Fake Bands & The Commitments (1991)

On this week’s rocking episode of Dear Movies, I Love You, our hosts Millie and Casey discuss fake bands in movies, the 1991 classic THE COMMITMENTS, and Millie’s potential career as a skull-cracking yet benevolent band manager. Plus, they chat about their favorite diegetic music moments from movies. And finally, they provide some film advice regarding movie soundtracks.

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Episode Transcript

Speaker 1 (00:00):
Hey, Casey, how's it going.

Speaker 2 (00:02):
Oh, Millie, just fine? How are you?

Speaker 1 (00:05):
I'm fine, okay, Yeah, things are things are getting back
to normal. You know. I got back from Japan. I
was extremely jet lagged, like like was staying staying up
all night. I feel like things are evening out now
I'm going going to sleep at a normal hour. So
that's good.

Speaker 2 (00:23):
That's sleep is so important. That's so great to hear, Millie.
We have a huge show today. We're talking about a
lot of music and band related stuff. Have you ever
been in a band?

Speaker 1 (00:33):
No, I guess technically not. I remember when I was
in high school, my next door neighbor Daniel, who I
was really good friends with, he played guitar, and we
used to just like fuck around at his garage, Like
he would bring his guitar, and he learned that very
popular four non blonde song I forgot. I think it's

(00:54):
called What's Up?

Speaker 3 (00:56):
Do you know?

Speaker 1 (00:56):
That's all right? And he had to play that guitar
and that's all was really popular at the time, and
so I kind of like would sing along to it.
And then I think it's some point we decided to
name ourselves I see, and we had the stupidest name ever.
We were called Sour Lombarda love this. Oh god, it

(01:17):
was such I mean, this is the nineties. Every band
was named something stupid like green, yellow and fucking flaming
lips and everything, even though I love the flaming lips,
you know what I'm saying. So but I would not.
We never played anywhere. We only just did that one
song in his garage, and I think we might have
made a fake flyer for a show, but we never

(01:39):
played show. So no, I guess I wasn't in a
band technically.

Speaker 2 (01:42):
Okay, what about you? Good to know I've been in
several bands that have kind of flamed out and never
worked out. And then I had this musical project called
the Popular Kids, which was kind of a band of
just me and I put out a little ept to it.
Yeah wait, what do you played it? Even know?

Speaker 1 (02:00):
You played an instrument?

Speaker 2 (02:02):
Yeah? I played the drums, I played the guitar, play
the bass. I'm I play a lot of instruments. Yeah.
I took drum lessons for a long time. I was
in youth symphony orchestra.

Speaker 1 (02:12):
Wow, you know I took drum lessons to once.

Speaker 2 (02:15):
Wow it was so fun. But Yeah, the drums are great,
very loud, a very loud instrument. I don't really play
them anymore.

Speaker 1 (02:23):
How have I not known that you played music? And
then you put out a fucking EP that.

Speaker 2 (02:28):
I'll send you. I'll send. I've done a lot of
music for my movie projects too, I've scored a lot
of stuff, so I I'll send you some stuff. It's
all very low fi, very guided by voices.

Speaker 1 (02:39):
But you're such a renaissance man. What the fuck.

Speaker 2 (02:42):
I'm a I'm a jack of all trades, master of none.
But Millie, we have a lot of band movie stuff
to talk about today. We're gonna be talking about fake
bands in movies, and specifically the movie The Commitments from
nineteen ninety one. We're kind of going back to Ireland.

Speaker 1 (03:00):
I was gonna say, we're going back to Ireland. We're
going back to you know, maybe our a little bit
of our discussion we have with the softies about music movies.
So I don't know. I feel like, because you pitched this,
and I feel like it was near and dear, like
you've had Ireland in music on the brain or something.

Speaker 2 (03:15):
I have kind of I forced you to want to
do these things, and I'm sorry, but I hope this
ends in a good, fruitful episode. Nonetheless, But in addition
to that, this is another thing I pitched. We're also
going to be talking about like favorite live music moments
in movies. I'll explain that more when that segment comes around.

(03:36):
But there's sort of a specific type of scene I'm
talking about where there's like a live musical performance or
just sort of a live performance of some kind in
a movie, and it doesn't necessarily need to be a
band movie, if that makes sense. But yeah, that's going
to be our upcoming episode.

Speaker 1 (03:51):
Well, it's going to be very exciting and we hope
you will stay tuned. You're listening to Dear Movies. I
Love You, I Love you, and I've got to.

Speaker 2 (04:05):
Love me to check the books.

Speaker 1 (04:16):
Okay, folks, you are listening to Dear Movies, I Love You.
My name is Millie to Jericho.

Speaker 2 (04:22):
And I'm Cassey O'Brien, and.

Speaker 1 (04:24):
This is a film podcast for people who are obsessed
with movies, who can't stop thinking about movies, writing the
name of their favorite movies with a plus sign and
then their initials and then equals and like three.

Speaker 2 (04:38):
Hearts, sure yep, and maybe a big heart around all
of that with like an arrow going through it.

Speaker 1 (04:44):
Absolutely, and if you're me, just like a random S,
you know, those like s's that you would just see.
Wasn't this, wait a minute, isn't called a stuffy S.
I didn't know that.

Speaker 2 (05:00):
Am I making that out? Hold on the cool s?
The stussy s? Yeah?

Speaker 1 (05:05):
Well, the whole reason why I'm blown away by this
information is because I learned that when I was living
I was technically in elementary school, and I was in
South Carolina, and the high school that I would have
gone to was called Stratford High School, and that was
like the S that you would draw just to be like, hey,
I go to Stratford, and so I always called the
Stratford High school s. But then I realized everyone in

(05:28):
the country did that S.

Speaker 2 (05:30):
Yes, that wasn't unique to your city. I remember it
being very difficult to draw that S, and I could
never figure it out. And I was always impressed by
the kids who could draw the stuffy S. That's what
we called the stussy Wow, what the history behind that is,
but that's what we called it.

Speaker 1 (05:46):
I only knew how to draw two things all throughout,
probably even now. One is that S and the other
is Odie from Garfield.

Speaker 2 (05:55):
Oh you could draw Odi. That's fun. The big old tone.

Speaker 1 (05:57):
Well, it's because an older kid taught me this really
quick and easy way to draw them, and then I
just kept drawing all over and over and over.

Speaker 2 (06:05):
So that's great. Well, Millie, we have to start every
show like we normally do, which is opening up the
film diary and seeing what we wrote down. You know,
the sound effect I made doesn't really make sense because
it sounds like a coffin opening, but I think that's okay.

Speaker 1 (06:24):
And it's a heavy book.

Speaker 2 (06:26):
It's a heavy It's a heavy book, very heavy.

Speaker 1 (06:29):
Like two tablets bound together with spiles exactly. So my
film diary is really really small this week. But I
will say it was actually great because I cracked open
this series that was again on TCM, my former place

(06:49):
of employment, but I got started on it because I
had had all the stuff saved on my DVR from it.
So there was a series that just aired recently and
it was called Black Women Independence and it was a
night of programming that was hosted by Jacqueline Stewart, the
Grey Jacqueline Stewart, who is a wonderful, amazing host of

(07:14):
TCMs she's a professor. She used to be the president
of the Academy Museum, and she's like one of my
favorite people working in film. Honestly, she's so nice and
so smart. But she co hosted this Night of Movies
on the Channel with this woman, Maya Caid, And Maya
is like one of the most impressive young women who

(07:39):
are who was like doing anything film related right now,
So look her up. She created this thing called the
Black Film Archive. Oh and I think it's just called
I think if you go online, it's Blackfilmmarchive dot com.
And it's basically a way to preserve and you know,
provide context in history to black films. And she's so smart,

(08:01):
so poised in like interesting, she's young, like I said, like,
it's so impressive that she is the way she is,
knowing that she's not like, you know, like I don't know,
seventy five years old or how many you know, like
your sort of stereotypical like film scholar, like old film schola, right,
and she actually is like the I think she's a

(08:21):
scholar in residence at the Library of Congress right now.
So she's like doing hill amazing things. But she she
curated this programming theme on TCM with Jacqueline about basically
black female independent filmmakers, and they played all this great shit,
many things that had never played on TV before, which

(08:43):
was really great. And I saw this short film called
I Am Somebody from nineteen seventy. It was directed by
this woman, Madeleine Anderson, and she I think you know
her big the big portion of her career was that
she did a lot with like public television, and she
was like she worked on like old sort of children's

(09:04):
programming like Sesame Street and The Electric Company. But she
also made documentaries and she made this documentary in nineteen
seventy that was about the nineteen sixty nine workers strike
that happened in Charleston, South Carolina, which is where I
grew up. In fact, that's where I grew up, where
I would have gone to Stratford High School basically, And

(09:27):
it was basically this strike that was held by these
four hundred black female hospital workers and they wanted you know,
wage increases and other you know benefits, and it was
just like this amazing short film. I think it's probably
like almost like thirty minutes long. But then you see
this like historical footage of people like Andrew Young and Creta,

(09:51):
Scott King and Ralph Abernathy, who are all people who
are very important if you're in Atlanta, obviously because they're
Atlanta people, but also like civil rights pioneers and stuff,
and it was just like this really great, like moment
in time that was captured by Madeline Anderson, and I
don't know, it's just something that I was like, I

(10:11):
never like, I never sought it out, and I just
was like sitting there watching it, going like, wow, I
can't believe that this is like the first time I'm
watching this. This is so cool and it happened in
a town that I lived in. So yeah, anyway, that's
that's the only thing I watched this week. And I
got to say, I was, I really enjoyed it. You
guys should just great inspiring.

Speaker 2 (10:30):
Yeah, that sounds great. I watched a movie sort of,
you know, in preparation for this episode, because I knew
we were going to be talking about fake band movies
and there's a movie that I've always wanted to watch
and haven't watched, and so I was like, I gotta
watch it this week in prep for this episode. So
I watched Sing Street. Have you seen Singh Street.

Speaker 1 (10:49):
No, but everybody I know loves Oh Millie.

Speaker 2 (10:53):
It was wonderful. I love It's the same director as Once,
Oh So, which is interesting because there's a lot of
can to It's by John Carney, who was the bassist
for the band The Frames, with Glenn Hansard who was
in the movie Once, and Glenn Hansard is in the
movie we're talking about today, The Commitments, so there's sort

(11:14):
of a connection there. And also the mother in Singh
Street is played by Maria Doyle Kennedy, who is one
of the backup singers in The Commitments as well. So
there's a lot of like kind of connective tissue there.
But it's basically it takes place in nineteen eighty five
in Dublin, and it's this schoolboy starts a band essentially

(11:37):
to impress a girl, and the band ends up being
really good. And I think the thing that makes this
movie work is that the music the band Rights is
so it's so good. Oh, the songs are so good.
And yeah, it's just a really cute, happy movie. And

(11:57):
I mean, we'll get more into it when we talk
about the main discussion today, but movies about bands forming
are it's one of my favorite genres, and yeah, I'm
just I can't wait to dive into it today.

Speaker 1 (12:11):
Well I know, and now, knowing how closely tied you
are to making music, Ohan, this makes all the sense
in the world.

Speaker 2 (12:18):
So mm hmm. But that was the only extracurricular film
activity that took place this week for me.

Speaker 1 (12:29):
Well, this is the equivalent of when you write in
your diary the date and then write nothing happened, and
then you just shut.

Speaker 2 (12:37):
It's hard to keep a diary because there's just some
stuff some days that just ain't hitting. You know, it's
not there's not juicy stuff, and you do think about
the future you reading and entry like nothing happened, and
you know it's kind of boring.

Speaker 1 (12:52):
Oh yeah, I got depressed when I read that. When
I saw my younger self writing nothing happened, I was like, damn,
what the fuck?

Speaker 2 (13:03):
Like I know, and I even I feel like when
I think back to like myself in high school, in
grade school, I am interested. I'm like, how did you
spend a day? When did you write that down? Like
a normal day? What did that look like? I can't
even really remember, so.

Speaker 1 (13:17):
I can tell you I was probably being picked on
by a bunch of older boys. So really, really, well, whatever,
look at me, now, look at me?

Speaker 2 (13:26):
Now, now you pick on boys, I got the last laugh.
All right. Well, let's close up those old diaries, all.

Speaker 1 (13:56):
Right, So let's get to the meat of the episode.

Speaker 2 (14:00):
The filet mignon of the episode.

Speaker 1 (14:04):
The toferky if you're vegetarian readan. We are going to
talk a little bit about the movie The Commitments for
nineteen ninety one, but then also have a bigger discussion
around I don't know, movies about music.

Speaker 2 (14:20):
Yeah, fake band movies. I mean, I think we've discussed this.
We discussed this a lot with our dear friends Rose
and Gin of the Softies, about movies about bands and
like seeing bands form and even the process of like
writing music on screen is sort of an intoxic and

(14:41):
exciting thing to watch. And I don't know, I love
movies about forming bands and like bands coming together because
I feel like it really shows the creative process sort
of in action, you know, And all these movies about
bands forming always show that like, oh, we don't really

(15:04):
know how to play our instruments, but will learn on
the fly, which I think is a lot about being
an artist and a creative person who's putting stuff out
into the world. There's so much stuff you don't know
that you just have to kind of figure out in the fly,
and so it's fun to see that happen on screen,
you know, mm hmm.

Speaker 1 (15:22):
I agree. I And it's funny because I think, you know,
most recently Oscar season, you know, with a Complete Unknown
and sort of like the So I don't know if
you read a lot about a Complete Unknown when it
came out and sort of reviews and other you know,
I of course I read Letterbox.

Speaker 2 (15:42):
And yeah read I just want to say it was
a big deal in Minnesota because Timotay was doing a
lot of research here for Bob Dylan from Minnesota. So
he was like popping up at random high schools and
taking photos with like the drama clubs there, and it
was very exciting for the people of Minnesota.

Speaker 1 (16:00):
Between that Love is Blind, you guys are on the map.

Speaker 2 (16:02):
Right now, a huge season for us. Yeah.

Speaker 1 (16:04):
Yeah, well, you know, I was reading, you know, a
couple of my Letterbox friends who were kind of complaining
about how it felt like, how how come this is
only this really one really specific moment in time for him, Like,
you know, why aren't we going into all these other things?
And why why don't we know about him before this

(16:25):
moment and everything like that. And it really kind of
got me thinking about like the time span of movies
that are about music or about bands, because it's like, yeah,
you just talked about how you like the concept of
there being like the early days, right, so like when
bands don't know what they're doing and they're clunking around
and nobody knows how to sing and all that shit.

(16:47):
Is there like any any movies where you feel like
you could like a you could like a smaller timeline
or like like it when you're not really seeing the
entire arc when you're just kind of saying like a
flash moment in a career or something like that. Is
there anything?

Speaker 2 (17:04):
Yeah? I mean I think I like the movies about
the bands forming the most because it's kind of like
that's when like you don't know if it's gonna take off,
and I mean everyone's so many people have like tried
to be in a band and it not worked, you know,
and so you can relate to that portion of the
band's career. I think I much prefer that, you know,

(17:30):
like what some of the movies I sort of think
about when I think about band forming. Movies are the
commitments obviously, but like there's a movie from twenty thirteen.
It's a Swedish film called We Are the Best about
this little group of girls that are like, uh, starting
a band, and it sort of like shows them figuring

(17:50):
it out to their just first performance, you know, and
that's like a small amount of time there. But you know,
like with like musical bio picks, I feel like when
they do real bands, they do too much of the career.
I feel like, you know, like you think about the
Tupac movie All Eyes on Me that was like his

(18:12):
entire life in like an hour and a half, and
it felt as a horrible movie and it like didn't
work in my opinion, and it feels way too long
and sad when it like these musical biopics kind of
cover an entire lifetime or even years at a time.
I really just want to see when they want to
start and to their like first victory that sets them

(18:35):
on the course of their you know, musical trajectory.

Speaker 1 (18:39):
Well, I was thinking, so I was thinking, like, Okay,
for example, I mean we talked about this in the
first episode A star is born right, or like spinal Tap,
where like the band is already very famous and popular, sure,
you know, yes, and so you don't see that like
early days trajectory. You're just kind of seeing them either
at the height of their career or maybe like on
their downward cline or something like that. I just think

(19:02):
that that's really interesting because it kind of says, you know, oh,
by the way, this band is super duper popular, and
now what like what like the characters are invariably like
I don't know what does it all mean? What does
my fame mean?

Speaker 2 (19:16):
Or what?

Speaker 3 (19:16):
You know?

Speaker 1 (19:16):
How are we processing like you know, my my highs
and you know, am I like getting too famous and
I have too many indulgences or whatever?

Speaker 2 (19:28):
You know, well, like almost famous is one that comes
to mind. Like from two thousand, the Camera Crow movie
about the band the Fake Band Still Water, like they're
famous and we only are with them for like two
weeks or whatever. And that's I feel like just those
movies function a little bit more. It's more exciting when
it's happening sort of in real you know, you're just

(19:49):
kind of dropped in the middle of the action in
medius ray, you know, or like a movie like even
like Bette Midler's The Roads.

Speaker 3 (20:00):
Right.

Speaker 1 (20:00):
I was just about to mention that, yeah.

Speaker 2 (20:02):
You know, uh kind of the the they're famous but
now they're dealing with the famous. But I do like
those movies less though, I feel like than the Forming
the Band movie, I guess.

Speaker 1 (20:16):
Yeah, see, I think I'm the opposite. Okay, I think
I like the like you're getting too hot baby, like
you're you know, you're you better clean up your act
or you're gonna lose your career. Yeah. I love that.

Speaker 2 (20:30):
Kind of thing.

Speaker 1 (20:32):
But you know, it's charming though, to watch these movies
about like the very beginning days, and I think they're
typically about younger people anyway, right, yeah, and so they're
kind of like clunking around trying to figure it out,
and there's a cuteness in that totally.

Speaker 2 (20:51):
Well, I do you do you? Did you like the
Austin Butler Elvis movie. Have we talked about this? I
can't remember.

Speaker 1 (20:58):
Did we talk about this on I Saw You? And
I can't remember?

Speaker 2 (21:01):
I can't remember, but I'll.

Speaker 1 (21:02):
Tell you again. I loved it. I'm like one of
the only people that loved it.

Speaker 2 (21:06):
I loved it too. Okay, maybe We've talked about this.
You know, Austin does have KLS, you know, kissable lip syndrome.
And I was so seduced by him in that movie,
and I just I thought he really. I mean, I'm
an Elvis fan, but I just was really, I was

(21:28):
really taken on a ride with that movie. And I
really loved Elvis from what was that when did twenty
twenty two?

Speaker 1 (21:35):
Yeah, twenty twenty two, I mean. And so it's funny
because I feel like I like Elvis too. Am I
a huge mungoid Elvis fan, like throughout the generations? Now
I kind of like his end to end. So I
love the early Elvis days, like the Sun Records, he Elvis.
And then I like the Vegas uh you know, hunk

(21:56):
of hunkle burn In love fucking sure, ridiculous Elvis. So
those two things iu to be like we're very well
ironed out in the movie. And I've especially the later Elvis.
I when I saw him playing that like old Elvis,
I was like, this is fucking insane. Like I was
really like, he is doing something completely off the rails

(22:23):
right now, and like just the way he was acting,
and like that's what I think. I appreciated the most
about the about bos Laarman's Elvis movie is that it
was completely ridiculous and over the top. I think it
was supposed to be, because I.

Speaker 2 (22:38):
Feel like that is how you remember Elvis though as
a person, as ridiculous and over the top, And so
I'm glad the movie went there, right.

Speaker 1 (22:46):
I was literally about to say that, but you stole
it from me. No, I'm I was gonna say, like,
I feel like that was his life, His life was
being that ridiculous, over top, you know, megastar, And like,
I think that movie, you know, for whatever, certain certain
parts of it was fantastic. And I again, I guess

(23:08):
I'm a cult movie person. I love fucking weird, bloated,
crazy shit like that. But I also think Austin Butler
was doing this his old little magic in that and
that later Elvis period. I was like, man, this guy
is really going for it.

Speaker 2 (23:22):
I love it. He truly was. Yeah, it was kind of.

Speaker 1 (23:25):
A dare I say it was sort of Bradley Cooper esque.

Speaker 2 (23:28):
It was, Oh yeah, I mean there is I feel
like you could make a film series with Maestro and
Boz Luhrman's Elvis. I'm trying to think of other movies
I could sort of fit into that category, but those
two could play in some sort of you know, programming.

Speaker 1 (23:44):
I think by the way, sidebar, we haven't talked about this,
but if you I've not seen the first episode of
The Righteous Gemstones, this.

Speaker 2 (23:50):
Song, oh I've seen it. Oh, I've seen it.

Speaker 1 (23:53):
Well, we're gonna have to download on that, so okay.

Speaker 2 (23:57):
But yeah, well, I think the thing I like about
the band's forming movies is that, you know, I feel
like I've always been looking for like my creative crew
of people where it's like my social life and my
creative life are kind of all together in one and
you're living in sort of like a create Your life

(24:18):
is just surrounded by creativity and like banding together with
other people to make something. And I've always been sort
of like seeking that out. I think I've sought that
out by like making movies and even doing podcasts and stuff,
and so I always love seeing that. I'm always inspired
by that when I watch it in a movie, you know, so.

Speaker 1 (24:38):
A creative collabo. I'm the same way.

Speaker 2 (24:42):
Yeah.

Speaker 1 (24:43):
Well, and like to that point too, I feel like
I've never been in a band for real, but I
always loved the idea of being in a band versus
becoming like a solo star totally.

Speaker 2 (24:55):
You know, yeah, that band life.

Speaker 1 (24:59):
Got to have that band line.

Speaker 2 (25:00):
Well, should we get into this movie a little bit
the commitments?

Speaker 1 (25:05):
Yes, because I gotta say, it's the first time watch
for me. I didn't see is that right? Yeah, that's right,
And it's crazy because I'm a fan of the director
Alan Parker. Sure, And we've actually talked about Alan Parker
movies on I saw what you did. I think we did.
We definitely did Midnight Express. We talked about Fame. I
don't know, do you have any like, do you have

(25:26):
any affiliation or affection for Sir Alan Parker?

Speaker 2 (25:30):
Not really to be honest, Well, I mean I've seen
some of those movies that you've just said, but I
don't really have like a connection to him other than
the commitments. It is funny in the movie, the main character,
Jimmy Rabbit is like selling bootleg VHS's on the subway. Yes,

(25:50):
and he's he's like I got Mississippi Burning here, which
is one of the movies that Alan Parker directed.

Speaker 1 (25:57):
Oh yeah, I think you would like if you haven't
seen much of this stuff, we actually did Birdie nineteen
eighty four, Bertie, I saw what you did. That is
a great movie. And then also I got to say,
if you've never seen bugsy Malone.

Speaker 2 (26:12):
I haven't seen that, but I'm very aware of this movie.

Speaker 1 (26:15):
Oh my god, it is absolutely adorable. Like it's it's
basically a nineteen twenties gangster film that's completely acted by children,
and Jody Foster is one of them. I mean, it
is just like one.

Speaker 2 (26:29):
Of thoseos in it as bugsy Malone.

Speaker 1 (26:31):
Totally, it's one of the most adorable movies you will
ever see.

Speaker 2 (26:33):
It's so good. Yes, it came out in the seventies.
I do want to see it, and I know that
like they put that play on at schools too, so
I think that's full us. But anyways, the commitments. We're
back in Ireland again. I'm sorry we're doing so much
Irish stuff. I'll cut it out. That's you, that's me.
I'm irish because.

Speaker 1 (26:53):
The Irish content has gone up two hundred percent.

Speaker 2 (26:56):
Since we started. As fuck, I'm sorry. I didn't really
even realize it until it happened and we're here so well,
I'll try to reduce that as we move forward. This
movie The Commitments from nineteen ninety one takes place in
northern Dublin, and it's funny there aren't any real big

(27:18):
stars in this movie. I would say cole Meani, who
was in Star Trek DS nine if anybody watched that,
and his last name is O'Brien Star Trek Ds nine,
So anyways, cole Meani's in it. But the basic premise
is that this guy, Jimmy Rabbit played by Robert Arkins,

(27:40):
he's a cocky little music fan and he's trying to
put a band together, and he is like the architect
of this band, and he says it's going to be
a soul band. It has to be a soul band because,
according to Jimmy, this is his quote, the Irish are
the blacks of Europe. Now he puts this bag, this
team together, this ragtag team of musicians, none of whom

(28:02):
really have any knowledge of soul music or like necessarily fans,
but they get into the spirit of it and they
do kind of become fans of the music. And you know,
there's a lot of conflicting personalities within the band, trying
to keep it together, trying to get live shows, and
after a while they get pretty good and will Jimmy
be able to get this band their big break? Well,

(28:25):
we'll see, won't we. But that's essentially I mean, it's
kind of a loosey, goosey kind of plot where it's
just kind of like putting this band together and then
trying to get gigs and then going from there. You know, yea,
what did you think about it? This was your first
time watching it? What did you Did you enjoy the music?
Did you enjoy the performances? What do you think?

Speaker 1 (28:45):
It was very very charming, like you know, it was
like i mean, first of all, I love soul music,
so all of this stuff is very, you know, very
important to me. Like i mean, come on, I'm talking
about like Otis Redding and Sam Cook every five minutes.
I'm like, this is great.

Speaker 2 (29:01):
Did you ever go to Funky Soul in Los Angeles?
The Soul Night at the Ecoplex.

Speaker 1 (29:07):
No, I never went to that. It was cool, was it?

Speaker 2 (29:10):
It was funky? Yeah? Cool? Yeah?

Speaker 1 (29:12):
No? I you know, Georgia is the home of Otis
Redding and James Brown and so many other like really
important black soul artists. So I'm like, oh yeah, I mean,
of course, like here's a movie that's kind of like
worshiping all of this music. I loved that older guy
that had played with like all the greats. Like that

(29:34):
guy was so good. I can't remember his.

Speaker 2 (29:38):
Joey the Lips Fagan. You know, he is the only
person in the entire movie that didn't play his instrument wow,
didn't actually do his own music wow, because they wanted
an actual like actor in the movie to kind of
hold things together. I guess. So, yeah, is it true?

Speaker 1 (29:58):
Let me ask you this, is it true that there
were members of a real band that was in the
movie and they were called the Cores. Do you remember them?

Speaker 2 (30:12):
Oh? The Cores like the girls the girl?

Speaker 1 (30:16):
I think they're the girls? Right, wasn't there like a
guy feeling three girls?

Speaker 2 (30:21):
We didn't the Cors do?

Speaker 3 (30:23):
Uh?

Speaker 2 (30:24):
What's their big hit?

Speaker 1 (30:26):
It's like called come on maybe? Wait? Was it called
what's the name?

Speaker 2 (30:32):
Because their career took off in nineteen o one. In
the audition for the film The Commitments, they had small
parts as musicians Jim Sharon and Carolyn So Yes, the
Cores were a part of this movie.

Speaker 1 (30:43):
Hold on, let me okay, now we got to listen
to this. The Cores they had a really popular song.

Speaker 2 (30:48):
Breadth Breathless, leave Me Breathless, hold On, old On, come On,
leave live breathes. Well, I remember when we were we
when that was on the radio, we made a parody song,
feed Me Breakfast. We thought that was fun.

Speaker 1 (31:05):
Wow, what a what a weird al esque type of
thing that you did.

Speaker 2 (31:10):
I never thought about that.

Speaker 1 (31:11):
I don't think about, Oh, well, maybe you should maybe
if you're making music, start going the parody route.

Speaker 2 (31:17):
It seems that they're a part of this, but I
don't think they're big members of the They're not like
the central even like the the backing vocalists, they're not
in it. Yeah.

Speaker 1 (31:28):
I just remember the cores being like I kind of
remember them around the same time as like Natalie and
Bruglia and going like why are all women singing so hot?

Speaker 2 (31:37):
Why are they hot on on the radio? Where are
they Celtic and hot?

Speaker 1 (31:42):
But with the commitments, it's funny because that is like
one thing about both the commitments as the band in
the movie, but also like just bands who have like
tons of members.

Speaker 2 (31:55):
Yes, there's a lot of members of this band. Goddamn
any horn section.

Speaker 1 (31:59):
Yeah, And I'm always like, oh, they're playing like these
small pubs when they first start, like they're cramming like
I don't know, like eight nine of people on the
stage with a piano. Are you kidding me?

Speaker 2 (32:10):
Yeah, it's like the Blues Brothers.

Speaker 1 (32:13):
Yeah, well what like Okay? I want to know though,
So when did you discover this movie? When were you
you know, like, when did this come into your consciousness?

Speaker 2 (32:24):
Ooom gosh, it had to be like probably ten years ago,
I would say. Again, I'm just such a I'm such
a simp for movies about people putting bands together.

Speaker 1 (32:35):
Sure. Oh.

Speaker 2 (32:36):
Another one that just popped into my head is called Linda, Linda, Linda,
and it's a Korean movie from two thousand and five.
It's a little hard to find online. I don't think
it's streaming anywhere. But it's about not just schoolgirls who
come together to put together a they're they're like performing
at like a talent show at their high school, and
like kind of the dynamics of this like private school,

(32:59):
and it's fun and fun and have you ever seen
that Linda A great final scene of them playing the
song Linda Linda. But yeah, I just love movies about
bands coming together. And I think again, the music in
this I think like any movie where there's an artist

(33:19):
in it, you know, I don't know if you've ever
had this experience where you're like watching a movie about
an artist and their art sucks in the movie, or
like they're like supposed to be an amazing musician and
the music sucks, and you're like, I can't you know, yes,
I can't stretch my imagination that much. Where in this
movie the music is really good and the I think

(33:44):
I saw the try a Little Tenderness scene, which is
kind of a climax of the movie, where they're performing
that song, and I was just so bold over by
it because I love you know, obviously the original Otis
Redding version of that song, and I would never say
this version in this movie is better than the original version,

(34:07):
but I like what they do with this version where
they add backing vocals, which are like really good in
this and then also they extend the end part where
it's like really rocking out, which much longer than the
original song. So I was like very taken by that scene.
And yeah, I think the music was good and it's

(34:29):
Irish and it's about forming a band. I mean, it
was pretty pretty simple. Why I like Fell for this movie.
When I first watched it, Sure.

Speaker 1 (34:37):
You know, I think I would be lying if I
said I wasn't feeling a little tingly in my tummy.
When I saw Jimmy Rabbit, he had such a like
great look, you.

Speaker 2 (34:49):
Know, oh man, I mean they don't make guys like
that anymore. That's like such a nineties look, you know.
Oh yeah.

Speaker 1 (34:55):
When he's like run it around with a cigarette hanging
out of his mouth, trying to like sell people cassette
tapes and ship, I was like, yeah, who is this?

Speaker 2 (35:03):
He had sort of a Jarvis Cocker vibe, you know,
yeah to him with that slick back hair. But yeah, no,
I mean he's great.

Speaker 1 (35:12):
Yeah, And I liked it because I was kind of
expecting that he was going to be like the lead
singer or something, and then he ended up being just
the manager. And then I kept thinking, could I be
a manager of a band?

Speaker 2 (35:24):
Oh?

Speaker 1 (35:24):
Have you ever thought about that?

Speaker 2 (35:26):
I know, I've only I've always wanted to be the
lead singer of the band. But uh, I could totally
see you as a manager, and I.

Speaker 1 (35:34):
Not gonna lie. I could too. I think I would
be a really good band manager.

Speaker 2 (35:39):
I do too, Milly. You would because you have the vision.
I think you have the business sense. You could like,
you know, put some meat head and a headlock and
like at a at a gig if you needed, you know,
I could totally see you in the trenches.

Speaker 1 (35:53):
And I'm also like a like, I'm kind of a
sort you know, not what. I don't want to call
myself a benevolent dictator necessarily. I don't really think I'm
a dictator, but I'm nice, I'm fair. I would never
abuse anybody or make people, put people on diets or
any of that shit are shitting me. I'd be like
a great manager.

Speaker 2 (36:11):
I think this you we should look into this. Maybe
if we can get some sort of Atlanta K pop
group together that we could have you manage listen.

Speaker 1 (36:21):
I would be a revolution in that space. I would.
I would not I would not shock people if they
didn't if they did, you know, messed up a dance move.
I would not force people to do things that they
want to do. I'd let them have girlfriends and boyfriends.
What are you kidding me?

Speaker 2 (36:38):
Are they not allowed to have girlfriends or boyfriends? The
k pops?

Speaker 1 (36:41):
Casey, No, they they are in love and married to
their fans.

Speaker 2 (36:45):
I see. Have you been watching White Lotus. Black Pink's
Lisa is in it and she's great. Yeah.

Speaker 1 (36:53):
No, I haven't seen it yet. I've been meaning to.
Obviously huge Mike White fan, so yeah I will. Yeah,
all those Black Pink girls, now, I don't know a
ton about them, but I do know that all of
them are like popping right now. Yeah, they're probably super
duper famous. But I yeah, I think I could be.

Speaker 2 (37:12):
I mean, I'm a little the way I think you'd
be a good manager too, Millie. I feel like you
would be fun on the road. Hell yeah, in those
dog days of the road. I feel like you'd be fun.

Speaker 1 (37:23):
Oh yeah, I'd like I'd be the kind of manager
that would like just go off and have my own drink, beau,
if you know what I mean. Like, I wouldn't like
want to party with the band. I'd like let them
have their time, and then I'd be like, I'm going
to go back to my like Ramata hotel and just

(37:44):
drink whiskey.

Speaker 2 (37:46):
And count the money and count the money.

Speaker 1 (37:48):
I'm not trying to party with y'all or like, you know,
get in on, horn in on. You know some of
the fans, you know, like I'm not trying to be
that manager. I want to be alone.

Speaker 2 (37:58):
Jimmy Rabbit was I feel like he was sort of separate,
you know, he was trying to facilitate, trying to get
things off the ground.

Speaker 1 (38:04):
Right, because I'm a grown up. That's the thing about
a band manager is you got to be the grown up.
You can't go out there and like be like, you know,
hanging out with people on the tour bus and being
a sleeves.

Speaker 2 (38:14):
Yeah, got to keep min I do fear that if
you became a tour manager or you're just a band
manager on you're on tour, I do think cigarettes would
make a big reintroduction, and I welcome.

Speaker 1 (38:28):
That quite frankly, I welcome it. I'm ready to play
the role again. I mean, I will say that I
feel like working in film for as long as I
have is pretty much. I feel like I have been
able to navigate the world of like weird dudes.

Speaker 2 (38:50):
Yeah oh yeah, so that.

Speaker 1 (38:52):
Can only be an asset for me if I were
to be a manager of a band, because I know
how to talk to weird dudes. I know how to like,
you know, get shit done. I can like stand toe
to toe with them, not maybe not in a drinking capacity,
because actually in pretty lightweight, but like I could have
a couple of drinks.

Speaker 2 (39:12):
And not fall sure, you know.

Speaker 1 (39:14):
But also like I said, I I can muscle when
I have to. I don't know. If you want to
hire me, you should email us at Deer Movies at.

Speaker 2 (39:23):
Excite exactly right. Media. Yes, we'll be fielding resumes for bands, mixtapes,
send those in band camp links, all of that. But
you know, I think that the thing that I find
kind of intoxicating about like band movies is that it
is like a lifestyle. It's kind of these movies are

(39:48):
about a certain lifestyle, even if it's not about a
famous band. It's like you live music twenty four to
seven kind of it's like you're rehearsing, you're listening to music,
you're hanging out all the time. Whereas like other art forms,
I feel like it's very like hard to show the
process of making the art. Like a movie about a

(40:10):
painter isn't as exciting or intoxicating as like a band,
or even like a movie about a movie director. It's
like they they're on set and then they go home.
But it's almost like music is kind of this all encompassing,
you know, creative lifestyle that makes movies about bands very

(40:32):
seductive to me.

Speaker 1 (40:33):
Yeah, and so this listen, it's very primal. It's very primal, limal,
you know, whereas like, you know, if you're watching a
movie about an architect, perhaps you're not really watching the
brutalist If you're not watching the Brutalists, you're like, oh,
I'm not really feeling the feeling of him being in
the ramada having a whiskey in one of those like

(40:58):
you know, plastic cups with the plastic rap over it.
In that way, like he doesn't feel as direct as
it is for like, you know, watching a movie about
a rock and roll guy doing that or something I
don't know makes sense?

Speaker 2 (41:10):
Absolutely absolutely? What else about the commitments? Anything else to cover?

Speaker 1 (41:16):
No? I actually think it's like, have you heard of
the concept of a sleeper.

Speaker 2 (41:21):
You've heard of a sleeper, right, A sleeper hit?

Speaker 1 (41:24):
Yeah. I feel like this movie is a little bit
of a sleeper. I feel like when it first came out,
I feel like I remember it coming out. I was like,
you know, pretty young when it came out. But I
feel like as time has gone on, I feel like
it's gotten more and more appreciated, don't you think totally?

Speaker 2 (41:40):
Yeah, totally.

Speaker 1 (41:41):
People do get up a lot a lot.

Speaker 2 (41:43):
Yeah yeah, But I don't think this was a big
hit when it came out. But it is kind of
a movie where not a lot like happens and there
aren't like big movie stars in it. You know. It's
it's just sort of about putting a band together and
trying to keep it together. You know. That's essentially what

(42:04):
the whole movie is about, like in fighting with the
band and like trying to balance your regular life with
being in a band. I mean, it's maybe not the
most I don't know, dramatic movie. It's not like A
Star is Born where we're dealing with like famous people.
You know. It's it's just a couple of blokes in Dublin,

(42:28):
you know, trying to figure it out.

Speaker 1 (42:29):
Well, that's what I think. It's like, it's like focused
on the music, which is really strange because it's not
about the like huge, you know, dramatic character redemption arc thing.
It's basically just like, oh, it's a bunch of people
playing all this great stuff. You know. There's a ton
of songs in it.

Speaker 2 (42:47):
Yeah, I was, and there isn't really a big arc.
You're right. There isn't like a character arc where like
anybody really learns anything.

Speaker 3 (42:55):
You know.

Speaker 1 (42:56):
I know, I kept thinking the licensing for this movie
must have been a fucking nighte.

Speaker 2 (43:00):
That's true, But I think it's cheaper if they're performing covers,
they're not using the actual music, so I don't know,
maybe they saved a few bucks that way.

Speaker 1 (43:11):
Yeah, sure, sure, well listen, I'm glad I got to
finally watch it. It was a good excuse.

Speaker 2 (43:15):
So yeah, yeah, I love movies like this. I like
movies like people hanging out trying to figure out. Like
this is why I like the movie slap Shot, you know,
like it's just kind of like a hangout movie where
they're trying to accomplish something, but it's about the time

(43:35):
in between. You know.

Speaker 1 (43:37):
If only the commitments had cussed as much as slap Shot.

Speaker 3 (43:41):
Mmm.

Speaker 2 (43:42):
Yeah, think about we'll have to do Slapshot. We'll have
to do a hockey episode because I have a lot
of thoughts about that.

Speaker 1 (43:47):
Yeah, we can talk about the Cutting Edge, which I guess.

Speaker 2 (43:51):
That's technically a hockey movie.

Speaker 1 (43:53):
It is Doug Dorsey us Doug Dorsey like.

Speaker 2 (43:57):
Thrill, I think he is a minut in that movie.
I could be wrong.

Speaker 1 (44:03):
There's another figure state did good.

Speaker 2 (44:05):
We've done good? All right, fabulous. Well, thanks for talking
about the commitments. Thanks for watching this movie. I love
this movie. I get when that that uh try a
little tenderness part at the end. I get thrilled every
time I get to watch that scene. It's so fun.

Speaker 1 (44:23):
That's lovely.

Speaker 2 (44:25):
All right, moving on, all right, we are back for
another segment. And because we're talking about bands and music
and stuff, I was sort of thinking about musical scenes

(44:47):
in movies that are not necessarily about bands, where there
is like sort of a musical performance of some kind
in a film, and these are something like I love
the these scenes in movies so much. There's some of
my favorite scenes in films, and I just wanted to

(45:07):
talk to you about that a little bit. Millie. Yeah,
I'll start things off so you get an idea of
what I'm talking about. There's a little movie called Muriel's
Wedding from nineteen ninety four starring Tony Collett. Abba is
a through line through this whole movie, and I love
the music of Abba. And there is like a lip

(45:29):
syncing scene where there's like a performance at a resort
with Tony Collett and Rachel Griffiths and they lip sync
dressed as Abba to the song Waterloo, And I watched
that scene over and over and over again. I just
I love it. It's so exciting, and it's sort of

(45:49):
emblematic of the whole movie of just being sincere and
expressing yourself as your true self and not being ashamed
of that. And I just love that scene. Are there
any scenes like that that come to mind for you, Millie? Oh?

Speaker 1 (46:05):
Absolutely, one hundred percent. So my version of that, which is, like,
I don't know, my favorite, one of my maybe my favorite,
definitely one of my faves that I do watch over
and over again on YouTube is the scene from the
nineteen eighty eight film Coming to America featuring the band's

(46:28):
sexual chocolate.

Speaker 2 (46:29):
Oh my god.

Speaker 1 (46:31):
Yes, So I am obsessed with Mista Randy Watson. I'm upset.
I wish he was real. I wish he was a
real person. All these probably based on several real people,
but that shit is so fucking funny to me. It's like, honestly,
one of my favorite things that Eddie Murphy has ever

(46:52):
done in his career is that, Like what in a
couple of minutes scene or whatever where it's basically like,
you know, because as famously you know, coming to America.
You know, you've got Eddie Murphy in Ourcinio Hall and
they're playing like several different characters in the film, right.
Their main characters are basically, you know, Eddie Murphy plays

(47:15):
a prince from Africa and his and Arsenio Hall plays
his friend and sort of is like you know, assistant
or whatever. And they're in America. They are kind of
like learning the culture. They get you know, thrown into
the mix with this like one community, and like basically
they go to this rally, uh, and there's a fake

(47:36):
band on stage. They're called Sexual Chocolate. And Randy Watson
is played by Eddie Murphy and he's got like, you know,
a Jerry curl and he's wearing like a you know,
a fucking prom tuxedo from the seventies and he's got
this like little handkerchief in his hands and he's just
sweating and he's like, you know, he like looks so lovely.

(47:57):
Everybody looks so lovely, and he's like, you know, and
they and they launch into a cover of Winning. Hearson's
the Greatest Love of All and it is iconic, iconic.

Speaker 2 (48:10):
Uh yeah.

Speaker 1 (48:10):
And it's like he's got that little whistle in his
voice in the say he does a little whistle, and
I'm like, I scream laughing every single fucking time I
see it.

Speaker 2 (48:19):
So that's so good. I maybe I just like this.
You know, we're talking about scenes where the music is
coming from. It's within, there's things, there's there's a term
called diagetic music and non diegetic music. Diegetic music in
movies is where the music is happening in the world
of the movie, like the characters can hear the music.

(48:43):
Non diegetic music is like in the movie The Royal
Tenebaum's when Margot Tenenbaum gets off the bus and we
hear Nico's these days, the characters don't hear that. That's
in the soundtrack. That's the score. That's non diegetic music.
So what we're talking about now is diegetic where it's
like happening within the world of the movie. Another scene

(49:07):
I watch a lot is did you ever see this
movie called The Skeleton Twins with Bill Hayter and uh
Christopher winn Wi.

Speaker 1 (49:17):
Yeah, I saw it fairly recently. Actually, I didn't see
it when it came out, even though I reread.

Speaker 2 (49:21):
It came on twenty fourteen, and it's kind of to
a strange brother and sister who reconnect and there is
a lip syncing scene to Jefferson Starships, Nothing's going to
stop us now, and it's just so silly. It's just silly,
and it's heartwarming and it brings them closer together.

Speaker 1 (49:42):
Why did I think that you would like that?

Speaker 2 (49:44):
Actually, I don't know. I'm just a stupid simp. Mush.
I just like that kind of stuff. I didn't say that.

Speaker 1 (49:52):
I'm just telling you. I feel like I'm getting to
know you a lot more now through the course of
this podcast. I feel like that is something you would like.

Speaker 2 (50:00):
It's also sort of similar. But I love the scene
in Napoleon Dynamite, the dance scene to Jamiroque. I love
that's not really a musical performance, but it is a
performance to music. And I love a movie where the
climax can be like a musical scene in a non

(50:20):
musical movie. Yeah, you know, I hear you.

Speaker 1 (50:23):
I hear you. I only have a couple more. I mean,
actually I have a lot more. But I'm trying to
keep this short and brief because I know we don't
have a ton of time. First of all, I will
say that one of the speaking of Coming to America,
but also a movie that came out a couple of
years after that was another like formative musical performance moment
was seeing Crucial Taunt play in Wayne's world. And Crucial

(50:49):
Taunt was the band that was created by Cassandra who
was unt.

Speaker 2 (50:56):
Name was Cassanda.

Speaker 1 (50:59):
It was a Wayne Campbell's love interest was played by
Tia Carrera. Fucking Filipino Royalty, okay, And I remember seeing
that as a kid, being like, she's like the hottest
Filipina I've ever seen in my life. I was like,
she's wearing like all red lace with those like gloves,

(51:19):
and she's playing the bass, which is so cool, like
female bass players, like who are like sexy looking like that.
I'm like, holy shit, it like blew my mind when
I saw that.

Speaker 2 (51:31):
I love the fake bands in that movie. Who's on
right now? The Shitty Beatles? Are they any good? They suck?
It's not just a clever name.

Speaker 1 (51:40):
I do love the Shitty Beetles.

Speaker 2 (51:46):
The whole lineup.

Speaker 1 (51:46):
I think it's Chris Farley who says that, right isn't
that the characters?

Speaker 2 (51:50):
No, it's meat loaf.

Speaker 1 (51:51):
Oh, it's meat loaf, Okay.

Speaker 2 (51:52):
Chris Farley is the security guard at the Alice Cooper concert.
I feel like they go outside for briefly cruse old Tons.
What a great band name? Yeah, they sing Ballroom Blitz.
I feel like that was like one of the songs
they played.

Speaker 1 (52:07):
And it was a very silly, like, you know, it
was like a caper towards the end where they had
to like, you know, that whole thing about mister Big
or whatever his name is.

Speaker 2 (52:16):
Yes, I don't even remember what he takes the limousine everywhere.

Speaker 1 (52:19):
Yeah, but I love that. And then there's a movie
that came out a couple well probably like almost like
a decade before that. I really loved when I was
growing up, this movie called Eddie and the Cruisers from
nineteen eighty three, and they had there's a fake band
called Eddie and the Cruisers, right, and it's uh. The

(52:41):
lead singer Eddie is played by Michael pare who don't
even get me started on eighties Michael Parrey, I will die.
I will die. Because he was also in Streets of Fire,
which is another big, you know, kind of fake band
music movie, but they do basically then, yes, of course

(53:04):
the King Willem Dafoe, But basically, the actual song was
released by a band, and the band was called John
Cafferty and the Beaver Brown Band, and they were it
was on the radio, like it played on the radio
all the time. But in the movie it was being
sung by you know, obviously Michael Paree and all these
actors who were being you know, the band Eddie and

(53:25):
the Cruisers, and like, I love that, Like they're on
stage and he's got this like tight little T shirt
on and he's just like rocking out him Like, oh
my god, this is incredible.

Speaker 2 (53:36):
That's great.

Speaker 1 (53:37):
Yeah.

Speaker 2 (53:38):
One last one that just came to mind was the
from the two thousand film Oh Brother Art thou Man
of Constant Sorrow.

Speaker 1 (53:47):
Yes.

Speaker 2 (53:47):
I feel like that's another one where it's like, oh,
this is a good song, you know. I feel like
it was. I think they played it was on the radio, yes,
And I think it is hard to because you want
to make if you're making a movie about a popular band,
the music has to be good, yeah, you know, and
that's that can be difficult, I feel like.

Speaker 1 (54:09):
So yeah, I mean honestly, I could really go on.
I have so many on my.

Speaker 2 (54:14):
It's, but it's just one of my it's like I
love I think I'm a fan of musicals, but I
just think that movies that are able to utilize music
and performance. It's what makes movies so great is that
you can use those tools all together in that medium,

(54:36):
you know, in a way that is just so exciting.
And yeah, it's like my favorite thing.

Speaker 1 (54:43):
So I love it.

Speaker 2 (54:44):
Anyways, brought it up, this is this is the thing
for indulging. Indulging me on that. Uh Okay, moving on
to our film advice segment. First of all, I just
have to say a quick thing about this. We've gotten
a lot of very important letters from people as asking
me specifically about Love is Blind. So I'm just gonna
address those very quickly. Liz, thank you for Liz, Thank

(55:07):
you for trying to set up my brother with your
friend on a date. I'm just too afraid to follow
through it, so I'm just gonna have to say pass,
but thank you. I really appreciate it. Holly. To answer
your question, I do feel like the men of Love
is Blind represented a certain type of uncultured, suburban Minnesota man.

(55:28):
So it's not inaccurate, you know. But I I feel
like Minneapolis and Twin Cities in general is a very
cultured place with people who are very thoughtful and intellectual,
and I don't think that the show totally represented that
type of man that also exists here. So but and
I also did not like when Joey longboarded down the

(55:50):
aisle during his wedding, especially if he didn't want to
pick Monica. Anyways, that's just my quick wow love is
blind aside. I just wanted to address those people very quickly.
I'm glad we have a voicemail from Gene your goos.

Speaker 3 (56:06):
Hi Millian Casey. I just want to say thanks for
the show. I really enjoy each episode. My question is
to do with scores and soundtracks. For me, the score
and the soundtrack and make or break the movie or
the experience of the movie. I think of like Miles
Davis doing the score of the soundtrack for Elevator to

(56:26):
the Gallows. I think of like Cat Power covering Nina
Simone for the Disappearance Fellow or Rigby soundtrack. I think
of like even the Gross point blank soundtrack, which is
probably one of the one of the occasions where people
actually maybe even learned about the soundtrack and then watch
the movie. Just kind of wanted to get your take
on the importance of the scorers soundtrack and if you've

(56:50):
either of you or both of you have had an
experience where the soundtrack. I know, Casey you mentioned that
you know the soundtrack to Garden State was impactful for you.
But I'm just looking to see if you know what
you guys think about the score of the soundtrack of
a movie.

Speaker 2 (57:05):
Thanks, thank you, Jane, what a great question on our
Kind of Music episode. I think, yeah, Millie, did anything
come to mind, Yes.

Speaker 1 (57:14):
Of course, So listen. When I was growing up, I mean,
obviously it was super new music. I worked in college radio,
I was at DJ for many years, and like so,
soundtracks were just such a huge part of my life period,
and I have several, By the way, I think my
favorite of all time. If I had to name my
favorite movie soundtrack of all time, it's probably The Harder

(57:38):
They Come, which is a movie from nineteen seventy two.

Speaker 2 (57:42):
Huge soundtrack in our house. Huge used to listen to
that all the time. I've never seen the movie.

Speaker 1 (57:48):
You've never seen the movie.

Speaker 2 (57:49):
It's actu but I've listened to the soundtrack a million times.

Speaker 1 (57:51):
Yeah, it's great, and the movie is actually great. I
mean it's it's kind of like really independent and is
kind of exciting get parts, and it's cool, like I mean,
Jimmy Cliff in the Heart of They Come is so
fucking cool, and we're making like want to go to
Jamaica and just like run around and you know, listen
to music and all this stuff. But it's that soundtrack

(58:12):
was like I've discovered in high school, absolutely obsessed with
it to this day. I mean, I'm sorry, but the
Rivers of Babylon, that song by the Melodians on that soundtrack,
The Melodians are one of the greatest reggae groups to
ever do it. I listened to them constantly and it's
just like the best most chillist like rock steady, early

(58:34):
reggae whatever music. I mean, it's just so it's so good.
But that is my favorite soundtrack to this day. But
like if I had a name more like well, first
of all, I think there are two, definitely two directors
whose soundtracks, over the course of their career have I've
listened to and have meant a lot to me. One

(58:55):
of them is John Hughes. The other is Quentin Tarantino.
I think I'd be lying if and say Tarantino both
both those directors have put the best music in their films. Like,
let's just be honest. But if I think about other
movie soundtracks that I love, love, love, I mean, obviously
you've got stuff like Purple Rain, which I don't have
to talk about period.

Speaker 2 (59:17):
Yeah, I mean that seems like it's almost its own.

Speaker 1 (59:20):
It's its own thing, it really own things. But I
love I mean, if you want to go in chronological
order from like my youth to my you know, as
I've grown through the years. I mean I loved the
Dirty Dancing soundtrack when it came out. I was obsessed
with it when it came out. Definitely loved Trainspotting in
high school, Dazed and Confused in high school. I was

(59:43):
really into the single soundtrack. Then I got into Rushmore
Russ Anderson's Rushmore when it came out. And then come on,
there's a soundtrack. I might have talked about this on
I saw which did. But there's a soundtrack for a
movie that came out and I think it was probably
the late nineties. It was the movie is called Angus.

Speaker 2 (01:00:02):
I love Angus. Okay, oh my god.

Speaker 1 (01:00:06):
I never saw the movie until like maybe a year
or two ago, and on my letterbox review, I wrote,
I think it took me like twenty seven years or
something to see this movie finally, and like people were
messaging me be like, I also just recently saw Angus,
but i'd been listening to the soundtrack for like two decades,
and I'm like.

Speaker 2 (01:00:24):
That was on TV a lot. I think that's how
I watched it. It's from it's from nineteen ninety five,
and it's kind of a teen movie. It's sort of
like Welcome to the Dollhouse a little like a lighter
version of that, about a bullied kid, and it's got
James Vanderbeek in it and the Sherminader from American Pive.
I ever saw that?

Speaker 1 (01:00:42):
Yeah, yeah, yeah, no, I never saw like and I
saw it and again I saw it in the past,
like year or two ago, and I'm like, okay, well
that's a yeah, it's a good teen movie, I guess.
But that soundtrack, dude.

Speaker 2 (01:00:50):
Oh my god, like iconic, iconic, amazing. It's funny because
the soundtrack back in the olden times, you'd see a
movie and you're like, there's a lot of good music
even if you didn't like like the movie, and you're like, oh,
this is a good collection of music. I'm gonna buy
the soundtrack, Like I remember. It's funny because I remember

(01:01:10):
watching this is a movie I just brought up on
the show. But Orange County, Mike White's Orange County that
had like a good, like SoCal like soundtrack to it,
and like it had Phantom Planets California before it was
the theme song of Orange County the ODOC the show.

(01:01:33):
So I mean, yeah, that was a big one. Rushmore
was a huge one for me too, and still is.
I'll still pop that yeah bad boy on. Yeah, I'm
trying to think of you know, it's funny like the
soundtrack and like the score, that's like a different thing. Yes,
score is a very different thing. But speaking of the

(01:01:54):
Brutalist that won Best Score, and I do feel like
that score really elevated that movie a lot, and I've
been listening to that score since then, yeah, to get
me motivated, you know.

Speaker 1 (01:02:09):
Yeah, scores are like, yeah, I definitely think a score
a soundtrack are two separate things. Like when I was
in Japan, I went to see the Ruishi Sakamoto exhibit
at the Museum of Contemporary Art in Tokyo, and it
was it's amazing, Like his scores are incredible, and there
are some amazing there are like certain you know musicians

(01:02:29):
that only do scoring, and you know, of course we're
thinking like Johnny Greenwood and you know, Mark Mother's Ball
and that kind of stuff. But you know, like that
to me, I feel like is separate from like a
soundtrack that has like hit like some hits, some you know,
bands and that kind of thing.

Speaker 2 (01:02:44):
So I do think it's a different time. Like some
directors really utilize pop music, and I'm using pop music
in a larger sense, like you know, Quentin Tarantino, Wes Anderson,
they're using modern music as kind of like the framework
of their movies, you know, And so you're gonna wanna

(01:03:08):
get that soundtrack because they're so fun, like fundamental to
the movie and they're they're they're so thoughtful in the
songs that are going into it. You know, not every
director is that way. A lot of directors aren't.

Speaker 1 (01:03:22):
Ye. Yeah, I always put Boogey Knights on my list
because I like Paul Thomas Anderson has great music in
his films too, Like actually rewatched Inherent Vice, like not
too long ago, and when he uses that can song
Vitamin C at the beginning of Inherent Vice, was like, Yo,
this is fucking brilliant. I'm like, and I thought he

(01:03:44):
couldn't top himself when he did Sister Christian for Boogie
Knights and I was.

Speaker 2 (01:03:48):
Like, oh man, this can song is hitten.

Speaker 1 (01:03:50):
This is great.

Speaker 2 (01:03:52):
Another director I feel like does a great job with
her soundtracks is Sophia Coppola. I've listened to the Marie
Antoinette soundtrack ton and the Lost and Translation soundtrack a ton.
She uses music really weus.

Speaker 1 (01:04:09):
She was and Mary Chain is one of my favorite
bands of all time. Okay, And that song that she
uses in Loss and Translation, just like Honey, is literally
one of the most romantic songs I've ever heard in
my life. And I'm like when she used it in
Hers in her movie, there was a moment where I'm like,
this is dangerous. This is a dangerous game you play, Sophia,

(01:04:32):
because if the wrong people don't get how important this
song is in this moment, I'm gonna freak out dead.
I'm going to freak the fuck out. That's what the
power of music and movies can totally right, totally.

Speaker 2 (01:04:49):
Wonderful, Jean, I have nothing else to add.

Speaker 1 (01:04:53):
I love it. Thanks for sending that voicemail.

Speaker 2 (01:04:55):
Thank you for sending that in just so appropriate in
our music episode to be talking about. Mm hmmm, I
feel like we've really covered music from damn. We hit
it soup to nuts. We hit it hard, we hit
it hard. Oh my gosh. Well, if anybody wants to
ask seek our advice, our film advice, please write into

(01:05:15):
Dear Movies that exactly wrightmedia dot com. You can write
an email, keep that short too, keep all correspondence short,
and you're more likely to get it read on the show.
But you can also send it in a voicemail, keep
that under sixty seconds, and record in a quiet place
so that we can play that on the show too,

(01:05:36):
And you can send those into Deer Movies at exactly
wrightmedia dot com.

Speaker 1 (01:05:39):
That's right. And then we're on social media. We're at
Deer Movies. I love you on Instagram and Facebook. Guess what.
I reactivated my blue Sky account, so there might be shit.

Speaker 2 (01:05:48):
I gotta get on there and I got to start
blue Sky.

Speaker 1 (01:05:51):
Yeah, I think we might have a Blue Sky count soon,
so okay, you know, more details to follow on that,
but definitely unlike, I got to.

Speaker 2 (01:05:58):
Get on there, make sure Millie is not talking shit.

Speaker 1 (01:06:00):
I started an anti Casey O'Brien account, so.

Speaker 2 (01:06:05):
See, I got to monitor this stuff. I got to
be on top of these things.

Speaker 1 (01:06:08):
I make memes of you constantly. And we also wanted
to remind you, if you haven't figured this out already,
we are going to do an Instagram live tomorrow. That's right, tomorrow,
April April night ninth, that's right, eight pm Eastern time,
so please join us. You'll see us pop up as

(01:06:29):
a little bubble at the top of your Instagram homepage,
be like they're going live, and then you can click
it and you can look at us, and you know,
maybe we'll wear a costume. Maybe we'll have a beer.
I don't know what's gonna be fun.

Speaker 2 (01:06:41):
Maybe And you know, this would make your life so
much easier if you just followed us on social media
at Dear Movies, I Love You on Instagram and then this,
you know, this would be just so much easier to
know about the Instagram Live. That's right, I recommend doing that,
that's right.

Speaker 1 (01:06:54):
But also Letterbox of course, our handles are at Casey,
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Speaker 2 (01:07:01):
That's right, and please listen to Dear Movies, I Love
You on the iHeartRadio app, Apple podcasts or wherever you
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please please, if you would so mind, because those reviews
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(01:07:24):
show good, I should check it out. Oh people really
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Speaker 1 (01:07:33):
Just think of us as like a struggling indie band
that needs your support much.

Speaker 2 (01:07:37):
We're much like a struggling indie band, or like.

Speaker 1 (01:07:39):
The commitments at the very beginning, mm hmmm mm hmm exactly. Okay,
So Casey, I'm thinking we got to tell the folks
what we're doing next episode. What do you think?

Speaker 2 (01:07:50):
I think that's a great idea. We're going to start
doing that. And it's odd that this is what we're
talking about. This is not planned, but we were just
talking about her, the movie we're talking about next week
is the Virgin Suicides from two thousand and we're gonna
talk about all those damn Copola kids.

Speaker 1 (01:08:07):
Yeah. And in fact, I feel like that's that's gonna
be another like it's an anniversary or something of the
Virgin Suicides. Yeah.

Speaker 2 (01:08:14):
Yeah, came out twenty five years ago, which makes me
sick to my stomach. Oh god, that that came out
twenty five years ago.

Speaker 1 (01:08:20):
I feel like cutting.

Speaker 2 (01:08:21):
I want to gots out.

Speaker 3 (01:08:23):
I know.

Speaker 2 (01:08:24):
We also have a very great guest. Oh, Eric Edelstein
is on that episode. He is the greatest, the greatest man.
I uh, it's a great chat with him. Yeah, and
uh yeah, So watch the Virgin Suicides, watch all the
Coppola movies. I get anything that has copel on it,
drink some Copola wine.

Speaker 1 (01:08:45):
Ye.

Speaker 2 (01:08:46):
Yeah, it's gonna be great.

Speaker 1 (01:08:48):
Well, on that note, Casey can't wait for next week.
Thank you for the fun chat this week. Thank you, Millie,
and we will see all of you next time. Bye, goodbye.
This has been an exactly right production hosted by me
Milli to Cherico and produced by my co host Casey O'Brien.

Speaker 2 (01:09:11):
This episode was mixed by Tom Bryfogel, our associate producer
is Christina Chamberlain, our guest booker is Patrick Cottner, and
our artwork is by Vanessa Lilac.

Speaker 1 (01:09:20):
Our incredible theme music is by the best band in
the entire world, The Softies.

Speaker 2 (01:09:25):
Thank you to our executive producers Karen Kilgareff, Georgia Hardstark,
Daniel Kramer and Millie. To Jericho, we love you.

Speaker 1 (01:09:32):
Goodbye Beker