December 15, 2025 • 56 mins
Getting ‘gitchie gitchie’ down with Baz Luhrmann’s “Moulin Rouge.”
Jenna and Kevin are back with a recap of the 2001 hit musical and get ready for rants and raves! They are in awe of the sets, the music, the cinematography, the costumes, but Kevin shares the part of the film that made him feel sick, and the scene he had to pause because it was so overwhelmingly good! They also dive into Nicole Kidman’s vocals, Ewan McGregor’s casting, and the song that should have been an Oscar contender. Plus, Kevin reveals he was in the Faith Hill “Pearl Harbor” music video but thought he was in the actual movie!
For fun, exclusive content, and behind-the-scenes clips, follow us on Instagram @andthatswhatyoureallymissedpod & TikTok @thatswhatyoureallymissed!
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
And that's what you really missed with Jenna and Kevin
An iHeartRadio podcast.
Speaker 2 (00:08):
Welcome to you, and that's what you're the miss podcast.
We're just chomping away on our food. I was eating
a piece of sour dough with some cottage cheese on it.
Oh God, there's nothing else, there's nothing else to be at.
Speaker 1 (00:23):
I hate cotton cheese so much, really, I love Oh
it grosses me out. I can't. I can't get that,
though I get it. Cottage cheese, sour cream, Oh, it
really goes along with those any sort of like bagel schmear?
What cream cheese? Cream cheese is the worst? Strong with you,
(00:45):
I can't do it. The older I get, the more
lactose intolerant I get, and the smell itself just makes me.
Speaker 3 (00:51):
I mean, I'm so hungry right now to eat any
of those things.
Speaker 1 (00:54):
Well, I can't talk any of blueberries and dike especially.
Speaker 2 (01:00):
It's contradictory, but blueberries are so good for you. Okay,
Today is a very special day. Today is a very
special day.
Speaker 1 (01:09):
And I would just like to say that this is
a Christmas movie because it ends with snow and lights.
Speaker 2 (01:18):
This is also an all year round movie for me,
it is a comfort film. I watched this all the time.
Speaker 1 (01:24):
I can't believe this is a comfort film for you
because it is heavy.
Speaker 2 (01:29):
It is heavy, but like most of it, like the music, like,
it's just very like the Newsy's is comfort for me,
Chicago's is comforting me. Mostly musical movies are comfort for me.
Speaker 1 (01:40):
You know what really gets Jena go in consumption. So
we're talking about the one and only Mulin Rouge. Very exciting,
incredible movie that came out June first, two thousand and one,
which is also two thousand and one. It's been happening
(02:00):
a lot this week in the dressing room at Spelling
b We've been listening to We've been visiting two thousand
and one a lot. Musically, Wow, what is musically Bump
Bump Bump by Beata k no no, I mean okay,
musically like literally the number one song in the country
(02:21):
at the time was Lady Marmalaye appropriate Christina Guiler Litt
Kim I Am Pink from this movie. The number one
movie was Pearl Harbor. Believe it or not, I saw it, yay, oh,
I saw it. Fun fact that I was in the
music video for it.
Speaker 4 (02:34):
You were.
Speaker 1 (02:36):
Yeah, what the fatal music video that Michael Bay directed.
I did not know this.
Speaker 3 (02:43):
How did you end up for that music video?
Speaker 1 (02:46):
I had an agent in Texas and it was I
thought it was for the movie Pearl Harbor.
Speaker 3 (02:53):
That's even better. I booked with Michael bayfilm Yeah.
Speaker 1 (02:57):
And they're like, no, it's the Fat Till music video
even better, Okay. And so I was like an extra
in the music video and I was like a little
Newsy boy at like a little camp with my big years.
Speaker 3 (03:10):
Can we actually see you in that movie in music video?
Speaker 1 (03:12):
Yes? I have it is like it's me and like
faith what and Michael Bay is like five feet from me?
I do not know directing me. I do not know this. Yeah,
it was really strange. I don't know how Like it
was also weird that he even directed the music video.
Speaker 3 (03:33):
Yeah, but that's not so surprising.
Speaker 1 (03:35):
It was like my first time though, being on a
set like that because they had like the movie magic things.
They had the posters on the side of the buildings
to make it look like the time period.
Speaker 3 (03:43):
And that's why he directed it, because he wanted to
look like the film.
Speaker 1 (03:47):
Yeah, and it was and I remember like it was
going to be premiered on VH one, and I woke
up early to like wait for it to start being
played on VH one.
Speaker 2 (03:55):
Very special, Kevin, I had idea about learned something new
every day. Okay, So here's a snapshot of some pop
culture from two thousand and one, since there was no
Glee News obviously, two thousand and one was dominated by
classic TV classics like Friends, which had just aired, Monica
and Chandler's Wedding. Huge Survivor was a national obsession still
(04:17):
kind of is She was like Gilmore Girls, Buffy, the
Vampire Slayer, West Wing sopranos were all divining, defining character
driven television was like the Golden Age of television if
you asked me, and then yeah, we had TRL like
MTV was a peak power rip MTV, I mean.
Speaker 1 (04:37):
Yeah that was also like you had Brittany and Backshorye
and Sync releasing like huge things. So Tierro was it
Janet Jackson's All for You? Oh my god, I remember
when I think of that time, I remember Carson Dailey
interviewing Janet Jackson about that album on Tierro. So good,
so good.
Speaker 2 (04:57):
Pop culture was also fully and It's why to Hey
Glow Up? Era we had just we had survived two thousand.
The world was gonna blow up and all the lights
were gonna go out. Rhinestones, glitter, makeup, meallic tops, low
rise jeans, flip phones, which charms you name.
Speaker 3 (05:16):
It feels like we're back there again.
Speaker 1 (05:18):
So it does I mean DVDs or like all the
rage It was just starting to take over VHS tapes,
which is wild. Blockbuster was still a thing. Blockbuster, for
those of you who don't know, it was a store
where you would go in and rent movies.
Speaker 2 (05:35):
What if you weren't a Blockbuster on a Friday night,
you weren't living God that feeling your pjs walking to Blockbuster,
holding that the sleeve would be there, hoping that there
would be a box behind it.
Speaker 1 (05:52):
It was like a library, but for movies. God.
Speaker 2 (05:55):
Lots of celebrity couples benefer for the first time obviously, Yes,
Brad and jan Yeah, Justin and Brittany. It was big,
big Did you do you okay? So let me ask
you a question. This was directed by boz Lehrman. Were
you a boz Lehmon fan?
Speaker 3 (06:12):
Are you abouz Lermon fan?
Speaker 1 (06:15):
Yes? Yes, and yes yes we too, absolutely big, big, big,
I mean, big bas Lemon fan, also objective. I think
about his movies, I think, mmmm, I think I'm way
with everything even you know, like Beyonce is my number one,
But I can still be objective. I think, yeah, pretty much. Yeah,
(06:37):
I think you you always are.
Speaker 3 (06:42):
Romeo and Juliet is on the top of my list,
is one of my favorite movies of all time.
Speaker 2 (06:46):
Mellen Roge is definitely on the top my top five
to ten movies of all time too.
Speaker 1 (06:51):
I was thinking about baz Lehrman and how he does
sec does every movie he directs? Is every movie a musical?
Speaker 2 (06:58):
No?
Speaker 1 (06:59):
No, yes, no, but it has a musical element, And
I think that's why I started doing all this research
at the bas Lehman whilst watching this movie, because I
was just like, what is the deal? Like where did
he come from?
Speaker 2 (07:13):
Why?
Speaker 1 (07:14):
Like why does he make am like this? Yeah, and
it makes completely sense, like he comes from the opera world,
like directing operas. Yeah, yeah, yeah, yeah yeah. It all
makes and so music going into any baz Lemon movie,
music is used more as like a leading storytelling device.
(07:42):
Obviously like score and music concept, tones and feelings, which
are super important for movies. His is almost even in
Romeo Juliet. It's another component to the script. It is
a character and it fully drives every scene.
Speaker 2 (08:00):
And that's why his musical movies do or this one
does so well, is because like.
Speaker 1 (08:08):
The character.
Speaker 3 (08:10):
Well in this one in particular, like the music is
just so good on his own, but.
Speaker 2 (08:17):
The music, every piece of music that he includes, drives
the story or elevates the story, or brings it to
life in or brings it all around in this like
very encompassing, like stylistic way that like it all makes sense.
Speaker 1 (08:33):
It doesn't come out of nowhere.
Speaker 4 (08:35):
Even like when Youwan breaks into your song, my song, song,
your song, thank you, your song, He's like mah, and
like it's like that moment is there was no other
place for him to go but to break into song.
Speaker 1 (08:51):
Well, I think the way the way Baz clearly appreciates
and understands and like needs music, Yeah, in his story
telling makes it work almost all the time because I
mean he intentionally does this. I think in everything where
a lot of what he does are you know, is
a set and it's a period piece with modern music,
(09:14):
and the way those two play against each other to
make us understand what's going and like put it in
today's like whatever, Like rome and Juliette. It was like
Radiohead is a Shakespeare's story, and so you're understanding where
those characters are at because of the songs that are playing,
totally more so than just some under than underscoring. And
(09:37):
but I think this movie, it's about damn time he
did like a musical musical, yeah right, yeah, And the
way he was able to use contemporary songs set in
eighteen ninety nine was just unmatched. So for those of
you who don't know Mulan Rouge the official summary. Set
(10:01):
against the backdrop of a spectacular mul and rue show,
an idealistic young writer is drafted into a bohemian entourage
and falls in love with an ambitious but doomed showgirl
who was caught between the hero and a ruthless duke.
Basloman also I think appreciates like classic stories, classic storytelling,
because I'm looking this up. This is sort of a
(10:25):
very loose reinterpretation of like the Orpheus and Euryticity. Yes,
like Journey and you have the Great Gatsby. He takes
on later, and he obviously did Romeo and Juliet And
so the way he sort of swings big in like
the classic yes storytelling moments, but he also like.
Speaker 2 (10:44):
There's just such an eclectic mix of his like inspiration
for this from like Hollywood musicals, cabaret culture, vaudeville, opera, Bollywood,
and he was in India studying researching how Bollywood films
like and all of it together.
Speaker 1 (11:03):
Right works like La bo m et cetera. It is
also like strange to me how Bollywood movies don't necessarily
really cross over here and being able to see, like
what you were saying, how Bollywood like can combine all
of these different genres into one movie and make it
spectacular and make it really heartfelt and have these like beautiful,
(11:26):
grand and humble stories all in one thing. Like this
movie is very much all of those things, but done
in a very specific bas Leerman way. And what I
also love about bas Leerman and I think it works
in some movies better than others, is like Wes Anderson
or where that you know a bas le movie by
(11:46):
a single frame. They always have a certain look to them.
That's why I love I love both of them very much.
Mm hmm. It's I think it's so hard to like
have a really specific like movie or film language like that.
Not everybody, not everybody has that and everybody needs that.
But no, it's just you can tell he is bursting
(12:10):
into creativity.
Speaker 2 (12:11):
Yeah, yeah, yeah, And he's not doing it just to
do it, like I think they're they're creators that like
could be out there that want to have that staple
of that luck or that thing. But this isn't just
for the sake of doing it. This has like a
very specific intention behind it, which is why. But it's
done so successfully. Yes, And he's like I think his
(12:32):
brain is just full of so much information and so
many different things that he loves that he wants.
Speaker 3 (12:38):
To incorporate, so like breaking the.
Speaker 2 (12:41):
Barriers of like it having to be one thing is
refreshing to have a musical movie with all of these
different pieces of other art forms and cultures and you know,
it's just everything it's like and things that have come before,
all the different works, Like it's very inspired, and it's
(13:05):
just it's I don't know, I think it's why it's
one of my favorites.
Speaker 1 (13:09):
Is like, uh, this like.
Speaker 2 (13:11):
Modern day contemporary music mixed with all these you know,
the things that came before, Like all these wonderful pieces.
So this film premiered as the opening Nights selection it
can the Film Festival in two thousand and one, and
it received an enormous reaction.
Speaker 1 (13:32):
Uh this, we also did it in Glee, so come
what may.
Speaker 3 (13:37):
One of our favorites was featured in season four episode
fifteen Girls and Boys in Film, performed by Curtain Blaine.
Speaker 1 (13:44):
That was one of the songs. I was so sad
to be.
Speaker 2 (13:47):
Yeah.
Speaker 1 (13:48):
I obviously did not fight for that, Like it makes
total sense for them. I loved how they did it,
but I was just like, oh man, I recently that
one missed opportunity. Yeah, I mean I was obsessed with
this movie. Jenna, Like, do you remember when this came out?
Oh yeah, Oh yeah, I remember. I think I was
like nervous to ask my parents to like take me
(14:09):
to the movie theater to see it. And I waited
until remember like the dollar movie theaters. Oh yeah, because
I had to be out for like a couple of
months or something. Yeah, And I remember I convinced my
mom and dad. I remember my dad was like, oh god,
it's a musical. I don't want to go see it.
And I already had the soundtrack. I remember the smell
(14:30):
of the booklet of the CD with all the words
in it. I was o sacessed. And I remember sitting
there in that really the Dollar Theater and watched this
movie and I just I couldn't believe it. And also
it wasn't like my reaction was very different than Chicago,
(14:51):
because like Chicago is like the squeaky clean. It's fun,
you know, like it's it's glamour.
Speaker 2 (15:01):
Obviously it's style, but it's specific in like one lane,
like it's very clear where you're headed.
Speaker 3 (15:10):
It's very clear what it is.
Speaker 1 (15:13):
You know, run this, Yes, Lulan Rouge has everything going
like I feel like there's so many reasons why this
movie should not be gone wrong. Yeah, yeah, like it
should not work on every level. And when you get
to the end of it, I felt so uncomfortable for
so much of the movie because bas Lehman creates like
(15:36):
tension and like that weird awkward like am I about
to pass out? Feeling well if this spinny spinny? Yes,
And it's like so motion and the way he cuts
it edits a movie in the and like her, you know,
being sick and all that. I remember leaving this movie
feeling like I was sick, but I loved it.
Speaker 2 (16:04):
Let's just go through the casting a little bit before
we got talk more about this, Okay, So I had
no I didn't know this, but bos Lorman auditioned several
major actors, including Leonardo DiCaprio, obviously fresh off there, you know,
their film together Romeo and Juliet, one of my favorites.
And uh, Leo came in and read with Boz and
(16:28):
according to Lerman, the moment they tried singing together, it
immediately became clear that Leo could not sing this role.
This would have This is one of the things that
could have gone terribly wrong. I love Leo, but this
is just not it. So other actors were seriously considered.
Heath Ledger, Jake Jillen Hall, Ethan Hawke, Jake Joon Hall
would have been great, but different like Ewan is you
(16:51):
McGregor is actually.
Speaker 1 (16:56):
It's it's beyond perfection.
Speaker 2 (16:59):
I would not see this, and I think this is
why I've resisted the musical seeing the Broadway musical for
so long, because I know I would love it, and
I know that they obviously changed some of the music
and all the things. But I resisted this so terribly
because there's nobody else that could play Christian in my
mind other than you and a writor, and I don't
want to hear anybody sing it.
Speaker 1 (17:21):
Talked about his powerful voice, and the thing is one
of the things where I think this movie should not
work and my eyes specifically should hate it. It's like
Ewan and Nicole aren't vocalists by any means, right, but
the Ewan's voice, the tone, the tone have goosebumps, and
(17:45):
also just his performance, it's so attached to his performance,
like there was no separation between you and speaking and
you and singing and the emotional through line between those things.
My singing voice, I think sounds quite different than my
speaking voice. Yeah, yeah, yeah, So as soon as I
start singing, like who is that? It just, yeah, it
sounds like Ewan's voice. His speaking voice is powerful and emotional.
(18:08):
Obviously we know he's an incredible actor, like he had
already done train spotting by this point, Like, yeah, unbelievable.
He's amazing and so to be able to and that's
something you're just born with, Like your tone when you sing,
it is what it is. You can't change that. Yeah,
and the way he just like belts everything out is beyond.
(18:31):
It evokes something in me. Also, he's like beautiful and
like it doesn't hurt that he was like the performance good.
He's gorgeous. He's gorgeous. Like he actually sounds good. The
tone is good.
Speaker 2 (18:41):
I actually sound gat. Yeah, it is great. This the
whole thing, the whole of the package is the whole
thing is just one hundred and ten percent. Like there's
nobody else. There's nobody else.
Speaker 3 (18:56):
So he's just the vulnerability that he gives to Christian
is just outstanding.
Speaker 1 (19:05):
You know, like fun fact also is so Nicole Kidman
got injured several times during this. She broke ribs, so
they were like filming things of her sitting down because
like she couldn't be walking around in the corset and things.
But because of that, things got delayed and they had
to move off of their stages because this whole set
(19:29):
everything was built right. Nothing was actually shot in Paris
at the right. It was in Australia and they had
to get off the sound stages because Star Wars was
coming into film and it's like you and McGregor is
in both of these things, like this is the height
of you and McGregor, like becoming a household name, and
(19:49):
I like, musicals have never been a popular thing to do.
Musicals have never been the cool thing to do. And
for Baz Lerman and Nicole Kidman and you and McGregor
just sign up, it was like a really big risk
and a really big swing. And I just love because
we know where their careers have gone since right, like
(20:12):
you McGregor was twenty eight when he was filming this,
Oh my gosh, and it's it's nice to see somebody
who did train spotting like several years earlier, Yeah, then
do this and right exactly.
Speaker 2 (20:25):
Yeah, And Nicole Kidman has obviously had her career, which
like we all know, but this one felt different to me.
There was like an innocence and a softness to her
but yet like this wise woman that the performance was
like so open and so real raw, like she had
(20:46):
to love doing this. I cannot imagine her not loving
doing this. This is my favorite, Oh I know, And
I agreed, And like she's not a singer, but her
tone too for this, Like there's something about it that
is just so so magical that I love listening to.
Speaker 3 (21:02):
This is one of my favorite things to ever listen to,
is the two of them together.
Speaker 1 (21:06):
I don't know how she does not have a good
singing voice.
Speaker 2 (21:09):
No, she objectively does not have a good singing voice,
but there's something about it that is so charming and
so satisfying that like, it doesn't matter to me.
Speaker 3 (21:19):
I don't I really don't know. I think it's the
tone and like the breathiness that.
Speaker 1 (21:24):
Because she's so good at acting. Yeah, maybe she's so
good I also Okay, So speaking of their singing voices,
I was wondering how they recorded these vocals, because, yes,
tell me how this movie is mixed. I think is
maybe the best I've seen because there is no sound difference,
(21:48):
and how they are speaking and how they are singing,
like the quality of what's going on. Obviously you can
tell these things. Some of them are at least most
of them or all of them were pre recorded, and
I was just like, how are they doing this? Because
that connection makes the emotional connection I think for us
(22:10):
as a viewer so much greater in a subtle way
that we don't even realize it, at least for me,
because it feels so defent. Well, it was a mix
of everything. It was. I think that's what I love
about I'm fascinated by Baz Luhrmann's a creative process because
this whole thing was one gigantic collaboration from all the departments.
(22:32):
Obviously every movie is like that, but what I mean
is like he was so involved in every single department that,
like post production in this was so much longer than
they thought it would be that they delayed the release
of the movie by six months. And I think that
is why it works so well. So, yeah, they pre
recorded everything, but then when it came time and they're
(22:55):
actually shooting things well, and they also did a full
year of paperduction by the way, and so like they
knew the music so intimately and how it was going
to be used, but when they were actually filming it,
it's they still allowed for, oh, I think maybe this
vocal or this line should be filmed live, huh. And
(23:18):
because they also had like the whole rig on set,
like with pro tools and everything that they could move
around where the music was and so in the moment
they're like, oh, actually, if you sung this line a
little later or earlier, like they could do all of that.
And so some of those things are live, some of
(23:38):
them are pre recorded, and they just allowed it to
happen and I think in post production mixing all those
things together, you get.
Speaker 2 (23:46):
They had the availability to play and to fix and
to workshop almost because they had it all.
Speaker 1 (23:54):
Yes. And I mean obviously with those things that time
is money, so that takes budget. It takes someone probably
like bad Lerman who has like the weight, like the toll.
Speaker 2 (24:04):
The time and the budget and the things to say
like I need this and I need to extend and
I need to do yes.
Speaker 1 (24:09):
Yes, And ultimately, what I'm realizing about Baz Luhrman or
any director, and I think this is what makes the
difference for a lot of directors is taste.
Speaker 2 (24:17):
You have to have.
Speaker 1 (24:19):
You have to know your taste. You have to have
great taste, and you have to have the wherewithal to
see it through. And I think all this music works
and how it is sung and how it is mixed,
how is edited, is because Basil Lherman has incredible taste,
specific taste. It's not for everybody, but he knows his
own taste and he need and he will do what
he has to do to make it come alive. And
(24:42):
I think that was just fascinating because I think what
happens a lot and when we get to they miss
they miss it a similar thing where they pre recorded
some and did my vocals, and that post production process
was also really long. Yeah, but there's something going on.
I think maybe with the more modern like how it's
being recorded on set, and even in Wicked, where there's
(25:06):
a really big difference in like sound quality then you know, speaking,
and I feel like bas really just like figured out,
like refined. Yeah. Yeah, yeah. It feels like you're inside
of it and you're not taking in or.
Speaker 2 (25:19):
Out of it through the vocals and through the dialogue,
like you're just in one immersive world versus sometimes in
musical movies you can be like hyper aware that you're
in a song versus you have seen and.
Speaker 1 (25:31):
Because such this is dramatic, this is drama, you don't
want to be taken out of it.
Speaker 2 (25:35):
No, That's why I just feel like this, the world
that has creates, like in general, is like very immersive
and you feel like you're very much in it.
Speaker 4 (25:44):
So the.
Speaker 1 (25:47):
Can we talk about that world?
Speaker 3 (25:49):
Sure?
Speaker 1 (25:49):
By the way, like.
Speaker 2 (25:52):
The sets, costumes, that's everything is like larger than life
but feels so believable.
Speaker 1 (26:01):
How does he do that? It's just like a courage
of conviction.
Speaker 2 (26:07):
Maybe, I mean obviously that everybody at the top of
their game, all these incredible department heads and people like
just really and and Bas is like vision. I'm sure
that Like Rian, the vision is so clear and it's
like whether he's collaborating and saying this, you know, let's
try this or let's do that, or saying like I
know what I want, it's so clear.
Speaker 1 (26:29):
Does it remind you of Ryan? Yes, definitely. I don't
know Bas, I've only met him once, but like, but
the work is reminiscing. Yes, what is that? I feel
the same way?
Speaker 2 (26:39):
Is it?
Speaker 1 (26:39):
I feel like Ryan has great taste. Yeah, Ryan has
a very specific vision and he's really good at executing.
And I think maybe that's those are the overlaps there, Yeah, yeah, yeah, yeah,
they're like really clued into also music. So Bas's wife
was the costume designer. It was Coke costume designer and
(27:01):
co production designer all of his projects. She went two
oscars for this and two oscars for Great at Speed. Interesting,
she's got four oscars, the most of any Australian ever.
So they have a language as well, sure well, and
the language between Baz Co wrote the script and he
and Greg Pierce do all their movies together, so they
(27:22):
also have a language. They had done Romeo and Juliet together.
So yeah, doesn't it feel like some big creative collaborative. Yes, yes,
definitely your people. Yes.
Speaker 2 (27:36):
This opened at number four in the US, behind Pearl Harbor,
Shrek and the Animal, and it became a major word
of mouth hit, which I could understand.
Speaker 1 (27:45):
Yeah, like, how do you market this movie? How do
you sell this movie?
Speaker 2 (27:49):
Yeah? You know, honestly though, like you market it with
those like those top twentieth century hit songs, right like
as they in the early development the team, they said,
the team filled entire rooms with lists and charts of
songs until it became very clear that the emotional heart
of their musical already existed inside the great pop pits
of the twentieth century.
Speaker 1 (28:10):
It's kind of like Glee.
Speaker 2 (28:11):
It's like something that you do and you take something
familiar and then you twist it and you turn it
on its head a little bit and you make people
see it in a different way. And there's already a
way in I think that is so key to people
taking a risk and like seeing something like this that
they wouldn't normally see. They're like, oh, Elton John and
(28:31):
you know, I mean everything, every artist that's in you know,
lend their music to this, to this film.
Speaker 1 (28:39):
I wonder how much of an inspiration consciously or you know,
subconsciously this was for Ryan when doing Glee, because this
is Glee. The exception of it was like six years later.
It wasn't that far off.
Speaker 2 (28:52):
No, for sure, I'm sure there was some element of it,
whether he was thinking about it before or not. Like
you know, there's definitely like, oh, it's being done right
and people are doing it and they did it really well.
Speaker 1 (29:03):
And something you and I have talked about is like
stage musicals and two movies often works so well because
the movie that music is proven, they've workshopped it. Yeah,
and how they did this was in a similar way,
even though it was not a stage musical, they workshopped
at all. Like Baz would, like you said, in the audition,
(29:23):
like Baz tried to sing, He's literally singing with the
actors in the audition room. Bas and peers would sing
together and workshop worship call yes, and so you see
what feels right in the moment. You're not just putting
things in there just to put things in.
Speaker 2 (29:39):
There right exactly exactly, so the is for anybody who
didn't watch this or has not seen this, please go
watch it. But also, you know, there's like this, there's
a few things going on, but the main story is
that Christian you McGregor and Zetine Nicole Kidman they accidentally
(30:03):
fall in love. But Satene was promised to the Duke
who holds the deeds to the Mulan Rouge kind of
handled by Harold Ziggler and who also who is like
the head of the Mulon Rouge what do they call him,
like the Master or whatever. And then you know there's
(30:23):
that whole thing of jealousy with Ian McGregor and you know,
and Christian and Satene. But Setne's also, unbeknownst to her
as dying of tuberculosisciety. She started dying of TV and
she doesn't know it until she tells Ziglas she's going
to run away from the Duke with Christian and Ziggler
(30:45):
with his own selfish for own selfish reasons obviously with
the deed to the Mulon Rouge, and because he does
kind of low Setine in a very messed up way.
Uh is like you're dying and you can't you can't
and they're going to Christians, so you better tell them
you don't love them. So and then there's this whole
(31:05):
theook the duke is putting on that or Duke is
producing that. They're doing it the lam rouge that is
going to make Shutina star, but that also mirrors the
story that Christian wrote and is living at the same time.
Just so you know, let's talk about some of this music, because.
Speaker 1 (31:30):
Another thing for me working against it. I hate jukebox
musicals and I loved every second of them. This is
a different one for you. It's like I'm into all
of it. So, like obviously, because these are all huge
songs before ever being in this movie, they had to
(31:54):
get the rights to all these songs and pay for
the rights for all these and it took years. It
took like two and a half years. Wow.
Speaker 3 (32:01):
Ellen, John was one of the first to do to
allow your song to be in this movie, which.
Speaker 1 (32:08):
Was always on the pulse. He likes on the pull.
He is always supporting like new artists still to this
day more maybe more than ever.
Speaker 2 (32:16):
Doing collapse with new artists, always knowing what's coming. So
and then of course you're like, oh and John gave
a song to this film. Why wouldn't anybody else? So
that's pretty spectacular spectacular.
Speaker 1 (32:32):
I would like to see a show called spectacular spectacular. Well,
there is a musical called roof I know there.
Speaker 2 (32:41):
There's amazing songs in this I mean one after the other, NonStop,
hit after hit. I think the ones that stand out
for me are obviously I'm on the Rooftop, you know
your song, Elephant Love Medley, Come What May, out the Window. Also, though,
(33:02):
one of my favorite songs, which I didn't know that
everybody loved, was Roxanne.
Speaker 3 (33:07):
Like I didn't know that people loved Roxanne.
Speaker 2 (33:10):
Like I loved Roxanne. I thought it was not a
fan favorite, and then I come to learn it is
the fan is it? Yeah, it's like because I didn't
know it until just now watching it.
Speaker 1 (33:23):
Oh it's one.
Speaker 2 (33:25):
I think that's the most listened to, next to Come
with May on that album that I listened to, and
I didn't know that like people, everybody loves that one.
Speaker 1 (33:34):
What I learned. What I learned is that as I've
seen this movie probably in twenty years, like I've not
seen it in so long, is that the moments I
really didn't love as much as a kid wore those
darker moments so like the last third of the movie
like made me feel uncomfortable because I was jamming to
come What May and jamm in to Elphant Love Medley.
(33:56):
Elfant Love Medley was my jam. Yeah, I wanted the
pop hits. I had to pause it during El Dango
de Roxanne because I was so overwhelmed. Yeah, I was
so overwhelmed by how good it is. I literally ran
to the other room and I was like, Austin, you
(34:19):
don't understand what is happened. He's never seen Walan Rouge.
By the way, what yes, stupid idiot.
Speaker 3 (34:26):
What is rockinha? Get kick him out?
Speaker 1 (34:28):
I would I would like to talk about the Roxan
scene if we can, well please any time. It's r Actually,
I want to talk about so many of these. Okay,
I know, I know, but Roxanne one.
Speaker 3 (34:43):
By the way, it took ten days to shoot this
good and it feels like.
Speaker 1 (34:47):
It in a good way. Yeah, like with Greece. Never
thought I'd be comparing these this way. Yeah. Every single
frame of this movie, and obviously more so than Greece,
is still with rich textures and so much depth, not
just the sets but by the costumes and the people
acting the music, and you take Roxane, a famous police song, right,
(35:12):
and you mix it with a famous Argentinian tango, and
then you're also adding original operatic lines for you and
McGregor on top of it. And then you also have
like three different story points, storylines happening. And what's also
really important to know about this movie is that a
huge inspiration for it for Baz Luhrmann were like the
(35:36):
technicolor musicals of the forties and fifties, And to me
that is most like glaring or blaring. I don't know
what's the right word here. The most obvious is during
this scene because the colors are so rich and like
the way like Hello Dolly or any of those musicals
(35:59):
were filmed and lit and colored. They're like you, I
just want to eat them, like they're so beautiful to
look at. And this scene has so much like powerful,
powerful story going on and like three different plot points,
and the yes, it's just it's so unbelievable, Like I
(36:19):
literally I had to stand up and walk around because
I I mean.
Speaker 3 (36:24):
If you back and listen to it now, also listen
to you in vocal performance.
Speaker 1 (36:29):
In this.
Speaker 2 (36:31):
It's something about the release of like how he can
release his voice in that way that like for somebody
who doesn't isn't a professional singer, and maybe he does
consider I was shocked.
Speaker 3 (36:44):
And also here's it's very satisfying to listen to his
performance his vocal.
Speaker 1 (36:50):
Do you think the difference is for you and and
Nicole and why we buy them so much singing in
this that's not English?
Speaker 3 (37:01):
I get what you're saying.
Speaker 1 (37:02):
Yeah, thank you for following everyone. Yeah, my brain is
moving so much faster than my mouth about this movie.
Is that like when Adam Shankman came into the studio
with us to record on a much smaller, simpler level.
I'm not trying to compare these two. Yeah, was in
the studio with us. He was having it. He was
placing us in the mindset of being in the actual scene.
(37:25):
It's like how we're going to feel and sound doing
these movements and things.
Speaker 2 (37:30):
Yeah, I mean there had to be a lot of
conversation between THATZ and the like the vision had to
be there beforehand, right to say like this is where
we're going to get.
Speaker 1 (37:42):
To, where they were going to be emotionally and physical.
Speaker 2 (37:44):
Yeah, Yeah, It's it's a different thing than like getting
on a TV set and being like, okay, so today,
like this is what where the director sees the scene
going versus where the actors is the scene going. Like
there was a very cohesive moving, you know, movement forward
that was like clear that like everybody knew where they
were going or what they were doing.
Speaker 1 (38:03):
Yeah, maybe I think that had to be.
Speaker 3 (38:04):
Part of it for sure.
Speaker 1 (38:05):
Maybe Ewan's voice just sounds like that, and maybe Nichole's
voice just sounds like that. You know, like they could
just be like a happy coincidence. But even you can
tell them like their lip syncing of everything. Lip syncing
is hard and they are so on it, and it
matches the exact emotion they're doing in all of those scenes,
(38:26):
and that is like you have to have some level
of foresight. He the whole foresight for that. Yeah, you
talked about We talked about Elephant Love Medley as well.
That whole section of the movie was really astonishing to
me because he built all these sets of what they
(38:47):
imagined Milan Rouge looked like in eighteen ninety nine, and
for so much of that whole section they're only in
like they don't really move beyond like a couple rooms, right,
obviously like on top of the Elephant room and you
see like this huge, very fake skyline and things, but
(39:08):
they're really using these sets and I you like for
not really moving location that much in this section, like
you're never bored. You're never wondering, okay, like what's next?
Are we seeing anything else? And like that is really
hard to do. And it's like it's it's a watch.
Speaker 2 (39:30):
Yes, yes, there's like a magical feeling to it. It's
bigger than life.
Speaker 1 (39:35):
There's like always a little bit of movement somewhere.
Speaker 2 (39:38):
It's not too much that like keeps your eye going,
but yet not bored with like the chemistry between the
two of them two and the music being so good
and the visuals being so pleasant, like it all really
works well, where like it's like this feeling of euphoria
(39:58):
that you get like without having to like do anything,
You're just sitting there like I'm you for it right, Yeah.
Speaker 1 (40:05):
And also I mean that's very true because leading into it,
you have like that whole weird sound of music thing
like you were coming from like this really silly like
almost comical world of You have Kylie Minogue as the
Green Fairy, which I obviously did not realize as a
kid who Kylie Minogue was, you know when I first
(40:27):
saw this and I'm watching, like, oh my god, there
there's yeah pop icon global sensation Kylie Minogue. It was
also really great in that little cameo and you have
like John the Gazamo doing a crazy voice and he
is by.
Speaker 3 (40:42):
The way his performance and this is really unhinged and
yet perfect.
Speaker 1 (40:49):
It's perfect. I love how like silly this movie starts out, yes,
and I just kept being shocked by so I guess
maybe my creation depth of my one like critique is
the very beginning of this movie. And for those of
you who have not seen it or haven't seen it
in a long time, is you know, is be patient
(41:09):
because the first like ten to fifteen minutes of this movie,
I was like, oh, maybe this isn't that good because no.
One of my little things that I don't love that
bas does is like this kind of bad visual effects
of you know, when he sets up the world and
you like see these big sweeping shots of like you
(41:29):
McGregor on a train or all of Paris, and it
looks like not great. It doesn't look I think very good. However,
I also think that's sort of intentional with because it
does look almost like a painting or intentionally not realistic
because bas isn't trying to do realism in any sort
of way. So like there's that adjustment period. And I
(41:51):
also don't scessartainly love. Like he always uses this like
choppy slow motion effect ish in all these movies, which
bothers me sometimes and it bothered me in the beginning
of this movie, but once you adjust to it into.
Speaker 3 (42:04):
The dramatic parts of it, it works really well.
Speaker 1 (42:06):
Yes, yeah, I think like as the movie goes on
and he starts to use it, especially with her sickness, Yeah,
it's it's really effected, like the breaths, like because it
makes you feel like you're sick and right, yes, right right,
and also shout out to Nicole's performance during that to
like sell that. But so like, yeah, it took me
(42:28):
a minute to like get into the world. But like
once he is on those sets, it does feel like
really deep and moving and it all of that big,
opulent stuff you would think would be distracting and take
away from Like, no, the story is still so grounded somehow,
I know. Come what May was originally written for Romeo
(42:51):
and Juliet what. Yes, it's an original song. It was
originally written for Romeo and it never got used. And
so I mean, could you imagine this movie without Come
Up May? And also imagine Julia with that song? Right,
none of it would work. That's insane.
Speaker 3 (43:10):
That is absolutely insane.
Speaker 1 (43:12):
Come Away, Come Up.
Speaker 2 (43:14):
It's also were you and I listening to Come Up
May on the airplane to Australia?
Speaker 1 (43:18):
Really?
Speaker 2 (43:19):
Was it?
Speaker 1 (43:19):
On the wa Australia?
Speaker 3 (43:20):
Listen to this like a hundred times because it's.
Speaker 1 (43:22):
The greatest song. Yeah, that's also just like the emotion,
Oh God, to build into the plot of this movie
that there is a song, it's so meta, like there's
a song being put into the show. So Nicole, so
Setine and Christian, well, because they are part of this
forbidden love, right, m that whenever they have whenever they
(43:48):
hear that song or sing that song, is because they're
thinking of one another and being like, we're here for
each other, right, And then to have that song used
so well and effectively outside of the show within the show,
and then it is the song of the movie, like
it is the emotional heart of this entire movie. And
(44:08):
what pisses me off? I think baz Lehman should have
won Best Song Oscar twice twice. This did not qualify
for the Oscars because it was written for Romeo and Juliet,
even though it was never used. And then the Lonna
del Rey song from Great Gatsby he co wrote with
Anna del Rey, and that didn't even get nominated. I
(44:30):
think it should have won.
Speaker 3 (44:32):
This is giving, it's giving. Zach Woodley energy mm never
got nominated for an Emmy.
Speaker 1 (44:38):
Yeah, it's like, sorry, come on, sorry, I had to
get that out comes. You could turn me down in
your headphones or speakers whatever it is.
Speaker 3 (44:47):
No, I'm with you.
Speaker 1 (44:50):
What's ridiculous is that like a Virgin the Madonna song
also we have I just need to acknowledge Jim Broadbent
as Zidler. This is unbelievable. It's a little bit funny.
Like I even I'm like, I know it's Jim Broadbent,
(45:14):
but I just don't believe it, and I had to
look it up. I'm like, of course it is him,
and how is he so good? How is he so good?
Speaker 3 (45:28):
It's like Jonathan Zamo in this.
Speaker 2 (45:30):
It's like there's this level of like it's campy and
it's it's almost satirical and and like hyper realist, like surrealist,
but like also he's grounded in this world like it
doesn't like it shouldn't but it does.
Speaker 1 (45:50):
Yes.
Speaker 2 (45:51):
And then also when he's like in the office of
Sigla in the in the Elephant and he's like or no,
when they're doing the meeting about the deed and he's like,
I don't like people touching my things.
Speaker 1 (46:03):
So ridiculous. I think that's also it's probably a bass
thing where this sounds dumb, but like everybody knew what
movie they were in, and I don't know how you
communicate that, because this is unlike anything I've ever seen,
and I think it's unlike anything that's ever been made
up to that point in the history of film. And
(46:23):
it's like how you communicate that? Like that that's what
you're doing, because everybody was understood the tone of the
movie and they could be big and grounded like it
was just I don't know, it's just so so just tremendous.
Speaker 3 (46:41):
We can't create all these performances. We've talked about a
few of them.
Speaker 2 (46:44):
Obviously your song I'll Wandell Flyway, I'll Elephant Love Medleie,
Come what May like a Virgin, the Tango roxand one
other song that I loved Our Diamonds Are a Girl's
Best Friend and material Girl Diamonds Are a Girl's best Friend.
Speaker 1 (47:06):
That number.
Speaker 2 (47:07):
There's something about Nicole Kinman's voice on that also, and
the performance. You're so sultry yet so innocent and so
believable and so vulnerable that this all just it's like, naturally,
I don't know that I would have loved that number,
but I love that number.
Speaker 1 (47:24):
She sold it for me. Oh God, when they get
to like the spectacular spectacular show at the end of it,
and she comes out of the stage and is like
being held in that costume which apparently is like one
of the most expensive costumes ever or no, the diamond
costume she's in not then is one of the most
expensive costumes ever made for a film. But the lighting,
(47:50):
like the way they lit the show within the show
is like unfathomable to me, Like, no, I know, That's
why I want to see that show. It just is
so crazy and stunning. What I think also doesn't get
enough love is there's this little thing when Setne finds
(48:11):
out she's dying. I believe that's when it is I'm
sorry for incorrect, and she sings this part it's called
the song is called like Fool to Believe? Oh yes,
and it's yes, I think just written for this movie.
And it's just like a couple of lines. It's not
a full song, and I don't even know, like how
how that gets made. I don't know who's writing that.
(48:32):
But it's so beautiful and it's so personal, and it
goes into like the one day I'll Fly Away reprise
between Setina and Zidler, and it's like all these moments
where this this does feel like an opera.
Speaker 2 (48:48):
Yes there, Yes, it's like little bits and pieces of
what could be kind of be in dialogue with songs,
and yet it just gave it like that extra, that
extra yeah that you bought that in any other movie
you'd be like, why is this song? This could have
just been spoken, but it's the opposite for this.
Speaker 1 (49:08):
Yes, yes, And that's a good musical Okay. So Sparkling
Diamonds a plus plus plus plus like also Rhythm of
the Knight and smells like teen Spirit Are you kidding me?
Courtney Love audition for the movie and gave Baz the
permission to use smells like teen Spirit. I Bass's ability
(49:28):
for mashups is unmatched.
Speaker 2 (49:31):
I mean, this is where I do think that like
Ryan had to have that like the mashup or Adam
like you know adam Anders, like they all were like,
whether they knew it or not, were affected by this, right, which.
Speaker 1 (49:43):
Also makes sense. Why when we ran into Baz at
that after party, I think it's for the saga words
or something, and he like bline to us and we're
just talking to all of us about the show and
about the music, and he clearly knew the show, and
I I think at the time I was just so
like starstruck and like, oh my god, why is he
talking to us? Of course, nobody has a deeper understanding
(50:07):
of what we were doing than best lemis.
Speaker 2 (50:09):
Yes, that's right, that's right. And I don't think that
hit me until now. Yeah, idiots, let's do some tarty takes.
Speaker 1 (50:26):
Auchies, Okay, auchies.
Speaker 2 (50:29):
I'm I mean the whole like like a virgin thing
with or not like Tango Roxanne thing with the Duke
and Stine and like the attempted assault and like all
that was kind of you know, very.
Speaker 3 (50:43):
Sad.
Speaker 1 (50:44):
Yeah, And they were like very blunt about like you know,
calling Satina whore and the whole thing was like prostitution
and all that felt a little yeah, but that is
like central to the story. And I think there's also
something about like John, like Zambo, his character, like who
he was trying to play?
Speaker 2 (51:04):
Yes, exactly, uh okay, best dance move, oh my god,
the tango Rexan and then also shout out to like
the lady Marmalade, sparkling diamond. Like the whole opening, like
those opening segments like on the Big Floor, those were
(51:24):
all excellent.
Speaker 1 (51:26):
Yes, best song, come what may, Come what May, and then.
Speaker 2 (51:32):
I don't know, Elton love Medalie and then tango Rexan, Yes, okay,
performs very a prop.
Speaker 1 (51:41):
The swing, Oh my god, the swing, the blood. I
also cannot with.
Speaker 2 (51:48):
The like a virgin at the end when the case
is flying and he's like above him and they are
just singing opera and it was just it is one
of my favorite.
Speaker 1 (51:57):
Moments when is the moon singing. The starts singing opera
at some point too, I don't even remember when that was.
It's like this is camp.
Speaker 2 (52:05):
Yes, best line, Oh, this is my favorite is when
he's singing they do the thing for him.
Speaker 3 (52:15):
The performance, and then he responds, He's like, it's a
little bit funny, this feeling inside.
Speaker 1 (52:23):
I had to look him up too, because he was incredible.
That's something I didn't like. I was so creeped out
and hated him so much as a kid that this
time watching I was like, you are great. It's so good,
incredible casting, so so good. I think my like, it's
probably my favorite moment of the entire movie is when
she looses in the rafters and you can't remember his
(52:44):
line and then Elma Gregor is leaving. He called her
a whore. He's done, He's throwing money at her in
front of this whole audience of people, and he just
shouts out, the greatest thing you'll ever learn is just
to love and be loved and returned. Cinema like that
(53:04):
is what movies are for. That moment, Oh god, performance
MVP and Nicole. I mean, there's a couple of turns
in there. When Nicole, you know when you and a
(53:26):
Christian accidentally says like, because she doesn't love you, doesn't
love him. And then Nicole goes from like performing and
being in this like rehearsal mode and then goes into
let's go have supper and then yeah, we will like
the lovers will like, the ending will change.
Speaker 2 (53:46):
I don't know.
Speaker 1 (53:47):
It's really just so good. She's so my favorite God
Dicky talking. It just feels so silly after this.
Speaker 3 (54:00):
I know, I kind of want to watch it again.
Oh I'm definitely gonna watch it again.
Speaker 1 (54:06):
Okay, tante pos it when your chance of getting a
solo is over. Because Mercedes and Already's son Aston Martin
Abram joined the Glee Club and this is like a
crazy version of the Thong song. What is this version? Unclear? Oh,
(54:28):
Motown nineteen Oh it's Ai. It's probably Ai, but nineteen
fifty's Motown choir version of the Thong song and it's incredible,
and yes, that would be our sons. Is hilarious, mar Abrams.
Speaker 2 (54:46):
Okay, we're getting crazy, you guys. Well, I hope you
guys love mo and as much as Ash or else.
You just literally want to listen to his gab for
an hour about how much we love this movie.
Speaker 1 (55:04):
I would really like to talk to Baz, I mean
because I really I really want to know how he
did this and like how he does like I think
I would love to just watch him on set to
see how I would I mean it would be my
great Yeah, like how.
Speaker 2 (55:19):
Does he do this?
Speaker 1 (55:20):
And I also know like he takes a long time
to film things and like things run over always, and
I just I just want to know. I just want
to pick his brand. A man of taste, gotta know. Yeah, okay,
you guys.
Speaker 2 (55:36):
So this was our official last official recap of twenty
twenty five.
Speaker 1 (55:41):
Wow.
Speaker 2 (55:42):
But next we have a very fun conversation with Alex Putsavas,
who's a Grammy Andammy nominated music supervisor currently Senior director
of Music and Creative Production for a TV at Netflix.
What she did like soundtracks for shows like Gray's Anatomy
and Gossip Girl and Scandal, and like Twilight soundtrack, So
stay tuned for that one. And then obviously, in the
(56:04):
spirit of the holidays, Kevin, it wouldn't be a holiday
season without us revisiting the Glee Christmas music, So come
back for that one.
Speaker 1 (56:11):
Oh yeah, oh, don't miss that. And that's what you
really missed. Thanks for listening, and follow us on Instagram
at and that's what you really miss pod. Make sure
to write us a review and leave us five stars.
See you next time.
And that's what you really missed with Jenna and Kevin
An iHeartRadio podcast.
Speaker 2 (00:08):
Welcome to you, and that's what you're the miss podcast.
We're just chomping away on our food. I was eating
a piece of sour dough with some cottage cheese on it.
Oh God, there's nothing else, there's nothing else to be at.
Speaker 1 (00:23):
I hate cotton cheese so much, really, I love Oh
it grosses me out. I can't. I can't get that,
though I get it. Cottage cheese, sour cream, Oh, it
really goes along with those any sort of like bagel schmear?
What cream cheese? Cream cheese is the worst? Strong with you,
(00:45):
I can't do it. The older I get, the more
lactose intolerant I get, and the smell itself just makes me.
Speaker 3 (00:51):
I mean, I'm so hungry right now to eat any
of those things.
Speaker 1 (00:54):
Well, I can't talk any of blueberries and dike especially.
Speaker 2 (01:00):
It's contradictory, but blueberries are so good for you. Okay,
Today is a very special day. Today is a very
special day.
Speaker 1 (01:09):
And I would just like to say that this is
a Christmas movie because it ends with snow and lights.
Speaker 2 (01:18):
This is also an all year round movie for me,
it is a comfort film. I watched this all the time.
Speaker 1 (01:24):
I can't believe this is a comfort film for you
because it is heavy.
Speaker 2 (01:29):
It is heavy, but like most of it, like the music, like,
it's just very like the Newsy's is comfort for me,
Chicago's is comforting me. Mostly musical movies are comfort for me.
Speaker 1 (01:40):
You know what really gets Jena go in consumption. So
we're talking about the one and only Mulin Rouge. Very exciting,
incredible movie that came out June first, two thousand and one,
which is also two thousand and one. It's been happening
(02:00):
a lot this week in the dressing room at Spelling
b We've been listening to We've been visiting two thousand
and one a lot. Musically, Wow, what is musically Bump
Bump Bump by Beata k no no, I mean okay,
musically like literally the number one song in the country
(02:21):
at the time was Lady Marmalaye appropriate Christina Guiler Litt
Kim I Am Pink from this movie. The number one
movie was Pearl Harbor. Believe it or not, I saw it, yay, oh,
I saw it. Fun fact that I was in the
music video for it.
Speaker 4 (02:34):
You were.
Speaker 1 (02:36):
Yeah, what the fatal music video that Michael Bay directed.
I did not know this.
Speaker 3 (02:43):
How did you end up for that music video?
Speaker 1 (02:46):
I had an agent in Texas and it was I
thought it was for the movie Pearl Harbor.
Speaker 3 (02:53):
That's even better. I booked with Michael bayfilm Yeah.
Speaker 1 (02:57):
And they're like, no, it's the Fat Till music video
even better, Okay. And so I was like an extra
in the music video and I was like a little
Newsy boy at like a little camp with my big years.
Speaker 3 (03:10):
Can we actually see you in that movie in music video?
Speaker 1 (03:12):
Yes? I have it is like it's me and like
faith what and Michael Bay is like five feet from me?
I do not know directing me. I do not know this. Yeah,
it was really strange. I don't know how Like it
was also weird that he even directed the music video.
Speaker 3 (03:33):
Yeah, but that's not so surprising.
Speaker 1 (03:35):
It was like my first time though, being on a
set like that because they had like the movie magic things.
They had the posters on the side of the buildings
to make it look like the time period.
Speaker 3 (03:43):
And that's why he directed it, because he wanted to
look like the film.
Speaker 1 (03:47):
Yeah, and it was and I remember like it was
going to be premiered on VH one, and I woke
up early to like wait for it to start being
played on VH one.
Speaker 2 (03:55):
Very special, Kevin, I had idea about learned something new
every day. Okay, So here's a snapshot of some pop
culture from two thousand and one, since there was no
Glee News obviously, two thousand and one was dominated by
classic TV classics like Friends, which had just aired, Monica
and Chandler's Wedding. Huge Survivor was a national obsession still
(04:17):
kind of is She was like Gilmore Girls, Buffy, the
Vampire Slayer, West Wing sopranos were all divining, defining character
driven television was like the Golden Age of television if
you asked me, and then yeah, we had TRL like
MTV was a peak power rip MTV, I mean.
Speaker 1 (04:37):
Yeah that was also like you had Brittany and Backshorye
and Sync releasing like huge things. So Tierro was it
Janet Jackson's All for You? Oh my god, I remember
when I think of that time, I remember Carson Dailey
interviewing Janet Jackson about that album on Tierro. So good,
so good.
Speaker 2 (04:57):
Pop culture was also fully and It's why to Hey
Glow Up? Era we had just we had survived two thousand.
The world was gonna blow up and all the lights
were gonna go out. Rhinestones, glitter, makeup, meallic tops, low
rise jeans, flip phones, which charms you name.
Speaker 3 (05:16):
It feels like we're back there again.
Speaker 1 (05:18):
So it does I mean DVDs or like all the
rage It was just starting to take over VHS tapes,
which is wild. Blockbuster was still a thing. Blockbuster, for
those of you who don't know, it was a store
where you would go in and rent movies.
Speaker 2 (05:35):
What if you weren't a Blockbuster on a Friday night,
you weren't living God that feeling your pjs walking to Blockbuster,
holding that the sleeve would be there, hoping that there
would be a box behind it.
Speaker 1 (05:52):
It was like a library, but for movies. God.
Speaker 2 (05:55):
Lots of celebrity couples benefer for the first time obviously, Yes,
Brad and jan Yeah, Justin and Brittany. It was big,
big Did you do you okay? So let me ask
you a question. This was directed by boz Lehrman. Were
you a boz Lehmon fan?
Speaker 3 (06:12):
Are you abouz Lermon fan?
Speaker 1 (06:15):
Yes? Yes, and yes yes we too, absolutely big, big, big,
I mean, big bas Lemon fan, also objective. I think
about his movies, I think, mmmm, I think I'm way
with everything even you know, like Beyonce is my number one,
But I can still be objective. I think, yeah, pretty much. Yeah,
(06:37):
I think you you always are.
Speaker 3 (06:42):
Romeo and Juliet is on the top of my list,
is one of my favorite movies of all time.
Speaker 2 (06:46):
Mellen Roge is definitely on the top my top five
to ten movies of all time too.
Speaker 1 (06:51):
I was thinking about baz Lehrman and how he does
sec does every movie he directs? Is every movie a musical?
Speaker 2 (06:58):
No?
Speaker 1 (06:59):
No, yes, no, but it has a musical element, And
I think that's why I started doing all this research
at the bas Lehman whilst watching this movie, because I
was just like, what is the deal? Like where did
he come from?
Speaker 2 (07:13):
Why?
Speaker 1 (07:14):
Like why does he make am like this? Yeah, and
it makes completely sense, like he comes from the opera world,
like directing operas. Yeah, yeah, yeah, yeah yeah. It all
makes and so music going into any baz Lemon movie,
music is used more as like a leading storytelling device.
(07:42):
Obviously like score and music concept, tones and feelings, which
are super important for movies. His is almost even in
Romeo Juliet. It's another component to the script. It is
a character and it fully drives every scene.
Speaker 2 (08:00):
And that's why his musical movies do or this one
does so well, is because like.
Speaker 1 (08:08):
The character.
Speaker 3 (08:10):
Well in this one in particular, like the music is
just so good on his own, but.
Speaker 2 (08:17):
The music, every piece of music that he includes, drives
the story or elevates the story, or brings it to
life in or brings it all around in this like
very encompassing, like stylistic way that like it all makes sense.
Speaker 1 (08:33):
It doesn't come out of nowhere.
Speaker 4 (08:35):
Even like when Youwan breaks into your song, my song, song,
your song, thank you, your song, He's like mah, and
like it's like that moment is there was no other
place for him to go but to break into song.
Speaker 1 (08:51):
Well, I think the way the way Baz clearly appreciates
and understands and like needs music, Yeah, in his story
telling makes it work almost all the time because I
mean he intentionally does this. I think in everything where
a lot of what he does are you know, is
a set and it's a period piece with modern music,
(09:14):
and the way those two play against each other to
make us understand what's going and like put it in
today's like whatever, Like rome and Juliette. It was like
Radiohead is a Shakespeare's story, and so you're understanding where
those characters are at because of the songs that are playing,
totally more so than just some under than underscoring. And
(09:37):
but I think this movie, it's about damn time he
did like a musical musical, yeah right, yeah, And the
way he was able to use contemporary songs set in
eighteen ninety nine was just unmatched. So for those of
you who don't know Mulan Rouge the official summary. Set
(10:01):
against the backdrop of a spectacular mul and rue show,
an idealistic young writer is drafted into a bohemian entourage
and falls in love with an ambitious but doomed showgirl
who was caught between the hero and a ruthless duke.
Basloman also I think appreciates like classic stories, classic storytelling,
because I'm looking this up. This is sort of a
(10:25):
very loose reinterpretation of like the Orpheus and Euryticity. Yes,
like Journey and you have the Great Gatsby. He takes
on later, and he obviously did Romeo and Juliet And
so the way he sort of swings big in like
the classic yes storytelling moments, but he also like.
Speaker 2 (10:44):
There's just such an eclectic mix of his like inspiration
for this from like Hollywood musicals, cabaret culture, vaudeville, opera, Bollywood,
and he was in India studying researching how Bollywood films
like and all of it together.
Speaker 1 (11:03):
Right works like La bo m et cetera. It is
also like strange to me how Bollywood movies don't necessarily
really cross over here and being able to see, like
what you were saying, how Bollywood like can combine all
of these different genres into one movie and make it
spectacular and make it really heartfelt and have these like beautiful,
(11:26):
grand and humble stories all in one thing. Like this
movie is very much all of those things, but done
in a very specific bas Leerman way. And what I
also love about bas Leerman and I think it works
in some movies better than others, is like Wes Anderson
or where that you know a bas le movie by
(11:46):
a single frame. They always have a certain look to them.
That's why I love I love both of them very much.
Mm hmm. It's I think it's so hard to like
have a really specific like movie or film language like that.
Not everybody, not everybody has that and everybody needs that.
But no, it's just you can tell he is bursting
(12:10):
into creativity.
Speaker 2 (12:11):
Yeah, yeah, yeah, And he's not doing it just to
do it, like I think they're they're creators that like
could be out there that want to have that staple
of that luck or that thing. But this isn't just
for the sake of doing it. This has like a
very specific intention behind it, which is why. But it's
done so successfully. Yes, And he's like I think his
(12:32):
brain is just full of so much information and so
many different things that he loves that he wants.
Speaker 3 (12:38):
To incorporate, so like breaking the.
Speaker 2 (12:41):
Barriers of like it having to be one thing is
refreshing to have a musical movie with all of these
different pieces of other art forms and cultures and you know,
it's just everything it's like and things that have come before,
all the different works, Like it's very inspired, and it's
(13:05):
just it's I don't know, I think it's why it's
one of my favorites.
Speaker 1 (13:09):
Is like, uh, this like.
Speaker 2 (13:11):
Modern day contemporary music mixed with all these you know,
the things that came before, Like all these wonderful pieces.
So this film premiered as the opening Nights selection it
can the Film Festival in two thousand and one, and
it received an enormous reaction.
Speaker 1 (13:32):
Uh this, we also did it in Glee, so come
what may.
Speaker 3 (13:37):
One of our favorites was featured in season four episode
fifteen Girls and Boys in Film, performed by Curtain Blaine.
Speaker 1 (13:44):
That was one of the songs. I was so sad
to be.
Speaker 2 (13:47):
Yeah.
Speaker 1 (13:48):
I obviously did not fight for that, Like it makes
total sense for them. I loved how they did it,
but I was just like, oh man, I recently that
one missed opportunity. Yeah, I mean I was obsessed with
this movie. Jenna, Like, do you remember when this came out?
Oh yeah, Oh yeah, I remember. I think I was
like nervous to ask my parents to like take me
(14:09):
to the movie theater to see it. And I waited
until remember like the dollar movie theaters. Oh yeah, because
I had to be out for like a couple of
months or something. Yeah, And I remember I convinced my
mom and dad. I remember my dad was like, oh god,
it's a musical. I don't want to go see it.
And I already had the soundtrack. I remember the smell
(14:30):
of the booklet of the CD with all the words
in it. I was o sacessed. And I remember sitting
there in that really the Dollar Theater and watched this
movie and I just I couldn't believe it. And also
it wasn't like my reaction was very different than Chicago,
(14:51):
because like Chicago is like the squeaky clean. It's fun,
you know, like it's it's glamour.
Speaker 2 (15:01):
Obviously it's style, but it's specific in like one lane,
like it's very clear where you're headed.
Speaker 3 (15:10):
It's very clear what it is.
Speaker 1 (15:13):
You know, run this, Yes, Lulan Rouge has everything going
like I feel like there's so many reasons why this
movie should not be gone wrong. Yeah, yeah, like it
should not work on every level. And when you get
to the end of it, I felt so uncomfortable for
so much of the movie because bas Lehman creates like
(15:36):
tension and like that weird awkward like am I about
to pass out? Feeling well if this spinny spinny? Yes,
And it's like so motion and the way he cuts
it edits a movie in the and like her, you know,
being sick and all that. I remember leaving this movie
feeling like I was sick, but I loved it.
Speaker 2 (16:04):
Let's just go through the casting a little bit before
we got talk more about this, Okay, So I had
no I didn't know this, but bos Lorman auditioned several
major actors, including Leonardo DiCaprio, obviously fresh off there, you know,
their film together Romeo and Juliet, one of my favorites.
And uh, Leo came in and read with Boz and
(16:28):
according to Lerman, the moment they tried singing together, it
immediately became clear that Leo could not sing this role.
This would have This is one of the things that
could have gone terribly wrong. I love Leo, but this
is just not it. So other actors were seriously considered.
Heath Ledger, Jake Jillen Hall, Ethan Hawke, Jake Joon Hall
would have been great, but different like Ewan is you
(16:51):
McGregor is actually.
Speaker 1 (16:56):
It's it's beyond perfection.
Speaker 2 (16:59):
I would not see this, and I think this is
why I've resisted the musical seeing the Broadway musical for
so long, because I know I would love it, and
I know that they obviously changed some of the music
and all the things. But I resisted this so terribly
because there's nobody else that could play Christian in my
mind other than you and a writor, and I don't
want to hear anybody sing it.
Speaker 1 (17:21):
Talked about his powerful voice, and the thing is one
of the things where I think this movie should not
work and my eyes specifically should hate it. It's like
Ewan and Nicole aren't vocalists by any means, right, but
the Ewan's voice, the tone, the tone have goosebumps, and
(17:45):
also just his performance, it's so attached to his performance,
like there was no separation between you and speaking and
you and singing and the emotional through line between those things.
My singing voice, I think sounds quite different than my
speaking voice. Yeah, yeah, yeah, So as soon as I
start singing, like who is that? It just, yeah, it
sounds like Ewan's voice. His speaking voice is powerful and emotional.
(18:08):
Obviously we know he's an incredible actor, like he had
already done train spotting by this point, Like, yeah, unbelievable.
He's amazing and so to be able to and that's
something you're just born with, Like your tone when you sing,
it is what it is. You can't change that. Yeah,
and the way he just like belts everything out is beyond.
(18:31):
It evokes something in me. Also, he's like beautiful and
like it doesn't hurt that he was like the performance good.
He's gorgeous. He's gorgeous. Like he actually sounds good. The
tone is good.
Speaker 2 (18:41):
I actually sound gat. Yeah, it is great. This the
whole thing, the whole of the package is the whole
thing is just one hundred and ten percent. Like there's
nobody else. There's nobody else.
Speaker 3 (18:56):
So he's just the vulnerability that he gives to Christian
is just outstanding.
Speaker 1 (19:05):
You know, like fun fact also is so Nicole Kidman
got injured several times during this. She broke ribs, so
they were like filming things of her sitting down because
like she couldn't be walking around in the corset and things.
But because of that, things got delayed and they had
to move off of their stages because this whole set
(19:29):
everything was built right. Nothing was actually shot in Paris
at the right. It was in Australia and they had
to get off the sound stages because Star Wars was
coming into film and it's like you and McGregor is
in both of these things, like this is the height
of you and McGregor, like becoming a household name, and
(19:49):
I like, musicals have never been a popular thing to do.
Musicals have never been the cool thing to do. And
for Baz Lerman and Nicole Kidman and you and McGregor
just sign up, it was like a really big risk
and a really big swing. And I just love because
we know where their careers have gone since right, like
(20:12):
you McGregor was twenty eight when he was filming this,
Oh my gosh, and it's it's nice to see somebody
who did train spotting like several years earlier, Yeah, then
do this and right exactly.
Speaker 2 (20:25):
Yeah, And Nicole Kidman has obviously had her career, which
like we all know, but this one felt different to me.
There was like an innocence and a softness to her
but yet like this wise woman that the performance was
like so open and so real raw, like she had
(20:46):
to love doing this. I cannot imagine her not loving
doing this. This is my favorite, Oh I know, And
I agreed, And like she's not a singer, but her
tone too for this, Like there's something about it that
is just so so magical that I love listening to.
Speaker 3 (21:02):
This is one of my favorite things to ever listen to,
is the two of them together.
Speaker 1 (21:06):
I don't know how she does not have a good
singing voice.
Speaker 2 (21:09):
No, she objectively does not have a good singing voice,
but there's something about it that is so charming and
so satisfying that like, it doesn't matter to me.
Speaker 3 (21:19):
I don't I really don't know. I think it's the
tone and like the breathiness that.
Speaker 1 (21:24):
Because she's so good at acting. Yeah, maybe she's so
good I also Okay, So speaking of their singing voices,
I was wondering how they recorded these vocals, because, yes,
tell me how this movie is mixed. I think is
maybe the best I've seen because there is no sound difference,
(21:48):
and how they are speaking and how they are singing,
like the quality of what's going on. Obviously you can
tell these things. Some of them are at least most
of them or all of them were pre recorded, and
I was just like, how are they doing this? Because
that connection makes the emotional connection I think for us
(22:10):
as a viewer so much greater in a subtle way
that we don't even realize it, at least for me,
because it feels so defent. Well, it was a mix
of everything. It was. I think that's what I love
about I'm fascinated by Baz Luhrmann's a creative process because
this whole thing was one gigantic collaboration from all the departments.
(22:32):
Obviously every movie is like that, but what I mean
is like he was so involved in every single department that,
like post production in this was so much longer than
they thought it would be that they delayed the release
of the movie by six months. And I think that
is why it works so well. So, yeah, they pre
recorded everything, but then when it came time and they're
(22:55):
actually shooting things well, and they also did a full
year of paperduction by the way, and so like they
knew the music so intimately and how it was going
to be used, but when they were actually filming it,
it's they still allowed for, oh, I think maybe this
vocal or this line should be filmed live, huh. And
(23:18):
because they also had like the whole rig on set,
like with pro tools and everything that they could move
around where the music was and so in the moment
they're like, oh, actually, if you sung this line a
little later or earlier, like they could do all of that.
And so some of those things are live, some of
(23:38):
them are pre recorded, and they just allowed it to
happen and I think in post production mixing all those
things together, you get.
Speaker 2 (23:46):
They had the availability to play and to fix and
to workshop almost because they had it all.
Speaker 1 (23:54):
Yes. And I mean obviously with those things that time
is money, so that takes budget. It takes someone probably
like bad Lerman who has like the weight, like the toll.
Speaker 2 (24:04):
The time and the budget and the things to say
like I need this and I need to extend and
I need to do yes.
Speaker 1 (24:09):
Yes, And ultimately, what I'm realizing about Baz Luhrman or
any director, and I think this is what makes the
difference for a lot of directors is taste.
Speaker 2 (24:17):
You have to have.
Speaker 1 (24:19):
You have to know your taste. You have to have
great taste, and you have to have the wherewithal to
see it through. And I think all this music works
and how it is sung and how it is mixed,
how is edited, is because Basil Lherman has incredible taste,
specific taste. It's not for everybody, but he knows his
own taste and he need and he will do what
he has to do to make it come alive. And
(24:42):
I think that was just fascinating because I think what
happens a lot and when we get to they miss
they miss it a similar thing where they pre recorded
some and did my vocals, and that post production process
was also really long. Yeah, but there's something going on.
I think maybe with the more modern like how it's
being recorded on set, and even in Wicked, where there's
(25:06):
a really big difference in like sound quality then you know, speaking,
and I feel like bas really just like figured out,
like refined. Yeah. Yeah, yeah. It feels like you're inside
of it and you're not taking in or.
Speaker 2 (25:19):
Out of it through the vocals and through the dialogue,
like you're just in one immersive world versus sometimes in
musical movies you can be like hyper aware that you're
in a song versus you have seen and.
Speaker 1 (25:31):
Because such this is dramatic, this is drama, you don't
want to be taken out of it.
Speaker 2 (25:35):
No, That's why I just feel like this, the world
that has creates, like in general, is like very immersive
and you feel like you're very much in it.
Speaker 4 (25:44):
So the.
Speaker 1 (25:47):
Can we talk about that world?
Speaker 3 (25:49):
Sure?
Speaker 1 (25:49):
By the way, like.
Speaker 2 (25:52):
The sets, costumes, that's everything is like larger than life
but feels so believable.
Speaker 1 (26:01):
How does he do that? It's just like a courage
of conviction.
Speaker 2 (26:07):
Maybe, I mean obviously that everybody at the top of
their game, all these incredible department heads and people like
just really and and Bas is like vision. I'm sure
that Like Rian, the vision is so clear and it's
like whether he's collaborating and saying this, you know, let's
try this or let's do that, or saying like I
know what I want, it's so clear.
Speaker 1 (26:29):
Does it remind you of Ryan? Yes, definitely. I don't
know Bas, I've only met him once, but like, but
the work is reminiscing. Yes, what is that? I feel
the same way?
Speaker 2 (26:39):
Is it?
Speaker 1 (26:39):
I feel like Ryan has great taste. Yeah, Ryan has
a very specific vision and he's really good at executing.
And I think maybe that's those are the overlaps there, Yeah, yeah, yeah, yeah,
they're like really clued into also music. So Bas's wife
was the costume designer. It was Coke costume designer and
(27:01):
co production designer all of his projects. She went two
oscars for this and two oscars for Great at Speed. Interesting,
she's got four oscars, the most of any Australian ever.
So they have a language as well, sure well, and
the language between Baz Co wrote the script and he
and Greg Pierce do all their movies together, so they
(27:22):
also have a language. They had done Romeo and Juliet together.
So yeah, doesn't it feel like some big creative collaborative. Yes, yes,
definitely your people. Yes.
Speaker 2 (27:36):
This opened at number four in the US, behind Pearl Harbor,
Shrek and the Animal, and it became a major word
of mouth hit, which I could understand.
Speaker 1 (27:45):
Yeah, like, how do you market this movie? How do
you sell this movie?
Speaker 2 (27:49):
Yeah? You know, honestly though, like you market it with
those like those top twentieth century hit songs, right like
as they in the early development the team, they said,
the team filled entire rooms with lists and charts of
songs until it became very clear that the emotional heart
of their musical already existed inside the great pop pits
of the twentieth century.
Speaker 1 (28:10):
It's kind of like Glee.
Speaker 2 (28:11):
It's like something that you do and you take something
familiar and then you twist it and you turn it
on its head a little bit and you make people
see it in a different way. And there's already a
way in I think that is so key to people
taking a risk and like seeing something like this that
they wouldn't normally see. They're like, oh, Elton John and
(28:31):
you know, I mean everything, every artist that's in you know,
lend their music to this, to this film.
Speaker 1 (28:39):
I wonder how much of an inspiration consciously or you know,
subconsciously this was for Ryan when doing Glee, because this
is Glee. The exception of it was like six years later.
It wasn't that far off.
Speaker 2 (28:52):
No, for sure, I'm sure there was some element of it,
whether he was thinking about it before or not. Like
you know, there's definitely like, oh, it's being done right
and people are doing it and they did it really well.
Speaker 1 (29:03):
And something you and I have talked about is like
stage musicals and two movies often works so well because
the movie that music is proven, they've workshopped it. Yeah,
and how they did this was in a similar way,
even though it was not a stage musical, they workshopped
at all. Like Baz would, like you said, in the audition,
(29:23):
like Baz tried to sing, He's literally singing with the
actors in the audition room. Bas and peers would sing
together and workshop worship call yes, and so you see
what feels right in the moment. You're not just putting
things in there just to put things in.
Speaker 2 (29:39):
There right exactly exactly, so the is for anybody who
didn't watch this or has not seen this, please go
watch it. But also, you know, there's like this, there's
a few things going on, but the main story is
that Christian you McGregor and Zetine Nicole Kidman they accidentally
(30:03):
fall in love. But Satene was promised to the Duke
who holds the deeds to the Mulan Rouge kind of
handled by Harold Ziggler and who also who is like
the head of the Mulon Rouge what do they call him,
like the Master or whatever. And then you know there's
(30:23):
that whole thing of jealousy with Ian McGregor and you know,
and Christian and Satene. But Setne's also, unbeknownst to her
as dying of tuberculosisciety. She started dying of TV and
she doesn't know it until she tells Ziglas she's going
to run away from the Duke with Christian and Ziggler
(30:45):
with his own selfish for own selfish reasons obviously with
the deed to the Mulon Rouge, and because he does
kind of low Setine in a very messed up way.
Uh is like you're dying and you can't you can't
and they're going to Christians, so you better tell them
you don't love them. So and then there's this whole
(31:05):
theook the duke is putting on that or Duke is
producing that. They're doing it the lam rouge that is
going to make Shutina star, but that also mirrors the
story that Christian wrote and is living at the same time.
Just so you know, let's talk about some of this music, because.
Speaker 1 (31:30):
Another thing for me working against it. I hate jukebox
musicals and I loved every second of them. This is
a different one for you. It's like I'm into all
of it. So, like obviously, because these are all huge
songs before ever being in this movie, they had to
(31:54):
get the rights to all these songs and pay for
the rights for all these and it took years. It
took like two and a half years. Wow.
Speaker 3 (32:01):
Ellen, John was one of the first to do to
allow your song to be in this movie, which.
Speaker 1 (32:08):
Was always on the pulse. He likes on the pull.
He is always supporting like new artists still to this
day more maybe more than ever.
Speaker 2 (32:16):
Doing collapse with new artists, always knowing what's coming. So
and then of course you're like, oh and John gave
a song to this film. Why wouldn't anybody else? So
that's pretty spectacular spectacular.
Speaker 1 (32:32):
I would like to see a show called spectacular spectacular. Well,
there is a musical called roof I know there.
Speaker 2 (32:41):
There's amazing songs in this I mean one after the other, NonStop,
hit after hit. I think the ones that stand out
for me are obviously I'm on the Rooftop, you know
your song, Elephant Love Medley, Come What May, out the Window. Also, though,
(33:02):
one of my favorite songs, which I didn't know that
everybody loved, was Roxanne.
Speaker 3 (33:07):
Like I didn't know that people loved Roxanne.
Speaker 2 (33:10):
Like I loved Roxanne. I thought it was not a
fan favorite, and then I come to learn it is
the fan is it? Yeah, it's like because I didn't
know it until just now watching it.
Speaker 1 (33:23):
Oh it's one.
Speaker 2 (33:25):
I think that's the most listened to, next to Come
with May on that album that I listened to, and
I didn't know that like people, everybody loves that one.
Speaker 1 (33:34):
What I learned. What I learned is that as I've
seen this movie probably in twenty years, like I've not
seen it in so long, is that the moments I
really didn't love as much as a kid wore those
darker moments so like the last third of the movie
like made me feel uncomfortable because I was jamming to
come What May and jamm in to Elphant Love Medley.
(33:56):
Elfant Love Medley was my jam. Yeah, I wanted the
pop hits. I had to pause it during El Dango
de Roxanne because I was so overwhelmed. Yeah, I was
so overwhelmed by how good it is. I literally ran
to the other room and I was like, Austin, you
(34:19):
don't understand what is happened. He's never seen Walan Rouge.
By the way, what yes, stupid idiot.
Speaker 3 (34:26):
What is rockinha? Get kick him out?
Speaker 1 (34:28):
I would I would like to talk about the Roxan
scene if we can, well please any time. It's r Actually,
I want to talk about so many of these. Okay,
I know, I know, but Roxanne one.
Speaker 3 (34:43):
By the way, it took ten days to shoot this
good and it feels like.
Speaker 1 (34:47):
It in a good way. Yeah, like with Greece. Never
thought I'd be comparing these this way. Yeah. Every single
frame of this movie, and obviously more so than Greece,
is still with rich textures and so much depth, not
just the sets but by the costumes and the people
acting the music, and you take Roxane, a famous police song, right,
(35:12):
and you mix it with a famous Argentinian tango, and
then you're also adding original operatic lines for you and
McGregor on top of it. And then you also have
like three different story points, storylines happening. And what's also
really important to know about this movie is that a
huge inspiration for it for Baz Luhrmann were like the
(35:36):
technicolor musicals of the forties and fifties, And to me
that is most like glaring or blaring. I don't know
what's the right word here. The most obvious is during
this scene because the colors are so rich and like
the way like Hello Dolly or any of those musicals
(35:59):
were filmed and lit and colored. They're like you, I
just want to eat them, like they're so beautiful to
look at. And this scene has so much like powerful,
powerful story going on and like three different plot points,
and the yes, it's just it's so unbelievable, Like I
(36:19):
literally I had to stand up and walk around because
I I mean.
Speaker 3 (36:24):
If you back and listen to it now, also listen
to you in vocal performance.
Speaker 1 (36:29):
In this.
Speaker 2 (36:31):
It's something about the release of like how he can
release his voice in that way that like for somebody
who doesn't isn't a professional singer, and maybe he does
consider I was shocked.
Speaker 3 (36:44):
And also here's it's very satisfying to listen to his
performance his vocal.
Speaker 1 (36:50):
Do you think the difference is for you and and
Nicole and why we buy them so much singing in
this that's not English?
Speaker 3 (37:01):
I get what you're saying.
Speaker 1 (37:02):
Yeah, thank you for following everyone. Yeah, my brain is
moving so much faster than my mouth about this movie.
Is that like when Adam Shankman came into the studio
with us to record on a much smaller, simpler level.
I'm not trying to compare these two. Yeah, was in
the studio with us. He was having it. He was
placing us in the mindset of being in the actual scene.
(37:25):
It's like how we're going to feel and sound doing
these movements and things.
Speaker 2 (37:30):
Yeah, I mean there had to be a lot of
conversation between THATZ and the like the vision had to
be there beforehand, right to say like this is where
we're going to get.
Speaker 1 (37:42):
To, where they were going to be emotionally and physical.
Speaker 2 (37:44):
Yeah, Yeah, It's it's a different thing than like getting
on a TV set and being like, okay, so today,
like this is what where the director sees the scene
going versus where the actors is the scene going. Like
there was a very cohesive moving, you know, movement forward
that was like clear that like everybody knew where they
were going or what they were doing.
Speaker 1 (38:03):
Yeah, maybe I think that had to be.
Speaker 3 (38:04):
Part of it for sure.
Speaker 1 (38:05):
Maybe Ewan's voice just sounds like that, and maybe Nichole's
voice just sounds like that. You know, like they could
just be like a happy coincidence. But even you can
tell them like their lip syncing of everything. Lip syncing
is hard and they are so on it, and it
matches the exact emotion they're doing in all of those scenes,
(38:26):
and that is like you have to have some level
of foresight. He the whole foresight for that. Yeah, you
talked about We talked about Elephant Love Medley as well.
That whole section of the movie was really astonishing to
me because he built all these sets of what they
(38:47):
imagined Milan Rouge looked like in eighteen ninety nine, and
for so much of that whole section they're only in
like they don't really move beyond like a couple rooms, right,
obviously like on top of the Elephant room and you
see like this huge, very fake skyline and things, but
(39:08):
they're really using these sets and I you like for
not really moving location that much in this section, like
you're never bored. You're never wondering, okay, like what's next?
Are we seeing anything else? And like that is really
hard to do. And it's like it's it's a watch.
Speaker 2 (39:30):
Yes, yes, there's like a magical feeling to it. It's
bigger than life.
Speaker 1 (39:35):
There's like always a little bit of movement somewhere.
Speaker 2 (39:38):
It's not too much that like keeps your eye going,
but yet not bored with like the chemistry between the
two of them two and the music being so good
and the visuals being so pleasant, like it all really
works well, where like it's like this feeling of euphoria
(39:58):
that you get like without having to like do anything,
You're just sitting there like I'm you for it right, Yeah.
Speaker 1 (40:05):
And also I mean that's very true because leading into it,
you have like that whole weird sound of music thing
like you were coming from like this really silly like
almost comical world of You have Kylie Minogue as the
Green Fairy, which I obviously did not realize as a
kid who Kylie Minogue was, you know when I first
(40:27):
saw this and I'm watching, like, oh my god, there
there's yeah pop icon global sensation Kylie Minogue. It was
also really great in that little cameo and you have
like John the Gazamo doing a crazy voice and he
is by.
Speaker 3 (40:42):
The way his performance and this is really unhinged and
yet perfect.
Speaker 1 (40:49):
It's perfect. I love how like silly this movie starts out, yes,
and I just kept being shocked by so I guess
maybe my creation depth of my one like critique is
the very beginning of this movie. And for those of
you who have not seen it or haven't seen it
in a long time, is you know, is be patient
(41:09):
because the first like ten to fifteen minutes of this movie,
I was like, oh, maybe this isn't that good because no.
One of my little things that I don't love that
bas does is like this kind of bad visual effects
of you know, when he sets up the world and
you like see these big sweeping shots of like you
(41:29):
McGregor on a train or all of Paris, and it
looks like not great. It doesn't look I think very good. However,
I also think that's sort of intentional with because it
does look almost like a painting or intentionally not realistic
because bas isn't trying to do realism in any sort
of way. So like there's that adjustment period. And I
(41:51):
also don't scessartainly love. Like he always uses this like
choppy slow motion effect ish in all these movies, which
bothers me sometimes and it bothered me in the beginning
of this movie, but once you adjust to it into.
Speaker 3 (42:04):
The dramatic parts of it, it works really well.
Speaker 1 (42:06):
Yes, yeah, I think like as the movie goes on
and he starts to use it, especially with her sickness, Yeah,
it's it's really effected, like the breaths, like because it
makes you feel like you're sick and right, yes, right right,
and also shout out to Nicole's performance during that to
like sell that. But so like, yeah, it took me
(42:28):
a minute to like get into the world. But like
once he is on those sets, it does feel like
really deep and moving and it all of that big,
opulent stuff you would think would be distracting and take
away from Like, no, the story is still so grounded somehow,
I know. Come what May was originally written for Romeo
(42:51):
and Juliet what. Yes, it's an original song. It was
originally written for Romeo and it never got used. And
so I mean, could you imagine this movie without Come
Up May? And also imagine Julia with that song? Right,
none of it would work. That's insane.
Speaker 3 (43:10):
That is absolutely insane.
Speaker 1 (43:12):
Come Away, Come Up.
Speaker 2 (43:14):
It's also were you and I listening to Come Up
May on the airplane to Australia?
Speaker 1 (43:18):
Really?
Speaker 2 (43:19):
Was it?
Speaker 1 (43:19):
On the wa Australia?
Speaker 3 (43:20):
Listen to this like a hundred times because it's.
Speaker 1 (43:22):
The greatest song. Yeah, that's also just like the emotion,
Oh God, to build into the plot of this movie
that there is a song, it's so meta, like there's
a song being put into the show. So Nicole, so
Setine and Christian, well, because they are part of this
forbidden love, right, m that whenever they have whenever they
(43:48):
hear that song or sing that song, is because they're
thinking of one another and being like, we're here for
each other, right, And then to have that song used
so well and effectively outside of the show within the show,
and then it is the song of the movie, like
it is the emotional heart of this entire movie. And
(44:08):
what pisses me off? I think baz Lehman should have
won Best Song Oscar twice twice. This did not qualify
for the Oscars because it was written for Romeo and Juliet,
even though it was never used. And then the Lonna
del Rey song from Great Gatsby he co wrote with
Anna del Rey, and that didn't even get nominated. I
(44:30):
think it should have won.
Speaker 3 (44:32):
This is giving, it's giving. Zach Woodley energy mm never
got nominated for an Emmy.
Speaker 1 (44:38):
Yeah, it's like, sorry, come on, sorry, I had to
get that out comes. You could turn me down in
your headphones or speakers whatever it is.
Speaker 3 (44:47):
No, I'm with you.
Speaker 1 (44:50):
What's ridiculous is that like a Virgin the Madonna song
also we have I just need to acknowledge Jim Broadbent
as Zidler. This is unbelievable. It's a little bit funny.
Like I even I'm like, I know it's Jim Broadbent,
(45:14):
but I just don't believe it, and I had to
look it up. I'm like, of course it is him,
and how is he so good? How is he so good?
Speaker 3 (45:28):
It's like Jonathan Zamo in this.
Speaker 2 (45:30):
It's like there's this level of like it's campy and
it's it's almost satirical and and like hyper realist, like surrealist,
but like also he's grounded in this world like it
doesn't like it shouldn't but it does.
Speaker 1 (45:50):
Yes.
Speaker 2 (45:51):
And then also when he's like in the office of
Sigla in the in the Elephant and he's like or no,
when they're doing the meeting about the deed and he's like,
I don't like people touching my things.
Speaker 1 (46:03):
So ridiculous. I think that's also it's probably a bass
thing where this sounds dumb, but like everybody knew what
movie they were in, and I don't know how you
communicate that, because this is unlike anything I've ever seen,
and I think it's unlike anything that's ever been made
up to that point in the history of film. And
(46:23):
it's like how you communicate that? Like that that's what
you're doing, because everybody was understood the tone of the
movie and they could be big and grounded like it
was just I don't know, it's just so so just tremendous.
Speaker 3 (46:41):
We can't create all these performances. We've talked about a
few of them.
Speaker 2 (46:44):
Obviously your song I'll Wandell Flyway, I'll Elephant Love Medleie,
Come what May like a Virgin, the Tango roxand one
other song that I loved Our Diamonds Are a Girl's
Best Friend and material Girl Diamonds Are a Girl's best Friend.
Speaker 1 (47:06):
That number.
Speaker 2 (47:07):
There's something about Nicole Kinman's voice on that also, and
the performance. You're so sultry yet so innocent and so
believable and so vulnerable that this all just it's like, naturally,
I don't know that I would have loved that number,
but I love that number.
Speaker 1 (47:24):
She sold it for me. Oh God, when they get
to like the spectacular spectacular show at the end of it,
and she comes out of the stage and is like
being held in that costume which apparently is like one
of the most expensive costumes ever or no, the diamond
costume she's in not then is one of the most
expensive costumes ever made for a film. But the lighting,
(47:50):
like the way they lit the show within the show
is like unfathomable to me, Like, no, I know, That's
why I want to see that show. It just is
so crazy and stunning. What I think also doesn't get
enough love is there's this little thing when Setne finds
(48:11):
out she's dying. I believe that's when it is I'm
sorry for incorrect, and she sings this part it's called
the song is called like Fool to Believe? Oh yes,
and it's yes, I think just written for this movie.
And it's just like a couple of lines. It's not
a full song, and I don't even know, like how
how that gets made. I don't know who's writing that.
(48:32):
But it's so beautiful and it's so personal, and it
goes into like the one day I'll Fly Away reprise
between Setina and Zidler, and it's like all these moments
where this this does feel like an opera.
Speaker 2 (48:48):
Yes there, Yes, it's like little bits and pieces of
what could be kind of be in dialogue with songs,
and yet it just gave it like that extra, that
extra yeah that you bought that in any other movie
you'd be like, why is this song? This could have
just been spoken, but it's the opposite for this.
Speaker 1 (49:08):
Yes, yes, And that's a good musical Okay. So Sparkling
Diamonds a plus plus plus plus like also Rhythm of
the Knight and smells like teen Spirit Are you kidding me?
Courtney Love audition for the movie and gave Baz the
permission to use smells like teen Spirit. I Bass's ability
(49:28):
for mashups is unmatched.
Speaker 2 (49:31):
I mean, this is where I do think that like
Ryan had to have that like the mashup or Adam
like you know adam Anders, like they all were like,
whether they knew it or not, were affected by this, right, which.
Speaker 1 (49:43):
Also makes sense. Why when we ran into Baz at
that after party, I think it's for the saga words
or something, and he like bline to us and we're
just talking to all of us about the show and
about the music, and he clearly knew the show, and
I I think at the time I was just so
like starstruck and like, oh my god, why is he
talking to us? Of course, nobody has a deeper understanding
(50:07):
of what we were doing than best lemis.
Speaker 2 (50:09):
Yes, that's right, that's right. And I don't think that
hit me until now. Yeah, idiots, let's do some tarty takes.
Speaker 1 (50:26):
Auchies, Okay, auchies.
Speaker 2 (50:29):
I'm I mean the whole like like a virgin thing
with or not like Tango Roxanne thing with the Duke
and Stine and like the attempted assault and like all
that was kind of you know, very.
Speaker 3 (50:43):
Sad.
Speaker 1 (50:44):
Yeah, And they were like very blunt about like you know,
calling Satina whore and the whole thing was like prostitution
and all that felt a little yeah, but that is
like central to the story. And I think there's also
something about like John, like Zambo, his character, like who
he was trying to play?
Speaker 2 (51:04):
Yes, exactly, uh okay, best dance move, oh my god,
the tango Rexan and then also shout out to like
the lady Marmalade, sparkling diamond. Like the whole opening, like
those opening segments like on the Big Floor, those were
(51:24):
all excellent.
Speaker 1 (51:26):
Yes, best song, come what may, Come what May, and then.
Speaker 2 (51:32):
I don't know, Elton love Medalie and then tango Rexan, Yes, okay,
performs very a prop.
Speaker 1 (51:41):
The swing, Oh my god, the swing, the blood. I
also cannot with.
Speaker 2 (51:48):
The like a virgin at the end when the case
is flying and he's like above him and they are
just singing opera and it was just it is one
of my favorite.
Speaker 1 (51:57):
Moments when is the moon singing. The starts singing opera
at some point too, I don't even remember when that was.
It's like this is camp.
Speaker 2 (52:05):
Yes, best line, Oh, this is my favorite is when
he's singing they do the thing for him.
Speaker 3 (52:15):
The performance, and then he responds, He's like, it's a
little bit funny, this feeling inside.
Speaker 1 (52:23):
I had to look him up too, because he was incredible.
That's something I didn't like. I was so creeped out
and hated him so much as a kid that this
time watching I was like, you are great. It's so good,
incredible casting, so so good. I think my like, it's
probably my favorite moment of the entire movie is when
she looses in the rafters and you can't remember his
(52:44):
line and then Elma Gregor is leaving. He called her
a whore. He's done, He's throwing money at her in
front of this whole audience of people, and he just
shouts out, the greatest thing you'll ever learn is just
to love and be loved and returned. Cinema like that
(53:04):
is what movies are for. That moment, Oh god, performance
MVP and Nicole. I mean, there's a couple of turns
in there. When Nicole, you know when you and a
(53:26):
Christian accidentally says like, because she doesn't love you, doesn't
love him. And then Nicole goes from like performing and
being in this like rehearsal mode and then goes into
let's go have supper and then yeah, we will like
the lovers will like, the ending will change.
Speaker 2 (53:46):
I don't know.
Speaker 1 (53:47):
It's really just so good. She's so my favorite God
Dicky talking. It just feels so silly after this.
Speaker 3 (54:00):
I know, I kind of want to watch it again.
Oh I'm definitely gonna watch it again.
Speaker 1 (54:06):
Okay, tante pos it when your chance of getting a
solo is over. Because Mercedes and Already's son Aston Martin
Abram joined the Glee Club and this is like a
crazy version of the Thong song. What is this version? Unclear? Oh,
(54:28):
Motown nineteen Oh it's Ai. It's probably Ai, but nineteen
fifty's Motown choir version of the Thong song and it's incredible,
and yes, that would be our sons. Is hilarious, mar Abrams.
Speaker 2 (54:46):
Okay, we're getting crazy, you guys. Well, I hope you
guys love mo and as much as Ash or else.
You just literally want to listen to his gab for
an hour about how much we love this movie.
Speaker 1 (55:04):
I would really like to talk to Baz, I mean
because I really I really want to know how he
did this and like how he does like I think
I would love to just watch him on set to
see how I would I mean it would be my
great Yeah, like how.
Speaker 2 (55:19):
Does he do this?
Speaker 1 (55:20):
And I also know like he takes a long time
to film things and like things run over always, and
I just I just want to know. I just want
to pick his brand. A man of taste, gotta know. Yeah, okay,
you guys.
Speaker 2 (55:36):
So this was our official last official recap of twenty
twenty five.
Speaker 1 (55:41):
Wow.
Speaker 2 (55:42):
But next we have a very fun conversation with Alex Putsavas,
who's a Grammy Andammy nominated music supervisor currently Senior director
of Music and Creative Production for a TV at Netflix.
What she did like soundtracks for shows like Gray's Anatomy
and Gossip Girl and Scandal, and like Twilight soundtrack, So
stay tuned for that one. And then obviously, in the
(56:04):
spirit of the holidays, Kevin, it wouldn't be a holiday
season without us revisiting the Glee Christmas music, So come
back for that one.
Speaker 1 (56:11):
Oh yeah, oh, don't miss that. And that's what you
really missed. Thanks for listening, and follow us on Instagram
at and that's what you really miss pod. Make sure
to write us a review and leave us five stars.
See you next time.
Host
Jenna Ushkowitz
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