Joe Rogan podcast. Check it out.

>> The Joe Rogan Experience.

>> TRAIN BY DAY. JOE ROGAN PODCAST BY

NIGHT. All day.

>> Come on, Roger.

>> Yeah. [ __ ] it. [ __ ] it.

>> [ __ ] it. Go for it. [ __ ] it. We'll do IT

LIVE.

>> YEAH. DO IT LIVE.

>> THAT'S A CLASSIC.

>> YEAH. That's a classic. Look behind the

scenes. [laughter]

>> Do it live.

>> [ __ ] crazy crazy people telling you

the news. Yeah, that that's good. And

the the William Shatner one where uh you

know the um studio guy, you know, he

says uh Shatner is doing some ADR for uh

the cartoon, the Star Trek cartoon, and

he says uh you know, he uses the word

sabotage and he gets corrected by the by

the studio guys. He's like, "Uh, Bill,

it's pronounced sabotage. Please don't

correct me. It disgusts me. It sickens

me. And [laughter] you say sabotage. I

say sabotage.

I absolutely

love William Shatner.

>> My favorite ones are the or uh excuse

me. Uh [ __ ] I can't remember his name.

Um Rose Bud Orson Wells. Jesus Christ.

>> Orson Wells. What happened?

>> You started saying it.

>> I know. What happened? My brain just

[laughter] said nope. No access. When

Orson Wells was doing the Gallow Wine

commercials, remember those days? Like

>> Orson Wells wine

>> before it's time.

>> I know. And then he was like

>> everything was like a exhaustive sucking

of air to come in to see.

>> But then he was making fun of how shitty

the wine was in between takes like he

was angry.

>> Yeah. [laughter]

>> There is a CD that you can get. I can't

remember what it's called, but I have

them at home. And it's like all these

radio things like that where just when

celebrities, you know, lose it on uh

while doing voice over and ADR. It's

hilarious.

>> Orson Wells is a crazy story, right?

Because when he made that movie, when he

made Citizen Canain, which was about

William Randph Hurst. Yeah. William

Randph Hurst essentially shut down one

of the most talented guys alive at the

time, shut down his career.

>> Yeah. Because the movie was kind of an

insult about, you know, the whole thing

about Rosebud is that's the name of his

girlfriend's clitoris.

>> Oh, really?

>> That was his nickname for her clitoris.

And so Orson Wells was doing a kind of

very uh uh like uh like he was jabbing

at him in a very low-level way like

really. Yeah. Rose.

>> How did he know that that was the

nickname of his girlfriend's clitoris?

>> People in Hollywood [snorts] know these

things.

>> Oh boy. Word gets around. [laughter]

>> Word gets around.

>> I would keep that one just to her.

>> Yeah.

>> Who told

>> Yeah, [laughter]

>> that's crazy. But I mean, if you go back

to like War of Worlds and then Citizen

Kane, I mean, this guy was a dynamo. And

then they shut him down. Well, yeah. And

he was doing things that nobody else

would do. It's like he's like, "Oh, I

want the camera down here like on the

phone." Well, we can't get the camera

lens down that low. You like what you're

talking about is impossible to do. And

so he would just grab a like a pickaxe

and just start chopping away at the

studio concrete and dig a hole in the

ground so you could put the camera down

that low.

>> Oh, really?

>> Yeah. He would he was uh obsessed with

getting a a vision on screen that was

even today is so advanced. There's a

shot in the very beginning when uh young

Kane is like a little kid and he's out

there playing with Rose Bud. He's out

there playing with the sled in the snow

and the camera is on him and then it

kind of starts pulling back and it pulls

through a window and then we see his

parents and the uh the trust attorney

and the camera keeps backing up all the

way into the room. Well, to do that in a

studio and to have all that snow and

everything, you need so much light, but

you also need a lot of light inside the

uh because the exposure change.

It's like an amazing, incredible uh

dolly shot, a reverse tracking shot.

It's fantastic.

>> And what year did he do this too,

>> guy?

[laughter]

I don't know the exact year. Uh

>> citizen Kane has to be 40s, right?

>> Yeah. Yeah, probably. It's uh Yeah, it's

in the 19 late 40s, I would think.

[sighs]

>> Is that when it was Jamie?

>> Yeah. Tell us the

>> uh It should be Yeah. 41 is when it came

>> 41. Early early 40s. Early 40s.

>> Wow.

>> Yeah. Wow. Let me see that shot.

>> Time.

>> Can we find that?

>> Wartime. It's a wartime film.

>> What, Jamie?

>> I was I was looking for I was lost in

some other ones.

>> Wartime 40s, right?

>> Yeah.

Yeah. Yeah.

>> I didn't even think of that.

>> Yeah.

>> Oh my god.

>> A lot of stuff going on back then.

>> Probably hard to get people to go to the

movies back then.

>> No, it would be easy to go to the

movies. In fact, wartime and depression

and when things are bad,

>> that's usually the best time for

entertainment because people just want

to escape.

>> Well, that actually makes sense.

Be careful, Charles.

>> Pull your muffler around your neck,

Charles.

>> Kane, I think we shall have to tell him

now.

>> Yes.

>> I'll sign those papers now, Mr.

Thatcher.

>> You people seem to forget that I'm the

boy's father.

>> It's going to be done exactly the way

I've told Mr. Thatcher.

>> There ain't nothing wrong with Colorado.

I don't see why we can't raise our own

son just because we come into some

money. If I want, I can go to court. A

father has a right to. a border that

beats his bill and leaves worthless

stock behind. That property is just as

much my property as anybody's now that

it's valuable. And if Fred Graves had

any idea all this was going to happen,

he'd have made out those certificates in

both our names.

>> However, they were made out in Mrs.

Kane's name. So, in order to maintain

that background exposure of the little

kid in the window and the foreground,

what's what you're not knowing is how

much light they're using on the interior

part in order to create that balance

between the two

>> with the with the film stocks back then.

And the other thing is that table gets

flown in like they move that table into

the shot because it's in the way of the

camera move. Wow.

>> And so there's all sorts of like, you

know, mathematics going on in the

creation of this shot. And most people

would just, you know, be like, "Oh,

just, you know, shoot the kid outside

and then cut inside, you know, just do

it like that." But, you know, Wells was,

I mean, he was thinking on a complete

other level.

>> I just We've robbed We got robbed of so

many films if you really think about it,

what he could have made.

>> Yeah.

>> You know, yes and no. My favorite film

of his is Touch of Evil and there's this

amazing shot in with Charlton H where

he's playing a Mexican and he's got like

this like pencil thin uh you know

mustache this and like Chuck H as a

Mexican is fantastic and then

everybody's so sweaty in the movie and

it takes place in Mexico but it's shot

in Venice, California and so the whole

opening which is this setting of a bomb

in the trunk of a car and then yeah

here's the opening shot and you can tell

that it's actually downtown Venice

And this is supposed to be Mexico.

>> Yeah, this is supposed to be like a

border town in Mexico. I don't know if

it's Tijana or some other border town,

but it's he does this this [snorts]

amazing amazing single shot.

>> Wow.

>> And which back then this is really hard

to do. And this is kind of a um I mean

it's Charlton H essentially saying I uh

I believe in Orson Wells and his vision.

This is

>> That's downtown Venice. There's the

beach is just beyond that.

>> Ah, wow.

>> God, what year is

>> Actually, I'm sorry. The beach might be

behind us.

>> What year was this?

>> 58.

>> Yeah. 1958.

>> Wow.

>> It's an incredible shot. And And this is

incredibly difficult to do as well

because you've got a crane

>> and now you're following the people.

>> Now you're following the people. And

there's Charlton H with his mustache.

And we know as an audience that there's

a bomb in that car, but he doesn't know.

>> Wow.

>> And so, you know, he he's still, you

know, the just the fact that this is all

one shot is crazy. And for back then, I

mean, it's a big deal. Back then, the

camera that you're using isn't just some

little uh handy cam or something like

that now, you know, an iPhone. It's a

Mitchell BNCR, which is a, you know, it

takes four guys to move that camera.

It's made out of cast iron. You know,

it's a a giant camera with a blimp and

uh blimp.

>> A blimp is a a soundproofing device.

It's So, you have the camera and then

you've got to build a giant uh encasing

for the camera

>> because it makes so much noise. [snorts]

>> You don't want to hear that.

>> What did that look like?

>> Um I have one in my home. It's uh

>> Of course you [laughter] do.

>> Well, I that shot's incredible. I I

would have never I didn't know that film

existed. I bought I bought mine from

this commercial director named Charles

Whittenmeer and he had a massive

collection of stuff and then he

liquidated everything. He just kind of

cashed out of Los Angeles and he's he

had a warehouse full of stuff and so I

went in and he's like you know well

here's you can get this and you can get

this. I was like okay the Mitchell BNCR

and we went over to it and he's like you

know this Mitchell BNCR was used uh you

know to shoot uh the Godfather.

>> So that's what it looks like with the

big lid on it.

>> Yeah, that's actually Yeah, that's

basically the camera. That's That's the

camera. I also have some cameras.

>> The blimp is the thing on top of it.

>> Yeah, the blimp is Well, the whole thing

is actually the whole thing is a blimp.

I mean, well, there's there's a smaller

um area

>> with a blimp on it. The the big one like

the whole thing is a blimp. And when you

can actually open up all of these uh

these trap doors on it to reveal the

camera inside of it. And then the reels

that are in There you go. It's There's

an opened one, an opened up one.

>> Wow.

>> That one looks like it's holding an airy

on the inside. in area 100. One of the

things about old movies is they would

let a scene cook. You know, you had so

much time before people would talk and

you just let like the average daily life

sort of play out.

>> Yeah.

>> And it set the tone for the film and

they don't now it's like it's like built

for Netflix.

>> Well, yeah. Well, now you have a white

paper that Netflix gives you and that I

think uh was it Ben Affleck that was

talking about it. you know how you know

you got to have a beat in the beginning

and you've got to have this and this and

this and regular things. I mean there

was this book by Sid Field which was a

screenwriting book um that you know at

one hand it gave a kind of formula on

what a movie should be. you know, by

page seven, your inciting event should

happen, and by page 30, the first, you

know, he had everything mapped out by

page. And that eventually found its way

into the hands of studio executives, and

they were like, "Oh, now we know what a

screenplay is supposed to be structured

like, you know, in order to have proper

story arcs and structures and a

satisfying uh design." And uh and that's

just the next iteration is Netflix

giving you a white paper saying you have

to shoot with these cameras. You have to

uh process at these labs. You have to

have, you know, tech specs that are

within this range. And that's now

extending to story because they've

analytically looked at what audiences

are, you know, able to process now,

which is less and less probably because

of the COVID shot, you know, uh

[laughter] completely frying their

pineal glands. So they can no longer pay

attention to anything. And then on top

of that, the uh the mind control device

of uh cell phones. And um you know, with

all of that, they they're now like,

well, how do we maintain the audience?

And so you end up with white papers.

>> Don't you think it's options, too? It's

almost like if something is not really

fascinating within the first 20, 30

seconds, people just want to let's see

what else is on. They just want to keep

searching.

>> Well, there is that. I mean, there's

something magical about being in a movie

theater. You know, it's uh you know,

you're

>> you're you're in this congregation.

>> You know, Clinton always talks about how

you know, movies are my church. Well, it

is a congregation and you're having

you're sitting in the dark next to

someone you don't even know. They might

have completely different ideologies,

uh, you know, race, creed, color, like

everything is different about them. And

yet you're sitting in the dark next to

them having this ecstatic dream, this

waking dream, sitting like insects

looking at the flicker on the screen,

and you're sharing this kind of

experience that you're physically

trapped in. you like you you don't you

know you don't get up and leave the

theater and well you might if you have

to go to the bathroom or get some

popcorn or something but they'll even

bring that to you now you uh you having

this kind of ecstatic experience

absorbing the movie with someone you

don't know and you're sharing your

bodily electricity with them and I think

this kind of uh this is the magic that

they often talk about of movies it's not

necessarily the the movie itself on

screen it's the shared experience of

being next to people.

>> Yeah.

>> And that

there is a kind of unseen electricity

between people that unifies us. And I

think that there are dark forces in the

universe that are attempting to divide

people up

>> and to take that away to take away that

congregation. Do you really think that

that's on by design or you think that's

just a natural function of streaming and

televisions and phones and having access

to things instantaneously? I personally

think that streaming was by design to

eliminate residuals like

>> by design but isn't it just a function

technology emerging

>> you noticed that all of the executives

well yeah I mean part of it is

technology but technology gets pushed

and brought to the forefront for

specific reasons and

>> you know digital cinema hasn't been the

greatest thing for the creative process

and I think we see that in the works

that we're looking at I mean if you

watch stuff on Netflix and uh whatnot we

can see that it it doesn't have the same

power and impact. And also, you know,

when you were making a movie, when you

were making a film on film, it was like

every time you turn on the camera,

you're burning money. It's like every

single frame is like 4 cents or

whatever, whatever the calculation was.

And so, uh, that was actually an

expensive part of the process. And so,

you know, there was all this preparation

to get everything ready, like, oh, we

want to get all of the the props in

place, you know, right before we shoot

and the actors are in their trailer and

they're figuring out their what they're

going to do. And then you're on your way

to set and people are like, "Hey, I'll

see you in the moment." And what they

mean by that is when the cameras turn on

and you [snorts] actually hear that

happening, suddenly everything pops into

play and suddenly you're you're

performing in front of uh you know,

you're you're

what you're attempting to do is capture

lightning in a bottle and you don't even

know that you have it right away. You

ask your DP like, "Do we have it?" And

it's like, "Oh, well, there was a some

dust in the frame or a hair in the

frame. Let's get another one." and you

get another one and like then you hold

that all in the dark, all that film

because you can't expose it and you send

it off to the lab and then some

alchemist at the lab at the castle, you

know, puts it into a potion and he and

the next day what comes out are these

like little stained glass windows and

you watch it and you realize what you

caught. You're like, "We did it. We we

captured something." Okay, now

everything is different. you uh you

know, you show up on set and

everything's digital and you've got

producers and uh network executives and

broadcasters and everybody's there,

studio people in video village and they

set up like a little tent and

everybody's sitting there in their

Canadian goose uh jackets on high chairs

and they're looking at a big color

corrected monitor and there's a guy

doing color correction in a van and

they're basically watching an

approximation of what it's going to look

like in the the end and they're sitting

there. Okay, on my first film there was

none of that. I had to stand next to the

camera. We didn't even have videotap.

Stand next to the camera and look at the

actors and see did the actors do what I

wanted them to do. And now, you know,

they just turn on the camera and it's it

costs more money to stop the camera and

to restart it again. So, you just let it

roll and you're just like letting it go

and you're like, "Hey, you the director

now is like, hey, go back, start over

and smile this time." And then they redo

it and then the editor is now like

having to take those takes and separate

them in the uh in the editing room and

the actors are like suddenly the moment

is gone in in other words it's vanished.

It's uh

>> is there a way to do both? I mean is it

the medium of film?

>> I mean it seems like it's the but it's

the environment as well. You're

describing an environmental thing,

right? Video village executives.

>> Yeah. The the problem is now suddenly

you've got a chorus of people sitting

there who are like, "Oh yeah, you got

it. I saw he got it. Didn't he get it?

You got it." But you as the director

still have to run back and forth to the

camera and to the actors and everything

and you're like trying to uh keep it all

in place. And

>> look, it it's neither is worse than the

other,

>> right?

>> They are both paint, but one is

watercolor and one is oil paint. And

those are opposingly different. M

>> you know if you were a um an oil artist

during the uh British Renaissance of

watercolor paint where all of a sudden

watercolor came out and everybody wanted

watercolor.

>> Why would you try to make your you know

watercolor paint look like oil or vice

versa? They're just completely different

mediums. They're both paint but they're

different. And so digital has its its

advantages and its purposes. you can,

you know, because you can run like a

long mag of uh of video. I call it

video. Everybody calls it digital

cinema, but that was that was just to

push it through, you know, and and and

actually the technology is different,

you know, with film, light travels

through through the glass. It travels

through a gate. It exposes the silver

and the acetate and uh and and then and

you keep it all in the dark and send it

away. With video, the light travels

through the glass, it strikes the golden

sensor and then it bounces back into the

glass. And that's why video or digital

cinema is flatter by nature than than

most film because it and so to combat

this uh filmmakers have started to do

the exact opposite of what we used to

do. It used to be that you would go to

uh shoot something, you're on you're

outside, you're on set, I've got my

camera on Joe and I have the sun behind

me because I want all that light on you

for the most part. I'm overexaggerating

my point, but and the analogy would be

or the uh the saying would be that at

the end of the day, you go home and the

back of your neck is sunburned because

you've always had the light behind you.

Now, because the image is flatter, they

rotate the camera 180 degrees and they

shoot into the sun to get lens flare.

and lens flare gives you the the the

illusion of depth where there is none.

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Meet your match on Ziprecruiter. I

always thought that like when you would

watch soap operas, I was like, why do

they look so weird and it's because they

were shooting them on video instead of

on film. Like when we were filming News

Radio, the sitcom, we were doing it on

film and they were like really adamant

about doing it on film. Like they really

wanted it to be on film and then there

was some process where you could make

video look like film and I was like this

is so interesting. It's like we're

design like when you take your photo

with your camera on your phone and you

use portrait mode. Yeah.

>> Which is you blur out the background, so

you're making it shittier.

>> You're doing an artificial

>> Yeah.

>> That's because uh we associate um you

know, we we associate the the faults of

of media as as film. Like people think

of like old movies as Gateweave and

sepiaone and Dustin Scratches and kind

of fast motion. Well, when those movies

were originally made, the motion was

corrected by the cranking of the

projector. And so it was natural motion.

The uh there was no sepia tone change.

There was no dust. It was originally and

and there was no gate weave because it

was a fixed image. The image the

celluloid hadn't yet shrunk or anything

like that. And so uh we now we have this

kind of filter nostalgic filter that we

associate with what an old movie looks

like. And so if you want to make

something look old, you start adding all

this crap to it. You're adding the

faults. And it's the faults of cinema

that actually make it really good. It's

not the perfection of cinema.

>> That's in my opinion

>> because you would never be able to sell

that if that cinema never existed. Like

if cinema never existed and video came

around and then it was normal video like

soap opera style and then someone came

along and said, "Hey, let's make it

blurry in the background and let's like

it's almost like we've become accustomed

to the faults and nostalgically we look

at them as if they're they're it's a

positive and and and it's also led by

you know everything is shot on iPhones

now and so that's becoming the cinematic

vernacular the grammar that uh people

are used to and they they now expect

that in a big movie and so suddenly ly

you see something like the latest James

Gun Superman or Gile Gilmo Del Toro's uh

Frankenstein and they've got these crazy

wide lenses where there's no distortion

and you know kind of infinite depth and

and they're shot in a in a very large

format but what they're replicating is

an iPhone,

>> right? And it just I I I watched both of

those movies and I thought, okay, both

of them are amazingly technically

competent and they're made by, you know,

like highly professional people, but you

know, it looks like iPhone footage, too.

>> I'm a huge Guo Del Toro fan. Um, I even

loved his book, The Strain. Like, it was

really, it was really good till about

like 3/4 of the way through and it

seemed like he just wanted to finish the

book. Yeah, probably

>> like a bunch of [ __ ] just sort of just

happens in the last quarter of the book

where I was like this is kind of

jarring.

>> It became dinner time

>> like put this aside.

>> It just seemed like [ __ ] [laughter] I

can't keep going with this book. It's

what it feel felt like. It felt rushed

just my my opin but I'm a huge fan of

that guy. I love Pan's Labyrinth. I love

a lot of his films but I didn't like

Frankenstein. I am, you know,

like I love Gilmo and I love his spirit

and I love his artistry. He is an

amazing artist. His he's a um uh just

literally as a as an artist, you know,

his his sketchbooks are beautiful and he

brings a great amount of passion uh to

his work. He he brings that kind of

Mexican uh passion to his work and I

adore his him as a as a person. But to

be perfectly honest, I'm not wild about

his movies that much. I you know I I

>> You didn't like Pans's Labyrinth.

I I liked parts of it, but as a whole, I

it just kind of

and I don't know what it is, you know,

about it, but uh I mean, Blade 2 is

probably my favorite film of his because

it's like the least of of Well,

actually, it's quite a bit of him, but

um it's just the most accessible for me.

I didn't know he did Blade 2. Which one

was that Patton Oswald was in where he

had the the whole bit about Wesley

Snipes and then they replaced him with a

cool cooler Wesley Snipes? [laughter]

>> I think that was three.

>> Yeah, it was probably Blade.

>> Blade three. I don't remember Blade 2. I

don't remember Blade 2. Blade one was

awesome though.

>> Yeah,

>> that's my favorite of all the comic book

vampire well comic book movies because I

I was just a giant fan of the Blade

comic book series. I also like his

Pacific Rim movie and I like parts of

like the moment in Frankenstein that I

think is for me the entire movie. Like I

could have like left the rest of it. So

much of it was just so melancholic and

you know it was just like I just

couldn't engage with it. And uh uh but

the part that I absolutely loved was at

the Miller's house where he's learning

language. Mhm.

>> To me, that was the movie when he's kind

of secretly learning how to speak and

how to be and learning morals. And to

me, the mo I could have watched an

entire movie about that sequence. And it

was also beautifully made that part.

Just the rest of it with

I could have done without.

>> It was just a little flat. I don't know.

>> And also, it's like why does it have

It's so freaking long. Like [laughter]

he could really like learn a lesson.

Well, I was going to say he could learn

a lesson from Ridley Scott who just

clips through things like he he takes,

you know, oh, there's a dialogue scene.

I'm just going to do the essentials and

just get out like it's a commercial.

This dialogue scene doesn't need to be

any longer than 30 seconds and he just

clips along

somehow. Yet, his movies are still like

two hours long.

>> Well, they're so involved. You know what

I really loved? Uh, Noserado. Did you

see the new

>> No. I haven't, you know,

I don't want to sound like a pnicity

guy, but I had to be in the right

>> I want you to be pnikity.

>> I had to be in [laughter] the right mood

to engage with that movie [snorts]

because um I like that guy's first

movie, The Vivich or The Witch.

>> Um I

>> I never saw that.

>> I

>> I heard it's great though.

>> I love that film. I think that's a great

movie. And he's like a production

designer.

>> He's doing a werewolf movie right now.

>> Yeah, of course he is. [laughter]

>> Of course he is.

>> I love a good werewolf. I did not like

his Moby Dickish uh lighthouse movie. Um

>> Oh, I didn't see that. That was the

William Defo

one. It was just uh just garish and kind

of I felt like lost its way halfway

through. And um but uh and then you know

this latest one, Nosperatu.

Look, I am a Verer Herzog nut and so I

like I adore Verer Herzog and I love his

noseratu. So for me to, you know, like

watch this guy's version of that.

>> Which one?

>> I have to be in the right mood. I have

to be in the right mood. I just wasn't

yet in the right mood to accept.

>> Which one is Werners? Who who plays

Nosado?

>> Oh, Claus the the incomparable

Klauskinsky. And uh I know I've seen it.

I mean the thing about Verer Herzog when

he made his noseratu what's you know uh

the Mnau movie which is the original

Noseratu the the very first one with Max

Shrek

>> uh that

>> I saw at the library when I was 10 years

old.

>> So the thing about Verer Herzog as a

filmmaker is that most filmmakers have

their forefathers that they can look

back to. they can you they have a

generation before them that they can

kind of imprint on and because of the

brutality and uh tragedy of World War II

uh he had none. There were no German

filmmakers that he could look to and so

he had to look to his grandfather

basically which was Mnau when he made it

and so his film is almost like haunted

by the by the original and then he bring

you know Ver Herzog grew up

>> not using a telephone until he was in

his teens. He'd never seen a telephone

before. He had grown up like in, you

know, upper Bavaria in in the mountains.

And, you know, so he he comes like his

film is almost displaced in time. It's

like skipped a generation. And he does

things like uh you know, he'll show two

actors in the most emotional part of the

movie when Mina and Jonathan Harker are

uh you know, at the beach and they're

basically saying goodbye. And normally

in a Hollywood film, they would cut to a

closeup so that we could see the tears.

You know, we would cut to that close-up.

But because his film is, you know,

because he's displaced in time, he stays

back. Like, he doesn't even bother

shooting a close-up. To him, it's more

melancholic to show them just isolated

as figures, you know, in in a in a wide

shot. And it truly is. And so, his film

is is super powerful that way. And then

you have Klaus Kinsky, you know, who is

uh, you know, like the madman actor of

of German cinema and who is uh uh, you

know, who who was like I mean there's a

documentary called My Best Fiend, which

um, uh, K which is about the

relationship you between Herzog and

Kinsky. And there's an amazing scene in

the beginning of that where uh he Verzog

visits the apartment that he rented in I

think it was in Berlin that uh you know

that where he was first becoming a

filmmaker and where he first met Klaus

Kinsky and he goes there and it's now

occupied by these two you know just very

conservative uh this German couple and

and he starts going through the house

and saying oh yes here this is where uh

Klouse you know went crazy and he

started smashing it and [ __ ] on the

walls and like you [laughter] know like

cuz he was an insane guy. He was like

his whole thing was about provocation.

And so he brings a kind of crazy

vampire. I mean it feels like a real

vampire.

>> I remember it now but I haven't seen it

forever. What year was that?

>> Uh you mean the Kinsky one?

>> Yes.

>> Uh I think it was in the 70s so I'm

thinking it was like 78 or 79. Maybe

even earlier.

>> I know I've seen all the Noseratos.

Um let me see. Give me a um

>> I will eventually see this new

>> I will eventually see this new one.

>> It's [ __ ] good, man. It's good.

>> The dude who plays the vampire, what's

his name?

>> Um

>> the guy who played uh the the clown and

it

>> Bill Scarsgard.

>> Oh, yeah. Bill Scars.

>> He's so good. Well,

>> he's so good.

>> So, is this the scene when he meets the

vampire?

>> I don't know. I just clicked on.

>> Yeah, this Oh, he cuts.

>> Well, this is Yeah, this is I mean

that's [snorts]

I mean, Kinsky brings just an amazing

>> The knife is old and could be

>> empathy.

>> It could give you blood poisoning.

>> Oh, this is the English version.

>> Please let me do it. It's the oldest

remedy in the world.

>> Oh, forget it. It's hardly worth

mentioning. Just a little cut.

You [sighs]

you know

it's only for the best.

[gasps]

>> The original [laughter]

in German is incredible.

>> That's so awesome. And that's probably

Kinsky like you know they're supposed to

cut and Kinsky just keeps going.

Yeah. I mean Bruno Gans. I think it's

Bruno Gans is probably terrified in real

life cuz he doesn't know Kinsky's crazy

enough where he'll bite him,

>> right?

>> And he's got those fake teeth.

>> Yeah.

>> Let's sit up for a while.

All right, show me a clip from the new

one. You You got to see the the new

Noserato.

>> I mean, I had never seen a vampire like

that. And And then I think Salem's Lot

was made after the TV movie was super

similar to it.

>> Yeah.

>> Um there's a a scene when he um meets

the guy at the castle.

I did see one scene from this online

with Lily Rose Depp kind of

>> this is it

>> reacting to something which was like

very compelling.

>> Go full screen to this. This is when he

makes it into the castle.

It's really dark man. He did a fantastic

job of like capturing the creepiness of

it and also the surreal aspect

of him being under the trance of this

vampire. You recognize that reality is

all [ __ ] up and skewed. Like time

passes very quickly. It doesn't make

sense. He's super confused as to what's

going on.

I mean, I have to say this movie feels

haunted as haunted by the Herzog version

as Herzog was haunted by the Mnau

version. As if it's a continuation. For

me, it would be

>> like I encourage anybody to like enjoy

all three of them, I guess.

>> Yeah. I wonder if he was haunted by that

or if I wonder if he was haunted by the

original. But this is uh with the use of

all

>> the little step frame

>> modern ability. Yeah.

>> But it's just the way they made the

castle and the way they made him is very

unique. There's so many aspects of it

that I thought were very unique. Even

the way the vampire feeds on people is

unique. This guy is a he's a very very

very good filmmaker. I just uh

>> You are late.

The midnight hour has passed

and my attendance

have wor

>> I don't know so much about the way he's

talking.

>> It's a It's weird but it grows on you.

It grows on you.

>> Well, I'm sure it has a like a haunting

quality over time.

>> Yeah. Like like this, the guy just

disappears and all of a sudden he's way

far away. There's a lot of that in this

movie. So the scene when they get him to

sign papers when he's get up to that

>> questions about the young

we yet keep close many superstitions

here that may seem backward

to a young man of your high learning.

>> Sure Prince Charles was like jacking off

to this film. [laughter] Oh,

>> before they made that painting.

>> Well, he he apparently he visits uh

Castle Dracula like every year.

>> Well, isn't he related to Vlad Tz?

>> Yeah, it doesn't surprise me. I mean,

he's he's German. He's of German

ancestry. So,

>> I think Prince Charles is related to the

original Vlad the Impaler.

>> That would go further ahead. So, they

>> would track with the whole baby eating

thing.

>> They give you a look at what he looks

like.

I think it cuts off probably.

This is going to cut it off.

They don't want to give away too much.

That was the other thing. Like you don't

really [music] get to get a look at them

for quite a while and when you do it's

horrifying.

>> Yeah. And the movie is made in washes of

darkness.

>> Mhm. It's very dark.

I mean, it's very much a candle lit

movie,

>> which I like because I don't like a film

where you're pretending that people are

in a candle lit, but it's really well

lit.

>> Well, and that's that's an example of

where video actually is is a better

medium to choose

>> because it it like digital loves

darkness

>> and it can do things in darkness that

film just doesn't have the capacity to

do, right?

>> And so, it's an excellent choice. When

we did Silent Hill, we made the choice

of whenever we're in the dark, we're

shooting on digital and whenever it's

during daylight, we're shooting on film.

>> Oh,

>> to create a kind of dissonance between

the two.

>> And so, um, and and that's largely

because digital loves dark. And this is

a great use of it. I'm warming up to it.

I like I've been waiting. I bought it

on, uh, on Blu-ray. I I have the movie.

I mean, I keep it. It's in that stack

and I've just been waiting to, you know,

for the right time to expose it. Expose

myself to it where I'm in the right

mood.

>> I loved it. I'm no film expert, but it's

my favorite vampire movie ever.

>> Well, that's uh that's that's actually

saying a lot. That's that's incredible.

>> I loved it.

>> That's incredible.

>> My a fun vampire movie is 30 Days of

Night.

>> Yeah, 30 Days of Night is great. Um

>> I love that one, too. It's not as good

as this. This is This is a better

>> I think I Am Legend is actually a pretty

good uh vampire movie. the uh uh the one

with Will Smith.

>> Well, they're I thought they were

zombies.

>> Well, they're kind of It's a contagion

film. Technically, they're not really

zombies, but they've been turned into

like vampire-like creatures. They're you

in that film. That's a really good one.

And then that one that uh uh what's his

name? Titiki Wakataka

that uh that Polynesian uh director who

did the Thor movie did. Uh god, what was

it called? the um uh

we are I can't remember the name of it,

but it's like a comedy version of uh uh

vampires like kind of all living in a

house and and sort of

>> How old is that?

>> This was made in sometime in the mid

2000s, I think.

>> H vampires living in a house.

>> What We Do in the Shadows.

>> Yeah. What We Do in the Shadows.

>> Did you see that?

>> Nope.

>> That is an incredible vampire movie.

It's kind It's kind of like a

mockumentary like where they're they're

>> but it's it takes all of the kind of

vampire mythology and it makes it really

really fun.

>> I've never even heard of this.

>> It's fantastic. This is his best film.

This is I'm sure the foundation of

everything he's done has been on what we

do for me. What we do in the shadows.

>> Huh. That's so crazy. I never even heard

of it.

>> Yeah. It it's it's wonderful.

>> Show me the trailer, Jamie.

We are granted protection for the

subjects in this film. Oh, it's like a

Blair Witch Project type deal.

>> It's been like this the whole time.

Deacon on dishes and it still hasn't

moved in 5 years. You're a cool guy, but

you're not pulling your weight in the

flat.

>> Oh, I'm glad to hear that I'm cool.

>> No, that's not the point, though. You're

missing

>> not a flat meeting about how cool you

are. When you get three vampires in a

[music] flat, obviously there's going to

be a lot of tension.

>> Viago was an 18th century dandy.

>> Look, a ghost coplav

is a bit of a pervert.

>> This is my torture chamber.

>> Deacons like the young [music] bad boy

of the group.

>> I'm supposed to pay rent, but I don't.

[music]

>> The trouble with being a vampire is you

have to be invited in.

You can walk in.

>> Will you invite us in?

>> We need some fresh. [laughter]

>> The whole movie is like that. It's

fantastic. Oh, that's funny.

>> Will you invite us in?

>> Just invite us in. The bouncer's like,

"No." [laughter]

And they can't do anything about it cuz

they're vampires.

>> Let the right one in.

>> Oh, okay. That is uh of all the modern

vampire movies, I mean, I haven't seen

the what's his name? Edgar's uh

>> the American version of it.

>> Um no, I hate the American version. The

American version is Let Them In is

terrible. [laughter]

>> It It like I had to wash my eyes

afterwards with another movie.

>> I [laughter] didn't mind it.

>> I I hated the uh but because I loved the

foreign version.

>> The who who which country was it from?

>> I think it's Sweden.

>> Sweden. It's really good.

>> It's it's an outstanding outstanding

film. And the book is fabulous as well.

It's a an amazing novel.

>> Yeah. I just love a good horror movie. a

well-made horror movie because it like

the suspension of disbelief is like

inherent to the enjoyment of the film

like you know like just show me show me

how the guy turns into a monster. Show

me.

>> Yeah. Make it make it so make it so. And

>> and also you can see you like I mean

they have been making Dracula movies

again and again and again. It seems like

every year there's another vampire movie

coming out or every couple years at

least. And you know there never seems to

be an exhausted the market never seems

to be exhausted right by it you know

it's uh zombie movies they they continue

making them you know it's like

>> that's the most overused genre is zombie

films zombie films zombie TV shows I

mean how many versions of the walking

dead are there's multiple

>> yeah and I I'm not a big fan of the I

like I mean

>> the beginning was great I think first

season

>> when it started but then I when I

realized oh it's just sadism And that I

mean I get the point after the first

season I realized oh the point is that

the walking dead are the living.

>> They're actually the walking dead. Yeah.

Because they've become emotionally

>> I didn't like it when it got into the

point where they were just it was just

murder porn.

>> Yeah. And and and that I mean I think I

even talked about this before that like

that's a real problem with television is

that they're just trying to get the

serotonin levels spiked by killing

someone that you care about. M

>> and you know real television you return

because you love the characters and you

want to return to it.

>> Well, sometimes it's done well. Like

Game of Thrones did a fantastic job of

doing that.

>> But even that kind of lost its way after

a while. I mean eight seasons. I'm I'm

rewatching it right now. We're actually

on season 3 right now. It's [ __ ]

great. I I kind of forgot how great it

was. But when you get to binge it and

you don't have to wait like like there

was years in between seasons it took so

long to produce.

>> Have you seen the Pen Dragon cycle the

um the rise of the Merlin?

>> No.

>> Okay. So these days like you almost

don't know where television where to

find television and that's because you

can find it anywhere like and no the

main uh the mainstay producers of it the

studios and everything they're no longer

reliable in producing quality television

and so suddenly uh we see stuff rising

you know out of places that is

completely unexpected and uh this was

produced by the daily wire of all of all

people. S and the CEO of the Daily Wire

directed it. Uh this guy Jeremy Boring.

Yeah, I hope I'm not mispronouncing his

name. His name is Boring. [laughter]

>> But um

>> and this is good.

>> Okay, this is to me this is better than

uh you know it's I have a very high

watermark for um uh for Arththeran

mythology. Like to me Excalibur is the

high watermark and this really went

there.

Like I had a chip on my shoulder when I

started watching this. I was like,

"Okay, this is very unlikely that I'm

going to enjoy this production." But

they did it for like a for a micro

budget effectively. They made something

that is absolutely kind of reinvents the

mythology and they do it like proper

television where you kind of love the

characters and they they weave an entire

reality and universe that is just

fantastic. And it's done for like, you

know, for very very little. you know,

they're spending billions making uh

these Lord of the Rings things and like

nobody cares. They're just awful to

watch. And in the meantime, these guys

just, you know, without anybody paying

attention cranked this out. And I've

only seen four episodes of it, but I am

like completely blown away by it.

>> That's so interesting. The Daily

I think that's part of the problem.

Well, that's because well, like we don't

hear about a lot of things and media is

like the least of it.

>> Well, certain [laughter] Right. Good

point. But certainly with the Daily

Wire, the problem is it's like

associated with this right-wing

production.

>> If you can get over that and like and

and put that behind you and then uh I

mean this is to me as good as classic

television. It's I my prejudice was

initially, oh, they're going to somehow

or another embed right-wing ideology in

this.

>> Well, everybody's embedding their own

ideology there. Whenever you make any

media, there's usually um you have

corporate propaganda and personal

propaganda. And you're you and usually

there was a balance between the two. You

know, if you're making

Midnight Express, for example, okay,

that movie was nothing like the book at

all

>> really. and not not even close to the

book and it it's a complete alternate

experience and you wonder why did that

movie why was that movie such a big

success? Why was that movie such a um

overwhelmingly like Oscars and

everything? Okay. I think it had a

little bit more to do with the politics

of what was going on with Turkey at that

time than anything else. And and and you

know um what's his name? Billy Hayes who

uh um you know experienced it, lived it,

spent the rest of his life basically

apologizing for the movie and uh you

know

>> because none of he wasn't like raped in

a Turkish prison and that's like that's

like a

>> that's like a joke that gets you know

you know in airplane they're making

jokes about it

>> and so yeah Billy Hayes he was the the

actual character or the person who lived

the experience and uh and so the movie

is a kind of propag propaganda element

and that's like all Hollywood does it.

You know, you kind of accept whenever

you're making a movie that you're being

used in a certain level to do something,

whether it's to, you know, on a very

basic level, whether it's just to like,

you know, mortify or scare audiences or,

you know, to to to do things. And we see

that more and more obviously in media as

the director, the personal propaganda

when you have something personal that

you want to get on screen has become

more and more diminished and you have a

you know sort of more corporate

propaganda kind of taking over. And I

think the the the most probably crass

example of that is DEI stuff uh you know

in movies and pushing

>> uh characters in situations that are

just completely out of whack. Did you

see the Star Trek that they tried to

make like that?

>> Okay, I'm like a big Star Trek guy. I

watch Star Trek every day in my house.

We watch like two or three episodes and

I'm not kidding. My wife [laughter] is

like a Treky. She is like crazy for Star

Trek and so she puts Star Trek on, you

know, like at around 5:00 Star Trek

comes on original. Well, uh, we cycle

through, we go chronologically from, uh,

you know, the original series through

the next generation and then DS9 and

then Voyager and then Enterprise and

then we look back to, uh, and sometimes,

you know, when you show an episode like

uh, in DS9 there's an episode called

Trials and Tribulations where all the

characters go into the past and they

kind of interact with Trouble with

Tribles and they kind of blend them into

the set and everything that's happening.

we'll then go back and watch Trouble

with Tribbles or, you know, uh same

thing with Wrath of Khan. We'll do this,

you know. So, we we'll uh we'll kind of

connect it all together. And so, uh but

every day there's at least two or three

episodes of Star Trek playing in my

house. It's like uh I usually have to

wrestle away the controller to say we're

watching a movie now.

>> [laughter]

>> So, and so uh and and my children were

like basically raised on Star Trek and

you know the sort of morals behind Star

Trek and you know uh you know and people

complain about oh you know I don't like

DS9 as much. It's not as dynamic. I hate

Beij and blah blah blah. Uh but I think

Captain Cisco is one of the most amazing

captains there is because he's also a

father and there's all these like

fatherson lessons that are going on

throughout it. It's like really

elaborate television. And by the way,

all that kind of DEI stuff is still in

it. It's still there. There, you know,

they're exploring all sorts of things in

Star Trek: The Next Generation, uh

Riker, who's like the uh uh the second

in command to Peard. In in that one,

there's an episode where he goes to a a

planet of neuters that are just, you

know, they have one gender and he falls

in love with one and they kind of waken

up out of their single gender thing and

realize, oh, I'm female. And that person

then gets taken and reprogrammed like

and and then there's an episode where

Cork is turned into a woman in order to

for some cockamame reason that they come

up with in the show and and and he kind

of likes it. he's like getting into it

like so it's not like they aren't

exploring gender and

>> they're not [clears throat] just beating

you over the head with it.

>> It's somehow integrated into good

storytelling. And I think something

happened at uh you know at the studios

where they fired all of the legacy

people and they hired on a bunch of new

people who just weren't as good at

storytelling and or as respectful of the

you know the the canon I guess you could

say is what it was. But you know those

uh seasons of Star Trek are which I

guess you could call the from the Gene

Rodenberry into the Rick Burman era and

I mean they had such amazing writers.

They had guys like Renee Shavaria and

Narin Shankar and uh and they had

technical adviserss and you know so if

you were just into the tech you could

really like you know and and and most of

our technology and most of our

aspirations have come from Star Trek.

You know, our telephones are basically,

you know, like triers and we're we're

all and you know, when we see it on Star

Trek, like, oh, we talk to the computer.

Well, I want to have that. And so,

somebody figures out a way to develop

that and to make it so. And now we have

that.

>> Didn't he actually say computer? Like he

would say computer and ask question.

>> Yeah. Well,

>> hey Siri. Hey Siri. Same thing.

>> Yeah. Wow.

>> And so it, you know, it it's a I mean, I

think it's a fantastic show. And then

this dweeb Alex Curtsman comes along and

just shits all over everything. Just

like craps all over it. And I mean, I

went in and met with the guy, you know,

I was like, "Hey, I will write for for

scale. I'll, you know, I'll I'll write

on your new show." I like I I just want

to be part of it

>> just as an opportunity to work on Star

Trek.

>> And he was and I basically found out he

didn't want anybody who had any kind of

fondness for the original show. M

>> he wanted to do something new and to

create something new. And boy has he

[ __ ] the bed like in a big way. And this

latest thing that he that they've made

this Starfleet Academy now it's still

ongoing. Maybe it writes itself at some

point. You know,

>> I think they canceled it.

>> Did they? Good.

>> The newest the newest they read The

Room. They read The Room. Finally.

>> Is it um if they they didn't they stop

the idea of a season two? That [ __ ]

Alex Curtsman, man. His company is

called uh Secret Hideout. I think he's

going to need a Secret Hideout after all

these like after destroying Star Trek

for like this latest generation.

>> Are we talking about the newest one? The

one with Tigaro? That's the newest.

>> Starfleet Academy.

>> Starfleet Academy is an abomination. Uh

>> I could not I could not get Yes. I could

not get through three episodes of of

Discovery. And I mean they're just like

it is just awful awful storytelling.

Well, it's also clunky dialogue and bad

acting.

>> It's just horrible. And they're they're

more interested in um in the corporate

corporate pol in the corporate

propaganda than they are with any kind

of personal propaganda,

>> right? It seems like that's the

imperative that it's like they get

across this

>> inclusive I

was terrible. It was it's was sad

actually. It was just depressing for me.

And so like when you know when

>> Seth what's his name did that show the

Orville and like that is like you know

the proper successor like they brought

back guys like James Conroy

the uh

>> but I don't know what the Orville is.

>> Uh it was kind of like a comedy version

Seth McFarland did but he hired all the

original people that they had fired from

Star Trek and basically used them to do

his show. And it actually feels a little

bit more like a like a continuation.

>> I I never heard of this either.

>> And it's on Hulu.

>> Yeah.

>> Yeah.

>> Is it It is a Star Trek or is it

>> No, it's not Star Trek. It's the

Orville. [laughter] So, they just ripped

off Star Trek. basically just ripped off

Star Trek and they they have a sort of

like tongue and cheek quality but they

they bring all the you know all the

writers from the original and

showrunners and uh you know people like

that and the original directors like um

you know like Jim Con god I'm like

blanking on his name Con I want to say

Conroy but it's I think it's ah

whatever. Um and uh so they bring

everybody back and it has a little bit

more of the same spirit. Another really

good Star Trekish thing is Galaxy Quest.

Something that got kind of buried and

with uh

>> Sigourney Weaver.

>> Sigourney Weaver.

>> Yeah, that was good.

>> Galaxy Quest is hilarious. If you love

the original series of Star Trek, Galaxy

Quest is amazing. Like it it's so

fantastic. It's

>> I I love Sigourney Weaver.

>> Yeah,

>> she's one of my all-time favorites. That

that's a good example of a movie that

was like a DEI movie that you never even

noticed it was Alien.

>> Like you have a female lead and you you

never think about it.

>> We didn't have like powerful women in

movies before. We've like had them

throughout history, right?

>> You know, uh the history of cinema is

built on uh you know and and by the way

a you know a complex woman character can

have faults,

>> right?

>> Like that's part of it is characters

have faults. characters have things

wrong with them. You know, they're not

always just, you know, like, you know,

I, you know,

>> dominant and noble.

>> Dominant and and like can do everything

immediately.

>> Exactly. Like the some of the Star Wars

ones went woke. There was a few of

those.

>> Well, yeah. I mean, you know, it's

funny. You had I think it was I think it

was here Ben Affleck was on and they

were talking about AI and how it always

goes to the middle and well, you know,

it always goes to the middle. It always

goes to the middle. And I was like, like

J.J. Abrams always goes to the middle.

And boy was that Star Wars. He did the

middle where he just basically took the

Luke Skywalker story and just

reinterpreted it with a strong strong

woman, you know, character. And I I just

thought it was bland and just tasteless

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details. No, no, you just need a

mandate. And the the thing about Alien 2

was like you didn't know who the hero

was.

>> Alien 2 or Alien You mean Aliens

>> as well? I mean Alien one. I didn't like

Aliens 2 as much. It was fun, but it was

like why are they so easy to kill now?

Why are they so obvious?

>> Well, they were, you know, space

marines. And Marines are tough. Marines

are badass. Marines can like and the

first they still overwhelm.

>> I know. But the first alien was clever.

He was hiding. He would sneak around. He

would jump. You didn't get to see much

of it. And that was also cool, too,

because it kind of captured you with the

suspense.

>> It's one of the best movies ever made.

And

>> and it's a 1979 movie, too, which is

crazy. People don't even know how old it

is.

>> Well, it's funny. I recently went back

and started watching all the Ridley

Scott movies I hadn't seen, you know,

like there's a ton of them that I just,

you know, kind of missed along the way.

And I started off with um uh God, what

was it? I um Oh, I started off with

Napoleon and like because I just missed

it when it came out. And I'm like, what?

What happened to Ridley Scott? It's And

I have not liked any of his recent alien

movies. I just think they're I'm

confused by them to be honest.

>> The Prometheus ones.

>> It's just like when you need a web

episode in order to understand what the

hell he's talking about in the movie.

You failed. And And they're just like

they're high. They're technically

technical marvels. Like nobody shoots

big canvas cinema like Ridley Scott.

Like no one shoots a helicopter crashing

like Ridley Scott shoots a helicopter

crashing. And uh and and you know, you

watch Napoleon and sure the battle

battle of Astrolitz amazing to watch.

You know, cannonballs going into the the

lake and the ice breaking and people

falling in the water. But the minute

anybody talks in that movie, it just

collapses on its own weight. It's just

like you just don't care. My wife was

like, "This is the worst date movie.

You're not going to sleep with me after

[laughter] this."

>> What's wrong with it?

>> I didn't see it. It's well Walken

Phoenix who and I think he made a choice

because I consider him to be an

excellent actor but in this movie I

think he made a choice to just play it

like you know contemporary

is doing sort of a British or French

accent like they're all kind of

pretending that they're in a in a period

piece but not walking in Phoenix he just

plays it like he just you know walked

off Hollywood Boulevard really and and

he and it and just like the battle scene

there's no passion in any of his

performance. It's kind of this weird

dead dead performance. And uh and so

>> he did it on purpose to betray like a

sociopath.

>> I think he came on he was like I am

going to do whatever I want to do the

way Napoleon would and I and and I'm not

and I'm not going to try I'm a Corsican

and I'm not I'm going to be an outsider

to all of these other people who were I

think there was an intellectual idea

behind what he did and it completely

failed. So, I'm like, "Okay, I adore

watching Ridley Scott do these big

scenes, but what a terrible movie." And,

[laughter]

you know, like failure. And then I So,

and so then after that, I'm like, "Okay,

let's let's watch something else." Well,

oh, he did Exodus. I've never seen that.

Gods and Kings with Christian Bale. Same

thing. It's like you start watching that

movie and there's some interesting

things in the film. He's got like

chariot battles and you know archers

shooting things and like you know

whenever he's doing that like Ridley

Scott's like oh this is my day on set

and he's got a cigar and 20 cameras you

know put cameras everywhere and he's

like shoot from every angle and he's

like a like a great general you know uh

uh shooting but the minute anybody talks

that movie falls apart and actually I

mean I don't know how to say this but

that movie almost did its best to turn

me on the Jews. Like I'm watching it and

I'm like this is like first of all is

anybody even Jewish making this? Like it

seems like nobody involved in it was was

Jewish and like they start like you know

>> how is that even possible?

>> Well Moses as a character when he's uh

an Egyptian when he's like the adopted

Egyptian brother. I'm like totally with

him for some reason. and he becomes

Moses after getting like hit in the head

with a rock and uh and all of a sudden

he's uh you know kind of he's like a

lunatic and like you're like everybody's

following him like he's like he's

distaste he's distasteful all of a

sudden and but every now and then they

would show a battle scene and it's like

okay I [sighs] can like Ridley Scott's

doing his thing again but like and you

know who's also really good in it is um

God I can't remember Joel Edertton who

plays Ramsy's It's really funny because

Joel Edertton is, you know, usually you

imagine Egyptians when they're cast as

being kind of tall and, you know, sort

of noble looking and everything. He's

kind of like this butch, like sort of

tough, you know, widebodied butch uh

Ramsay's like just kind of like a tough

Ramsey's. And every now and then his

Australian accent comes out. So he's

like, "Oh, he's like an Australian

Ramsey's." And John Touturo plays his

his father uh who you know a bald I'm

like is that John Turo? Like what a

crazy choice this is. And so there were

all sorts of like interesting things

going on in the movie. But again I was

like oh this is awful.

>> Is it impossible for you to watch a

movie without just becoming hyperritical

about all these different aspects like

how I would do it? What I don't like?

>> Yes and no. So, the next Ridley Scott

movie I watched, which I stayed away

from and with great apologies to Matt

Damon and Ben Affleck, was The Last

Duel. And I just kind of avoided it. I

was doing other things at the time. And

the poster looked awful and I was like,

I'm not going to go see that. And then I

uh I I I put it on after watching these

other two and I was like, okay, here we

go. Let's go again. And lo and behold,

one of the best films of the century in

my opinion. Absolutely. First of all,

those guys know how to write a script.

And I know that they wrote it with

Nicole Hoffen or whatever her name is.

>> And look at And look at Ben Affleck.

Like when I saw him blonde, I was like,

that's one of the reasons it kept me

away from it, but he's hilarious in the

movie. He's a genius in the film.

>> I never even heard about this.

>> I was gripped by this film. And this is

a great date movie. Like this, my wife

got turned on after this film,

[laughter]

believe it or not.

That's hilar. I don't know anything

about that.

>> And Adam Driver is magnificent and like

this relationship that these two guys

have and it's kind of a Rashimon story

meaning that uh like Akira Kurasawa's

Rashimon which was three stories that

are all sort of the same event told from

different perspectives. And so and Matt

Damon is like a revelation. And this

movie says so much about Hollywood. Like

when I watched this I was like okay I'm

Matt Damon and Quentyn is uh Adam Driver

for sure. Like Adam Driver totally knows

how to like you learn about Hollywood in

this film and I'm sure they're writing

it like knowing about Hollywood that the

way to really get along in court is to

join the orgies, you know, to be in the

orgy with everybody is like how you get

along. It's like uh uh we all [ __ ]

together and that's how we do it. But

Matt Damon, who by all accounts in this

is a great, you know, he's a fighter.

He's a great knight. He had he's true in

his heart, but he's just a like a pill

to hang out with and he doesn't go to

the orgies. And because of that, he's

just kind of marginalized. And the whole

movie plays off of this friendship that

just kind of goes ary where jealousy

comes into play and uh and and it's

ruinous to everything until they're

finally fighting in the very end. And

this is where Ridley Scott just does

what he does, which is he has this

insane fight between these two guys,

which like was just every blow was

painful to look at. And this to me was

the best Ridley Scott movie I've seen of

the century. I mean, I guess Blackhawk

Down. I also very much like Gladiator,

although Gladiator 2. I throw that in. I

never saw that.

>> Throw that in with Exodus Gods and

Monsters. It was actually boring to

watch. I loved Gladiator 1, though.

>> Gladiator 1 is magnificent. It had some

kind of secret sauce in it that was

fantastic. And Gladiator 2, it it just

kind of goes through the paces. It's

just kind of everybody shows up.

Speaking of showing up, when Sigourney

Weaver shows up in uh Exodus Gods and

Monsters, she's not even trying at all.

She knows that she's there for a

paycheck. Like, she just shows up and

she's just like does not put on an

accent of any kind. She just shows up

and just speaks the lines and I'm out of

here. I'm going into Morocco or whatever

into [laughter] into town. I'm going to

go party for a while.

>> You think she just thought it was a bad

film and just checked out?

>> I'm not sure what she was thinking, but

like she may have been thinking what uh

I mean, maybe she was trying, but I

don't It just didn't look like it. It

just looked like she was

>> Well, that's got to be a weird thing

when an actor makes a choice with a

character and it just doesn't work and

they don't realize it, but they're

committed to it. And the other Ridley

Scott movie that I just watched that I

hadn't seen. Again, I avoided it partly

because of the um uh the title of the

film and there just nothing excited. I

thought it was a comedy. In fact, I'd

been avoiding it. It was on my plex.

There it is. I I look at the thing, it

looks like a comedy. It's got um Javier

Bardam and Cameron Diaz and they're all

kind of Javier Bardam looking exactly

like Robert Downey Jr. like in it. Like

just kind of this crazy Robert Downey

Jr. his crazy phase, you know, with like

colorful glasses and everything. Robert

Downey Jr. with like a broken up nose or

whatever is going on with that nose. And

um okay, so I put on the counselor and

this So looking at that, I thought this

was a comedy. I thought, "Oh, it's going

to be a romantic comedy." This movie

after I saw it, I was like, I feel like

I've seen too much.

>> I feel like I know too much now about

the world. like it's it and and it and

it h and it's made like right before you

and I think this movie was kind of a

disaster for Ridley Scott and he uh you

know had to recover from it I probably

because of the the failure of it but

>> I never even heard of it. It's written

um by um uh oh my god um Corormick

McCarthy and so so it is dark dark dark

and it is a an analysis of how power

works in the modern world

>> which is basically a giant cartel. The

cartel runs everything and you cannot

escape the cartel and it is such a

specta I think that's such a spectacular

movie.

>> I loved it. I loved it. When did that

come out?

>> Like 2014, I think.

>> 2013.

>> 2013. Did you ever hear of it, Jamie?

>> I don't think so. I'm

>> There's too much content. Well, there's

too much content. And yet, really, Scott

and he's cranking out movies like every

year he's doing a movie. It's like just

knocking them back. Knocking them back.

He's constantly making films. And so,

that was why I hadn't uh and so finally

I was like, well, I got to catch up on

some Ridley Scott. and and Quinton had

been talking about uh Blackhawk Down and

how much he loved it and how he thought

it was the best film of the century and

you know he's largely correct that's not

a bad uh I could have done without the

UNICEF commercial at the very beginning

where it's just like you know a little

UNICEF commercial about people starving

in Africa and Somalia but uh the rest of

the movie is just insanely beautiful and

so I wanted to check out all the movies

I hadn't seen of is and and so that's

why I started researching them and

looking them up again and like the

counselor how did that fall through the

cracks and it gets terrible reviews like

people hated the film apparently and

>> what's the criticism

>> uh people like I think they they were

just like we don't believe it they just

don't believe that that's what the world

is like and you know I found the film to

be like uh

>> do you think that's just because of the

time period it was released I think it

was more innocent

>> I think Ridley Scott knows things that

and Cormick McCarthy know things about

the world that they put on film before

everything was known. Like I think if

that movie was released today, people

would be like, "Yeah,

>> that's what's happening today."

>> Yeah.

>> And so yeah. Oh yeah. Oh, they're

putting people in sulfuric acid into uh

milk into drums. What the [ __ ]

>> And shipping them around the world, you

know, as a joke, you know, like

>> that's in the film.

>> Yeah. There's also

>> Did you see the thing in the Epstein

files?

>> Oh, yeah. like I've seen files. In fact,

I can't believe that like everybody just

kind of like, "Oh, okay." And they're

moving on with their lives. Did you see

that guy at the Atlanta airport uh

flipping out the well-dressed black dude

who just freaks out at in the Atlanta uh

just like a couple of days ago on uh I

saw it on YouTube. No, I saw it on

Twitter or X. And uh this guy's just

freaking out in the Atlanta airport.

He's like, "Yeah, I read the Upstate

Files. It's like all of you, you're

going about your lives like nothing's

happening. Look at you're all zombies.

And he's right. It's like Invasion of

the Body Snatchers. Everybody is just

numb to everything. Like, dudes, we had

a global pandemic. Uh, aliens. Uh, you

know, all these like revelations. People

are, you know, eating babies. Uh,

>> here. This is a guy

AND ALL OF Y'ALL ARE ACTING NORMAL.

ALL.

>> And there's a longer version of that

where he's but he's basically like

you're all acting like nothing's

happening. Like what the [ __ ] You know,

you're all just pretending you're just

drones going on in your

>> waiting for a condensed version that

lays out all the facts. It's the people

that are like really interested in