David Cronenberg & The Shrouds (2024)

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hi, Casey, how's it going. Hi Millie? Where's your Wait?
Wait wait wait, where's your little cookie guy? Where's your
little cookie guy?

Speaker 2 (00:07):
Here?

Speaker 1 (00:08):
He is here, he is.

Speaker 2 (00:10):
Casey has complained about the amount of times that I
bang my desk when we record.

Speaker 1 (00:19):
Mm hmm, I'm ton I'm tone policing your my gesticulations.

Speaker 2 (00:24):
My passion is what exactly. So he's like, go grab
something or go like fix the problem.

Speaker 1 (00:32):
And so I just actually I think, yeah, you you
came up with the solution.

Speaker 2 (00:37):
The solution was. I turned around in my office and
I pulled this pillow that I have in my office,
which is basically a pillow of a giant cartoon cookie
that is like a little it feels like a you know,
how have you ever you have kids? You know what
a squish mellow is? Yes, right, it's like a square

(01:00):
a shmallow consistency. It feels like one of those things.

Speaker 1 (01:03):
And he's an intimate part of our recording process. And
he's like kind of like the third host of this show.

Speaker 2 (01:08):
Yes, And if you've seen a picture of him, he's
got like it's like a little brown cookie goblin with
like a big tooth and like a little raised eyebrow,
like he's up to no good, which he is. He
is up to no good and I love him. And
it's like the thing. It's like my little my little

(01:28):
safety blanket, so that I don't ruin our podcast now.

Speaker 1 (01:32):
You said that also, we were talking about this before recording,
and then you said, and this is why I love
BTS more now, And I was like, what are you
talking about. This machine has many moving parts, as you know,
that's the BTS, the band, uh huh.

Speaker 2 (01:52):
Meaning the machine. Okay, so you might be a cog
in this machine. I fully that, I fully admit that.
Maybe we'll talk about that more in an upcoming episode.
We'll see, we.

Speaker 1 (02:06):
May have something on the schedule to talk about k
pop specifically.

Speaker 2 (02:11):
So, yeah, and how the whole reason why I even
know about it is because I have long COVID and
that is my main symptom. So the members of this
band Beats Yes, whom you probably know, they created their
own They're kind of.

Speaker 1 (02:32):
Like Hello Kitty, I don't know, Hello Sanrio.

Speaker 2 (02:36):
Yeah, they're not technically Sanrio, but they have there's another
company that manufactures them, I see. But basically, each member
created their own likeness in a little Sanrio esque character.

Speaker 1 (02:51):
I think he's cute, He's up to no good, he.

Speaker 2 (02:53):
Plays basketball, he hates milk. There's a lot of like
very cute, adore things. It is the littlest He's like
the little guy that hangs out usually on people's shoulders.
The other characters shoulders and shit. But I actually think
that the little characters, I mean, I.

Speaker 1 (03:15):
Am a cog.

Speaker 2 (03:16):
It made me kind of like the band more. I
was like, I kind of like this little character universe.
I'm not like very whimsical, you know, like I've never
really been like a toy person, and I've sure I
haven't played i haven't really like invested in even the
san real world in a long time. Were you into

(03:36):
that in the nineties. That was a very nineties thing.

Speaker 1 (03:39):
But now I think that was, you know, more of
a girl thing, or considered a girl thing. You didn't
like bats Maru. That's the way I was like said,
I mean, I thought they were cool. I kind of
admired them. They were sort of mysterious to me.

Speaker 2 (03:53):
As Asian people have have suddenly become the apple of
everyone's eye across the It really makes me remember how
cute their pop culture stuff is, Like Asian people love
cute shit, and they all have little cartoon character things

(04:15):
in every country in the continent. And I'm just like,
I don't know. As much as I'm sitting here going,
am I really like a forty six year old woman
that's holding a cookie pillow right now, I'm like, I
don't know.

Speaker 1 (04:28):
I'm half Asian. Doesn't that tell me the rights? Yes,
you're celebrating your heritage, but inherent cute ge Yes. Well, Millie,
this is an insane way to start this specific episode
because we are talking today about the director David Kronenberg

(04:53):
and his twenty twenty four movie The Shrouds. I would
say David Cronenberg is one of the least cute directors
out there.

Speaker 2 (05:03):
I would wholeheartedly agree with that, probably the opposite end
of that entire spectrum.

Speaker 1 (05:11):
And then after that, this is all David Cronenberg episode.
I got a little Cronenberg quiz for you, Millie, Okay, I.

Speaker 2 (05:21):
Might be ready. Yeah, I'm actually scared, to be honest,
because I feel like you're.

Speaker 1 (05:28):
A huge fan. I'm a huge fan, bigger than me.
Perhaps this is this is one of my this is
one of my guys. Yeah, I love him.

Speaker 2 (05:37):
Yeah, I'm scared about what this quiz will be like,
but I'll give it my all.

Speaker 1 (05:43):
I think it'll be a fun more discuss I don't
like some of these. Well, we'll get into it later,
but yeah, exciting episode. Can't wait to get into it.
I wish I had a little stuffed animal that I
could hug right now, but I don't.

Speaker 2 (05:56):
Okay, while the credits role, I want you to be
thinking of David Cronenberg's Sanrio line. Mm hm, you have
at least fifteen to twenty seconds on that note. Let's
get things going. This is the podcast for you, Dear Movies.

Speaker 3 (06:14):
I love you, Dear, I love you, and I've got
to know if you love me to check the boox.

Speaker 2 (06:36):
Oh yes, that's right. This is the film podcast, Dear Movies,
I Love you. We are for those who are in
a relationship with movies, and that relationship can be tenuous
at times, it can sometimes be disturbing, but there is
underneath the surface a lot of love somewhere expresses itself,

(07:01):
maybe in a very dark way. My name is Millie.

Speaker 1 (07:04):
To Chericho, my name is Casey O'Brien, and uh.

Speaker 2 (07:09):
Yeah, I you know the moment that I said, what
I said about David Cronenberg's Hello Kitty line. I just
kept I was like, okay, so the fly has got
to be one.

Speaker 1 (07:22):
Yes, I actually was. It kind of got my mind
reeling when you said that, Yeah, the fly, that's a
good one. Brundle Brundle fly, Sanrio character? What else? I
feel like, you know, the brood? Yes, I think those
little guys would be really good Sanrio characters. Those little

(07:44):
killer I don't even know what you'd call those little monsters,
they would be good.

Speaker 2 (07:49):
Imagine like a little Samantha.

Speaker 1 (07:51):
Egger sure, like opening up her oh fuck for the
brood or whatever. Like can you.

Speaker 2 (08:00):
Imagine that being like on some stationary or like a
little keychain.

Speaker 1 (08:04):
Yeah, or like a stuffed animal that has like velcrow
that you open up the end that's in there. You know.
So that's good. This is good. I feel like there's
some merch that could be made here, but it'd have.

Speaker 2 (08:16):
To be like, like, okay, I'm thinking James Woods splitting
his abdomen open and pulling out like maybe it's not
a gun. Maybe it's like a little a little lollipop
or maybe a little piece of toast with like some bubble.

Speaker 1 (08:32):
Oh, that's good. That's cute. There's so many I'm the
mind reels.

Speaker 2 (08:39):
We'll start the design phase this weekend. We'll come up
with some sketches and we'll move forward.

Speaker 1 (08:46):
But yeah, what could be from the movie crash? Anyways,
let's let's move on, Millie. Such an exciting episode. We
just got to get right into it. We got to
get into the movie diary.

Speaker 2 (08:59):
Talk the movies we watched from the past week, Millie,
what do you got for us? Hold on, I'm still
reeling from opening that extremely heavy Yes, we'll cover well.
You can count on me to watch one and a
half movies this week.

Speaker 1 (09:19):
All right, So the full.

Speaker 2 (09:22):
Movie that I saw in theaters now, I think I
saw The Naked Gun from twenty to twenty such. Okay,
First of all, the crowd was delightful.

Speaker 1 (09:42):
Oh what a dream.

Speaker 2 (09:43):
It was like all older people. It was awesome. It
felt like we were like, yeah, it's us, like we're here,
it's Friday night, and like it's like a.

Speaker 1 (09:54):
Forty plus crowd.

Speaker 2 (09:56):
It was awesome.

Speaker 1 (09:58):
That's great. These people know how to appreciate a film.

Speaker 2 (10:01):
Yeah, and I went with a group of friends, like
I have to tell you, like, this is the bomb.
That we need right now, the bomb, the bomb. We
need something like this, just the stupidest shit that is,
like maybe something from our childhood affiliated, you know, like

(10:24):
I don't know, bring back, like just some of the
like dumbest things, like you mentioned Austin Powers. I think
that when we talked about this last time, I would
kill for like an Austin Powers or a Wayne's World
two or some kind of like dumb thing like that,
just like bring it back. It was so funny and stupid.

(10:49):
I loved it. I loved it.

Speaker 1 (10:51):
Everyone is saying it's great, yeah, and I want to
see it. There was a.

Speaker 2 (10:56):
This one, but first of all, the the whole like
Liam Neeson as the kind of he's like the son
of Leslie Neilson or whatever. That's really great. I am
so impressed by how funny Danny Houston was.

Speaker 1 (11:16):
Really, Oh I'm knocked.

Speaker 2 (11:18):
He was so deadpan funny, like it's like he it
was that kind of thing where it's like, you know
the movie Villains, they always put in a guy that
you have only seen in kind of more serious roles
and then they kill They fucking kill at being funny, Yes,
just by being serious. And that's exactly what he did, Like,

(11:39):
there's this exchange that he has with the Liam Neeson
character at one point about a band. I won't tell
you what band it is that I was cackling. I
was cackling in the period.

Speaker 1 (11:53):
Oh god, I yeah. I mean I saw an interview
with Liam Neeson where he was talking about like I
it was very important for me to play this like
it's a drama, Like that's like, that's why Leslie Nielsen
was good, and like what this is like it needs
to be taken very seriously.

Speaker 2 (12:12):
Yeah, I mean, I will say Danny Houston's character, like
his whole vibe was giving to me, like Val Kilmer
and mcgruber in that way where it's like, you know,
you always have seen Bell Kilmer and these like kind
of serious, intense roles, and then he plays this like
buffoon villain and he's just he plays it just like

(12:32):
his other roles and you're just like laughing. And that's it.
I mean, as long as you play an absurd character
with as much seriousness as possible, it'll be funny. I'm
kind of hoping now for a little bit more. I
want I want more of this slapsticky, like really funny

(12:53):
broad yeah, I hope that this ushers in a new
era of just like I even kind of enjoyed like
the Nutty Professor and the Clumps stupid stuff, you know,
like I'm ready bring back like scary movie and yes,
I would care for Awayn's Brother's parody.

Speaker 1 (13:13):
That would be so fussy. So like I'm hoping that.
I feel like we got to a point where it's
like comedies needed to be so grounded and improvised, and
I'm and like natural dialogue. I'm just like, yeah, it's
it's like when.

Speaker 2 (13:32):
We were talking about the mockumentary stuff with The Office,
where everything feels like it's it's a mockumentary. This is
absolutely the opposite. This is very like over the top,
like really like a site gags as far as I
can see, and this is it's like very you know,
almost kind of like overproduced, but in a funny way.

Speaker 1 (13:52):
You know. Well, I'm a big I was always such
a huge fan of Jim Carrey and like he like
that type of comedy that he was in in the
nineties does not exist now, and I'd love for that
to come back. Maybe we'll have maybe Jim Carrey will
come back. I would love that yeah, we.

Speaker 2 (14:12):
Need it, we need it badly. It'll heal the world.

Speaker 1 (14:14):
But it'll take the world.

Speaker 2 (14:15):
So so, and then the half movie that I saw
was and I fully intended to finish this, but I
simply fell asleep. And it's it's not because this movie
made me sleep, it just was it was late, and
it was my fault, my bad.

Speaker 1 (14:35):
When did you start this movie?

Speaker 2 (14:37):
Probably like eleven thirty PM.

Speaker 1 (14:39):
WHOA, yeah, way too late, I know.

Speaker 2 (14:43):
And it's because lately I've just been feeling this. I
just wanted to catch a vibe, a very specific vibe,
and the moment I tell you what movie it is,
you'll understand why. So I watched half of the one
car Wy movie Fallen Angel from nineteen ninety.

Speaker 1 (15:01):
Five, and the vibe was caught until it wasn't until
an Angel fell asleep.

Speaker 2 (15:10):
Well, and this is like I'm right now. I guess
I'm in a nostalgia for sure, nineties filmmaking my era,
like my shit heead phase, my like late nineties, sort
of a film school era. And I don't know. For
some reason, I feel like there was some clips of

(15:31):
Fallen Angels that I saw on Instagram or something like that,
and I was like, Oh, I want to live there.
I want to live here, and.

Speaker 1 (15:41):
I feel like Fallen Angels specifically. I don't know, maybe
this is a weird thing to say, but I feel
like it's like his coolest film in a way, or
like it's very stylized in a nineties way that his
other movies don't necessarily feel that way. Like I feel
like there's like the use of wide angle lenses more

(16:03):
and there's like it's like very green, nighttime urban feeling
and which was like you would see that in a
lot of nineties movies. I feel like, and so, but
it's also won car wise, so it has its other
cool kind of vibe coming in. So I totally understand
wanting to live there.

Speaker 2 (16:21):
And it's it's really a it's really a movie that
just it doesn't really like spend a ton of time
with characters. It's just kind of like giving you people
to be sat in front of and like it's just
it'll just wash over you. I mean, honestly, like the
fucking oh my god that the whole cigarette dangling out

(16:43):
of the mouth of Takeshi Canashiro is just eternally hot
to me, Like I'm just like, holy shit, like that's
a that's a total mood, and I wanted to read
really quickly, so I was like looking. I was looking
because I've seen it before, obviously, but I was like
looking up stuff about it. And there's let me read

(17:03):
you the little couple sentences from the Roger Ebert dot
com review. This is written by Roger because I guess
this was.

Speaker 3 (17:10):
Like in the nineties.

Speaker 2 (17:11):
Yeah, this is what he said about Fallen Angels. It's
kind of exhausting and kind of exhilarating. It will appeal
to the kinds of people you see in the Japanese
animation section of the video store with their sleeves cut
off so you can see their tattoos, and those who
subscribe to more than three film magazines and to members

(17:32):
of garage bands and to art students. Ain't wrong, head,
he read us to philth Roger did.

Speaker 1 (17:42):
Got as I like Falling Ages is cool because it
was like kind of like the throwaway bits of chunking
Express right and made into a movie, and it kind
of feels that way, but it feels different. I don't know.
I love I love this movie.

Speaker 2 (17:58):
Grittier, greatch Doyle, beautiful, camera workful and that's all I
saw this week Fallen Angels nineteen ninety five, very good.
I watched one movie this week and I'd never seen
it before, and I was always like interested in it

(18:20):
as a kid, and I was like, this can't live
up to the expectation I have built for this movie
in my head that I built when I was a child.
But it did and more.

Speaker 1 (18:32):
And I really loved this movie, and I don't I
feel like I thought it was good legitimately, and that
is nineteen ninety nine's mystery men. Oh have you seen
this movie?

Speaker 2 (18:43):
I saw the movie theater when it came out.

Speaker 1 (18:45):
I was stunned at how creative it was. And there's
like so many ideas in it, and it like the
production design is pretty incredible and the costumes are like outrageous,
and it just had a good styled to it that
I was like impressed by, and it like really catapulted
me into this world that I enjoyed living in. And

(19:08):
it's very silly, and I don't know, I had a
great time. I had a blast watching it. I was
just like so delighted watching it.

Speaker 2 (19:19):
Yeah, it's fun and it's like there's good people in it.

Speaker 3 (19:25):
Wow.

Speaker 2 (19:25):
And Paul Rubins and Greg Kaneer isn't here in that movie.

Speaker 1 (19:30):
Too, Greg Kaneer, yes, Kel Mitchell of All That Fame
is in there. Uh yeah.

Speaker 2 (19:37):
I oh, hey Cazaria, yeah, William H.

Speaker 1 (19:41):
Macy, Yes, William H. Macy. Uh yeah. Just like a
great cast and I don't know, I had a really
good time. I really liked the Vera Drew movie, That
People's Joker, and I felt like they're sort of similar worlds,
like sort of this like dark. I mean, the People's
Joker is supposed to be Gotham City, so it is

(20:03):
like Gotham but more outrageous, and uh yeah. I really
enjoyed Mystery Men. I loved it.

Speaker 2 (20:10):
Oh good, that was a delight good. I got to
see that again and it was fun.

Speaker 1 (20:14):
You know here in the All Star by smash Mouth,
it's good to hear that again. A Vibe a Vibe
Vibe and you know they name check the Mystery Men
in the lyrics of that song, so huh I did that. Yeah,
another blockbuster that has an original song a part of it,
which we talked about recently, so you know, I love it. Anyways,

(20:37):
that's it. That's all I got.

Speaker 2 (20:38):
Oh, that's it.

Speaker 1 (20:39):
Huh yeah, just the one.

Speaker 2 (20:41):
Damn, what's short this week?

Speaker 1 (20:43):
Light week little light. But that's okay, I.

Speaker 2 (20:45):
Guess we can close it all up up.

Speaker 1 (20:49):
I also, I've been watching a lot of The X
Files lately. I'm back on the X Files.

Speaker 2 (20:54):
Ah, don't even We're going to have to like make
a side quest podcast about the.

Speaker 1 (20:59):
X You like the X Files? Dog, she's mad.

Speaker 3 (21:04):
No.

Speaker 2 (21:04):
You wouldn't have known this because you didn't know me
in the nineties, But I did it. I was a
huge fan. I used to watch it every Sunday with
my roommate David Hornbuckle and my other roommate John Thompson,
who actually would come in and watch Buffy before.

Speaker 1 (21:23):
What a tandem. I know they're kind of similar a
little bit.

Speaker 2 (21:27):
Yeah, he was always trying to get us to watch
Buffy by the way.

Speaker 1 (21:31):
He was like, you don't want to come.

Speaker 2 (21:32):
In a little early into the living room, like hmm no,
and I and it kind of for shame because actually
now I feel like I probably would have liked Buffy
and I've seen it like a couple of episodes here
and there, but I feel like, I don't know, I
don't know why I didn't like it back in the nineties,
but now I feel like I could probably dig it,

(21:52):
so I should.

Speaker 1 (21:54):
It's fun, it's good. I like Buffy. I like X
Files more. Yeah, we Tricia and I watched like the
first five seasons and then the movie, and then we
needed to take a break because it was getting so confusing,
and after doing extensive research, I sort of understand what's
going on with colonists and black oil and all that stuff.

(22:19):
So we're on season six and we're having a great time,
and I love that show so much.

Speaker 2 (22:25):
Yeah, my favorite episodes I think tended to be the
like little one offs that would tell me the monster
of the week. Yes, yes, yes, although I did like
the cigarette smoking Man's stuff was yeah. Interesting.

Speaker 1 (22:40):
The mythology gets very calmvoluted, and it's funny when you
like look up answers online. It's never like some of
these things aren't fully explained, and like the explanation online
will be like it's either this or this, and it's
like there is. It's not as cut and dry as
I feel like a show would have to be. Now

(23:01):
that comes out, so.

Speaker 2 (23:02):
Oh, I had to tell you. I really hung in
there with the X Files even after Fox Mulder left
and then They brought in special Agent John Doggett, who
is of course played by Robert Patrick aka the Liquid
Cop from Terminator to amongst many other things, and Annabeth
Gish special agent Monica Reis. I think she was I

(23:22):
don't know who she was. She had like some kind
of weird psychic ability and I've never figured that.

Speaker 1 (23:27):
Looking forward to it.

Speaker 2 (23:29):
Wait, you've not seen these No, I haven't seen the
whole series.

Speaker 1 (23:32):
I know that he leaves, though, I mean that's not
I'm not really worried about spoil I mean we're in
season six. That's where we're at right now, so we
got a long ways to go, right.

Speaker 2 (23:41):
Well, anyway, I am with you on a lot of
this stuff, not that this is an X Files podcast,
but you know, for a while I did think that
Jillian Anderson and David d'covney, we're going to do the
whole like Anthony Edwards and Mayor winningham Thing and Miracle Mile,
and they were going to like get together later in life.

Speaker 1 (24:01):
After they were co stars. I would love that.

Speaker 2 (24:04):
I kind of want that for them too, and like
they they play around with it. I mean they might
have actually dated. I think they definitely boned. Let's get serious. Uh,
but like you know, they theyre always like played around
with it, and I was always like, just get together forever. Yeah,
look at what's happening with all of these other slims.

Speaker 1 (24:25):
I remember that there's like a famous clip of Gillian Anderson.
Is it Gillian or Jillian?

Speaker 2 (24:31):
No, maybe I'm wrong, I say Jillian, Gillian, I'll say Jillian.

Speaker 1 (24:36):
Ah. There's a clip of her at the Emmys. I
think she won an Emmy and she kisses David d'covney
on the mouth and then her husband and like goes
and accepts the award. Listen.

Speaker 2 (24:46):
That bitch is my girl. She is. I love her
so much. She is wild in these streets and I'm
here for every single fucking moment of it. She's like,
honestly the type of lady to be. Really Yeah, she's
so awesome. So that doesn't surprise me at all that

(25:07):
she's uh, you know, kiss a lot of men on
the loops.

Speaker 1 (25:10):
Mm hmmm. So anyways, Xius has sort of taken over
my life again. And God, and you love CDs again.
You're like a nineties.

Speaker 2 (25:20):
Boy right now.

Speaker 1 (25:22):
Yeah, it's true.

Speaker 2 (25:24):
In a nineties kind of world.

Speaker 1 (25:25):
We're talking about Hello, Kitty.

Speaker 2 (25:28):
Telling you, let's just this is the end of Dear Movies,
I Love You, And now we're going to transition to
our new podcast, Dear Nineties, I Love You.

Speaker 1 (25:54):
It's time for our main discussion, which is covering my
boy David Cronenberg and also the movie The Shrouds which
came out last year, which maybe David Cronenberg's last movie. Yeah,
and if it was his last movie, it's kind of

(26:14):
a good one to go out on. I thought I
felt sort of there was a finality to it.

Speaker 2 (26:19):
I felt, yes, I think death is pretty final. Death
is final as a topic, but as in a concept.
And yeah, I don't know he puts out. I mean, gosh,
for he's like one of those guys his age that
are like cranking out movies.

Speaker 1 (26:36):
Yeah, you know, yeah, but I know he had trouble
finding funding. He has trouble finding funding, which is kind
of crazy, like he's like one of our masters. It
seems like, I know this happened with Jim Jarmush too,
where it's like it's hard to get money for their movies,
and that just seems so wild to me.

Speaker 2 (26:54):
So I want to talk about this financing bit because yeah,
one of the things that really popped out to me.
And after doing a little bit of research on this,
now I have realized that they've done other things. But
did you notice that Saint Laurent Productions was at the
top of the heap in terms of, you know, producers

(27:16):
of the film like Saint Laurent meaning Eve, Saint Laurent,
the fashion house.

Speaker 1 (27:23):
I didn't notice that.

Speaker 2 (27:25):
Well, it's interesting because I was going, oh, I didn't
realize that Saint Laurent aka Saint Laurent produced movies.

Speaker 1 (27:35):
I didn't know that.

Speaker 2 (27:36):
I thought I thought they made, you know, high end
clothing in handbags and belts and things of this. Gu right,
And then it started making me think, Okay, so I
remember Tom Ford directed a movie a few and I
know that fashion and movies go hand in hand, but

(27:59):
I was like, wow, I can't believe they produced this
Kroodaberg movie. And then I went and looked at the
things that they've produced, and they've done a lot of things,
like they produced Amelia Perez and the Amaldivar. Remember that
Amaldivar short Strange Way of Life with Paedro Pascal and

(28:19):
Ethan Hawk. What was it Luxaturna? I mean, I was like, oh,
so they've been in this game for a minute at least.
And then I was like really down a rabbit hole,
and I just was like, Okay, I want to know
what other like consumer brands have gotten into movie productions producing,

(28:41):
and I think that and I just like seeing all
these trend articles, It's like, oh, yeah, neutrigenas in the
film game, what the fuck are you talking about? Like
all of these like companies that again are making like
consumer products are now trying to get into movies and like,
you know, not just stuff like Nike and things, but

(29:01):
like yeah, newt Regina and you know, like I don't know,
maybe like fucking mister Clean is gonna have a couple
of movies coming out next year.

Speaker 1 (29:12):
I mean, who knows. I mean it's crazy, but you
Saint Laurent. It's like a fashion house, so it makes sense,
like and I feel like David Cronenberg is kind of fashionable.
His movies are kind of cool, look, you know, and
so like, did they design the shrouds in this see?

Speaker 2 (29:29):
I think that they did. I think that was po
part of it. But then also it's like the creative
director of Saint Laurent is apparently a big centophile and
is just like wanting to make movies with like people
he thinks are cool, like and obviously like a Meldavar

(29:49):
and like gasper Noah, and like, yeah, I.

Speaker 1 (29:53):
Mean I just am like, I mean, it probably costs
as much to make the shrouds, for example, as it
does to produce like a perfume commercial with Natalie Portman
or whatever, you know, And it's so it's like it
is a way to get their brand out there in
a way that is interesting, you know, even if it

(30:16):
isn't a commercial specifically, it's like to be associated with
a movie makes sense.

Speaker 2 (30:22):
Yeah, I mean, I don't know. Now that I think
about it, I'm like, oh yeah, I remember like fucking
Mac and Me or whatever. It's like all of these
like you know, companies that make movies about their products essentially. Yeah,
I was just an interesting little world. But anyway, I
noticed that right.

Speaker 1 (30:42):
Off that's interesting.

Speaker 2 (30:44):
But then I did notice there was like a shit
ton of production credits.

Speaker 1 (30:49):
There's like fifteen of them, and I swear to god,
one is like in there twice, Like yeah, it felt
like there. That's just like you had to cobble this
all together to get money. And also this didn't feel
like a super expensive movie to make.

Speaker 2 (31:04):
I wouldn't say yeah, I mean, there's so crazy Millie.

Speaker 1 (31:10):
David Cronenberg, h are you familiar with this guy? And
if so, what's your where did when did the relationship begin?
And what's your relationship to him? Now? What do you
think of this fella? Well?

Speaker 2 (31:25):
I don't want to. I don't want to necessarily point
to something that I've already done, I've already written about,
but I have. I've loved Cronenberg since I was in college,
and one of the first I mean, I mean, I
think I saw The Fly technically when I was a

(31:45):
younger person, like maybe in high school, but I wasn't
really it wasn't really synthesized until much later when I
actually understood what The Fly was actually about. And then
it realized that it made me cry every time I
watched it. But I went to a screening of video
Drome when I was in college, and I just was radicalized.

(32:08):
Every every shithead in my film program loved Videodrome, of course,
and then you just kind of run down the list.
And I did a thing for the Academy Museum in
LA last year they had an exhibit about cyberpunk.

Speaker 1 (32:26):
And oh, I didn't know that I loved cyberpunk. Yeah,
I don't love William Gibson.

Speaker 2 (32:32):
I don't think you were living there anymore.

Speaker 1 (32:33):
I wasn't.

Speaker 2 (32:34):
Yeah, Well, the Academy Museum reached out to me and
asked me if I wanted to write a piece about
Video Drome for the book that came with the you
know you could whatever that came with the exhibit, And
I wrote about Video Drome a because it was really
the first Kroneberg movie that I really loved. But then

(32:56):
it became such a important movie and really kind of
an important reference for me when I had surgery, which
is unsurprising because you know, obviously Kroneberg's main themes are
about the body, right, But yeah, I had surgery in
twenty eighteen where I was basically cut down the middle.

(33:17):
I've talked about this, like I had an exploratory laprimotomy,
which is essentially what James Woods has in down his
belly that he pulls the guns and the tapes from
and things like that. So in my mind, Video Drum
felt like suddenly super personal to me, and I would
actually tell people They're like, well, I heard you in

(33:39):
the hospital for a couple of weeks. I was like, yeah,
I just got like a video drum scar. Now it's
all good and everyone's just like, oh, that's fucked up.
But anyway, So now like his career has I guess
maybe since I've gone through my own body horror, suddenly
his work is like way in focus for me.

Speaker 1 (33:58):
And then.

Speaker 2 (33:59):
I don't know now, I mean I've rocked with him
for years. I mean he's making movies all over the
place and so and I watch them and I see
everyone when they come out for the most part, and
I still think he's a great filmmaker. Like he's still
making fucking crazy movies, don't you think.

Speaker 1 (34:15):
Oh, I mean the last two movies Crimes of the Future,
which came out I think in twenty twenty two, and
then The Shrouds. I was like, these are bangers. I'm like,
these rock these are just as these are up there
with his other like best movies. Like it's amazing how
he's still he's still got it.

Speaker 2 (34:31):
Yeah, he's still got it. He's still like yeah, this
is kind of like a mantra for the film, but
he goes really dark, like he's still he's like in
his eighties, and he's dark as fuck.

Speaker 1 (34:41):
I love that, but also I feel like he's so
good at balancing this tone of like it goes like,
so he's exploring the darkest shit, yes, but there is
he has a very interesting sense of humor because his
movies are funny, and I would say to Shrouds made
me laugh at several points in the movie, and it's

(35:03):
like he is able to bring in there's almost like
a a knowing, like we know this is insane, what
has happened? Like the depths we are going and so
it never feels like emotionally taxing in a way for me.
But even though they're exploring such dark themes, what what did?

Speaker 2 (35:25):
How did you become drawn to him as because of that?
Of the topics?

Speaker 1 (35:31):
I think my dear friend Patrick Mallin turned me on
to David Cronenberg, And at first his movies like disturbed me,
like they were like nothing I'd ever seen. I think
Video Drona was the first David Cronenberg movie I saw,
and I was like so confounded and disturbed and like

(35:51):
grossed out. But then I just kept watching his movies
and you know, much like a character in a Cronenberg film.
I began to mesh with these films, and then they
became some of my favorite films because I'm very interested
in technology and how technology and machines interact with humans

(36:15):
and the human body and the effect that technology has
on people. And all of his movies are essentially about
well not all of his movies, but like, it's a
theme he comes back to all the time, is like
the human body colliding with machinery and technology, and oftentimes

(36:37):
there is a violent collision of those two elements. And
I just, yeah, I just find his movies endlessly fascinating,
endlessly watchable, and incredibly disturbing and incredibly unique. Like there's
no movie, There's truly no movies like these David Cronenberg films.

Speaker 2 (36:57):
Yeah, he's really really singular in that way. Did you
when you were living in La did you go to that?
Do you remember when it was? It beyond a fest
over at the Cinema Tech aka the Egyptian When they
did like all the Crodenberg movies, it was like a
huge marathon.

Speaker 1 (37:17):
I'm knowingly nodding. I was right in the midst of that.
I went to five movies in one day.

Speaker 2 (37:23):
I did too were we at the same levies.

Speaker 1 (37:26):
Oh my god, this is I went on the day
that it was like the Brood, Shivers, Rabid, dead Ringers. Yep,
there's another one for me. It was just those four.
That's still a lot for one day. But I was there.
I watched like four movies in a row.

Speaker 2 (37:48):
Oh yeah. I went with like a crew of like
dirty minded individuals and we I think we watched five.
Dead Ringers was in there though.

Speaker 1 (37:59):
Dead Ringers was the last one. Oh, Scanners I think
was the other one. Yeah, and I can't I don't remember.
How did they do them?

Speaker 2 (38:08):
I don't remember that.

Speaker 1 (38:09):
It was like one right after another.

Speaker 2 (38:11):
Yeah.

Speaker 1 (38:13):
I remember running to the McDonald's on Hollywood Boulevard just
to get fuel. Oh my god, I Casey, this is
crazy a McDonald's to do the same. God, wouldn't it
be wild If I wish we had a time machine.

Speaker 2 (38:28):
Oh my god, it would be like that Selene's song
movie where we brushed against each other and somehow now
we do a podcast together.

Speaker 1 (38:36):
Oh my god, this is an incredible discovery.

Speaker 2 (38:40):
I know, no, I it's so funny. I have I
just was like going through my Instagram account the other
day and I saw a photo that I took a
selfie of me and my friends watching at the Cronenberg
Fest thing, and I was like, oh god, that was awesome.
Like I watch five David Cronenberg movies that day.

Speaker 1 (38:57):
That's so insane. So do were you the for the
Michael Ironside interview? That might have been a different day.

Speaker 2 (39:05):
Yeah, see, I can't remember what day I was there.

Speaker 1 (39:09):
That's so funny. Yes I was. I was right, I
was all up in that and I loved every second
of it.

Speaker 2 (39:15):
I think it was Shiver's Rabbit, the Brood, Scanner's Dead
Ringers one.

Speaker 1 (39:20):
Day, yes, and then I think I was there that day.

Speaker 2 (39:23):
Fly Naked Lunch Video Drome Existence, and then they did
at the Arrow. It was like history of Violence, Each Promises,
Spider Crash.

Speaker 1 (39:36):
Okay, yeah, No, I was definitely there for The Scanner's Rabbit,
Shivers Brood day.

Speaker 2 (39:42):
I was too.

Speaker 1 (39:44):
Wow, incredible sliding doors sliding, so exciting. But yeah, I'd
like I love him, and I like he's so inspiring
to me just to be like his hit the confidence
to do his like absurd weird things in his movies
is inspiring and he and he really has something to say. Yeah,

(40:07):
and I don't know. It's he's really an amazing artist
and I love him. Well.

Speaker 2 (40:13):
I was thinking maybe you could give a synopsis of
the Shrouds in the weekend.

Speaker 1 (40:18):
Yes, get dirt to get dirty. Okay, this is gonna
be a tough one because there's not like this happens
then this happens sort of thing in this movie. I'll
do my best here. The names in this too, Okay.

(40:42):
Karsh our main character named Karsh, played by Vincent Cassell,
who I thought really looked like David Cronenberg at times
in this movie. Oh, I think he did that on purpose,
of course. Yes, he's still mourning the death of his
wife Becca, who died four years ago cancer. As part
of this morning, he has invented a device called Gravetech,

(41:06):
a device in a company, and it is a tombstone
with a screen on it that broadcasts real interactive video
of like your loved one's rotting corpse, so you can
and you can access it with your phone too, so
you can look at the rotting remains of your dead
loved one anytime if you want to do that, because

(41:28):
and some people do, including him, And that's what inspite
he's like I wanted to be there with her, so
the images are captured with a shroud that envelops the corpse.
It's kind of like this imaging sheet slash bodysuit thing.
This is a controversial company. One day, Karsh notices some

(41:50):
strange growths developing on Becca's bones when he's inspecting her
rotting corpse. They look almost mechanical. But before he can
figure that out, several of his gravest are destroyed, including Becca's,
and the whole system is hacked so he can't view
Becca's body anymore. He employs his dufus ex brother in
law Morey he played by Guy Pierce, to help figure

(42:10):
out who hacked him. He also grows closer to his
wife's identical twin, Terry, played by Diane Krueger. Dan Krueger
plays his dead wife the twin, and she also is
the voice behind the AI digital assistant. Honey, I'm sure
we'll get to more of that later. Hell yeah. Slowly,

(42:34):
he begins to learn more about his wife, including possible
experiments that were conducted on her by her oncologist ex
boyfriend during her treatment. There's also just like kind of
like a ton of like conspiracy theories or like conspiracies
that are sort of thrown out that involved like Russian
and Chinese governments getting involved with the like gravetech in

(42:57):
order to spy on other countries using that technology. It's
very hard to entangle the shrouds that you did the
best you could, bruh. I did the best I could?

Speaker 2 (43:10):
Yeah, what did you think of all that? By the way,
I first of all, this movie is like two hours? Yeah, yeah,
pretty standard at this point. Yeah, there were times where
I think at a certain point, I was like, am
I actually getting this? Am I Am I trying?

Speaker 3 (43:33):
Like?

Speaker 2 (43:33):
Am I getting There's a lot of everyone's kind of connected,
and I'm like, do I am I following correctly, especially
when it moves into like these like European investors and shit,
Like I'm just like, okay, I don't understand maybe that
part and how everyone's connected. But for the most part,

(43:56):
I did really think. I was like, wow, I mean
it felt very personal. Yeah, and I think that you know,
if you kind of know the history of David Cronenberg
and you know his.

Speaker 1 (44:11):
Wife passed away, right, Yeah, that was the inspiration for this.
She passed away in twenty seventeen, and I think.

Speaker 2 (44:17):
She had cancer. Am I wrong about that, and so
I don't know. When you think about that, and they.

Speaker 1 (44:23):
Were together for so long, Yeah.

Speaker 2 (44:27):
When you think about that and you think about like
the idea that the Vincent Cassell character sort of looks
like him, it felt like it was kind of like
he was working through grief.

Speaker 1 (44:44):
Did you feel that? Absolutely? Oh? Absolutely? And I think
it's cool, you know, like he has the confidence of
an artist, as an artist to be like, yeah, I'm
gonna I'm my wife died and I need to work
through that. I'm going to make a movie about a
guy whose wife died that looks just like me. Yeah,

(45:06):
And like the character of Karsh, he's like an industrial
video producer, which it's like that's kind of could be
what Cronenberg would be called maybe. And also there's like
these quotes in there that I'm like, this is directly,
so directly addressing Kronenberg and kind of his career. Like

(45:27):
at one point Terry, the twin of his wife, said
you've made a career of bodies, and I was like,
that is like David Croneberg, like all of his movies
deal with the human body. And so it was really
interesting because it is so personal and it is so

(45:49):
directly addressing real his real life in such a direct
way that I thought was really interesting.

Speaker 2 (45:56):
Yeah, and for that is alone, I was like, I
think this movie's great because I was like, you know,
obviously it's so interesting to me too, because he there
seems to be this generation of filmmakers that are around
his age that were part of probably like a new Hollywood,

(46:17):
the whole, like you know, seventies auteur era who are
now eighty something years old or getting there. Because I
don't know if you've ever seen did you see the
last Paul Schroder movie, Oh Canada with Richard Gear No?

Speaker 1 (46:33):
I didn't.

Speaker 2 (46:36):
That movie was also I mean, Paul Schrader has made similarly,
like Cronenberg makes pretty personal films, and they're always usually
on a theme. They're about religion and things of that nature.
But that movie was also about him kind of working
through his feelings about mortality and death. Apparently he had

(46:59):
gotten COVID like multiple times and was death was all
around him when he was writing that movie, and he
like made that movie to process his feelings about being
old and dying. And so it's that feeling of it
feels like this entire generation of filmmakers that we grew

(47:19):
up studying and loving are now kind of all a
similar place in life, and so it feels like these
later movies that they've been making are all these like
introspective yeah, films about big subjects like death. Does that
make sense?

Speaker 1 (47:36):
Yeah? Absolutely, and like I think also his career, yeah,
and like that, you know, and death and his career
are kind of intertwined because his career is coming to
an end soon, yes, you know, and so his his life.
Did you see did you see The Fableman's Steven Spielberg's
a Fableman?

Speaker 3 (47:56):
No?

Speaker 1 (47:56):
I missed that one of It's really good. Yeah, it
doesn't deal with death. It's a weirder movie too than
like the things. The relationships are interesting, but it's dealing
with kind of looking back on a career in movies
in sort of a similar way. I kind of feel

(48:16):
like The Shrouds is. I mean, there's such different movies
it's insane to even compare the two. But he's he's
but he's like that, probably around the same age as
David Cronenberg, and they're kind of reflecting. Yeah, you know, it's.

Speaker 2 (48:29):
Like all of our filmmakers from film school are going
through it at the same time, and we're.

Speaker 1 (48:33):
Here for it. I mean, the thing and the movies
are good too, because those kind of movies suck.

Speaker 2 (48:38):
Yeah. I the thing that David Kroneberg has always been
really good at is, at least for me personally, is
scaring me to death about the possibilities of technology. Yeah,
like this whole grave tech thing.

Speaker 1 (49:01):
Yeah, would you you want? You want this? Right?

Speaker 2 (49:06):
I'd like to eat at the five star Michelin restaurant
that's attached to it.

Speaker 1 (49:10):
We have to talk about the first scene at some point,
but continue.

Speaker 2 (49:13):
Okay, like this gravetech thing. So hopefully this isn't going
to be confusing to those who By the way, spoiler alert,
we're doing another new movie. If you haven't seen it
and you don't want to know anything about it, I
should have said this at the very beginning. But whatever,
it's like because it's like a new Fandango. It's like
a high tech cemetery obviously using eight K resolution to

(49:38):
be able to look at your dead relatives fucking nose holes.
And he also has created this is the Vincent Cassell character.
He has created this like fancy restaurant that is attached
to it that you can have your lunch and then
you're looking around and there's like these giant shrouds men

(50:00):
singly staring at you. When you eat, You're like, I
don't know field greens, and I just kept thinking to myself,
do I want to eat at a nice restaurant in
a cemetery?

Speaker 1 (50:13):
We we need to Okay, we need to talk about
the first scene, then go ahead. So the first scene
of the movie is Karsh is on a blind date
with a woman and immediately I'm like, where the hell
are they, because I know this is a movie called
The Shrouds and in this restaurant are shrouds. And she's like, wow,
it's kind of interesting that we're eating at a restaurant

(50:35):
in a cemetery. And he's like, well, I own this
restaurant and she's like oh. And he's like and I
own this cemetery and she's like oh. And he's like, yeah,
my dead wife is buried outside. Do you want to
see her grave? And she's kind of like sure, let's

(50:57):
go see. And she's confused about gravetech. She thinks that
these are video screens that show, like, I don't know,
nice pictures of the of your loved one. Like, you know,
like those digital frames, and he turns it on and
he shows her the rotting corpse of his deceased wife.

(51:17):
And she's like, oh my god. And she's like, uh,
you're a nice guy, but see you later. Yeah, an
intense for Yeah, how would you react on a blind
date like this?

Speaker 2 (51:33):
I mean, I'm weird, so i'd probably really I'd be like.
As I was thinking about this actually, when when this
was happening, I was like, would I go down? Of
course I'd go down. I gotta see it.

Speaker 1 (51:47):
You got to see the wife's grave? Sure, Okay, I
gotta see it. I mean, I'm just because I'm well.
Carsh does ask how dark do you want to get?

Speaker 2 (51:57):
Right, which, of course, to me, I'm like, let's roll by.

Speaker 1 (52:00):
I'm in.

Speaker 2 (52:01):
But you know I would go I hate to say it.
I would go now, I'm with you, though there's a
limit to what that could be. I totally thought, much
like her, I was just gonna be like a digital
portrait of an Olin Mills photo taken of his wife.
I would definitely be out after that. I just I

(52:23):
think that was So this is the thing that I
was wrestling with the entire film because Carsh by the way,
when I started at TCM in two thousand and four,
the lovely GM at the time was named Tom Carsh.
Oh yes, And so every time they said Carsh, it

(52:45):
kept reminding me of Tom from TCM, the old TCM days.
But anyway, I was struggling with the idea that carsh
was supposed to be the good guy in this movie,
be interesting, like I more, I thought he was pretty

(53:07):
morally bankrupt in a weird way. Like I was like,
this is a tech bro.

Speaker 1 (53:12):
Right, Yes, he's driving a Tesla.

Speaker 2 (53:17):
Yeah, he's integrated all this like crazy technology, while at
the same time like having an apartment that is very
old school Japanese, which I'll get to in just a second.
But the moment that Tesla pulled out, I was like, Oh,
he's one of these fuckers, Like he's trying to make
tech that's supposed to improve the world and it's really

(53:37):
just kind of weird and like not helpful, and he's
naive about the hackabilities of things, and he's sort of
like it's kind of like his you know, the whole
like kind of Frankenstein's Monster concept of some rich guy
who just like wants to build this like thing that

(53:59):
he wants so badly for himself, for himself, right, even
though when you scope out of it, there is something
to be said for somebody who's grieving, right, Like you're like, oh,
he's grieving, this is he this is what he wants
to do with his grief. But I also kept thinking
I can't roll with.

Speaker 1 (54:18):
This guy though he's like, this is too much like interesting.
I guess I was kind of like, what is David
Cronenberg saying by making this character this way? Yes, exactly,
And I feel like what he's saying is this guy
is fucking pathetic, like to a degree that is so

(54:39):
outward and public, and I think that part of grief,
Like I think that can be a part of grieving,
like feeling like, God, I'm so publicly pathetic. Everyone sees
how pathetic I am, and I think, I don't know,

(55:00):
I sort of that's sort of my was sort of
my interpretation of why he's like, you know, he's like
a classic tech bro, and.

Speaker 2 (55:10):
He also there was so much language and conversation around
this idea that he like felt like he had a
right to own his wife's body at multiple plays, which
kind of drove me bananas because I was like, I mean,
there's the obvious stuff about like being in a long

(55:32):
term relationship and feeling like, you know, you're you're so
embedded with somebody that you know, you sort of you know,
you're obviously like in a relationship with them that's very intimate,
and you you do. It's a certain point are responsible
for each other's bodies in this like very broad way, right.

(55:54):
But his language they kept using was that, you know,
his wife's body was his body. He wants to be
with it and watch it and watch it decompose, and
he was offended when her body was being you know,
basically you know, surgically challenged or changed because of her illness.

(56:20):
And I just kept thinking that feels I mean, when
you put that against like all of his other characteristics,
there's character I'm like, oh my god, he's like a maniac. Yeah,
you know, yeah, And that's what I kept wrestling with
in terms of I mean, honestly, I think David Kronenberg
is really good at just throwing out these like big
concepts of like is this fucked up? What do you

(56:41):
think about this?

Speaker 1 (56:43):
Yeah?

Speaker 2 (56:43):
Which I appreciate. They're like thought experiments from hell basically,
But it was that moment where I was like, I
cannot root for him in a weird way.

Speaker 1 (56:54):
I like that David Kronenberg is saying, like it seems
like an exploration of the insane thoughts you have when
you're going through grief. Yes, it's like these are like
the insane thoughts that you have that flash through your
brain when you're grieving, except he's playing them out right,
you know.

Speaker 2 (57:12):
And that's the darkness, right. It's like taking the things
that feel like they're forbidden to even ruminate on and
be like, it's a movie for you to watch, which
I as a as a shithead, I appreciate that.

Speaker 1 (57:30):
Big d oh.

Speaker 2 (57:31):
Yeah, I would like to talk about honey, are you
ready for this? Yeah?

Speaker 1 (57:40):
I'm ready?

Speaker 2 (57:43):
Okay, real question actually, and maybe you know this, maybe
you don't. Do you have to get special permission from
Apple to like feature their their operating systems and their tech.

Speaker 1 (57:55):
I'm sure you do. I know that bad guys are
not allowed to be featured using iPhones in a movie,
like the villain of a movie can't use an iPhone,
only the hero, good guy Ken, And so I can't
imagine Apple would really want a character like Karsh to
be you know, on an iPad.

Speaker 2 (58:18):
Yeah, I kept wondering that because I was like, oh,
they're like face timing. So this Honey character is his
So Guy Pierce more about him later has given him
the gift of like an AI assistant, and her avatar
looks like a memoji that he would build in your apple,

(58:39):
your phone, your iPhone.

Speaker 1 (58:42):
Who also looks like his wife. Not just that the
voice of Honey is the AI version of his dead
wife's voice, right, so it sounds exactly like his dead wife, right.

Speaker 2 (58:54):
Which, to be honest, I have actually read about in
the news about how people are using AI to connect
with dead relatives. Which, so you know, he's got his
finger on the pulse. No pun intended with that, and
so to see it play out was kind of crazy.

(59:17):
But like, so she basically becomes his assistant, sets up
all of his you know, Clondestine weird multinational appointments. Yes,
and there is a moment so hopefully this isn't too convoluted.
Cars is moving into these like weird like dream like states.

(59:39):
Would you say, yeah, where he believes that he is
possibly seeing his dead wife, like enter the room in
things of that nature, right.

Speaker 1 (59:50):
It's hard to tell if yeah, it's it seems like
it's like a dream sequence, but it flirts with reality slightly, right.

Speaker 2 (59:59):
No one is really and even his character doesn't know
of course, but like, so there was a moment where
Honey is not to be trusted. Is it becomes an
unreliable narrator, right, He gets a warning that there's some
bad code. Right, and then she kind of goes rogue

(01:00:23):
and basically embodies his wife in one of his dream
sequences where she's missing limbs and has a lot of
surgical scars, right.

Speaker 1 (01:00:36):
Yeah, which is it seems like how his wife looked
when she died.

Speaker 2 (01:00:40):
Right, And this shit freaked me out so bad because
she was doing this, like she was basically taunting him,
like she was like, yeah, she had gone rogue. She
was basically appeared to be his dead, mutilated wife and
was like doing a little strip tease. Yeah, And I

(01:01:04):
was like, I am so disturbed by this, I can't
even tell you. I was freaked out by Casey about what.

Speaker 1 (01:01:13):
About that disturbs you, Millie?

Speaker 2 (01:01:17):
Just the fucked up nature of that, just like an
idea that an AI would go like go for the
jugular like that a yeah, and then her like weird
cartoon strip tease with her tongue hanging out. I was like, yeah,
she was like twerking'. I was like, come on, this

(01:01:38):
is absolutely insane and I like hate this.

Speaker 1 (01:01:43):
Well, I mean, I feel like that goes to show
like how kind of perverse this is. This like trying
to communicate with the dead using AI or even like
viewing their decomposing. It's like a perverse notion.

Speaker 2 (01:01:59):
Yes, it is. I think that's the best word to
it's extremely perverse in taboo, like the whole subject matter,
the way it rolls out.

Speaker 1 (01:02:08):
What you get is for an eighty something year old guy.
I mean, he has a quote about technology that I
actually find comfort in technology in David Kerneberg movies because
he has this quote that he says, technology is not alien,
it's not inhuman, it's completely human. It's really an extension

(01:02:33):
of us. And so I don't fear I feel like
I fear technology in the way that I fear other humans,
which is a lot, but it's not it's not I
don't I Yeah, so I'm kind of comforted weirdly by
that notion.

Speaker 2 (01:02:49):
Well, but that's I think maybe part of the point
is that it's informed by other users and a lot
of times informed by people like us. I mean that's
what chat GPT is, right. Yeah, So you're sitting there
chatting with chat gpt and all of a sudden, it
starts doing a direstoring, it starts doing a dismembered little

(01:03:12):
twerk show for you, And then you're like, who the
fuck around me is informing this thing to do this?
Like like what mind created this? What human mind puts
put these things together?

Speaker 1 (01:03:27):
Yeah?

Speaker 2 (01:03:28):
But I also think that AI R robots coming to
kill us too, So I don't know. I'm of both minds,
I suppose. But the Honey character was disturbing to me. Sure,
and when he ditched her, I was like, thank God
for that. Let's let's talk about I don't know. Do
you can I bring something else up?

Speaker 1 (01:03:48):
Please?

Speaker 2 (01:03:49):
I want to bring up the twins in the movie Sure.

Speaker 1 (01:03:54):
And this is kind of a Cronenberg thing, he said,
Twins and other movies. There's a movie called Dead Ringers
that sort of, you know, investigates that concept.

Speaker 2 (01:04:04):
What would you say would be like recurring themes in
Cronberg movies?

Speaker 1 (01:04:09):
Well, I wrote down a few, you know, obviously mutilated
bodies and also vulva shaped scars true and vaginal scar
like vaginal looking openings, and bodies big slits, let's just
say it. Yeah, sure, sure, sure. One that I wrote
down watching this movie was like conversations during sex, which

(01:04:35):
happens in a few of his movies, where people are
like talking a lot at like conversationally kind of during
a sex scene.

Speaker 2 (01:04:41):
Yeah, they're like processing a lot of information information.

Speaker 1 (01:04:44):
Yeah, yeah, and you know, just like the violent interaction
of machinery and technology with the human body. Yeah, it's
definitely which we've covered. I'm sure there's a million more,
but those are the kind of themes that come to mind.

Speaker 2 (01:05:03):
Wow, it's interesting. David Lynch also loves twins and doppelgangers.

Speaker 1 (01:05:07):
And he does what's up.

Speaker 2 (01:05:08):
With white haired guys with big hair? Twins? My god,
you're onto something publish. So there are a set of
twins technically, even though they're not, they're sisters. So Diane
Kruger the actress Diane Krueger, who plays the wife the

(01:05:30):
deceased wife. She also plays her sister, who is much alive,
and she is a former veterinarian now dog rumor who
has has kept a friendly relationship with Karsh but then
was formerly married to the guy Pierce character who is

(01:05:52):
now is kind of like techno constigliery guy or whatever.

Speaker 1 (01:05:56):
Yeah, this movie is so confounded, using to fucking convoluted, dude.

Speaker 2 (01:06:03):
So my question to you is, there's a couple of questions.
One of the things that I thought was like so
funny about this movie, Like you said there were moments
of hilarity in the shrouds. Yes, is that like this
very like nineteen eighties comedy device of there being a

(01:06:24):
hot twin and then like a dowdy twin.

Speaker 1 (01:06:27):
Sure, and.

Speaker 2 (01:06:29):
The sister, the sister who's alive is the dowdy twin. Right.
She's got like kind of frumpy hair, and she wears like,
you know, work pants, and she's a dog rumor she
eat there. There's at one point where Cars is at
her house and she's eating like a bowl of cereal
at her dog grooming table and there's like bits of

(01:06:50):
fur everywhere.

Speaker 1 (01:06:51):
Like, girl, I didn't even clock that.

Speaker 2 (01:06:54):
It was like, Terry, what the fuck don't eat where
you grew your dogs? That's so cool ross. But the
thing about her, that her character that drove me to
heights of hilarity and cackling laughter is how she went
from zero to horny in like two point five seconds.

Speaker 1 (01:07:16):
The horniness of this movie is a huge component. Yeah,
and I think a part of the grief process as well,
especially with your wife. It's like, am I allowed to
be horny again? You know? And yes, it really did
go from zero to sixty. There wasn't much ramp up.
But there's this whole thing about Karsh being obsessed with

(01:07:39):
his wife's body. Yes, and then it's like her twin
sister has the same body, but I was told by
my wife specifically, don't have sex with my sister when
she's gone. But he can't help himself.

Speaker 2 (01:07:51):
I mean that was all again shady protagonist. I was
kind of like, yeah, bro, what's up because it was
all so bagging out the blind lady.

Speaker 1 (01:08:03):
Yes, which we haven't even talked about yet.

Speaker 2 (01:08:05):
Yes, there's a blind there's a blind character.

Speaker 1 (01:08:07):
I don't even need to get to that one. I'm like,
that deals more with like Hungarian international relations. I'm like,
let's just not touch that right now. I don't have
the bandwidth for that. I mean, there is a blind character.
And yeah, she was so hot too, I mean everyone
is hot, like Vincent Cassel is hot. Diane Krueger is

(01:08:30):
unbelievably hot in this movie. Yeah, everyone looks great. It's
a sexy ass movie, and it's also dealing with death
and grief and stuff. And I think there's interesting things
that Cronenberg is pointing to with horniness and death.

Speaker 2 (01:08:49):
Yeah, well I'm that note. I will say the actor
Guy Pierce is in the film who has always been
attractive but looks like absolute shit in this film. He's like,
to me, he was kind of like an in Cell character,
wouldn't you say? And that again another kind of modern

(01:09:13):
concept that I think David Cronenberg kind of figured out
and is like put into a movie. I mean, first
of all, it doesn't surprise me that he is ramped
up all of the conspiracy theory stuff because that seems
also really modern. Right, there's all this like modernism in
his film where it's like the tech, the testless stuff,

(01:09:35):
the you know, conspiracy theories, the body autonomy questions. Right,
but then the in Cell guy, which is like, yes,
you know, he's like a hacker and then can't get
a shit together and like eats mots of all soup
and plays on his computer all day and night, and

(01:09:56):
then like hates women type of thing.

Speaker 1 (01:09:59):
Right.

Speaker 2 (01:10:01):
It made me realize, though, I don't think I've seen
Guy Pears in a movie in a long time.

Speaker 1 (01:10:06):
Well, then you never saw the Brutalist. I didn't, duh,
I didn't see that. Yeah. No, I feel like, yeah,
we haven't seen him in a little bit. I like
gy Peers, Yeah, I do too.

Speaker 2 (01:10:18):
And it's funny because his career to me in the
nineties went from Priscilla Quina the Desert, La Confidential, Memento. Yeah,
and then I was like, bye, bye, I haven't seen
you in a long time, and.

Speaker 1 (01:10:36):
Now this Yeah, and now he's an incel. He was
good though, I mean, he was believable. He's he can
play like a hunk. Yeah, and a door and a creep.

Speaker 3 (01:10:47):
Oh.

Speaker 2 (01:10:47):
I want to talk about this because this is so dumb.
You know. What I think is interesting about Kronenberg too,
is that I feel like Kronelberg is a director, and
I think it's because his movies are they require they
require a few brain cells. Right when she say, I mean,

(01:11:08):
we can't even we're smart people, we can't even figure
out half of the shit that's happening in this movie. Right, Yes,
but there's also this like especially in this film, I
would say really specifically this film, but also the last
film too, Crimes of the Future. He's got this like
Patina to his films that feels very like movies for interesting,

(01:11:33):
slightly dark adults.

Speaker 1 (01:11:36):
Yes, does that make sense? Feel like? Yes, it feels
like it's for urban childless couples, and like I just
it feels very like urban sophisticated New Yorker reader people
I don't know, like I know, I know exactly what you're.

Speaker 2 (01:11:57):
Do you know what I'm saying, Like, it's like this movie.
It's like the vibe of this movie is the people
who are coming to see it, and the people that
would be most titillated by it perhaps are people who
I would see going to this art house movie theater
in my old neighborhood called the Terra and they would

(01:12:18):
go and see like the piano teacher at like eleven
am on a Wednesday. They were like retired, they were older,
but they were still like culturally, they were like patrons
of the arts. Does that make sense?

Speaker 1 (01:12:30):
Yeah, that's it'd be an art gallery opening certainly.

Speaker 2 (01:12:34):
Yeah, But you're right, child childless or at least you know,
like not within easy reach of grandchildren. Yes, and like
because the whole vibe of the shrouds it's like very
muted colors. It's slightly erotic, of course, which you know
you need as a patron of the arts, there has
to be some eroticism to the art, right, But also

(01:12:57):
it kind of uses these like elevated gadgets, like you know,
like nice cars and nice computers. And then I spoke
about this sort of like Japandee house that he has
where it's like, you know, he sleeps on a cot
on an elevated floor and it's like all of the

(01:13:19):
kind of like beautiful wood of everything. It's like Scandinavian
Japanese you know, kind of thing with his like Noguchi
lamps and everything. And I was like, oh, yeah, this
is like catnip for like maybe you and I in
about twenty years.

Speaker 1 (01:13:38):
Yeah, yeah, absolutely. I mean I want to look like
I envision myself looking like David Cronenberg, you know, wearing
like black long coats, white hair that sticks straight up,
you know, this type of person I want to I
want to exist in that realm.

Speaker 2 (01:13:57):
Yeah, I do too. I unfortunately think I'm going to
probably end up like tear I'm gonna be like smelling
like dogs with some nasty ass, greasy hair, you know,
bad clothes from Ellobean but then horny. Yeah, I think
that's my future. But I'm still in the movie. I'm
in the movie.

Speaker 1 (01:14:14):
You're in the movie. And I mean, frankly, is Maory
that far from my future? I hope? So, I hope
he's far away. But there's part of me that's like,
that could be me too.

Speaker 2 (01:14:28):
I mean, you don't be idiot. You aim higher. I
would aim for the hot Waysian blind lady, but I
would end up the dog rumer.

Speaker 1 (01:14:37):
I think, Yeah, it's yeah or somewhere in between, you know,
between those two shoot for the stars. When is it
shoot for the moon because you'll still be with the
stars if you miss or something like that.

Speaker 2 (01:14:50):
You know that free I don't, but I love whatever
you just said.

Speaker 1 (01:14:55):
Okay, well, Millie, I don't know. Did you have anything
else to say, anything else to cover with Cronenberg?

Speaker 2 (01:15:02):
No? I mean, honestly, when it boils down to it,
we gotta love a guy his age who is making
some fucked up shit. As I said before, yes I don't,
I Drew, I truly feel this. When it comes to
like creative work, right. I truly feel that there are

(01:15:24):
so many posers that just hang out in these worlds
like art, film, music, et cetera. I feel like there
is actually very it's very rare to get actual creative
people that are making art. Most of the time, it's
people who just have somehow hug around with cool people

(01:15:47):
that like they're soaking in coolness through osmosis, they're not
actually like coming up with crazy concepts and weird thoughts
and being able to execute them in any kind of way.

Speaker 3 (01:16:01):
Right.

Speaker 2 (01:16:02):
And I kind of feel like David Cronenberg is like
the last of that, Like he's kind of one of these,
Like I mean, he has singular visions, he's weird as hell,
he makes personal films. He freaks me the fuck out.
I mean, these staple stitches that he has in his
movies with these people's skin, I'm like, oh my god, crazy, crazy, crazy.

(01:16:25):
And he's been doing it consistently for like his entire
adult life fifty plus years, and I just feel like
that's something to be celebrated. Like it's like when David
Lynch died, It's like he's the last of the great weirdos.
And in a world of people who are just like
so not original and they're just sort of like cool

(01:16:48):
by proxy. To know that there's a guy like this
like Kroneberger is still like doing actual weird, dark shit
is fantastic to me.

Speaker 1 (01:16:58):
Well, I think it just should go. Like, there are
so few filmmakers who are artists, yeah, and look to
film as an artistic medium. Obviously, every filmmaker is creating
is being saying something about themselves. But to truly like

(01:17:22):
express yourself so intimately and artistically through this medium, there
aren't that many US filmmakers that are doing that explicitly, yeah,
like anymore. Yeah, And like we just don't have that
many art house filmmakers anymore, and it feels like they're
dying off. Yeah. So yeah, I completely agree with everything

(01:17:46):
you just said.

Speaker 2 (01:17:46):
Well, I salute your Kroterberg. This was a crazy movie.

Speaker 1 (01:17:53):
I'd love it if it wasn't his last, But if
it was his last, it is a good movie to
make your last movie, you know. Agreed, Agreed, Millie, We're

(01:18:14):
gonna go down the road that we'll see how scary
and treacherous this is. I want to do a Cronenberg
quiz now. One of the things I love about David Cronenberg.
He has a lot of like made up tech and
a lot of made up institutions and scientific kind of

(01:18:36):
I don't know theories that are like fictional in his movies,
but you believe them. Sure. So this is a quiz
where I'm going to name a device or an institution
and you have to say what movie it's from.

Speaker 2 (01:18:53):
Oh my god, this is gonna be so hard.

Speaker 1 (01:18:55):
Okay, does that make sense? Oh?

Speaker 2 (01:18:56):
It makes total sense.

Speaker 1 (01:18:58):
Yeah, okay, I think it'll be. He is here, for example,
the movie we just watched, Gravetech. You know, that's from
the Shrouds. That's like something he made up. So here's
the first one, telepod. This is a device, a telepod.

Speaker 2 (01:19:15):
This has gotta be from the Fly.

Speaker 1 (01:19:17):
Right, that's correct, it's from the Fly. It's the device
that Jeff Goldblum is working on accidentally gets a damn
fly in there, and uh he becomes part fly and
mutates into a fly and it's nasty. Yeah, okay, cool,
Here we go on one right, Yes, okay, here's another device,

(01:19:44):
an umbocord. An umbocord.

Speaker 2 (01:19:48):
Okay, I feel like it's god, it's not from the brood, right, no,
oh my god? Like what is the one with Jennifer
Jason Lee. Am I on the right path? Am I
on the right path?

Speaker 1 (01:20:06):
You are? You're on the right path? Existence, that's correct, Millie.
It's xy Stence from nineteen ninety nine. And umbacord is
so they have game pods that present umbichords that attach
to bioports, which the umbacord is a connector that is
surgically inserted into a player's spine to play the device,

(01:20:27):
the game pod device. Ye, good job, Millie.

Speaker 2 (01:20:31):
Thanks, I really you were. I saw my work there.
I was.

Speaker 1 (01:20:34):
I did think a good job.

Speaker 2 (01:20:36):
Uh.

Speaker 1 (01:20:36):
I think this is going to be a little bit harder.

Speaker 2 (01:20:38):
Okay, ohkay, that was hard.

Speaker 1 (01:20:39):
So these are institutions. These are institutions. The Soma Free
Institute of cycle Plasmics is this. I can give you
a definition of cycoplasmics as well.

Speaker 2 (01:20:53):
Will you just do it anyway? I think I must know.

Speaker 1 (01:20:57):
It is a Cycoplasmics is a form of therapy where
patients manifest their emotional distress as physical symptoms.

Speaker 2 (01:21:06):
Is this from scanners?

Speaker 1 (01:21:08):
No? What's it from the brud? God?

Speaker 2 (01:21:14):
Damn it?

Speaker 1 (01:21:14):
Oh no, the brood. It's that's the institute that Samantha
Eggers is Samantha egger Is, yeah, you know, committed to
and it's run by doctor Hal Raglan played by Oliver
Oliver Reed.

Speaker 2 (01:21:30):
Yeah, son of a bitch.

Speaker 1 (01:21:33):
Okay, okay, oh no, I'm scared now. Okay, this one,
this one might be too granular, but here we go.
This is another institution. Okay, the Spectacular Optical Corporation.

Speaker 2 (01:21:48):
Oh yeah, this is from This is from Videodrome, right,
that's correct.

Speaker 1 (01:21:54):
Okay, yeah, eyeglasses company that acts as a front for
an arms company.

Speaker 2 (01:21:57):
That's right. I knew it. I was like, oh, I
actually I know somebody who has a business called that.

Speaker 1 (01:22:03):
But anyway, okay, perfect, Yeah, there we go. You're doing
really well, Millium impressed.

Speaker 2 (01:22:08):
I'm not. I'm scared.

Speaker 1 (01:22:12):
Had the hard ones are hard? Okay, here we go.
This is These are two uh, these are two institutions
and they're in the same movie. So one is con
Sec co O n SEC and the other one which
is a military company. And then BioCarbon Amalgamit, which is

(01:22:37):
a pharmaceutical company that's from scanners, right, that's from scanners.

Speaker 2 (01:22:43):
Oh god, oh my god.

Speaker 1 (01:22:46):
So this next one, this is my last one. Okay,
this is a possible.

Speaker 2 (01:22:52):
That's what you're saying.

Speaker 1 (01:22:53):
This is impossible. This is a made up disorder. Okay, okay,
Accelerated evolution syndrome.

Speaker 2 (01:23:05):
Evolution syndrome.

Speaker 1 (01:23:07):
Accelerated evolution syndrome.

Speaker 2 (01:23:10):
H it's not shivers, correct, thank you? Is it from
Crimes of the Future, That's correct, It's from Crimes of
the Future, MILLI, great job.

Speaker 1 (01:23:27):
The accelerated evolution syndrome. It's a disorder that causes a
body to spontaneously grow new organs, which you know, the
Vigo Mortensen character. He has them removed in a performance
art piece. Uh, that's that, well done, Millie. Let's see
you got one, two, three, four, five, five out of six?

(01:23:53):
Is that right? One two, one, two, three, four five six, Yeah,
you have five out of six. That's really good.

Speaker 2 (01:23:59):
I pulled a lot of that out of my ass.

Speaker 1 (01:24:01):
I mean I did great.

Speaker 2 (01:24:02):
I was just basically doing like you know, I was
basically doing the thing where I was like, if not this,
then this, And I was just like looking at his
filmography being like, Okay, this has got to like this
has got to be related to military, this has got
to be related to bodies.

Speaker 1 (01:24:18):
Well, there's so many that it's like, oh, there's like
a military and pharmaceutical company or like a institute. Anyways,
I was just.

Speaker 2 (01:24:28):
Putting them in the baskets as I always do, and
was like, all right, if it's not this, then this.
But anyway, Wow, that was actually really challenging.

Speaker 1 (01:24:35):
Casey, I said, well, I'm glad. I thought your head
was going to explode like a scanner.

Speaker 3 (01:24:40):
I know.

Speaker 2 (01:24:41):
How do you know it hasn't. Maybe this is my
AI avatar.

Speaker 1 (01:24:44):
Shit about to please don't work?

Speaker 2 (01:24:51):
Oh my goodness, gracious.

Speaker 1 (01:24:54):
All right, Millie Wowie Zalie my second favorite Pavement album.
I'm excited that we got to talk about David Cronenberg today,
but we are not done yet, because it's time for
employees picks film recommendations based on the theme of the discussion,
merely what he got.

Speaker 2 (01:25:12):
Okay, well, we have quite a lot to choose from
him from his filmography if we really wanted to. It's true,
all right, so I will say that my employee pick
for this week, if we're in the Cronin merg Reverse
is this is a movie that I've probably seen a lot,
but that I don't know. Sometimes people like don't bring

(01:25:34):
it up as much, but it's Rabbit from nineteen seventy
seven fabulous Marilyn Chambers, who, as you know, was sort
of the it girl back then.

Speaker 1 (01:25:46):
She was.

Speaker 2 (01:25:49):
In porn films and was getting into like acting and stuff,
and she has been Behind the Green Door. That's kind
of her most famous porno film, if you will art
porn maybe. But I uh, I've seen this quite a
few times, and this was a movie that like used

(01:26:10):
to play like it's kind of like a movie that
I would see kind of alongside like just grindhouse movies,
seventies Grindhouse servies. But then it does belog as part
of this like trajectory of Cronenberg's career, right theme wise
and everything. But great film, dude, it's good.

Speaker 1 (01:26:31):
Yeah, she gets she has an orifice open up in
her armpit. Yeah, the armpit. And Millie, you and I
may have watched this together and we didn't even.

Speaker 2 (01:26:42):
Know we didn't even know it. And then we went
and got chicken nuggies from McDonald's.

Speaker 1 (01:26:47):
Yeah, I'm going to push you, you know, out of
the way to get some a mc rib or something
I know, you don't know.

Speaker 2 (01:26:54):
Then we like opened up our jacket and stuffed it
into our armpit hole for sech or whatever.

Speaker 1 (01:27:00):
I'm going to recommend a movie that is very Cronenbergian
but is not a David Cronenberg movie. So I thought
it'd be cool because he's so influential. I want to
do one that is like a Cronenbergian obviously influenced film. Sure,
and that is twenty twenty one's Titan by Julia Ducarno.
It won the Palmador at the cann Film Festival, and

(01:27:25):
it is about a serial killer woman who gets impregnated
by a car. Did you guys check it out? Did
you guys do it titon?

Speaker 2 (01:27:36):
On your last podcast?

Speaker 1 (01:27:38):
Did we actually do it? We named it the artsiest
artsist film of the year.

Speaker 2 (01:27:42):
Okay, maybe that's what I feel like.

Speaker 1 (01:27:43):
You've brought it up before we did talk about it.

Speaker 2 (01:27:46):
I don't know if we. I don't think we did.
It is an actual episode, but it is violent and
freaky and sexual and fascinating and French, so check out.
Would you say that because there does feel like there

(01:28:08):
are certain new filmmakers that feel very inspired by Kroneberg,
would you say that absolutely?

Speaker 1 (01:28:17):
Yeah, I would say, and I would say Julia Dick
Carnault is definitely one of them. Twenty sixteen's Raw. Her
first movie is also I feel like she because she's
talking about the human body a lot in her movies. Yeah,
and they are body horror. I would say, you know,
like the body horror genre. It's Cronenberg's baby. I feel

(01:28:40):
like he kind of I don't know if he invented it,
but he's the master, and I don't know he's anything
that's body horror is kind of I feel like in
some ways inspired by Cronenberg.

Speaker 2 (01:28:53):
Well cool, Hey, I'm going to watch titam and have
you seen it?

Speaker 3 (01:28:58):
No?

Speaker 1 (01:28:58):
Never seen it? It's it's good.

Speaker 2 (01:29:02):
I heard it was so on my list. All right,
Well that's our show. We did it again, We certainly did. Yeah.
So here's the thing. Do you want film advice? Do
you need a specific recommendation? Do you want help navigating
the Kronenberg filmography, for example? Or do you have a

(01:29:22):
film gripe? Do you have a consensual film grope? Do
you have a film regret? Any of these things can
be thrown in our direction at Deer Movies at exactlyrightmedia
dot com. Also, if you feel like sharing your voice
with us, you can leave us a voicemail. Just record
it to your phone. Make sure it's under a minute

(01:29:45):
and email it to again Dearmovies, exactly rightmedia dot com.

Speaker 1 (01:29:49):
Millie, real quick, what's your favorite David Cronenberg movie? What's
your number? One?

Speaker 2 (01:29:57):
You said that like click talking like, tell me, Millie,
what's your favorite David?

Speaker 1 (01:30:04):
I love Jimmy Glick when he's like says to Steven Spielberg, Stephen,
what are you gonna make the big One?

Speaker 2 (01:30:10):
I like what his voice gets all spot like, how
do he gets say you get? Say hi?

Speaker 1 (01:30:16):
How many goes down here? I love Jimmy Click telp
me the.

Speaker 2 (01:30:21):
Bar short, ain't gay? Come on out there? I swear
my favorite? Okay, my favorite. I mean this is so boring,
but the fucking Fly, dude, the Fly is a masterpiece.

Speaker 1 (01:30:40):
It's a good movie. What about you? Uh? Three Way Tie,
Stupid Dead Ringers, exy Stens and Crash. I love those.
Oh I'll just say Crash. I love Crash Wow, And
I love exy Stens.

Speaker 2 (01:30:57):
You're really like hanging out in a little time there.

Speaker 1 (01:31:00):
I am kind of that's true.

Speaker 2 (01:31:02):
Yeah, like eighties nineties anyways.

Speaker 1 (01:31:05):
Follow us on our socials at Deer Movies. I love
you on Instagram and Facebook. Our letterbox handles are at
Casey le O'Brien and at m Decherico and listen to
Deer Movies I Love You on the iHeartRadio app, Apple
Podcasts or wherever you get your podcasts.

Speaker 2 (01:31:21):
We gotta talk about next week.

Speaker 1 (01:31:23):
We're delving into a cinematic universe.

Speaker 2 (01:31:29):
He's up there with.

Speaker 1 (01:31:30):
The Cronenbergs of the world, the Cronenberg Cinematic Universe. One
car Why, Like we said on this episode, we're talking
about the Usher, the singer Usher cinematic universe, and we're
gonna kind of hone in on the film She's all

(01:31:51):
that from nineteen ninety nine, and a universe.

Speaker 2 (01:31:55):
Can be like two movies sometimes. Absolutely well, I am
squeezing my shooky pillow in anticipation for that. So please
join us next week, please, Casey. This was a great
another great deep dive into a filmography. Yeah, thank you

(01:32:19):
for suggesting we do this fucked up movie.

Speaker 1 (01:32:21):
And yeah I had a blast me too. I feel
like it got kind of nerdy, which we like to
do sometimes. But hopefully, you know, we didn't lose people
along the way.

Speaker 2 (01:32:32):
I hope not. I don't want to lose you.

Speaker 1 (01:32:34):
Don't want to lose you.

Speaker 2 (01:32:34):
Don't want to have to go to your grave and
look at your bones and eight K.

Speaker 1 (01:32:39):
You know, yeah, we don't want to do that, but
we will. Well, Millie, thank you yeah for being a
great podcast partner. Thanks and uh I'll see you next week. Okay,
bye bye bye.

Speaker 2 (01:32:51):
This has been an exactly right production hosted by me
Millie to Cherco and produced by my co host Casey O'Brien.

Speaker 1 (01:32:59):
This episode was by Tom Bryfogel. Our associate producer is
Christina Chamberlain, our guest booker is Patrick Cottner, and our
artwork is by Vanessa Lilac.

Speaker 2 (01:33:08):
Our incredible theme music is by the best band in
the entire world, The Softies.

Speaker 1 (01:33:13):
Thank you to our executive producers Karen Kilgarriff, Georgia Hardstark,
Daniel Kramer and Millie to Jericho. We love you. Goodbye
Beker

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