited together.

Yes.

And I thought it was very, very, you know, like, it's all cliffhanger.

Yeah.

Every.

It doesn't give you the result because you're following everybody's path.

Yeah.

And it goes back and forth, back and forth, back and forth.

And it's just teasing you every single moment, building the tension higher and higher and higher.

I thought that was really brilliant.

The only thing I did think about was I felt.

I felt bad.

You know, I love.

Love female characters, and female characters, for me, are always so important.

Miyazaki is one of my favorite filmmakers.

I love teaching feminist screenwriting, and I like teaching feminist screenwriting because there's a lot of people who don't know how to write really great roles for women.

And I just felt like the wife was there to look hot.

I mean, she was.

There was a moment, I think he's in the hospital and he's about to go take some drugs and watch the movie again.

And you'll see her performance.

And she's just like.

He's just like, I gotta get going.

And she turns her head and looks, like, really sexy.

And she starts biting her lip, making all these sexy faces.

And I'm just like, what's.

And I rewinded it, and I showed my girlfriend.

I was like, what do you think of this performance?

Let's watch her.

And he's like, why is she making that hot, horny, sexy face?

And I was just like, I know, right?

And it's like the.

The sad thing about it is that it.

She is totally.

What a great actor.

Right?

She's amazing.

One of the best.

She's just there to be a hot piece of ass, like, when she leaves.

And because I was trying to understand.

This is what I mean by starting a film with sexual.

It's a distraction for me to get into the mood.

You know, sex is such a intense thing.

It's the.

Everything around us is sex.

You know, music is sexy.

The pop stars are sexy.

We're gravitated, Instagram filled with, you know, hot working out people.

It's sex.

I mean, sex everywhere.

It sells.

And so are we just selling attention for this first scene?

And the way that it's shot, too, it's really only focused on Philip Seymour Hoffman.

We see her getting, you know.

Sorry.

We see her getting pounded from the back, and then we see his face, and then we see the back of her Head.

And we don't really see her reaction to the side.

But then all of a sudden, she gets depressed at the very end of the scene.

That's the cliffhanger is where we leave.

Which tells us the next story of being like, okay, next sequence, let's go on to something else.

And we'll come back to her in her moment.

But when she leaves the house, you don't really get a resolution or anything for her.

And she's kind of.

I don't know.

I did like the fact that, you know, she's sleeping around with the brother because then it shows the two brothers.

But that's what I mean.

I feel like she's a pawned to execute, you know, the two brothers storylines.

Yeah.

Rather than her being her own person, which I would have loved to see as her being her own person, because it shows that this family's already fucking dysfunctional.

Yeah.

Yeah.

I'm sorry if I can curse.

I don't know.

So the two brothers are already dysfunctional.

They're kind of rats.

Yeah.

There's no loyalty in it all.

And I thought that the.

The second thing is, is that I thought the music composition, there's that theme.

It's so darn good.

And it comes in at the right time and places of the.

Of it all.

And I just.

I thought that was really, really great because you see him screaming and there's the music that stands on its own, but he's in the car after his mom gets shot by his.

By his.

By his friend, and.

And then it comes back and certain elements, and you're just like, let's get back to that feeling.

Yeah.

It's almost a.

It's not Locrian mode, but it's almost a Locrian.

Yeah.

Approach.

Whereas, like, you know, the unresolved seventh, I'm gonna have to cut that out because no one gives a.

About that.

But, you know, the.

The idea in Locrian mode is the unresolved seventh.

And even though it's not technically Locrian, it has that feel to it.

And.

And the music doesn't actually resolve either.

So a lot like.

A lot like the characters.

I thought there was a huge reflection between that music where when it ends, you don't feel settled.

It didn't end on a major one.

It didn't end like, where you thought it would.

It doesn't end, and it kind of just fades and you're just left.

And that's what the theme of this movie is, is you are left to deal with the unresolved emotions that are just exploding in various climaxes throughout this film.

But the danger and the.

The.

The edginess and the misshapenness of their emotions and how they permeate in other people's lives, and that's like kind of that cyclical emotional thing.

And so I thought the music perfectly reflected that because, just, like, you know, this was one of those movies, even though it's one of my favorite, I got to be in a good mood to see it because it's like, all right.

The right mood, because, like, I gotta know that, like, there's not gonna be a resolve to goodness or a resolve to.

This isn't a hero's journey.

This is a.

This is literally, like, just descending in the madness.

Yeah.

Someone's life completely unravel and get even worse as you think it's hitting rock bottom.

And the score perfectly.

I don't know what you think, but it just perfectly reflected that to me.

Oh, absolutely.

Absolutely.

I thought the score was brilliant.

And like I said, I think it just reminded me a lot of Fargo from.

From the, you know, the Coen Brothers Fargo film.

And I think that.

I mean, the movie does feel like one of those.

Those really bad nightmares, you know, that you feel like you're in trouble with something.

Yeah.

You know, like.

Yeah.

Like when you.

Nothing but are late on your taxes.

And then you're like.

You're really.

You're.

You're sleeping at night, and then you start having a bad dream that, like, oh, am I in trouble or something?

And that's what the film feels like, which is.

It executed it super well.

You leave the envelope on the counter for a long time before you open it.

Right.

I still have nightmares where I'm like, in the dream, and I'm like, oh, shit.

I didn't, like, turn in this assignment for this class.

And I'm like, wait, I've been in high school in 15 years.

Yeah.

No, I have that nightmare all the time.

If you got a friend who is thinking about robbing their parents or send this to them.

Yeah.

It doesn't turn out good.

Yeah.

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The questions.

The question, the questions.

Andy is pretty damned accurate at shooting people through a pillow.

Two for two.

He shot two people.

Two bullets through the pillow killed them both.

Yeah.

Pretty good, huh?

That's.

That's a solid, solid track.

How does he become such a great pillow marksman?

Where does.

Where does one.

Where does a real estate person who works in an office and does heroin.

Where do they get the impetus to.

I'm just surprised that he knew that trick.

I know.

He's literally 100 accuracy.

Yeah.

And he's having withdrawals at the same time.

I mean, it's a very weird thing.

Yeah.

Oh, my God.

It was quite brilliant, too, because that face he made, too, and the way his body shakes before he, like, shoots.

And he's like.

Yeah.

You know, he's just like.

He's building the curses.

Do it.

Yeah.

It goes.

And it's.

It's.

It's.

It's nice.

It's.

It's a beautiful choice from Philip Seymour Hoffman.

I'm going to tell you both something really, really exciting.

Okay.

He used to come to my school, Chicago Academy of the Arts.

And so he used to come and visit us and see and talk because he was friends with one of the students.

And so we got to see him a little bit before he died.

And very, very, very sweet, incredible, creative person.

Yeah.

I've literally never heard anyone say a bad thing about him.

Like, everyone who's come into contact with him throughout his life was just always that.

He's just the greatest guy.

I posted it.

Besides.

Besides his withdrawals and drugs.

Yeah.

Yeah.

I posted to our Instagram one of the.

One of the most popular videos we had was just kind of this Ethan Hawke interview about working with Philip and just talking about how he was such a serious professional, but also such an.

Like a deeply artistic professional, too.

And he had this crazy balance of work ethic.

And one thing we'll talk about more later is this film was a great example.

Like, Sydney lit talks about how, like, at most, three takes.

Yeah.

For a scene.

They never went beyond two to three takes per for any scene in this movie.

Yeah.

You texted me that.

And I was like, that's what happens when you, like, actually rehearse and actually sit down as a director and get everyone in the mindset they're supposed to be in.

You can get it done in as few.

You don't have to kubric it and do 158 takes.

You can sit there and be like, are we all on the same page?

Cool.

Let's do it.

Get two or three little.

Little changes maybe, and then there you go.

You can move on.

Like, it's.

It's not that hard if you do it right.

It was weird hearing in the commentary because, like, he would say that about, like.

Like the scene that I thought that table scene in the.

In the bar where I was like, that's one of the most emotional and complex scenes I've ever seen.

Yet it was two takes.

Yeah, I'm just like, that's.

That's a professional, but also someone that deeply understands the craft.

Absolutely.

Totally.

And I think that the more I've learned from being a rock musician as well and recording rock music.

Our producer, Kenny Ken Riley, he's worked with Green Day, Paramore.

He was the engineer for Michael Jackson, Mariah Carey in his younger years.

And, you know, he did corn and switch for Switch Foot, and, you know, so many other great bands.

And he says rock music is energy.

And you're only allowed to do this three times.

Vocals.

And so if you.

If you're gonna do it more like.

Like, I would do it once.

He says, that was pretty good.

Do it again.

And then I did it the second time.

It's like, all right, you're fucking done.

Get in here.

And I was just like, wait, let me try.

He's like, nope.

I was like, but I feel like I can do these.

It's like, no, this is rock and roll.

I was just like.

He's just like, you can't fake it.

You can't recreate it.

It's like, you don't go on stage and redo it again.

It's like, this is where it's at, and you gotta trust me.

And I was just like, let me just try it.

Me throwing a tantrum, you know, And I go back into it, and he's just like, you can do it, but I'm not gonna use it.

And I was just like.

And I'm just like, okay.

And I listen, and he's right, you know, if you nail it that one time, then you're supposed to use it.

And, you know, it's.

It's about energy, vulnerability, honesty, being in the moment, not trying to recreate things.

Rock and roll is not meant to be perfect or perfected.

It's not.

It's not a beautiful Billie Eilish album.

You know, it's, like, great for her.

You know, I love her music.

And, you know, there's.

But I think she also admits it in her documentaries, too, is that she knows the whisper singing.

It's like when she can't hit those high notes and she can't project because she's been so comfortable in this being her space.

Yeah, it's.

That's her venue.

But, you know, when you get to the point where you want to expand your venue, you know, reach out and branch out.

But I think that's what I realized when we worked on without A darker reflection.

Working with Geth and Anthony, there were moments that I felt, as a director, it might have been frustrating how many takes we had to do.

And that wasn't his fault.

That was our fucking dp's fault.

You know, adjusting the camera.

And I've.

I've been there, too, as.

As a cinematographer when I was.

I don't know, maybe in the mid of my career.

I've had to make adjustments and I said, let's go for another take.

Rack focusing.

You know, rack focusing is always hard.

Just trying to get the rack focused and working with a new team.

Sometimes the dolly pusher is moving too fast and your AC is not getting the right moment of it.

And then we have to go for another take.

And then the actors are like, am I doing everything okay?

It's like, no, actually, you're perfect.

Yeah.

And I think that's the heartbreaking moment.

If you do not have a strong team to capture something like what Philip Seymour Hoffman is doing, then you'll lose it.

Yeah.

And.

But it also speaks volume for the energy of an environment, of a crew.

You know, if you're.

If you're messing it up, then.

Then.

And if everybody's not tight in that form, then you're losing it.

Yeah, that is.

That is something very interesting because that particular scene, it's so simply done, like, they purposefully keep the camera in, like, two or three spots.

It never really moves.

It just follows certain action.

But it's not.

They're not trying to do anything complicated.

They're trying to let the emotion and the weight of that scene speak for itself.

And I think.

I think that's probably what lended it to be able to be done in two or three takes, was the fact that they weren't trying to be all fancy with it.

They weren't trying to do anything complicated.

They just wanted the actors to be able to do their thing.

Like, that was something I noticed throughout the whole film is, yeah, there would be some complex movements as far as, like, where the camera's going, some of the choreography of, like, this guy's got to bust his way through a window after just getting shot.

Like, there was some complicated things, but when you really got to the heart of the performances, the camera was almost never moving.

It was always making sure that all of the focus was on who is talking and what they're saying.

You bring a great point because, you know, teaching cinematography, there's that scene where he goes.

And he goes to go shoot up at that guy's place, and he's sitting on the chair and he's talking about his job.

And before that guy says, get a wife or get a.

Get a therapist.

Yeah.

But that scene, that is exactly one on one, like, great education of how to use a jib shot.

Yes.

That jib shot is so subtle and beautiful and perfect.

It levitates down.

That is one of my favorite new jib shots in history.

I mean, my favorite gib shots of all time are the Mulholland Drive.

David lynch inside the cafe.

It seems like it's floating, you know, and it seems like you're out of body observing and you're like a ghost, you know, I think that that is brilliant because it's storytelling itself.

That gyp shot was so subtle of just laying down, heading over to his face and then revealing the guy behind him.

And it was just so beautiful.

Yeah.

That whole scene in general, I just, I love how there were like some very clear steps.

Like he walks in, he says the one thing over here, then he takes off his jacket and then he walks to the other corner and he's looking out the window.

And then he takes his.

His over shirt off and then he goes to where the bed is.

Oh yeah.

And like takes his belt off and just like start like.

It's just the, the process that he goes through.

Again, so simple, but it's like all of the subtle little details are what make it so good.

Just that one scene, I just, I like took my breath away while I was watching it because it was so simple but so powerful.

And what's interesting is Sidney Lumet in all the scenes that take place in the.

The drug den apartment, which is like a beautiful apartment called a drug den.

It's not like what you would think of a drug den.

But if you notice too, and I didn't notice until they pointed it out on the commentary.

All the shots of the.

The high rises out of the windows are foggy.

And there was like someone did in cinematography, did challenges.

Don't you want to like have a better view here?

Like the sunset?

He's like, no.

He was like, yes.

These should be like historically beautiful views of New York City.

But I want the foggy shots because he's like the obstruction of their view.

That even when you look out and you should see this beautiful high rise, it's symbolic.

Yeah.

That not even.

This can be like a moment of purity.

Yeah.

You know, for them, like it's going to be foggy.

This isn't the, these aren't the.

The high rise views you would want up here.

And so even that choice in those shots to keep foggy.

The foggy New York high rises was.

It was intentional.

So good.

Yeah.

Nice.

Yeah.

Really cool touch.

So, yeah.

God, that.

God, that hurt me.

Even when he said.

When he said get a.

Get a therapist or.

Or get a wife, that I was.

Like, oh, God, he has a wife.

He knows.

He knows he has one job.

He's like, I want to give you heroin and then you're going to get the out of here.

Like, stop talking to me.

I was just like, always like his own.

He's the only source of vulnerability is to the drug dealer who doesn't care about him.

Yeah.

It's just like, that's when he's vulnerable.

Yep.

Yeah.

It's wild.

Yeah.

So many good details in this movie.

Small, simple, small details.

So this one, this got me too.

I think these guys are in real estate, right?

Like in this office.

So for being two brilliant guys that have this beautiful office and wear suits to work every day, was robbing your parents jewelry store really the only idea?

Was that.

Was that the only one?

It was like, that was the first idea.

And, and Ethan Hawk's character is like, sure.

You know, this is like no brainstorming, no, like, you know, even a Ponzi scheme.

Just something a little less, you know, violent.

Yeah.

Bloody.

I mean, I guess.

Wasn't he also embezzling, though, from the company?

Like he was stealing money from the company.

Like he's tried it all.

I thought.

But I also, like, of course this is an old idea, but you remember when old movies would have the idea of petty cash?

It's like, oh, get the petty cash.

And it was like, every.

For some reason, every person that works in office has a 10 can full of cash.

Like, I was like, is that a call back to.

And if, I mean, if you think about it, Lumet's old here and he's directed 100 movies.

Maybe he's like, oh, yeah.

Petty cash.

Yeah.

I don't know.

Still a thing.

I didn't know if that was embezzling.

But, oh, no, it was 100% stealing from the company.

Totally.

Yeah.

Well, I thought.

I thought that the.

It does seem like the safest thing and to go and steal from your parents.

Yeah.

That's funny that you asked that question.

The reason why we asked that question in film is because we didn't get to showcase the relationship between the father and the sons.

We heard a small little dialogue of it, but this would be executed better if it was a TV series.

So if we were In a TV series, we could do the episode of building that kind of.

That trust between the.

You know, how the dad wasn't really there.

Yeah.

That kind of Ozark style.

Jump back to before everything, like, all the shit hit the fan.

And have that one episode.

Yeah, yeah.

And so, like.

But it's interesting.

I forgot what.

Filmmaker.

Screenwriter.

Oh, Aaron Sorkin.

Aaron Sorkin says you're not supposed to.

Don't tell the story of side things that need to be happened.

Tell the story of actually what's happening.

Yeah.

And, you know, we don't need to know the backstory behind this person or that person unless if it's relevant to what's actually happening.

Yeah.

And taking his master classes is so, so damn good.

And I just.

You know, there's such a beautiful rhythm within his dialogue, especially, like, when you're hearing, like.

And there's a style to the way he does it, too.

And, like, I mean, because I love the Social Network, I can't tell you how many times I love watching that movie.

That one's incredible.

I absolutely loved the Newsroom.

Like, I love the.

Not even quippy, but, like you said, just the rhythmic dialogue between all of the characters.

It's so well done.

Yeah.

And so I think about what Aaron Sorkin says in the.

In, you know, just tell the story of what's happening.

The story isn't really a.

About his relationship with his dad.

You know, the story is about them robbing their parents.

Yeah.

And so that's.

That's.

That's our focus on this film.

So we can forgive those.

Those moments.

Yeah, it does make sense, because.

And I feel like this.

This film does it really well once again, with showing how scummy the brothers are having sex with the same girl.

And I think that that's.

That shows that they don't really have respect for each other or they really don't care for each other.

And.

But, yeah, like I said, there's.

There could have been a lot more to.

To kind of give to personalizing other people.

Yeah.

I always.

Always have a problem with people using other people as pawns.

Yeah.

In a film, it's.

It's always such a missed opportunity for development.

And I forgot to mention why I love Miyazaki so much is because I say when.

When I teach people, it's like, I don't know how to write female characters.

Say, well, just write yourself.

And then later on, imagine casting a female for it.

Yeah.

I mean, that's true equality.

Yeah.

I mean, that's one of my favorite details from Alien is that when Ridley Scott wrote the script, he did not have a gender in mind for any of the characters.

And then he auditioned everyone for every character, and that's when he started picking that.

I mean, literally, there was no reason other than she was the best for that character that Sigourney Weaver got to play, the person who survived the whole thing.

Yeah.

And I think it's just.

It's so good when that happens because we talked about this a little bit, how Joss Whedon, before all of the shit with Justice League went down, he was kind of considered to be, like, the male feminist director in the industry.

And.

And I remember there was one interview that.

That someone was like, why do you keep writing all these strong female characters?

And he just goes, because assholes like you keep asking me that question.

It's like, they're fucking people.

Like, that's why I write.

I write them like they're people, because they are.

And it's.

And then he went on to harass those people.

Yes.

Then he went on to be just one of the biggest sexist, racist pieces of shit.

Like, it's hilarious to me, but it's like, despite all of his.

His downfall, like, that is such a powerful instruction for artists, is like, stop thinking about it as I'm writing a female or I'm writing a male or whatever.

You're writing a human being.

Write a story.

Yeah.

Write a powerful.

Just.

Just write.

Write the power of it.

Exactly.

And then assign later.

Yeah, yeah, yeah.

I get.

And I get.

I wanted to respond to something you said because I get crucified, like, for sounding pretentious when I say this, but you were talking about the.

The background aspect of characters, like, once.

That is why I love film, because I.

You almost.

I view each character as an entity, and I got absolutely grilled for using that word, you know, by somebody I can't remember, like, oh, you're so pretentious.

I'm like, just some rando dude, Internet person that their pick.

Their profile picture was probably like, you.

For calling realistic tones.

Yeah.

The deaf tones.

You know, but you truly like.

And I think Finney, Albert Finney, the dad here, is the best example of that.

Like, we don't get a lot of the backstory.

You get it here and there a little bit, but the way he's performing that and acting that, like, I think he's.

He's filling in the gaps, you know, and it leaves it up to your imagination, and you're connecting with your own experience.

Like, you're like, you're looking at him, you think you understand it, but you can only understand him as much as your experience allows you to.

Yeah.

And so that becomes your lens.

And that's why not.

And there's a place like, I like backstory in some films, depending.

But in this instance, each is their own entity and they're colliding.

And these, their past, their present, all of it is colliding.

Like they're filling in the gaps for me pretty, pretty well here.

And this is another one of those stories like we've talked about before, that it just, it.

Everything unfolds.

You don't know when you start the film.

You're even within the first 10 minutes of the film.

You don't know who these people are or what exactly is happening.

And every layer just unfolds and you get that next part of who this person is, who this person is and how they're related and how.

Because even like when we were, when we were talking about people using people as pawns, like, I find it so interesting that even him bringing his brother in to do this was a total act of selfishness.

Like completely.

If he had been able to do it himself, he would have.

But he realized like, well, shit, I can't go up there because everyone's gonna just recognize me because I've been up there so much over the last few months.

So him bringing Ethan Hawke in was completely self centered.

It had nothing to do with him actually wanting to help him out.

He was like, I, you're just someone I need to make this happen.

And, and so I'm gonna, I'm gonna use your situation.

I'm gonna dangle that in front of you so that you have to do this.

But this is still 100% me.

And then in 10, 10 seconds of dialogue later with the dad, you find out it's because he envies him, because he hates him.

He's jealous of how he was treated.

Like.

And literally just 10 seconds of dial, like, Holy.

Yeah.

Like, okay.

And also I, because I remember I wanted to bring this up.

The.

The script writer is the same guy who did the script for Snowpiercer.

Oh, Kelly Masterson's.

Yeah.

Oh, okay.

Oh my God.

What another great movie.

I love that movie.

Oh, love Snowpiercer.

I know some.

Always.

My little sister who doesn't like Snowpiercer because.

Cause she's just like, movie's so dumb at the end.

There's just a, there's just a polar bear going.

It's beautiful.

It's just like that Polar bear is a sign of hope in life that you know that there's something beyond humans.

Margot.

Like, what is everything about the human race?

We're Native American.

We also need to know that we live with animals on this planet.

Fuck sake, Margo.

Damn it.

I haven't met you yet, but damn it, Margot.

It's just fun to say.

Damn it, Margot.

My sister is incredible.

She's.

She's.

She's one of the most bougie people I know.

Though she was so funny to have on set.

Like, it was just such a great time.

We've.

We've been there for each other a lot through creative adventures, and it's been really incredible.

She's been through so much of my filmmaking journey.

If anybody had to, like, talk about what it's like to see a dyslexic creative disaster, sometimes, she would understand it.

Probably the best.

I take it back, Margo.

You're awesome.

Damn it.

You're awesome.

Margo.

Damn it, Margo, you're so great.

You're a great sister.

I wish I had a sister like.

You at this moment.

If she's watching, this is like, that's right.

I have to meet her.

I have to be this person.

Sounds amazing.

And actually, that was a great segue into our rando.

Rando.

Because my first rando is about this.

This gave me hope as a.

As a hopeless, dying creative.

Kelly Masterson's was.

He was 50 when he wrote this.

This was his first accepted screenplay.

This is his first property he sold at the age of 50.

And then he did Snowpiercer.

So I, as someone who's 37, thinking that I've passed, but all of my opportunities have died and I will never succeed.

And I will be stuck in the corporate structure until I die at my desk and weeds grow out of my back.

That gave me hope.

So, anyway, he was coming and share.

This podcast so that we can get him out of tech.

Get me out of.

Please, God, help me, Margo.

Right?

Oh, that's amazing.

Yeah.

No, especially with opportunities and whatever it is I've done.

I have talk about.

Let's talk about pretentiousness.

You know, somebody just to let everybody know who is a filmmaker, who watches film, who's.

Anybody who's, like, obsessed with film?

You're all pretentious.

Yes.

And I am too.

And that's.

That's okay.

I mean, I.

I've tortured so many girlfriends.

I feel so bad for them, for them.

To us talk about.

Here we are at the filmmakers lounge, and we're Going to just talk about so and so.

But what about the lighting?

Oh, that was an F stop of, you know, like, it's just.

Look at those 20Ks.

I know.

Oh, my God, I love me a 20K.

You know, it's like a little clothes pin is called a C47.

That's how pretentious we are as filmmakers.

If you don't think you went into.

You went into it being pretentious.

Who calls a little tiny clothes pin?

It's like, can we get some C47s on this white promise?

You know, it's like, I need a.

50 foot stinger firing.

And so even if it takes you.

To 50 to get it out there, like, hold on to it.

Don't throw that stuff away.

Absolutely.

Yeah.

And you know, it's okay for us to.

For, for some of us, like, we.

We just talked about how we don't.

I heard you hate cgi.

Yeah, I hate cgi.

You know, like over it.

Me too.

And some people just love cgi.

That's not for you and me.

No, bro.

No, it's not.

Again, I got crucified for that, too.

Oh, my God.

Thank you for inviting me to the dramatic world of Snyder fans, by the way.

I.

I was like, oh, cool, cool.

Seth wants to do Snyder stuff.

I've never really cared, but let's do it.

I told you it was going to be volunteer.

I'm in a world of hurts.

Someone called me fat on Tick Tock on one of our videos because of my opinion, like, fat guy doesn't like CGI.

I don't.

And I've lost 40 pounds.

40.

My favorite is still us talking about Henry CAVILL and the one just guys just like, yeah, those three guys have a combined testosterone level of 0.56.

And I just responded, that's still 0.55 more than yours.

I've made four children.

Four.

I've been married for 15 years.

Talk about testosterone.

That's incredible.

Congratulations.

Thank you, brother.

I appreciate that.

Beautiful thing.

Yeah, that's really good.

I love it.

It's my life.

That and Seth and you now welcome.

Welcome to my house.

Next, rando Cindy Lamette.

I actually wondered about this.

The scene where Marissa Tomei's trying to leave, you know, and she's toting the bag.

Yeah.

The reason that was so awkward, he filled it with weights because metaphorically, he wanted it to be like, the weight that she can't handle of the situation.

And so he loaded up and that's why she's like.

And he didn't Give her directions on how to leave the room.

He said, here's a really heavy bag.

Just figure it out.

Yeah.

And so that was her actually as an actress, never having done it, just trying to figure out how to get up these awkward stairs.

You know, she's going sideways.

Yeah.

And Philip Seymour Hoffman just.

I love that moment.

It's that moment where she, like, almost gets the door and then just stops and like, I need money.

Yeah, I know.

I love that.

So I was like, oh, my God.

So, going back, I love what you said about the intro sex scene earlier, because I'm not a big fan of, like, using it as a certain mechanism either.

It is.

It can cheapen art, I think, sometimes, depending on the context.

But originally there was a new ending or there was an original ending that Kelly had written where Gina and Hank were going to be in Rio together.

Oh.

And so.

And that was the original ending.

So it was like a bookend.

So it was going to be like them talking about Rio at the beginning.

And then Hank and Marissa after.

After Andy dies, they were going to go to Rio together.

And he actually did not the first time he saw it.

He did not like the new ending.

I was about to say that.

I don't know.

I don't know if that would have made it any better.

Yeah.

Like, I do like the idea of bookending it and having that.

That.

That contrast of.

Of the two of them there first, then the other two or her there with the other brother.

But I don't.

I kind of think this ended really well.

Yeah.

As far as, like, this is the end of this moment.

We're now leaving the story.

Like, we don't need to know what happens to everyone after this moment.

And I.

I think it kind of would have cheapened things to have, like, that happy ending kind of situation where.

Where Ethan Hawke's character.

It would have justified it.

Yeah, yeah.

It would have justified everybody's actions if that was the case.

And the way that we.

We tend to think, who should we blame?

The script was really well done because then, you know, the fault all ends up with Philip Seymour Hoffman.

And, you know, he was the one who killed everything.

He's the one who started everything.

It's nobody else's fault but his.

He started it and he ends with it.

Yeah.

And that's why the script ends up so well the way that it is.

Yeah.

I agree with that on this also.

Did anyone else?

Like, maybe this is my dumb brain, but, like, the first thing I thought was Frankenstein because he.

It's like he killed his own monster because he made him the way he is.

Because the way he raised him, it's like he put his own monster out of his misery.

Yeah, I like that.

I was like, holy.

Like, that's like he made this monster by raising him the way he did, and then he closes the book on him and puts him out of his misery that he created.

What a moment, dude.

Just that moment with the pillow over his face and, like, you see it all on the dad's face.

Sick.

I was literally sick to my stomach.

It was so funny because, like, there was.

There was so many, which was really, you know, they tried to make a great plan and everything messed up.

And here's the dad with the best plan.

It was that simple.

Let me just put these on my chest and my body and then suffocate you and then put it back on.

I was like, wow, that is really masterful than everything else that his kids did.

And that even speaks volume in a different direction.

But yeah, I thought the.

The scene when they're separating and she's heading out with the bags.

I thought because I'm.

Because I just.

I just got through a divorce and I'm still friends with my ex.

My ex wife.

I love my ex wife so much.

It's just not working for us.

But I remember when we had to separate and she's not financially stable, and sometimes I have to be under.

Here's the thing.

I've been.

My ex wife never cheated on me, but the other women.

I've been cheated on by like 63 different people.

And I just finally got to a point where I'm just.

I'm not jealous and I don't get upset when stuff like that happens.

And it really has made me understand a little bit more about.

I think that's what I love about being a filmmaker too, is when you get to experience so much of life, you start to understand all perspectives.

And that scene where he's just sitting there being all like, well, the love is gone.

So it's honest in his performance of just saying, like, I can't be mad because I literally just don't love you.

Yeah.

And it's just like.

It's not like why she wants.

She goes.

And you can see at that one moment, she was sleeping with the brother because she wanted incredible amounts of emotion from him.

Yeah.

Any kind.

Anger.

Anger would have been amazing for her.

Yeah.

Because the.

And I know I've been in relationships too, where, you know, my significant other wants me to be angry because something is happening in their life and that's a distraction for them.

I mean, even that moment where she's like, he loves me and you just.

There's no change in Philip Seymour Hoffman's.

Yeah.

Like he clearly, like you said, is just mentally he's over it and the.

Way he plays it so good.

Yeah, yeah.

And so I thought that that scene was really interesting.

But like once I said before, I feel like, thank goodness she's such an amazing actor, you know, because like it.

That performance really translates a lot for all the missed opportunities.

We could have had her be more of a developing person.

Yeah.

I mean, just straight off the script that she could have been such a pathetic character.

And I think she brought enough weight to it that even though it could have been, she could have been written better.

She brought enough weight to it that she still ended up standing out.

But that's what I mean about females in the industry, especially during that time.

You know, when they got that one scene, they knew I have to.

This is my one scene and my one chance for me to get better roles in the future.

You know, it's because it's like the first scene she's having sex.

The second scene we see her in her.

Just her titties, you know, the third scene is just her looking hot.

And then like when she's observing out the window, she's still just looking hot with some titties.

And you know, and then it's disappointing in that sense that I'm just like.

Ah, you know, going into the rando for the second half of that scene.

So when he's destroying things.

We talked about it earlier.

So this is.

I actually didn't pick up on this till the commentary.

He only directed Philip Seymour Hoffman to destroy things that belonged to her because he wanted.

So the rocks, that was her, apparently her decoration, the lamb, the plant.

Because they.

He wanted to show how concentrated his anger was.

He can't feel any emotions, he doesn't express any emotions.

But he's like an expert at anger.

He's so concentrated and focused that he only sought out her things and destroyed those things.

I love those details where you don't know it as a viewer.

Yeah.

But clearly, I mean, it goes back to like how Johnny Depp wrote like a 50 page character outline for Jack Sparrow.

Like so many things that we as viewers will never get to see.

But because he has that depth of knowledge, it comes across whether you realize it or not.

And that.

That moment.

Yeah, I didn't realize that, but that makes so much sense that he's walking around and.

And now that she's gone, he's able to let that anger out because he doesn't want to let her win.

Yeah.

It's like building a vocabulary to pull from.

You may not use all the words, but having the foundation there to pull from.

Exactly.

Like, same with improv comedy.

Same with, like, all that.

So last it was.

It was nice because he was so gentle.

Yeah, yeah.

He was gentle about his tantrum.

Yeah.

That is.

The thing is, like, most.

Most of the time, you'll see scenes like that, and they're just throwing shit and screaming and everything.

He's so calm, but you can feel the anger as he's doing everything that he does.

He's just so calm in that moment.

That's.

That's a great example of being.

Stay true to your character.

Yeah.

Yeah.

It's funny you say that, because I, like, just when I subconsciously think about this character and, like, when I'm not watching it, I think about him as such an angry character, but he really is stunted anger.

Like, he won't.

He's screaming at Ethan Hawke at the table, but he's not screaming.

Yeah.

You know, I mean, like, he's angry, he's foaming, but he's still, like, anger whispering.

You know what I mean?

Like, he's angry, but it's so, like, capped.

It's so weird.

Yeah.

Yeah.

And that's.

That says a lot about it about an actor, too, because he did it so well in Punch Drunk Love.

Right.

He did the anger so fucking powerful.

Like, when he yells back at Adam Sandler because you think Adam Sandler is like this.

Like, yeah, he's got it.

He's got it.

He's the angry guy.

And then you meet Philip Seymour Hoffman, you're like, oh, no, he topped that.

He won the lion's roar in that one.

And so it's fantastic to see that he didn't just go with what he knew in another role or, like, something else.

It's like he did this.

This way.

And that's.

That's awesome.

It's awesome.

So good.

And then a different version of that, like, more subdued in Magnolia.

Yeah.

Like another Paul Thomas Anderson film.

Like, his character was so interesting.

That too.

He was more, like, kind of, like, narrow in terms of his.

His emotional scope, but like, just a totally different version of that in that film.

Yeah.

So good.

I know.

Sign.

Sign me up for the Paul Thomas Anderson fan club Last rando.

Steven Spielberg called Sydney Lumet after this film came out and said he was blown Away by the movie because from scene to scene, he literally shifted his sympathies between characters every scene.

Like, he, like, went from that's the good guy to that's the bad guy.

I put my sympathy here.

And he said even though it was frustrating, every time new information was revealed, he, like, picked a new person to put his.

To put his chips on.

So.

Brilliant.

Yeah.

Like you said, like, every moment of this is a page turner.

Yeah.

It's like.

It's.

Your script.

A page turner.

Yeah.

Yeah.

I love that.

That was.

I love that.

Ron Howard said that.

He.

Oh, man, he's.

That dude has had.

We're.

We're talking about eventually doing a series of, like, looking at directors, and they're just absolutely absurd careers.

And I think Ron Howard is, like, up in the top of that.

Starting off as fucking Opie in.

In the Andy Griffith show and then going on to direct things like A Beautiful Mind or.

Or even the Heart of the Sea, which I.

I thought was a visually insanely beautiful movie.

Yeah.

But, like, just everything he did in between is just.

It's so crazy to watch out where he came from.

Shall we rob our parents?

Let's do it.

Shall we?

Shall we scream quietly at our brothers?

Let's war.

As a reminder.

Yes.

We love it.

We dig it.

Rio, because that's the beautiful haven wherever.

Apparently they had a good relationship.

And then Chico, because Michael Shannon was absolutely frightening when he called.

When he called Hank.

Chico.

Every time his eyes, I'm like, oh, my God, that's not a good Chico.

What a terrifying motherfucker.

Every time I see him in one of those roles, I just love him more and more and more.

One of the best.

Yeah, one of the best.

All right, Top Bill, cast Philip Seymour Hoffman, Ethan Hawke, Albert Finney as the father.

What do we think?

I mean, I gotta go.

Rio, obviously, like, as we have been discussing, everyone just brought 100% of what they needed to.

To the characters.

And it's like, as we've even been talking about it, the characters themselves are not that complex.

They all have very simple, specific motivations for doing the things that they're doing.

But each one of those actors really took that simple motivation and let it bloom into something incredible and something that felt way more complex than it actually was.

So rio, for me, 100, we think same.

I mean, that was just insane looking at that cast.

I mean, I love.

I love all three of them.

And, you know, it's like everyone in that film was incredible.

Yeah.

You know, it speaks.

Speaks volume to see such Great performances from a great director as well, you know, because it's, it's, you can have a good actor, but then also having the right script and the right, you know, director is always going to help.

Love it.

Same Rio.

I think there's a lot of emotional complexity being, being displayed simply.

I think there's not a lot of fanciful anything here, but there's some really strong performances that are kind of actually.

And when you look at the whole movie, it's quiet, it's a pretty quiet movie.

There's not a lot of like loud moments to this movie, but the emotions are loud.

They feel searing and like you're feeling it.

And that's because these performances and Ethan Hawke's another guy.

Like I love Training Day.

It's one of my favorite movies of all time.

But I really didn't get deep on Ethan Hawke.

You know, I kind of thought that's who he was, you know, you, you kind of, that's how it is with actors.

Like you kind of think they, who they are based on what you've seen.

Yeah, you can't watch everything all the time.

I, we're watching the Northman for, for next and I'm re watching it and then I forgot Ethan Hawks and that.

I'm like, God, like having, having just watched this and then watching him and that.

I'm like, God, this guy's got some, some dynamic range.

Well, last year I saw the before trilogy for the first time.

We were talking about this on the way over and those are such densely dialog based films.

And yet watching as his character changes because each one was shot like nine years apart and they take place with, you know, that nine years separation and watching, watching what he brings to.

It's nothing but dialogue.

Like, like very little actually happens in those movies outside side of them.

Discussing all the philosophy and about love and everything and watching him in something like that and seeing that he can handle the weight of nothing but dialogue and then move over to something like this where he, I, I feel like he doesn't speak even as much as some of the other characters do and he's still like, you feel every moment of his anxiety throughout the whole film.

I just, I, yeah, I think he killed it.

He's so good.

Love it.

One to zero.

We're hanging out in Rio at the moment.

Supporting cast, here we go.

And there's a long list, but I'm gonna stick to the, to the hits here, Marissa.

To who I absolutely love Aunt May.

Yeah, well, hey, my cousin Vinnie, she got the Oscar and she deserved it.

She was fantastic in that.

That was a long ass time ago.

Yeah.

But she blew my mind in that movie.

It's one of my top 50 for sure.

Aleska Palladino as Chris.

Michael Shannon as Decks.

Oh, yeah.

And then Amy Ryan is Martha.

And then I'll give a shout out to Rosemary Harris as Nanette the mom.

Yeah, yeah.

Rio for me, again, it.

It.

Even down to the smallest details, Michael Shannon probably had the least screen time of every single one of those and probably had the most memorable, memorable performance.

For me, as far as the supporting cast goes, that three minutes of screen time was terrifying.

Yes.

Just so good.

Again, as we said, even though her character was kind of just written to be sexy on screen, I think Melissa Tomy brought so much gravitas.

Yes.

To the way that she portrayed herself throughout the whole thing.

She took what could have been a very ditzy, simple, mediocre role and.

And really brought depth to the whole thing.

So Rio for me.

Love it.

What do you think?

Yeah, yeah, I thought.

I thought everybody's casted wise was.

Was really good.

I don't think anybody did a bad job and I think they had the best that they could do with it.

Yeah, yeah, yeah.

I love it because I feel like this was one of those movies where it's simple enough to.