Jennifer's Body (2009)! Plus, James Urbaniak on My Man Godfrey (1936)!

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:05):
Hello, Hi Millie. Hey, what's up? Are you alone? Hold on?
Hold one second, let me let me put my he
have phones in really quick because I can't even really
hear you that well, hold on, hold on. Can you
hear me? Hello? You can hear me.

Speaker 2 (00:22):
I can hear you.

Speaker 1 (00:24):
Okay, cool, this is better probably, So what what's up?

Speaker 2 (00:29):
I have a question for you?

Speaker 1 (00:32):
Uh okay, all right?

Speaker 2 (00:34):
Sure. Do you like scary movies?

Speaker 3 (00:39):
Uh?

Speaker 1 (00:39):
Yeah I do?

Speaker 2 (00:41):
Mm hmm oh cool, yeah, yeah, I love I love
scary movies. Have you seen them? Did you? Did you?
Did you see weapons?

Speaker 1 (00:53):
Uh? Yeah? I Actually it's not pretty recently, you know.
They filmed that here in my town, which I think
is really cool.

Speaker 2 (00:58):
Oh that's yeah, that's really it's iought it was really effective.
And I also I also just recently watched Nightmare on
Elm Street. The Dream Warriors, the third one, which is
my that's my favorite one. I think that was like really.

Speaker 1 (01:11):
Cool, absolute classic. Yeah. Who who is this? By the way,
I have to know.

Speaker 2 (01:17):
Oh this is this is Casey?

Speaker 1 (01:20):
Oh what what's up with this? The scary guy voice
at the beginning then I didn't know was my.

Speaker 2 (01:26):
Dad was There's just something in my throat I don't know.
I wasn't doing any scary voice, just I just wanted
to know if you like scary movies.

Speaker 1 (01:35):
You really fooled me, dude, because I totally thought you
were the killer from Scream for a moment. There.

Speaker 2 (01:41):
Oh that's weird. I guess he does. He did call
and ask do you like scary movies? And I guess
I did the same thing. But really, I mean, I like,
I also want to call. I'm excited for our next episode.
You know, we're talking about a movie I really love,
which is Jennifer's Body from two thousand and nine. Another

(02:02):
movie you've never seen.

Speaker 1 (02:03):
Another movie. Yes, this is the second week of our
horror month here at Dear Movies. I Love You, and
we last week's Midsommar episode that was the first watch
for me, and this week's film, Jennifer's Body another first watch,
and quite honestly, I can't believe any of these have
flown by me. There. I mean, I feel like I've

(02:24):
been missing out on so much culture by not having
seen these movies.

Speaker 2 (02:28):
So great episode. We're also talking to James or Banniac
in another installment of our segment my area of expertise.

Speaker 1 (02:36):
We're going to talk about.

Speaker 2 (02:37):
My man Godfree from nineteen thirty six, the original, not
the remake, and Screwball Comedies, and yeah, we're huge fans
of James or Baniac and it was great talking to
him about that stuff. So make sure you stay tuned
to listen to that conversation.

Speaker 1 (02:54):
Yeah, dare I say, we were both nervous as fuck
when he came on.

Speaker 2 (02:59):
We were quaking in her boots.

Speaker 1 (03:03):
And he happened to be like the nicest dude ever
and we were just like.

Speaker 2 (03:08):
Immediately.

Speaker 1 (03:08):
So well, please stay tuned. It's gonna be a fun one.
You are listening to Dear Movies. I love you.

Speaker 2 (03:16):
Dear, I love you, and I've got to know you
love me to.

Speaker 3 (03:28):
Check the box.

Speaker 1 (03:36):
Hello, folks, you are listening to Dear Movies, I Love you.
This is a podcast for those who are in a
relationship with movies. My name is Chili de Cherico.

Speaker 2 (03:47):
And my name is Casey O'Briens. That's right, Halloween, ouen.

Speaker 1 (03:55):
That's why we're doing it. We're doing it. How's it
going so far? Any any changes to the candy regimen from.

Speaker 2 (04:02):
Last Yes, my discipline of eating lots of candy. Now
I would say, I housed quite a few Reese's Peanut
Butter cups this week, which I would say are my
favorite candy of all time.

Speaker 1 (04:18):
Yeah, have them, I would agree. I think it's definitely
the top three.

Speaker 2 (04:23):
MM. Love that.

Speaker 1 (04:24):
You know what kind of candy I've kind of come
back around the bend on. No, heath bars.

Speaker 2 (04:30):
Those are good, but man, they get stuck up in there.
They get stuck in my teeth, I.

Speaker 1 (04:37):
Know, I mean kind of the downside to it. But
the taste, Yeah, they're good, undeniable. You know what I
think is also really great about heath bars. They kind
of stay true to the OG form. They're not like
making weird shapes. No, you can't do it, alternative color wrappers.

(04:57):
Like they're kind of like, you know what, we're fucking
old man, candy bar. We're staying that way.

Speaker 2 (05:02):
Yeah.

Speaker 1 (05:02):
Don't you respect that about certain candy bars? Yeah? I
like it.

Speaker 2 (05:07):
Yeah, absolutely, respect is the word I would use. I
respect it.

Speaker 1 (05:12):
One hundred grand. Have you ever had one hundred grand before?

Speaker 4 (05:15):
Oh?

Speaker 2 (05:15):
Yeah, I love one hundred grand.

Speaker 1 (05:17):
Yeah. The design has not changed in like many decades.

Speaker 2 (05:21):
Do you think it's because these are less popular candies
and they're not getting called up to the varsity team,
you know during the holidays.

Speaker 1 (05:30):
Yeah. I think it's because they got to stay lean
and me and they know their place. I just hope
that they can continue making them because I don't want
them to, like, you know, be put out to pasture.
I'm gonna want a heath bar.

Speaker 2 (05:45):
I think you're safe with the heath bars because I
feel like that is a very common like cake topping
or dessert, Like it's used elsewhere. Sure, like, have you
ever had a better than sex? Have you ever heard
of that cake?

Speaker 1 (06:01):
No? What is this some la thing?

Speaker 2 (06:03):
It's some la thing. No, it's I think it's like
a Midwest thing. It's kind of like a It's like
a chocolate caramel cake with whipped cream frosting, I guess.
And then they broken up heath bars on top.

Speaker 1 (06:19):
Oh it's good. I would die. I love it.

Speaker 2 (06:22):
It's good.

Speaker 1 (06:23):
Well, and the thing about a one hundred grand is
that it's effectively a Nestley crunch bar that just has caramel.

Speaker 2 (06:30):
In it, right, Yeah, yeah, and it's good.

Speaker 1 (06:34):
I think it's fantastic. And I just am like, I
don't see any of these like zoomers running around with
one hundred grands in their pocket. Yeah, that's what I'm saying, Like,
I'll keep buying them if you keep buying them.

Speaker 2 (06:45):
These zoomers, they got a bunch of you know, milky
Ways and Skittles popping out of their pockets, but never
heath bars. Well I think that was I'm glad we
checked in about candy again. Of course, Millie, we got
to open up the film diary. Oh it's light again.

Speaker 1 (07:06):
Oh, it's like two sheets of paper stick.

Speaker 2 (07:08):
Like two sheets of paper. I tried to find a
sound effect for this last time, and I couldn't find
something that, you know, really sounded like two pieces of
paper moving. You know, maybe I'll need to do some
field recordings of my own.

Speaker 1 (07:23):
You should have been the audio from American Pie of
the like feather that's like dancing on the breeze.

Speaker 2 (07:31):
Does that have a sound effect?

Speaker 1 (07:32):
I can't.

Speaker 2 (07:33):
Yeah, probably not.

Speaker 1 (07:34):
It's probably just thora birch being like, wow, this is
so beautiful. The garbage bag in the wind. Oh was
it a garbage bag? Well, that's what the neighbor. The neighbor.

Speaker 2 (07:44):
I think there is a feather, but there's the neighbors like,
this is the most beautiful thing I've ever seen remember you, like,
filmed The Garbage Bag.

Speaker 1 (07:52):
Of course I remember because I was so turned out
by that stupid character. Like I was like, oh, what
a fucking intense weirdo.

Speaker 2 (08:03):
Yeah, I mean that character put a spell on me too,
because I was like, not only is this who I
want to be, this is who I am now. I
haven't seen American Beauty since like two thousand and two.

Speaker 1 (08:14):
I might might I just realized, I said, American Pop.

Speaker 2 (08:19):
Yes you did. Maybe That's why I was sort of convinced.

Speaker 1 (08:27):
Oh god, what a fucking awesome state. Imagine if the
characters from American Pie were like watching a feathered Hits.
Oh shit, Oh it's funny.

Speaker 2 (08:41):
I think those like came out in the same year.

Speaker 1 (08:43):
That is odd. Oh god.

Speaker 2 (08:47):
Anyways, Okay, why don't you go first and then I'll go.

Speaker 1 (08:51):
Okay, Well, as you alluded to the two shades of
paper of the film Diary this week, is because I
always saw her in The garbage Bag. I saw I
always saw one movie and I don't want to actually
talk about it because I just can't talk about it
right now. Let's just say.

Speaker 2 (09:11):
That that's right. I'm gonna talk about this soon.

Speaker 1 (09:15):
Yes, So I did see the new Paul Thomas Anderson
movie One Battle after Another, just came out recently. Yeah,
so I won't talk about my thoughts. How about that,
I will say, Yeah, I will say that the screening
I went to was in seventy millimeter here in Atlanta.
It was completely sold out. A lot of guys, a.

Speaker 2 (09:40):
Lot of God, of course it's pta, He's our hero.

Speaker 1 (09:45):
I was gonna say, who, Like, I wanted to bring
this up with you simply because there were a lot
of men, to the point where I was like, why
are there so many guys here? Is it because Paul
Thomas Anderson makes movies about dads. I'm asking you as

(10:05):
a father.

Speaker 2 (10:06):
I've never really put that together, maybe because I'm an idiot,
but a lot of his movies do deal with the
relationship with the father, and which is interesting because I
don't think he necessarily had a bad relationship with his dad.

Speaker 1 (10:27):
His dad was Gulardi. Am I wrong about that? Yeah?
His father was the voice of ABC and played a
Cleveland late night horror host known as Gulardi, after whom
Anderson would later name his production company Wow And He
died in nineteen ninety seven. He was the voice of ABC.

Speaker 2 (10:47):
I didn't know that, but yeah, he does have a
lot of movies about dads.

Speaker 1 (10:50):
You know, if my dad was a horror host, I'd
probably have a lot to say about that too. But yeah,
I was just curious because I just felt like, God,
there's so many guys here.

Speaker 2 (10:59):
He's our father now, Paul Tomas Sanderson is our film father.

Speaker 1 (11:03):
Yes, and I would also encourage everybody else that isn't
a straight white guy to rise up and come see
pta movies in the theater opening night. Okay, for me,
it was funny because I saw a lot of guys
around me and my friend Matt Booth, who owns Videodrome,
the local video store here. I said, God, there's a
lot of guys around here, and he's like, yeah, that's
because there's no money in mom's which was like the

(11:28):
saddest wow fact.

Speaker 2 (11:31):
That's interesting, And then.

Speaker 1 (11:32):
I started thinking about it. I'm like, yeah, I don't know.
You think these guys would show up for Ladybird in
this way. You think I'm going to be sitting in
a room with like three hundred other dudes like watching
a woman and her mom haven't have a fight.

Speaker 2 (11:51):
No, Yeah, that's interesting. That is interesting, I will say too.

Speaker 1 (11:55):
Maybe this is a film indic question that we should
bring up at some point. But man, there was some
stinky dudes.

Speaker 2 (12:02):
Ooh, I'll tell you right now. We don't even have
to get into it.

Speaker 1 (12:06):
You gotta smell.

Speaker 2 (12:07):
Here's my Also one of my rules film etiquette. I
wear close toed shoes to the movie theater.

Speaker 1 (12:13):
Oh god, of course what.

Speaker 2 (12:15):
I would never wear a sandal.

Speaker 1 (12:17):
Absolutely not. It's like you can't even see the floor,
and there's no way I'm just gonna leave my toes exposed.

Speaker 2 (12:24):
Yeah.

Speaker 1 (12:26):
I have seen people take off shoes before I put
bare feet on the ground, which is awful.

Speaker 2 (12:31):
That they should not be allowed to vote if they
do that.

Speaker 1 (12:34):
And I saw it in New York City, which is
even worse. Narseteer. Yeah, uh.

Speaker 2 (12:41):
The smelliness was I think just when you get a
lot of men in one room, that's just the higher
potential of stinkiness.

Speaker 1 (12:49):
And bo oh, it was awful. The boh was awful. Yeah,
it was very distracting and I just felt like I
was trapped.

Speaker 2 (12:58):
So anyway, I hope the movie was. It didn't hurt
the movie too much.

Speaker 1 (13:03):
No, I mean, you know, there were other things it
was really loud in there too, which I'm assuming it
was because it was sold out. They thought, oh, we
should probably jack up the audio. But I also have
been told that the particular theater that I went to
has like hot spots of loudness oh sometimes, and I
probably was sitting in one of them because it was

(13:23):
really loud. So but I survived three.

Speaker 2 (13:28):
Hours, no one through, no one through a firecracker during
this screen.

Speaker 1 (13:33):
No, this is our rep cinema. They have better sense
than that.

Speaker 2 (13:37):
So very good. Well, I did a bad job this week.
I didn't watch a single movie. Jeez, I'm losing my bloom.

Speaker 1 (13:51):
You might as well quit.

Speaker 2 (13:54):
I might as well quit. My co host is telling me,
I might as well quit. Well, I thought in place
that I could play a voicemail from a listener. Great,
because I love I love hearing from our listeners, and.

Speaker 1 (14:08):
We haven't done this in a while either.

Speaker 2 (14:09):
We haven't done this in a while, so I thought
this would be a good opportunity.

Speaker 5 (14:12):
Hey, Millie and Casey, it's me. It's Weezer face. Hi,
I love you guys. Quick question here. I wanted to
see what you guys think about this. So let's say
you're at the movies. You're watching a great movie and
all of a sudden, even though you took precautions, you
went to the bathroom before. You haven't been drinking the
big gulp or whatever. You have to go to the bathroom,
you got to take pee, whatever. And you know it's

(14:33):
not a five hour long movie with an intermission or
anything like.

Speaker 1 (14:35):
That, but you got to go do this.

Speaker 5 (14:39):
Do you wait until like the absolute moment where you're like,
I got to go to the bathroom, let's go, or
do you kind of like watch the movie and wait
for like a slow moment to happen, Like what's your
what's your approach to this? Like you have to go
to the bathroom and you're gonna have to miss like
maybe a minute in the movie. What's your what's your
vibe there? How do you approach that situation? It's happened
to me quite a few times this year. The only

(15:00):
movie I didn't go to the bathroom during with Sinners.
Saw all of that, but plenty of other times I
missed vital parts because I thought, oh, it's going slow,
I can take a quick bathroom break, but then boom,
what do you know? Like I miss seeing no Sarati's
penis and stuff, and I'll never forgive myself except you know,
I obviously watched it streaming, But like, how do you.

Speaker 1 (15:21):
Vibe out when to go?

Speaker 2 (15:23):
So that's the question. Okay, love you fye, this is
a great question.

Speaker 1 (15:27):
Weez her face. I love weserface, me too, glad they
called in.

Speaker 2 (15:31):
Yeah, now this is a really ideal I this is
the thing that stresses me out the most about going
to see movies is pete because I have to pee
all the time. And I remember when I went and
saw Avengers Endgame, which is like three and a half hours,
and I was stressed, like driving over there about how

(15:53):
am I going to handle this? And the movie started
and I was all worked up, and I would say
within the first three minutes of the movie, I went
to the bathroom because I was like, I just gotta
I have to go.

Speaker 1 (16:03):
So well, first three minutes. It's probably a good bet because.

Speaker 2 (16:07):
You're probably but I mean, I feel like I feel
the to answer the question. I think I wait until
a lull or I feel like there's a lull it
like in the story where I can sneak away to
go to the bathroom. Okay, what about you, Millie, I hold.

Speaker 1 (16:25):
It until it's about to come out of me.

Speaker 2 (16:30):
God doesn't that kind of color the movie going a
little bit? Because I feel like there are movies where
I look back and watching it and I'm like, I
had to pee for half of that movie.

Speaker 1 (16:40):
Uh huh, I mean it does. Okay, I'm not saying
that I'm not literally running out there. It's like when
the screen goes black and you know that that first
credit is going to pop up, I'm already gone.

Speaker 2 (16:53):
You're out of there.

Speaker 1 (16:54):
Oh hell, it happened at one battle after another.

Speaker 2 (16:58):
Jeez, Louise. Don't you think think though you would enjoy
it more if you're like, went to the bathroom during
the movie.

Speaker 1 (17:05):
I mean to enjoy the pe, or to enjoy the movie.

Speaker 2 (17:08):
The movie and the p I guess.

Speaker 1 (17:11):
I mean sometimes it is a nice feeling to expel
all the liquid after you've been holding it for so long.
You're like, oh God, this is incredible. I the movie. See.
I'd like to think that, you know, I have like
a zen sort of demeanor when it comes to pain,

(17:33):
where I can just sort of be like, you know what,
I know, I got a pee, but I'm focused. I'm
interested I'm pushing away my own needs and wants for
the experience of this film. And then the minute any
letters pop up up screened with any person involved in

(17:54):
the movie, I am out of here.

Speaker 2 (17:56):
So you're not waiting for that post credit sequence.

Speaker 1 (18:00):
Okay, So this is what this is. The downside to
my technique, sure, is that fucking all these movies have
post credit sequences where they're like teasing sequels and all
this bullshit, which I actually think is lame.

Speaker 2 (18:17):
I hate it, And a lot of times I'll go
home and it's like, oh, what did you think of
the post credit sequence. I'm like, I didn't know there
was one.

Speaker 1 (18:27):
No, because you told me the movie was over when
the credit started rolling. That's the sign that I'm done, okay.
And the idea this is I swear, and I think
it's actually I'm going to say it's not necessarily. Maybe
it's a little gen X, but it's definitely a millennial thing.
Y'all love this shit. Y'all love blind boxes, you love

(18:51):
fucking easter eggs and like weird little inside jokes after
the credit.

Speaker 2 (18:57):
I'm like, come on, I really do we love them? Yeah,
you're like.

Speaker 1 (19:02):
Weird candy and flavored soda and all those things.

Speaker 2 (19:05):
That's interesting, that is sort of a millennial love. Oh
that love to be on the inside.

Speaker 1 (19:13):
You know, I've never had more conversations about limited edition
sandwiches than I have with people of your age group.

Speaker 2 (19:20):
Wow, limited edition sandwiches.

Speaker 1 (19:23):
Yeah, y'all are the ones that are lighting up for
these fucking you know, one time only sandwiches, And like.

Speaker 2 (19:29):
Where are these one time only sandwiches You've never had?

Speaker 1 (19:32):
Like you've never stood line in la for like a
one time that you know they're making a ruben at
the you know whatever shop something about.

Speaker 2 (19:44):
Yeah, yeah, yeah, yeah, yeah, yeah. No, I'm not a
I could never. I was never jumping on food, like
the trendy food. I don't like to wait that long
for food.

Speaker 1 (19:54):
But you love, you love a unique you know see,
not year round experience when it comes to things.

Speaker 2 (20:05):
Yeah, I do. Come on, I'm admitted for your generation.
You know, my generation, we love them us millennials.

Speaker 1 (20:12):
No, but you're right.

Speaker 2 (20:13):
I feel like that has become such a thing. It's
like educates that little Easter egg, that little reference to
that other thing.

Speaker 1 (20:20):
Like, no, what am I twelve? Why do we need
an Easter egg?

Speaker 2 (20:24):
I don't have. Yeah, stupid, But anyways, I think we
answered the question.

Speaker 1 (20:32):
Thank you, weezer face. I know that you've written before,
and I just want to say I appreciate it because
I think you wrote me a fan letter once and
I got a lot of self esteem from it, So
I appreciate that.

Speaker 2 (20:44):
I'm glad you went back and watched nose Rotto to
make sure you saw his dink on the screen, because
that was important.

Speaker 3 (20:54):
I know.

Speaker 1 (20:54):
I mean, honestly, I probably would have peed my pants
waiting for that.

Speaker 2 (20:58):
My concern for you, Millie. You're going into a movie
and you know there's a post credit sequence, so you're like,
I will wait for that, but the letters come up
on the screen, and your body is so programmed to
go to the bathroom when you see the letters that
you're just going to start peeing your pants in the
movie theater.

Speaker 1 (21:17):
Don't show Nosferatu's dick after the credit sequence. Yeah, Like,
if you know, if that's the kind of game your
plan as a filmmaker, If y'all are like, guess what
we're gonna like do some crazy shit, you're evil. Yeah,
you're simply evil.

Speaker 2 (21:33):
All right, Well, let's close up the film diary.

Speaker 1 (21:39):
God, that's beautiful.

Speaker 2 (21:41):
It's the most beautiful thing I've ever seen. All Right,
we're moving on to our main discussion. Jennifer's Body from

(22:01):
two thousand and nine, a movie that Millie just saw
for the first time. Thrilling, Millie. Do you feel like
we're killing enough? We're slaughtering enough teens and movies these days?
It feels like that trend is kind of going away.

Speaker 1 (22:20):
Yeah, I mean I feel like we're probably not. We're
opting to instead watch middle aged diva actresses be pulled
in by witchcraft. Yeah.

Speaker 2 (22:39):
I do think that's part of the elevated horror A
twenty four effect, is that we don't have as much
teenage carnage going on. Yeah.

Speaker 1 (22:49):
I mean, maybe there is something to that from a
sociological perspective. Maybe it's that these young people don't want
to see their kind getting ripped to shreds in the
same way that we did when we were growing up.

Speaker 2 (22:59):
Yeah, it's interesting. I don't have anything else to expand
upon that, but I've just noticed that trend, and I
was kind of a joy to watch, you know, these
teens get their guts ripped out in Jennifer's Body.

Speaker 1 (23:14):
Yeah, I mean, I guess we're gonna say spoiler alert
if you haven't seen Jennifer's Body.

Speaker 2 (23:19):
It's crazy to me this came out sixteen years ago.

Speaker 1 (23:23):
We got to put a pin in that because there
was so much to talk about when it comes to
the style of this film that I need to discuss
with you.

Speaker 2 (23:30):
But yes, in the.

Speaker 1 (23:31):
Same way though that the movies of my childhood were.
I mean, there was the one of the huge tropes
of sort of slasher films was the concept of like
popular kids getting killed first. Yeah, a lot of times, yes,
And that is something I actually appreciated about. A moment
in Jennifer's Body that we'll probably talk about was that

(23:51):
the head football player got shocked and I was like, cool, Yeah,
it's been a while since I've seen some like this.

Speaker 2 (23:58):
Yeah, well it is interesting, yeah, because usually I think
the final girl is the more virginal, nerdy one. Typically,
you know, that's kind of a classic trope.

Speaker 1 (24:11):
Even though I think Jennifer's Body does really well by
subverting a lot of that kind of stuff, which we'll
also talk about, because I will say that before I
watched this film, I had always heard about this film,
and I had always heard about it being a feminist
horror film. Yes, And I don't know what your thoughts

(24:34):
are about that. You might have none, which is fine.
You don't have to have feminist thoughts. I mean, actually
you do. It is important for you to have feminist.

Speaker 2 (24:42):
Thoughts, but just as it pertains to this specific movie, correct.

Speaker 1 (24:45):
Like I guess it's not. I guess it's more that, like,
not every movie needs to be discussed socio politically. I guess. Sure,
my mind just goes there because that's just my brain.
But there was moments in this film. After seeing it
finally I was like, oh, I see this is actually
kind of cool. There's a lot of cool things because

(25:06):
to your point, just now, like these girls are not
necessarily squeaky clean, even the one that is supposed to
be isn't. Yeah, isn't one hundred percent, which I think
is really cool. And they actually make some jokes to
things like that in the movie. But well, I mean, listen,

(25:28):
why don't we get into maybe the synopsis and yeah,
we go a little bit beat by bet because it
actually would love that.

Speaker 2 (25:35):
Sure, let's do it. Well, Okay, so the movie is
about the characters Needy, Anita, Needy, Les, Niki played by
Amanda Sefreed and Jennifer Check played by Megan Fox. They
are unlikely best friends. Needy is more of the bookish,
quieter one and Jennifer is the hottest, most popular girl

(25:58):
in school. Now they live in a small town, Devil's Kettle, Minnesota.
More on that later, and Jennifer wants to go see
this band from the cities named Low's Shoulder. They're playing
at like a local beer hall, and she wants to, like,
you know, hook up with them. But they go to

(26:23):
this concert and the place burns down and Jennifer kind
of disappears with the band in their van, and Nidia
is left wondering what's going to happen to her friend.
Like I said, this was a Minnesota movie. I like

(26:43):
Diablo Cody a lot.

Speaker 1 (26:44):
I love her.

Speaker 2 (26:45):
She has kind of this Minnesota trilogy. Juno, Jennifer's Body,
and Young Adult all take place in Minnesota. Diablo Clodi
spent time living here for a long time, and I
like that. It's like, are just some Midwestern representation in
the movies? Like I don't feel like I feel like

(27:06):
the Midwest is typically portrayed like Fargo A lot of
the times and Minnesota specifically, and so I like that
they have the in her movies, the characters are very
smart and very funny and clever, and I feel like
they don't always Midwest movies, aren't. They don't always typically

(27:27):
portray people like that, you know what I mean?

Speaker 1 (27:30):
So interesting giving some resentation to your folk, That's right.
What do you think about?

Speaker 2 (27:35):
What do you have any opinions on Diablo Cody because
some people don't like the way she writes characters.

Speaker 1 (27:42):
I actually like Diablo Cody. There might have been a
time where I was like, I felt like there was
so much energy in the culture behind Juno and I
was like, okay, like and we were at like peak
Michael Sara too, which yeah, sorry, sorry about it.

Speaker 2 (27:57):
It was just that moment, and that is peak I
guess you could say indie sleeves with like peak hipsterdom. Yes,
like at that time.

Speaker 1 (28:05):
Yeah, And so there was just like at general annoyance
with that kind of stuff I think in the time
for me. But then subsequently I liked things that she's made.
I loved Young Adult, I loved Lisa Frankenstein. I logged
that movie on this podcast, I believe, Yeah, And it
feels like she and I are probably around the same age.

(28:26):
Actually she's a year older than me, so referentially it's
like I'm in sync with her. And sure, that's kind
of how I felt about Jennifer's body as well, even
though I have much, like I said, I have much
more to say about the style of this film because
of the era that was in. But yeah, I do
like and enjoy her work so well.

Speaker 2 (28:52):
I mean, why don't we get into the the era
and the style of things, because that was something that
I really when I was watching this, because I probably
for the first time in like twenty eleven, and then
I watched it like five years ago again, and even
watching it five years ago, it didn't feel as much

(29:12):
of a would you say, relic of its time or
it didn't feel as dated. But watching it this time,
I was like, holy hell, this is like so squarely
two thousand and nine. Just the style of it, the music,
you know, the dialogue.

Speaker 1 (29:27):
It was just like it.

Speaker 2 (29:28):
Really felt like from the past, Like it felt distant
to me, which I mean it was. It made me
nostalgic for that time, but it also just felt like
a really a bygone era. I don't know, if you
had a film similar experience watching.

Speaker 1 (29:44):
Yes and part of what I probably shouldn't spend any
time parsing out, although I literally can't help it. I
have to sure and being that you're a little younger
than me, this is probably going to be good intel
you're because I feel like you could explain this better.
I am extremely confused about EMO and the Emo eras

(30:07):
that have happened in our lives because when I was
in my late teens early twenties and I graduated high
school in nineteen ninety seven, Okay, Emo to me was
this like midwestern bald guy Jadetree Records thing where it

(30:33):
kind of felt like an offshoot of like hardcore. But
the people involved in EMO, as I knew it, were
bands like The Promise Ring and like Texas is the Reason,
and you know, like jets to Brazil and things like that.
Like I remember when the album Nothing Feels Good came

(30:54):
out by the Promise Ring in nineteen ninety seven. I
I that was the first EMO album that I bought
that I and I was like, oh my god, I
feel like I'm hanging out with is like a different
crowd of people, because it really wasn't my thing. I
was really more like in a punk rock but it
was like, it just felt like it was more kind
of guys and like, you know, Dicky's pants and like

(31:17):
tight little Dicky's jackets and like button ups. So as
the years went on, I started realizing that a lot
of what kids were calling EMO was more like what
this movie was, which is like kind of the like
Fallout Boy, Pete Wentz, like jagged black hair, fingerless gloves,

(31:45):
like eyeliner thing, And I'm like, when did that happen?

Speaker 2 (31:50):
I guess I'm yeah, you know, I'm not an expert
when it comes to EMO, I do, but there are
like these little like offshoots, and I'm not sure how
to label them because there's like music like Dashboard Confessional
and American Football, which are not hardcore, right, they're not.

(32:12):
They're very but they are still very much in the
EMO genre. Yes, it's confusing, it's confounding, but I agree
in this movie it is more.

Speaker 1 (32:22):
Would you say it's like more.

Speaker 2 (32:24):
Of the Fallout Boy style of emo.

Speaker 1 (32:30):
Well, that's the thing is that there's actually certain references
to EMO in the movie. I don't know if anybody
explicitly says it. Maybe Adam Brody's character says it because
we'll get into Adam Brody plays in a band in
the film, which I think upon first look and definitely

(32:50):
by the song, you would consider an emo band, I
think generally. But that's the thing is that all these
kids that are these emo kids in the film, which
by the way, Jennifer aka Megan Fox, aka the most
popular girl in her school, also has emo posters on
her bedroom wall, which is another branch that I refuse

(33:11):
to climb on this fucked up culture tree. But I'm
just saying I look at the kids in this movie,
especially in one in particular, which we'll get to later.
I look at it. I was like, he looks like
he's in a nine inch nails. He doesn't look like
he's into emo music.

Speaker 2 (33:27):
You're right though, that like, well, the guy I think
that I can't remember who the character's name, but he's
the guy with the lip ring right that yes goes
So he's like very emo fied with the spiky hair
and stuff. But that is how the That's how like
Fallout Boy fans dressed or My Chemical Romance fans dressed,
and I think they adopted the like nine inch Nails
fan look, but had much more mild music taste, you know.

Speaker 1 (33:50):
I mean they looked like they were like the viral
video of those like crazy German people who were doing
the dance under the ridge, like they look like industrial kids.
They don't look like emo kids. But then again that's
me just being old.

Speaker 4 (34:05):
Well, I think I think it's the hot topic, the
hot topicization of fashion, like that there were there there
became kind of a commercial place that is selling this
stuff and making it more available, this type of fashion
of making it more available to the masses, you know.

Speaker 1 (34:24):
Well, And the only reason why I even talking about
this and why I guess it feels relevant is because
that's the world of this movie is really kind of
that like high school emo kid late two thousand's early
twenty tens kind of vibe. And the close the music,
I mean, they're actually like talking about it. It's kind

(34:44):
of self referential in that way too, of the of
the era. And so I'm just like this missed me,
Like I feel like this entire era, I was already
a working adult, so I was like, I don't know,
like when all the kids started wearing like, you know,

(35:05):
arm sleeves with stripes on them, and you know, Shane
wallats and stuff. And that's not to say like it's
not to say that I didn't enjoy it on some level.
It just was like I just wasn't nostalgic for it
because it wasn't like something that I was deeply a
part of. Sure, But I will say it was really

(35:25):
fun to be with high school characters in a movie
like this because they were also like saying all their
lingo and all their words, which was so hilarious to me.

Speaker 2 (35:40):
Yes, I think I think people get mad at Diablo
Cody sometimes not mad, but like especially with Juno, because
they're like high school kids don't talk this way. They're
speaking too cleverly, and I think they thought Diablo Cody
was being like too clever with her lingo. But I
I really think it's so funny. I think she's very funny,

(36:04):
and it's like the things like the one liners that
Jennifer has are like really good. I don't know, and
I all felt like believable y'or not maybe not believable,
but in this world it felt appropriate for the characters
to be speaking this way. And I feel like there's
a lot of bad versions of this type of movie.
But dieblo Coti is able to do it well.

Speaker 1 (36:26):
Yeah, like we did a movie on I Saw what
You Did called Disturbing Behavior from nineteen ninety eight. Uh huh,
and the lingo in that movie is appalling. Sure, so
it could definitely be bad. But then there are times
too where that that seems cringe quote unquote at first,

(36:50):
but then it becomes part of the culture. I mean,
I think Mean Girls did that where yeah, I think
Heathers did that. Heathers absolutely did that where you listen
to a movie and you listen to the kids talk
and it feels like clunky, but then eventually people are
saying shit like fetch or what's your damage? You know?

Speaker 2 (37:12):
Well, I do think it takes a certain type of
actor to be able to say that stuff convincingly and
with good comedic delivery. And I feel like Megan Fox
is really good in this movie.

Speaker 1 (37:26):
Listen, Megan Fox can say literally anything she wants in
this era, but.

Speaker 2 (37:31):
She also is doing it what I feel like she's
delivering it with such dead pan she's doing I don't know,
I just I thought she was great in this.

Speaker 1 (37:40):
Of course you did, And this is what I don't
do that I want to get into this a little bit,
because Okay, I'm going to be one hundred percent honest
with you. I also missed Megan Fox alongside most movies
of the two thousands and Emo. Apparently I was not

(38:00):
around for her rise to Bemence.

Speaker 2 (38:04):
You weren't buying Maxim magazine?

Speaker 1 (38:09):
Was Maxim Magazine? I guess it was still being published.
Oh yeah, two thousand and nine. Have you ever bought
a Maxim magazine?

Speaker 2 (38:16):
I don't think I have.

Speaker 1 (38:18):
You didn't want to get like tips on how to
be like a stud. Here's how to pleasure your woman.
All you do is bring her flowers.

Speaker 2 (38:29):
I don't. I hate to burst your bubble. I don't
think they were. I don't think Maxim Magazine was as
thoughtful as like how to pleasure your your how to
get your partner to come. You know, I don't think
that was happening. I don't think they were concerned too
much about that. But anyways, I don't want to talk

(38:51):
about Maxim magazine.

Speaker 1 (38:53):
You don't you really don't want to keep going, But listen,
I missed Megan Fox. She in this film is kind
of like bionically good looking. Yeah, Like she doesn't even
seem like she's a real person sometimes h And I

(39:14):
think that's probably why she was in Maxim magazine for
all those years and why she continues to be like
one of the hottest ladies ever. But I feel like
because some of the criticism I think that I was
reading online and on letterbox specifically was the dance of,

(39:34):
you know, being a feminist film but also having this
extremely beautiful woman in it who's, you know, sort of
a sex symbol for straight males, right, Yeah, But I
also think that that's I think part of I think
it's by design is basically what I mean is that, like,
she had to be that hot in a lot of

(39:56):
ways for the plot. But I also think too, I
mean part of the story here. I mean, the reason
why the movie is called Jennifer's Body, I feel like
is because we're actually seeing it, at least this is
kind of my read on it. We actually see her
body and her sexuality through the lens of her best friend.

Speaker 2 (40:16):
Interesting, yes, which.

Speaker 1 (40:20):
I feel like it is something I don't think it's
been brought up necessarily in this specific way in a
lot of American films that I've seen about female friendships,
about the idea of in some friendships with females like

(40:42):
there is sometimes an undercurrent of desire and of a
closeness that kind of becomes a physical closeness too.

Speaker 2 (40:54):
Yeah, that is really I want to just say some
plot stuff and then I want you to pick up
exactly where you're talking, just so we can bring people
up to speed real quick.

Speaker 1 (41:04):
Sure, But so basically we left off.

Speaker 2 (41:05):
They go to the concert, it's on fire, they escape,
Jennifer goes with the band, and then we see Jennifer
later and something has happened to her and she starts
killing high school boys and eating them, and we're like,
what's going on? And like you said, this is all
seen through the lens of Needy. Needy is watching Jennifer.
She's like, what is going on with Jennifer? And then

(41:28):
it is revealed that Jennifer was killed by the band
Low's Shoulder in a sacrifice to Satan. And because like
we referenced earlier, she's not a virgin, but she in
order to be attractive to these guys, she's like, oh,
I am a virgin, and so they sacrifice her and

(41:50):
it goes wrong because she's not a virgin, and a
demon takes over her body and she is feasting needs
to feast on the flesh of boys. Like you said, Millie,
Needy is like, this is all through Needy's let the
lens of Needy, and I do think this is like

(42:11):
a really fascinating female friendship movie. And there's even like
a makeout scene between them, which was not meant to
be a publicity thing. It's sort of supposed to be
like representative of the closeness of female friendship, wouldn't you say?

Speaker 1 (42:31):
I agree? And it became a publicity thing because of
you guys, basically.

Speaker 2 (42:37):
Of us of maximum subscribers, yes.

Speaker 1 (42:41):
Lifelong subscriptions, all of you, because it's like, oh cool too,
hot chicks making out not a fantasy. Yeah, but obviously
it has a way kind of deeper meaning an implication
in the actual film, right, And you know, part of
what I like about the idea that this was directed

(43:03):
by a woman Karen Kusama and written by a woman Diabolkati,
is that they're able to make that even though y'all
ignored it, it's still in there. The context is essentially
like you said in the synopsis, right, Needy is a
bookish nerd and Jennifer is the hottest, most popular girl

(43:24):
in school, right, So there's a power dynamic between the
two of them since childhood. There are flashback sequences in
the film where they're like sitting around probably like seven
eight years old, and you can tell that Needy is
reverent towards Jennifer, right, because Jennifer is more outgoing, more dynamic,

(43:46):
better looking, like whatever. That stuff gets established super early.
And that is the thing that I've found always so
fascinating about female friendship movies is that some of the
better ones, you know, I'm thinking of movies like made
by Nicole Holoffen Center and you know, many many other
films not just in America but also internationally that can

(44:11):
really drill down into that power dynamic between two female
best friends. Because very believe there's always like the one
that feels like she can't say no to her friend,
and she knows that her friend is more popular and
more beautiful and more dynamic and is sort of being
like dragged around on a leash by her, yeah, in

(44:34):
a lot of ways. And I mean this is something
that Media's boyfriend Chip also clocks about their friendship, like
He's like, what's the big why do you follow her around?
Why is she so? But then you know, in the
movie you look at Jennifer aka Megan Fox and you're like,
holy fuck, Yeah, I would do anything for her too.

Speaker 2 (44:56):
But it is interesting because I feel like I've seen
that in real life.

Speaker 1 (44:59):
Now.

Speaker 2 (44:59):
I'm not gonna tend to know about the intimacies of
female friendship, but I have seen that where it's like
a friend will be like, no, I've got to take
care of her, like I it's like my duty. Like
Amanda Seafreed's character Needy, it's almost like she feels this
duty even though she has this really complicated relationship with Jennifer.
She feels this like it's a she needs to be

(45:22):
a part of whatever is happening to Jennifer, and she
needs to like not take care of her necessarily, but
like figure out what's going on with her, you know,
like so much of her identity is wrapped up in that. Yeah.

Speaker 1 (45:35):
And also there I feel like is queer undertones here too,
Like yes, where maybe Needy is is in love with Jennifer,
not just from like a friend perspective, but also like
wants to kiss her and wants to be physical with
her and admires her and all that stuff gets like

(45:57):
kind of convoluted in a ways, especially as young women,
because you're kind of working it all out, you know,
and you're kind of hanging out with this one girl
constantly all the time, and you're in these very intimate
settings like sleepovers and showers in school and like things

(46:18):
like that, and this is something that you know, is
I feel like a lot different between female friendships and
male friendships where I mean, you're like, I've I can't
even tell you how many times I've been I've slept
in bed with women. I still sleep in bed with
women when I'm on trips and stuff if I have to.
And there's a physical closeness sometimes between us that we're

(46:41):
able to kind of handle. I don't know if that's
the hard to say, like we can handle being physically
close with each other, Whereas I feel like in a
lot of male friendships that's kind of a taboo thing.

Speaker 2 (46:53):
Yeah, I mean I don't feel like men see each
other naked ever, Yeah, And I feel like women do. Yeah,
And like you in a much.

Speaker 1 (47:02):
More right you would never sleep in your underwear next
to like a male friend necessarily, no, whatever, you know,
Whereas that's happened to me, like I've done that even
though I'm not interested in women at all. But it's
almost like it's kind of just like, I don't know,
it doesn't seem like a big deal to me and

(47:24):
to us maybe yeah, sometimes, but I will I don't
want to like take away the queer reading of Needy
like either. I feel like, you know, there could be
feelings there that she hasn't explored yet, and there's probably
a lot of things in the movie that point to
that too. But yeah, all this to say, though, it's like,
I feel like the point of Megan Fox being Megan

(47:46):
Fox and being in this movie is that she is
supposed to be the ideal right, like the ideal high
school popular girl, gorgeous, perfect body, all of the things. Yeah,
and everything kind of swirls around her in that way. Yeah.

Speaker 2 (48:06):
I mean, the movie goes on and you know, Needy
realizes that Jennifer is pure evil. She's trying to protect
Chip from Jennifer, but she's like, we need to break
up basically because it's not safe for us to be together,

(48:27):
which also feels like kind of like maybe she's making
way for more like Jennifer to be in her life more.
There's a little bit of a reading of that, like, yeah,
using this as an opportunity to get away from Chip.
And she tells him don't go to the homecoming dance
because she Jennifer's gonna eat everyone at the homecoming dance basically,
But he does not listen to her, and he goes

(48:48):
to the home coming dance anyway, and on the way there,
Jennifer intervenes and she's like seduces him and unfortunately kills
our suite Chip and thoughts on Ship, Well, I really
like that actor Johnny Simmons, and I feel like he's
very representative of this time. He was in Scott Pilgrim

(49:12):
as Young Neil, which I know is a movie that
you loathe, but I love. And he he was in
Perks of Being a Wallflower. He just has that like
perfect sweet face with the swoopy hair. I mean, he
has hair I would have killed for.

Speaker 1 (49:26):
I'm sure, oh yeah, I would have liked.

Speaker 2 (49:29):
That was like the kind of hair I would pray
to God for. But I really like and he was
the He was originally in the short film version of Whiplash,
but then they recast his role with Miles Teller for
the feature film.

Speaker 1 (49:46):
But I Chip is a little sweetie. Yeah, he felt
like pretty evolved as a high school kid. I will
say absolutely yes, without being like too unrealistic. I felt
like he was kind of a good, good guy in
that in the movie, right, Yeah, absolutely. I did think
it was really disturbing that Jennifer like seduced him, like

(50:10):
she sprinkled that earlier in the movie too, being like
he's looking really good lately. Yeah, because that is the
thing too about this movie being a tale of female
friendship high school of female friendship, is that Jennifer sucks
as a friend. She's not a good friend, and she

(50:31):
knows that she has power over nity. She knows that
Needy is her kind of like dutiful little nerd friend,
and that she can get all the boys that she wants,
and she uses that for evil, And it just was like,
I mean, you knew it was going there, and I
mean I knew it was going there first time watch.
I was like, oh, man, she's gonna try to fuck
this guy, isn't she? Oh this awful?

Speaker 2 (50:54):
And also because I feel like he did, he's never
seduced by her or i mean until the end, but
he does not find he does not have eyes for her.
You know during the movie.

Speaker 1 (51:06):
Yeah, I will say that they're Oh my god, I
don't even know if I should reveal this. This might
be too personal.

Speaker 2 (51:13):
You can do it, Millie, up to you.

Speaker 1 (51:15):
Well. I once had a friend who made out with
this guy that I was dating or seeing or situationing
with by a dilapidated, half empty pool, and it was awful.
It felt awful to me. Yeah, and I was like,

(51:39):
is she about to fucking rickroll this motherfucker by the pool?
I feel like I've been here, baby, this sucks. This sucks,
and like that's the thing to your point. At first,
he's like, I can't believe I'm making out with Jennifer.
She's like the hottest girl. But I mean, eventually he
pulls away and he's like, dude, this is weird. But
they got into some lots of smooches before.

Speaker 2 (52:02):
Yeah, and she's like Sam better than Needy?

Speaker 1 (52:06):
Why? Oh that was awful. That was the villain turn
of villains. I was like, oh, I can't believe it,
Like this is exactly what I did not want for Needy,
but it happened. Yeah, I don't care if she was
a suckubist, that's just mean.

Speaker 2 (52:22):
It's just mean, and it's something she might have done
even if she wasn't killing and eating boys, you know,
but she does get I feel like that is when
she gets most pissed off at Needy, when she when
like Needy's like, did you have to go after Chip?

Speaker 1 (52:36):
Are you that? Like?

Speaker 2 (52:37):
Are you that insecure? Like she flies off the handle
at that point.

Speaker 1 (52:42):
Yeah, I know, And that's when, I mean, that's when
it becomes like, Okay, you must yeah, you must destroy.

Speaker 2 (52:49):
I will say I feel like the end of this
movie could have been tightened up a little bit. I know,
we're not really you know, this isn't really necessarily like
film criticism, but it felt like there were a few
There was like three endings to the movie, and it
feels like those could have been all put together.

Speaker 1 (53:05):
Yeah, but I mean I get that you have to
you would have to put the Suckubist in the ground.
You need to do that. And I definitely feel like
you need to have killed low Shoulder in some way, yes,
But that did feel like two distinct endings that I
don't know if it worked. And then there was the.

Speaker 2 (53:27):
Insane Asylum stuff too, like it just was like, Okay,
we need to get out of here. I just think
we needed to get out of there a little faster.
But that's that's that's a very small criticism of the movie.

Speaker 1 (53:39):
Speaking of Low Shoulder, Yes, horrible name for a band,
even in a movie. Horrible name for man. Sorry, couldn't
stand it. I was like, who the fuck would go
see Low Shoulder?

Speaker 2 (53:51):
Adam Brody is the lead singer of Low Shoulder.

Speaker 1 (53:55):
Adam Brody was giving Brandon flowers from The Killers. There
are times where I literally was looking at him on
the movie going are we sure that that's not the
lead singer of The Killers.

Speaker 2 (54:08):
Yeah? I like Adam Brody. I'm an out Adam Brody fan.
I think he's funny.

Speaker 1 (54:13):
Yeah, I mean who didn't like him in this era?
His peak era? Yeah? But uh yeah, that's that when
the whole when that whole band thing came into play,
I was like, Oh, yeah, we're gonna we're gonna see
these Satan worshiping emo guys reek havoc on a town

(54:35):
with their stupid fucking song, which became the funniest part.
Was it it a lot? It's a lot like Heathers
the movie Heathers in His Way, where a song becomes
the like National Mourning Cry for like a tragedy, and.

Speaker 2 (54:52):
That song really got I don't think it's a good song,
but it was stuck in my head since I've watched it.

Speaker 1 (54:58):
Through the Trees, yes, but like there was like this,
I mean, this is so dark, but it's like there
was the scene of the people at the candlelight vigil
and they were all like mouthing the words to the
song cheese.

Speaker 2 (55:11):
Yeah.

Speaker 1 (55:14):
I mean that is obviously like something that has happened
in other movies before, just the criticism of the whole
like grief culture of yeah, you know, teenagers and that
kind of stuff. But it's like, yeah, that band, holy shit,
they were terrible and uh but perfect for Adam Brodie
to be that.

Speaker 2 (55:35):
Yeah.

Speaker 1 (55:35):
Right. You know, it was interesting watching this.

Speaker 2 (55:39):
You know, this is like a comedy horror essentially, and
so and the kills are like so outrageous, but I
found myself feeling very disturbed, like affected by the killings
and like particularly like when Jennifer gets killed. Yeah, and

(56:01):
like I was kind of joking at the top when
I was like, we need to have high schoolers killed
more often. And maybe it's just me getting older, but
it made this movie weirdly as like over the top
as it is did make me think about like school
shootings in a way that I feel like movies that
are trying to address that more straight on don't make

(56:22):
me feel as much as like this type of movie.
So I thought it was effective. I thought it was
pretty gnarly. Like.

Speaker 1 (56:29):
There was a couple of really not only parts. I mean,
the first part being something that happens kind of early
on in the movie, where Jennifer comes to like Needie's house,
and yeah, this is so funny. So like, first of all,
Amy Saidara's plays Needy's mom, which is nice. I wish
she was in the movie more.

Speaker 2 (56:48):
To be honest, you have to think there's some stuff
on the editing room floor. Might it's really funny?

Speaker 1 (56:53):
It might have been, But like Nabi's mom brought home
a chicken from Boston Market, Yeah, which my mom used
to do a lot.

Speaker 2 (57:02):
Oh yeah, me too, where Tistry chicken was a very
big part of our lives.

Speaker 1 (57:07):
Do you remember that boss still is? Do you remember
that Boston Market corn bread? Oh delicious?

Speaker 2 (57:13):
I remember their mashed potatoes are really good too.

Speaker 1 (57:15):
Yeah, they used to make these little mini corn breads.
I'm like yo, mom, get like twelve of them shits.
I can't get enough. But then she, you know, basically
Jennifer reveals herself to be a demon by way of
this rotissery chicken and she pukes up all this crazy
black stuff and I was like, oh my god, this
is pretty gross. And then there was the sequence after

(57:39):
she killed the jock, the popular football player yeah in
the woods, viscerated him, like pulled out all of his
parts and was like literally drinking his blood from his
like chest cavity. Yeah, And I was like, goddamn, yes.

Speaker 2 (57:58):
I do appreciate that because I feel like it became
such a thing, especially with horror movies where they're like,
this horror movie needs to be PG thirteen so high
schoolers will go see it. And I liked that this
was a hard r yes, so it made it more
effective well anything else about Jennifer's body.

Speaker 1 (58:22):
Actually liked this movie a lot more than I thought
I would.

Speaker 2 (58:25):
That's great. I think this was sort of thrown on
a trash heat for a long time, and it's gotten
a lot of people, like there's a big reevaluation of it,
and people are like, actually, this movie is awesome. But
at the time it was a failure and people thought
it was bad and stupid. But I feel like it's
aged well well.

Speaker 1 (58:44):
From what I read, it was mismarketed. And that's the
problem is that they made, you know, women made a
very thoughtful horror film with feminist subtext, and then it
got marketed as a mechan Fox movie, or they try
to market it to young men. Yeah, and so I

(59:05):
mean those two things are like not they are mutually exclusive.
So it's like, I see what happened obviously, Yeah, but
I'm glad that people are reevaluating it, honestly because it plained.
When I was living in LA used to play at
the New Beverly all the time, and I'm like, oh, man,
I should go see this, and I never did. Even

(59:25):
like the poster.

Speaker 2 (59:26):
It's like, this looks not that interesting. It looks like
American pie presents, you know, like j Jennifer's Body. Uh.
But like after you watch it, you're like, this feels
like a movie for women. And I say that in
a complimentary way, but it's like funny that they're like,

(59:47):
we got to take this and make it for men.

Speaker 1 (59:50):
But I know, and that's the power of Megan Fox.
I suppose unfortunately. I mean it's like, I'm glad she
was in this movie.

Speaker 2 (59:56):
I mean, honestly me too.

Speaker 1 (59:58):
Like she is. You know, there's probably a lot of
like film theory, the star theory or whatever about her,
but it's like, I mean, she is absolutely like the star,
Like she really is extremely hard to not watch when

(01:00:19):
you're in the movie. And it's not just her looks.
I mean, it's just like her, like you said, kind
of her countenance, her I mean, the ways that she's
killing and like devouring these guys in this movie.

Speaker 2 (01:00:33):
Is Yeah, it ain't pretty like and I think she's
when she's like seducing them with the intent to kill them.

Speaker 1 (01:00:43):
I thought she was scary.

Speaker 2 (01:00:46):
She's locked in, Yeah, I mean she is. It makes
me sad though that this was such a because I
just feel like she's not offered roles like the like
you just wonder if this had been a bigger hit
or like, I don't know, people took her more seriously, yeah,
because I don't know.

Speaker 1 (01:01:06):
Yeah, I feel like she should have like a big
second act, like she should come back and just be
in some fucked up art shit, Like.

Speaker 2 (01:01:14):
I feel like she was really funny in the movie.
This is forty two. If you ever saw that jutt
Apatam movie, she's really good in that, but that's like
a supporting character, you know.

Speaker 1 (01:01:22):
Yeah, it would be great to see her do some
more stuff like this or just more kind of like challenging. Yeah,
I mean she.

Speaker 5 (01:01:31):
Was.

Speaker 1 (01:01:33):
She was up and them goods, she was eating shits
like no tomorrow, and I was like, this is awesome. Yeah,
like this is so awesome to see something this gnarly.

Speaker 2 (01:01:43):
So yeah. And I liked the song by Hole and
it's not even in the movie. M oh yeah, because
it ends on Violet.

Speaker 1 (01:01:52):
Which sounds like which sounds like a gun club song,
but that's not for neither here nor there. Yeah, I
all in all, I think I rated this like at
least four stars in my letterbox, Not like that means anything,
but did you rate it?

Speaker 2 (01:02:06):
I feel like you don't frequently rate on letterbox.

Speaker 1 (01:02:09):
Yeah, I really don't, afraid. I don't like committing to
a star system that I feel is inherently flawed. But
I gave it a high rating, and because I think
I just wanted to like give it something. Yeah, But
I enjoyed this a lot more than I thought I would,
And I actually think it's really textured and complex and interesting,

(01:02:33):
and I love the female friendship stuff that to me
was fantastic.

Speaker 2 (01:02:37):
So well, I think Karnkusam is a great We didn't
haven't really talked about Krnkussam at all, but she's a
great director and she's done some really great stuff and
I want her to keep making movies. I feel like
she's like had a few movies that like were marketed wrong,
and I just feel like she's kind of been fucked over,
like with Ion Flux, that was the movie she did.

(01:02:58):
But she's awesome.

Speaker 1 (01:02:59):
Yellow Jackets, right, did she do yellow?

Speaker 2 (01:03:00):
She did a lot of Yellow Jackets too. She did
a great movie called The Invitations. You ever saw that
horror movie? That one's really good. She's great.

Speaker 1 (01:03:09):
Yeah.

Speaker 2 (01:03:11):
AnyWho, moving on, all right, everybody, now it is time
for another one of our segments, my area of expertise,
and we've got a great guest today. We're thrilled to

(01:03:32):
have him. You may know him from Difficult People. You
may know him from the wonderful Hal Hartley films, Henry
fool Faye grim Ned Rifle. Plus he's popped in some
huge movies lately. Oppenheimer, The Fableman's James Urbaniak, thank you
so much for joining us.

Speaker 3 (01:03:50):
Thank you for having me. Glad to some fellow cineasts
as we say.

Speaker 1 (01:03:56):
Yes, well, so you're a part of this section we
call my area of expertise, which is where we bring
on a guess and we have them bring their area
of expertise or something that they're just extra passionate about,
and we like it when it's really specific. And I
personally love your area of expertise because this is a

(01:04:19):
great film and just broadly the genre is one of
my favorite genres, and your area of expertise.

Speaker 3 (01:04:27):
Is, oh well, I mean I chose my Man Godfrey
as the.

Speaker 1 (01:04:33):
Film, the thirty six version, right, not.

Speaker 3 (01:04:36):
The only version that matters. Yes, I've never seen the remake.

Speaker 2 (01:04:40):
Actually I haven't either, have you, Milly? Okay, oh you haven't.

Speaker 3 (01:04:46):
I have not, But I guess that certainly. I don't
want to say I'm an expert, but that era nineteen
thirties Hollywood, the sort of Golden Age, is something I'm
very interested in. So I guess inadvertently I've become an
expert just because I've watched so much of that. I
certainly have a pin.

Speaker 2 (01:05:04):
Sure but that way, well, on this show, that's what
makes you an experts.

Speaker 1 (01:05:09):
That's an expert.

Speaker 3 (01:05:11):
Yes, yeah, so i'd say, yeah, thirties, well, whatever you know,
classic Hollywood era, whatever you know, screw early twentieth century, screwbat.
Comedy is certainly an area that I love very much.
And this is just one of my favorite movies. I
think it's a perfect movie.

Speaker 2 (01:05:29):
So and when when did you first see this movie?

Speaker 1 (01:05:34):
How old were you?

Speaker 3 (01:05:35):
I was around eighteen when I first saw this. And
the story is I was in college and I met
a guy named Anthony, and this is in New Jersey.
And I wasn't particularly into movies when I was a kid.
I mean I would enjoy movies. And when I was
a kid, there was lots of old stuff on TV,

(01:05:57):
local TV, you know. And one significant thing was there
was a local station in New York. I lived in
New Jersey, but we got New York stations, of course,
and there was a local station that every Thanksgiving they
would play King Kong during the day. Now, there's no
Thanksgiving theme in King Kong. I mean, the main characters

(01:06:19):
are thankful they've found this giant chase to profit from
before things go bad. I think it was just they thought, oh,
families will like this because older people know the movie,
kids will be into it, and it probably did great
ratings one year, and they were like, let's to show
King Kong again. So sure that was the first And
I probably first saw this when I was like seven

(01:06:39):
or something on this local TV station, loved it, watched
it again next year, and then quickly became kind of
obsessed with the movie King Kong. And looking back, I
think that part of what compelled me so much was
it's a great movie and obviously very appealing to kids.
But I think part of it was even the disc

(01:07:00):
of it being a movie from nineteen thirty three, the
fact that it wasn't black and white, the fact that
the stop motion is a little jerky looking, the fact that,
by the way, sidebar, not all nineteen thirties acting is
like this. There are streams of acting in any given era,
but there is a stream of say, what are you
doing acting on that movie? That's not the movie. That's

(01:07:21):
not the kind of activists in Mimagafrey, by the way.
But I think even that the sort of oddness of
some of the performances by contemporary standards intrigued me. So
it was the whole package anyway. So that was the
first time I was really interested in an old movie.
But it was only that movie. I really wasn't looking

(01:07:42):
to watch other movies from that era. And then when
I went to college, I met this kid. They became
good friends. This is like the early eighties. His dad
worked for RCA, and in the seventies, because his dad
worked for RCA, they got one of the first chess machines.
They were early adapters, like before most people had them.

(01:08:06):
And the first tapes that were available were like old
movies because back then there was no pipeline. It wasn't
like the Sting would come out and that would be
on VHS in two months. That just wasn't a thing.
So a lot of it was older stuff where the
rights were easier to get. So his dad just started
bringing home all these old movies on VHS's and then

(01:08:27):
this kid, Anthony, just got into this stuff. He just
liked it. And by the time I met him, we
were like freshmen in college. He already had like an
encyclopedic knowledge of classic Hollywood cinema because he lived in
a house where they watched these old movies, and we
were just hanging out when he's like, hey, you want

(01:08:48):
to watch something, and I've got these old movies, and
in one of those early times that we hung out,
he put on My Man Godfrey and I freaking loved it.
I just got very into I really loved it. And
meanwhile Anthony was like, that actor's name is Franklin Pangborn,

(01:09:09):
like he's pointing out the supporting actors and then moving.
So he actually gave me this guy, Anthony gave me
my first film education. And then actually years later he
ended up working at Eastmanhouse in Rochester, New York, which
is a film preservation institute. So he's actually doing what
he loves, which is great. But so he's the one
who kind of opened the door on this stuff. And

(01:09:31):
then it just so happens that I was also disposed
to like this stuff. Not everybody does, and that's fine,
you know, but I just got into it, and then
that's never ended. I continue to be fascinated, but that
also remains. That was an early classic Hollywood movie that
had a real effect on me. But you know, I

(01:09:51):
watched it again this week to prepare for this, and sure,
it just holds up big time, like it's still one
of my favorite films.

Speaker 2 (01:10:00):
I mean it feels so you know, not every like
you said, not every movie from the nineteen thirties feels
modern or feels the comedy in it. I was surprised
it felt very modern. I totally feel like nineteen thirty
six whenever it came.

Speaker 3 (01:10:16):
Well, you've got a great director, Gregory Lecava and Gregor
ar Lekava is interested in various things, but one thing
that's interesting to him is sort of a kind of naturalism.
He kind he kind of goes against like conventions of
the time where there's sometimes there's a sort of presentational

(01:10:37):
quality to nineteen thirties acting because the conventions haven't been established.
Talkies have only existed for so many years, so there
are some movies where people are doing a more sort
of presentational kind of acting. But his thing is always
get everyone to be very natural and even there's a
there's a couple performances which are some of my favorites

(01:10:59):
in mymc godfrey that are very heightened comedically, like Alice
Brady who plays the mother the sort of hair brained,
you're upset and calm though, yes, but even she that
is not a realistic character. That's a very heightened comedic character.
But there's a kind of crazy freedom that Alice Brady

(01:11:19):
has in that role that's spontaneous and within the reality
of that character, it rings true. It doesn't seem forced,
it doesn't seem fake. And then my god, you can
just go Carol Lombard and William Powell are just so
wonderfully natural. Carol Lombard is so effortlessly funny. No one
seems like they're putting on an act, even though the

(01:11:40):
character of Godfrey is kind of putting on an act.
But everyone just seems spontaneous and the emotions seem very real,
and the script is really tight and really funny, and
I think it's one of the least dated movies of
that era. I agree with you one hundred percent. It
holds up big time.

Speaker 1 (01:11:58):
I would say every I would say in this film.
The one thing that feels, at least for me personally,
at all unbelievable is the idea that dapper William Powell
is an unhoused person at the beginning of this film, right, yes,
and Forgotten Man. We find out more about that later,

(01:12:22):
but when you first see him, I mean, for me,
William Powell is gonna be Nick from the Thin Man
movies for the rest you know, this is just who
I see. He's always a dapper guy to bow tie
with a martini. And so when you first see him
at the beginning of My Man Godfrey, you're like, oh, wait,

(01:12:44):
what has a beard? Like, Yeah, I don't think I'm
seeing William Powell with a full beard. This is crazy.

Speaker 2 (01:12:50):
Yeah, I like him.

Speaker 3 (01:12:51):
I mean he gets uh, he gets Willim powells pretty quickly.
He shaved the beard. Yeah, he cleans up. He cleans
up within the first ten minutes of the movie.

Speaker 1 (01:13:04):
Absolutely. Actually kind of like him with the beard. I thought.
I was like, huh, looks pretty good. Actually with that,
I agree with you.

Speaker 3 (01:13:10):
I like him with the beard. It's actually like when
I was doing some research, there's like an old some movie.
It's probably some period thing that takes place like in
another century where he's got long hair, and he actually
looks kind of cool with long hair. It's a wind obviously,
like it's supposed to be old timy times or something.
But yeah, and I love him because he has he

(01:13:31):
has this wonderful rye quality and in a way I
think he sort of resembles it is almost the forerunner
of Donald Sutherland or even Jeff Goldblum, if you will,
who both have a kind of rye attack. You know,
they seem really bright, but they they have a kind

(01:13:53):
of rye even sarcastic default, and they're also very attractive
leading men. I think he's in that tradition.

Speaker 2 (01:14:02):
They kind of have the they're kind of have like
an observ they're they're kind of above the scene. They're
kind of looking they're outside of it a little bit,
sort of reacting in that all all those guys.

Speaker 3 (01:14:14):
Absolutely, and the character of Godfrey is sort of outside
reacting to all this. And last night I was thinking, well,
Donald Sutherland would actually be really good in this, but
would have been really good in this like seventies Donald
telling absolutely.

Speaker 2 (01:14:30):
Now when you saw this movie, James, you know you
were saying you had kind of you were disposed to
this type of movie at a very young age. Was
there any recognition on your part that you're like, it's
sort of maybe I don't want to say odd, but
like unusual for a like an eighteen year old to
be like loving a movie from the nineteen thirties at

(01:14:50):
this time.

Speaker 3 (01:14:51):
Yeah, I don't know, I know, I know, Yeah, I
didn't think it was that unusual. I think part of
it was, I think there was a hard wire and me,
this is when I was eighteen. I did not think
I wanted to be a professional actor. I was sort
of leaning towards the arts, but I was leaning towards
like graphic design or being a cartoonist or something like that. Yeah,

(01:15:14):
but I think I had some sort of, you know,
incipient interest in acting and performing because the acting in
this movie is so beautiful. Some of my favorite performances
of all timer in this movie. And I think before
I even understood that, I think part of me was
still responding to that. For me, it was just about

(01:15:38):
a sort of very intense sort of fascination and interest
in this stuff. But I mean I always, you know,
I was a skinny, little arty guy. I always felt
like a bit of an outsider when I was younger.
So that was just that was just part of the package.

Speaker 1 (01:15:54):
Yeah, I can I ask you a little bit about
screwball comedies and like maybe, yeah, but it makes them
so appealing to you and maybe like some of your
favorite screwball comedy films and apps.

Speaker 3 (01:16:07):
Oh yes, I mean, my gosh, I mean one of
my favorites is Nothing Sacred, directed by William Wellmans During
Frederick Marsh and Carol again. I think, right, isn't it
Carol Lombard, Yeah, yeah, she's really good at this. It's
really fun because it's their rom coms, but their rom
coms with a sort of heightened comedic element to them.

(01:16:36):
I think you could count His Girl Friday's as screwball
comedy because that, of course, is based on a play
that was about a boss and a guy, and they
made it into a boss and a girl, so they
rom commed it. But the play itself is this kind
of hilarious, very heightened farce. It's those two elements sort

(01:16:59):
of I kind of over the top comedy that sort
of pushes the boundaries of naturalism, but then with the
sort of romance set in center, and somehow that bland
just really works. I mean, in the forties, Preston Sturges
and stuff is I think you could count that as
screwball because there's this farcical kind of structure, but then

(01:17:23):
there's always these romances. So Miracle Morgan's Creek and the
Palm Beach story, his stuff is incredible.

Speaker 1 (01:17:30):
I would say Joel McCrae is maybe my favorite of
the screwball comedy actors, even though he was not specifically
a screwball guy. I mean he did westerns obviously later,
but it's like his vibe in those Preston Sturgis movies
is so great because.

Speaker 3 (01:17:48):
He's so so great, just.

Speaker 1 (01:17:51):
Like he's tall and gorgeous, but he's like kind of
weirdly monotone, sarcastic. He like has this vibe to him
that is so he's just like an avatar for whatever
is going to happen in the film.

Speaker 3 (01:18:06):
And he's just reacting to stuff like a regular guy.
And he doesn't his performance isn't particularly heightened. He's not acting.
He's just sort of there and behaving and reacting. And
that makes it all the funnier because if you have
a crazy farce but you ground it in some sort
of reality, it's just going to be funnier. And that's

(01:18:26):
the same effect that Miman Godfrey has. The bulk of
the cast are actually very grounded and real within a
heightened comedic universe. And those two, those two fronts meet
and it's a shower of pleasure. Thank you A.

Speaker 1 (01:18:43):
Little metaphor there.

Speaker 3 (01:18:44):
I got to take that one back. I don't like
the way it came out, but it's too late now.

Speaker 1 (01:18:51):
And like I wanted to ask maybe to you specifically,
James about I mean, something that I just love about
screwball comedy is in particular and especially My Man Godfrey,
are like the character actors that are always in these
films My Bread but I know, I figured, I love
Gene Dixon in My Man Goffe. She plays the kind

(01:19:11):
of the housekeeper who's just like perpetually over it and
it's just sort of like reading everybody to filth all
the time, which is great. And then Eugene Palette, who
has in The Lady Eve but like you could in
the minute you exactly you hear him talk, and I
just I think that's what I love the most about

(01:19:32):
screwball comedies is that you're constantly getting these like side
characters that are in in there, and then you find
out that a lot of these people have been like
two hundred films or something they teached are in tons
of movies.

Speaker 3 (01:19:46):
And then another thing. Misha Auer, who plays the mother's
protege's young he's this young leech. Also, the Great Depression
is a major part of the story.

Speaker 1 (01:20:01):
Yes.

Speaker 3 (01:20:02):
So he's this young sort of pseudo artiste guy who
just hangs out with them, who was like the mom's companion,
not sexually. I don't think they're really suggesting that, but
they just go out together. They go to shows, to
god to eat together. Pet he's a little pet and
he there's one point where he's also very he's very

(01:20:23):
theatrical too. And at one point, another great joke is
the father is talking about their financial issues and then
he goes, oh, money, that's Frankenstein monster that destroys souls.
Carlo says that mitche haaris Russian, he's a Russian act
and he is off. And then the mother's like, oh, Carlo,
have some a dirts and then he immediately comes over

(01:20:43):
and starts eating a dirts. You knows where he knows where.
He's so good being fed. And then I got to
say again, Alice Brady, who's a veteran actress. She she
was a Broadway actress. She did theater and she's in
a lot of films. She has like a very serious
dramatic role. And Young Mister Lincoln john Ford's movie about

(01:21:07):
Lincoln with Henry Fonda. There's like a court case that
he does, and she's the mother of this family that
he's helping out. It's very serious, but her performance in
this is not only one of my favorite comedy performances
of all time, but one of my favorite performances of
all time, because I just find her endlessly hilarious as
this completely idiotic rich lady sort of where Kyl Lombard's

(01:21:33):
character might be heading if she doesn't find the right person.
Alice Brady. Also, that performance I don't think has dated
a second. You could if you had a comedy, that
performance would just seem perfect if it was shot yesterday.
And it's again, it's a very heightened performance, has completely
beyond the parameters of realism, but it totally works. Like

(01:21:57):
I said before, it just rings true.

Speaker 1 (01:21:59):
It's so funny because what I want rewatch this movie again.
I started thinking, I was like, I think that's how
my mother would act if she had like just completely
like no street smarts, completely clueless, just like having you know,
this guy kind of play piano and eat or dervs
around her all the time. It's also a love about

(01:22:19):
my man Godfrey. The idea of this kind of like
how the rich people live type of vibe where it's
like their prote like like rich people have proteges, which
is an interesting concept to me. But then also they
do scavenger hunts where there's like tons and tons of

(01:22:39):
people involved and they're in teams and they're like, you know,
I don't know. It's like this big party where they're
all in, you know, which is how William Powell gets
involved in this family to be.

Speaker 3 (01:22:48):
The inciting incident is these rich people during the depression
in Manhattan are on a scavenger hunt and they have
to find things like whatever a Japanese goldfish and a
goat the mother brings in a goatate down somewhere, and
then one of the items is a forgotten man, which
of course was a phrase there's you know about the

(01:23:10):
generation of young men who went to World War One
and then suddenly the fucking economy falls apart and now
they can't get a job, Like we went out here,
we put our lives on the line, and many of
us died, and those of us who lived are back
and now we can't get a job, like America has
fucked us over, and they was afraid. There's a song
culture remember my forgotten Man. It's like in an old movie,

(01:23:30):
so that was a phrase. But it's also showing the
depraved indifference of these rich people to just go out
and grab a homeless guy basically for their own amusement.
It's disgusting. And of course and the you know Godfrey,
it's not a major spoiler if you haven't seen it,

(01:23:52):
but semi spoiler. We learned that he's actually from the
upper class but because of a romantic problem. Yes, he
had a very very bad breakup. A girl broke off
with them.

Speaker 2 (01:24:06):
Get into that too much, and he had a major.

Speaker 3 (01:24:08):
Downward spiral and he basically was going to throw himself
into the East River and then sees these people who
are still staying alive and is inspired by them. But
he's kind of a guy who's in a as as
Samuel Jackson says in pulp fiction, he's in a transition.
You've caught him in a transitional period.

Speaker 2 (01:24:28):
Well, I do love that. I mean, it really did
make me laugh that they turned the Dump into a
nightclub called the Dump, and I would love to go
have a beer.

Speaker 3 (01:24:38):
People still do that, they'll there was a there was
an old pharmacy in New York that became a barcle
pharmacy there we go, like they still had the pharmacy
counter there except drinks.

Speaker 1 (01:24:52):
I just think it's like, to me, I think screwball
comedies are so like they're just such a rich text
and it feels like they really influenced you and you know,
as a young person, but also as an actor, and
they're kind of timeless in that way where I.

Speaker 3 (01:25:07):
Mean it's yeah, you know, it's not just that genre.
It's like all there's lots of great acting from that period.
And the thing is another thing that this is a
whole other episode to talk about. But the other thing
that really interests me. I'll just touch on this quickly is,
like I said before, in every era, there are different

(01:25:29):
streams of acting. So there is the kind of acting
in King Kong, which is a little presentational. There is
the Greatest Wonder of the World, you know, and they're
kind of talking like that for some reason. And then
you have Godfrey, where you have some very natural performances
and some very heightened performances, but they're all kind of
on the same page. And that's always really interesting to me,

(01:25:52):
is the different styles of acting. And I think sometimes
and there's also a thing I wrap this up soon,
but it's related to this because I'm fascinated about this era.
If you look at a movie like The Grapes of
Wrath by John Ford, it's a great movie and it's
a drama, but the dramatic acting in that is very good,
and at the same time it's dated because the bulk

(01:26:15):
of the cast, with the notable exception of Henry Fonda,
who could have been shot yesterday, the bulk of the
cast is doing a kind of theatrical presentational dramatic acting
where they're kind of spelling it out for you a
little bit about as opposed to the more modern post
war convention of more behavioral based acting that seems more naturalistic,

(01:26:38):
the method, etc. You know, the Brando school. They're a
little more at the lines. You're clean and they're and
it's got a sharpness. And the thing is it that
particular kind of dramatic acting. It's not even out of fashion.
It doesn't exist anymore. That kind of acting exists in comedy.

(01:27:00):
Like in comedy there'll be a lot of like Will Ferrell,
he's always kind of commenting on the character. So if
the anchor man is vain, he's kind of showing you
that he is, and even the way he moves his
body very specifically, and sometimes the lines come out and
kind of inverted commas. But that style used to exist

(01:27:23):
in drama again while the conventions are still being figured out,
And I think some people can watch an old movie
like that and as soon as they see this sort
of dated acting, which again is not bad acting, it's
actually of a very high quality. But it's almost like music.
It's like an old form of jazz, like from the
twenties before bebop or whatever. Well, they're both great, they're

(01:27:45):
just different styles. But I think sometimes people and this
is not a problem, by the way, I'm not trying
to convert anybody, but I think sometimes people will see
an older style and immediately a wall comes up. They
just can't quite they just can't quite get there. But
if you look at it, it's really not that complicated,

(01:28:05):
and the emotions are timeless, and often the stories are
very timeless. It's just the style of performing changes. And
I got to say, we can look at some of
these old styles and go, why are they talking so funny?
But my hand to God, I would say in fifty years,
people will watch Game of Thrones and they'll be like,

(01:28:26):
why are they all talking like this?

Speaker 1 (01:28:27):
Like what is that?

Speaker 3 (01:28:29):
While all the guys talking in this raspy quiet voice,
Like no one talks like that. So that's a convention.
Because it's our time. We're not seeing the farest of
the trees, but there are conventions of our time that
in decades will seem strange. Yeah, but I think Godfrey
is a great sort of movie for people who maybe
aren't as versed in that period, because again, I think

(01:28:51):
the acting really holds up. It seems very contemporary, absolutely
and wary, which is great.

Speaker 2 (01:28:58):
Well, James, thank you so much for my man Godfrey.
This is great. Is there anything you'd like to plug?

Speaker 3 (01:29:04):
Oh, well, I'm on an Apple show called Palm Royal.
That's actually a really funny comedy. It's set in Palm
Beach in the sixties. It stars Kristen Wig and lots
of great people. Alis and Jenny and I have a
little part in that. And the second season I think

(01:29:27):
premiere is in November, so I recommend it. It's a
really fun show. It's also a sort of a period
piece set in the sixties. Lots of beehive hairdes and
stuff like that. And yeah, and then there's like a
handful of independent films I've done in the last couple
of years that are in various states of post production.

(01:29:47):
There's a guy named Mickey Reese who is sort of
a genre of filmmaker, makes these interesting horror movies. And
he's got a movie called Every Heavy Thing, which is
actually premiering in LA next month that beyond fest amazing
sort of a it's sort of it's almost like Mickey's
version of a Brian the Palmer thriller from the eighties,

(01:30:09):
like Dressed to Kill or you know, one of those
sort of the area that he's exploring there, and I
play a psychopath bad in that, which is always.

Speaker 1 (01:30:20):
Fun, cool, fabulous.

Speaker 3 (01:30:24):
Yeah, so stuff is out there.

Speaker 2 (01:30:27):
Everybody go check that out. And James, thank you again,
Thank you so much.

Speaker 3 (01:30:32):
Oh, thank you anytime.

Speaker 2 (01:30:43):
All Right, that was a great chat with James or Baniac.
Such a fan, such a fan, huge fan, even more
so now because it was so nice. And I love
talking to movies, talking movies with people who love movies. Uh.
Now it is time for employee picks film recommendations based
on the theme of today, Millie, what do you got?

Speaker 1 (01:31:06):
Well, here's the thing. I'm not even gonna recommend a
horror movie, and I know that that is stupid because
it's Halloween. I can't get this off my mind because
when I watched this movie, it immediately took me to
the movie I'm about to recommend, which is a movie
from two thousand and one. It was directed by Sandra
Goldbacher and it's called Me Without You. There is an

(01:31:28):
episode of I Saw What You Did About. This movie
is a very early episode, so feel free to check
it out. I think it's called foot cigarettes. I think
that's where the term foot cigarettes came from because there's
a scene in Me Without You where the two main characters,
the best friends, who are played by Anna Friel and
Michelle Williams. They're like hanging out in Anna Friel's bedroom

(01:31:52):
and they're laying in bed together and Anna Friel is
smoking a cigarette through her toes and then passes it
to Michelle Williams and she takes a drag of the
cigarette through her foot to Anerfriol's foot and I was like,
absolutely not. I was like, I don't care if my
best friend was Megan Fox, I am not smoking a

(01:32:15):
cigarette from her foot. That is disgusting to me. Never
I'm never gonna be that close to someone.

Speaker 2 (01:32:23):
Sorry, that's an intimacy. I don't think you know that's
that's a that's a whole other level.

Speaker 1 (01:32:30):
I wouldn't even do that with my true love. Let's
just like if my husband or anyone, I would not
I would never smoke a cigarette from anyone's foot. But
the reason why this movie came up for me is
because much like Jennifer's Body, right, there's this power dynamic
that is happening in me without you about the two women,
and it's basically or the two girls that become women,

(01:32:51):
because the movie takes place in England in the nineteen
eighties and they're like kind of these punk rock chicks
up coming of age together and it's clear that one
of them is a nerd and the other one is
the popular girl, or at least the more dynamic, free wheeling,
sexually liberated one, right, And the movie is essentially about

(01:33:16):
whether or not you can sustain friendships like this throughout
the years, like whether or not at some point you
can continue to be kind of like a sidekick or
second fiddle to someone who puts you in that place honestly,
like they, you know, in the same way that Jennifer

(01:33:37):
does this too needy, you know, like they're kind of
codependent on each other, and it's fucked up because obviously
one person sort of slightly terrorizes the other, the nerdier
one the quieter one. So anyway, it immediately was like
when I saw Jennifer's Body, I was like, fuck, I
gotta see me without you again. It's actually, to me

(01:33:58):
one of the best movies I've ever saying about female friendship. Wow.
And it's a small kind of indie movie, like no one,
no one really mentions it, which bothers me because I
really love it. I really love it.

Speaker 2 (01:34:10):
I'd never heard of it.

Speaker 1 (01:34:11):
Oh my god, I've seen it probably like ten times. Wow.
The music. The music is fantastic. I mean it's like
all amazing eighties British bands, like I mean punk rock stuff,
but also like cool like Mute Records type of music.
I don't know, it's fantastic.

Speaker 2 (01:34:31):
Anyway, cool. Yeah, I need to watch it. I'm gonna
recommend a movie that influenced Jennifer's Body, and they spoke
about this. It's a two thousand Canadian film called Ginger Snaps,
and it's about two sisters and one of them is

(01:34:53):
attacked by a werewolf and goes through some changes and
they're you know, they were very close before the attack,
and after these changes, they start to grow apart, and
one of them can't quite figure out why the other
person is changed. I mean, beyond the werewolf thing, there's

(01:35:14):
some emotional distance as well. And it is also a
very bloody movie. Wow, it's like gnarly and it's a
high school movie, so it's kind of similar and vibe
to Jennifer's Body in that way. But it's a great,
great horror movie and check it out.

Speaker 1 (01:35:33):
Yeah, I have never seen Ginger Snaps any of the sequels,
because I know there's a couple of sequels.

Speaker 2 (01:35:40):
Haven't seen any of the secrets may have prequels.

Speaker 1 (01:35:43):
I love, I love and hate the idea that it's
called Ginger Snaps. I'm like, yeah, I like the movie
seems a lot deeper than that name. I guess it's really.

Speaker 2 (01:35:54):
There's a character named Ginger and she snaps.

Speaker 1 (01:35:58):
Yeah. But there was like this whole of movies that
felt like they were kind of these like dark films
that were named like Poison Ivy. Yeah, yeah, you should
make a movie called Fig Newton's Fig Newton.

Speaker 2 (01:36:11):
It's about a troubled teen named Fig.

Speaker 1 (01:36:18):
Who goes on a killing spray in the town of Newton, Pennsylvania.

Speaker 2 (01:36:22):
Sure, yeah, that's good.

Speaker 1 (01:36:24):
There we go. I'm gonna watch it. I'm gonna watch it.

Speaker 2 (01:36:28):
You should it good good. It's like an indie horror too,
and those always have like a certain feel to them,
and it's it's good.

Speaker 1 (01:36:35):
It's good.

Speaker 2 (01:36:37):
Alrighty, that's our show, Millie. We did a good job,
I think. Uh, if you'd like to write in if
you want film advice, if if you if you have
a gret, film regret, a consensual grope or a gripe
right into Deer Movies at exactly rightmedia dot com. You

(01:36:58):
can also leave us a voice smeil just record it
on your phone under a minute please. Someone sent in
a voicemail and they apologize for it being a minute
and six seconds and I thought that was cute. That's okay.
I just you know, sometimes you'll get these five minute
voicemail they're just too long. So but yeah, try to

(01:37:20):
keep it on a minute if you can. And you
can just email those two Deer movies at exactlyrightmedia dot com.

Speaker 1 (01:37:26):
Also follow us on socials we're at Deer Movies. I
love you on Instagram. Our letterbox handles are also at
Casey le O'Brien and at m d'achericho, and you know,
hit us up on there, and please if you will
listen to Deer Movies, I love you on the iHeartRadio app,
Apple podcasts or wherever you get your podcasts would be

(01:37:46):
nice for positive ratings and reviews. We always love that.

Speaker 2 (01:37:51):
So Millie, I couldn't. I can't tell if you're excited
about next week talking about what the hell? I was like,
I was like, would you mind if we did a
hell Raiser episode? And you said, I don't mind?

Speaker 1 (01:38:07):
What was I supposed to be?

Speaker 2 (01:38:08):
Like, Holy fucking shit, bro, I love Pinhead pin Heads hot.

Speaker 1 (01:38:15):
Bro speaking of industrial guys, My.

Speaker 2 (01:38:20):
God, oh boy, Hell Raiser nineteen eighty seven. I'm excited.
I love this movie. I love Clay Burker.

Speaker 1 (01:38:29):
Yeah. Actually I'm about to go see there's like I
don't know if this is like a reworking or like
a restoration, but Candy Man's coming back to theaters. I
don't know why hold on the.

Speaker 2 (01:38:46):
Be my victim. I love candy Man, huge fan of
candy Man.

Speaker 1 (01:38:51):
Yeah, it's playing again, and I don't know why.

Speaker 2 (01:38:55):
There's always it's always a good time for Candy Man.

Speaker 1 (01:38:58):
Well, I don't know if you worked on the Candy
Man restoration. You can email us at Dear Movies, Exactly
Right Media. Yeah, but I'm gonna go see it so
I'll be all up in those Clive Barker's goods.

Speaker 2 (01:39:08):
Nice. Oh, thank you Millie for a great episode talking
about Jennifer's body.

Speaker 1 (01:39:19):
Thank you for talking about Jennifer's body.

Speaker 2 (01:39:21):
See you later, Okay, bye bye.

Speaker 1 (01:39:26):
This has been an Exactly Right production hosted by me
Milli to Chercho and produced by my co host Casey O'Brien.

Speaker 2 (01:39:33):
This episode was mixed by Tom Bryfocal. Our associate producer
is Christina Chamberlain, our guest booker is Patrick Cottner, and
our artwork.

Speaker 1 (01:39:41):
Is by Vanessa Lilac. Our incredible theme music is by
the best band in the entire world, The Softies.

Speaker 2 (01:39:47):
Thank you to our executive producers Karen Kilgareff, Georgia Hartstark,
Daniel Kramer and Millie to Jericho, we love you.

Speaker 1 (01:39:54):
Goodbye Beker. When you don't mean te

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