June 12, 2025 • 50 mins
Wilmer and Freddy dive deep into their Letterboxd “Four Favorite” films, from The Lost Weekend to Rocky, and unpack what these choices reveal about their cinematic souls. They compare notes on highbrow versus lowbrow taste, nostalgic attachments, and the one film each had to painfully bump from their list. The amigos debate rewatchability, evolving taste, and whether their Top 4s will stand the test of time—or get shaken up by a new contender.
“Dos Amigos” is a comedic and insightful podcast hosted by two friends who’ve journeyed through Hollywood and life together. Wilmer Valderrama and Freddy Rodriguez push through the noise of everyday life and ruminate on a bevy of topics through fun and daring, and occasionally a third amigo joins the mix!
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:05):
Hey everybody, this is Freddie Rodriguez and I'm Wilmer Valdorama Podcasts.
Welcome back to those of Egos podcasts only, uh, everywhere
you get your podcasts as we say thank you to
our beautiful family at iHeart Podcast and in our home
at Michael Tuda podcast Network. Yes, you know this is
(00:26):
a podcast you can not only listen to, but you
can watch.
Speaker 2 (00:29):
You you're watching. You already know that part. That's right.
Speaker 1 (00:31):
If you're listening, you can go find us a YouTube
and enjoy enjoy this stuff.
Speaker 3 (00:36):
They can enjoy how straight your hat is? Yes? That was.
Speaker 2 (00:41):
How dare you so? The first question? But I think
it is my biggest petic.
Speaker 1 (00:46):
Like I was like, if I'm on TV with a
cricket hat, it's embarrassing to try to talk about some
stuff that matters, Like I can't talk about serious stuff.
Speaker 2 (00:53):
When my hat is like because your.
Speaker 1 (00:57):
So anyways, really really cool to be back with everyone here, Freddy,
I I miss you when we're not in the same
room together. Uh, please don't make it weird. Well it's
too late. He made it weird.
Speaker 2 (01:15):
Uh.
Speaker 1 (01:16):
But today I thought, you know, we could start with
something kind of fun, you know, and the reason I
call it pron is because I think it's always so
talent and so you know, you know, so so philosophical
when we go into some of these moments and entertainment
that kind of not only made us but shaped us.
(01:36):
And we've done a lot of that in our internal
you know, uh, search for each other's histories and and
our trajectory and the industry. But now as we think
about it like a fun like a fan, you know,
like can I be a fan here?
Speaker 2 (01:50):
Can I say?
Speaker 1 (01:51):
Hey, you know, what are these movies that as a
as a moviegoer we look at and somehow we see
recreated over and over and over again.
Speaker 3 (02:00):
Like a lot of.
Speaker 1 (02:00):
People find these iconic movies right that we grew up watching,
and today this next generation is almost watching them for
the first time. And really they don't know that these
movies have been re skinned after original movies that were
the first one of its kind, and now they're like,
it's like this kind of prototype, so they make the
same movie with new characters. Right but without going to
(02:25):
political deep diving on you know, the state of affairs
of our industry right now, where you know, IP and
reboots and sequels and prequels are so popular because they
just can't trust the original content today. I thought they'd
be really fun for us to kind of go down
a list of four movies each you think of four
(02:45):
movies that really changed the paradigmic how you saw film
making and they made you love the movies. And we'll
breaking down one by one, you know, you say one,
I say one, and then you're like, we kind of like,
let's see to see when we meet in the middle
when it comes to this movie is because we might
have the same movie in mind, right, But that's true.
Speaker 2 (03:06):
But I guess do you want to start? You want
me to?
Speaker 3 (03:08):
Sure? Yeah, you start, I'll start, Okay. My top top
movie is Goodfellas. Okay. Now it's always hard for me,
like when people go, what are you top four or five? Right,
because you have like hardcorese and the files out there
who are judging you, and like I judge my top
four movies in the category of movies that I've seen
(03:32):
thirty If I've watched this movie thirty times, then to
meet it's one of my favorite movies. Right. There's no
rhyme or reason.
Speaker 2 (03:38):
Behind or if it's on TV, you have to finish it.
Speaker 1 (03:41):
Oh yeah, you can't get in the car like you're
gonna be late because you gotta watch it.
Speaker 3 (03:44):
It's one of those movies that I feel like it's
fresh every time I see it, you know. And I'll
tell you a story behind that movie. When I first
saw that movie. That movie came out my freshman year
of high school, and I went to art school and
I had a friend who would get us into the
movie for free, okay, And it was called the Webster
(04:04):
Theater in Bucktown, Chicago. And back then in Chicago, you
would go to one theater, and if you want to
be sneaky, you sneak to another theater. Then you sneak
to another theater, especially when you're like fifteen years old, right,
And so I was doing that and I went to
one and I saw another one, and I snuck into
this theater and Goodfellas was starting. It was like, right
up the first frame, I had no idea what I
(04:26):
was getting into. I sat down. That opening scene comes
on Rayleiota, Robert de Niro, Joe Peshi in the car.
They hear Frank Vincent's character in the trunk. They stop
the car, they get out, Joe Peshi whops out this
big kitchen knife, and he's just starts stabbing Frank Vincent
in the trunk. I was fifteen years old, fourteen, and
(04:48):
I'd never seen anything like that in cinema. And I
was riveted. Man, I was paralyzed. I couldn't move a
muscle and I sat there and I watched that two
three hour movie without going to the bathroom, without moving nothing.
I paid attention to every single frame of that film,
(05:10):
and it changed my perspective in movies forever? Did it?
Speaker 2 (05:14):
Did it wake up something else in you?
Speaker 3 (05:16):
Like? Did it?
Speaker 2 (05:17):
Did you not? Did you not know that was possible
in filming?
Speaker 3 (05:20):
I just knew that I was watching something profound. I
knew nothing really about movies. I wasn't a cinema buff.
I was in a movie, you know. But I knew
that I was watching something different. I knew that I
was watching something of greatness. And and I and my
instinct told me that really early on in my life.
And so it was like a tuning fork, right, And
(05:41):
so now I wait for that tuning fork to to
rear its head every time I watch a movie, to
see if it's telling me if this movie is great
or not. And that was the first one and it
changed my life. And I got to tell Frank Vincent
that story too, man one day before he passed away,
God bless him, and he was like, oh, thank you man,
thank you, you know, and I was like, dude, your
movie changed my life. You know. I got to be
(06:02):
a judge at the Tribeca Film Festival and I got
to like tell them about that film. But it was transformative.
Speaker 1 (06:08):
Oh my god, it's so amazing that you said that.
I watched that movie in Spanish, But.
Speaker 3 (06:12):
How was that in Spanish.
Speaker 1 (06:14):
It's interesting because the performances are like they probably it
probably hits harder in English, you know, but regardless, the
movie was so undeniable, right, And then I watched it
in English and I was like boom, Like it just
hit me in so many different ways. I never thought
like I seen performances like that, yeah, you know, and
(06:34):
performances like that weren't uncoming, right, Like you watched the
seventies and even a few movies in the sixties, like
I think, like like The Last Weekend. Yeah, that's a
movie that kind of lost weekend.
Speaker 2 (06:47):
Yeah, it was a movie about so what the movie
is about.
Speaker 1 (06:50):
The movie is about this this writer, the actor was
Ray Melunt and he his performance was so I was
taking at but the fact that it was that it
was black and white and and and because I was like,
this movie had to be one of the darkest movies
of that time, and he was. I think he went
(07:12):
an oscar too. It was nominated for multiple Oscars. And
the movie was about this writer who has lost lost
his way and you know, he was standing in front
of this typewriter and he just couldn't start this page.
And you know, he was an alcoholic, you know, and
he will go back to this this one girl, and
(07:35):
I believe she was, you know, a prostitute, and but
he was like telling her everything, you know, that that
she wanted to hear, and just like at the end,
we just asked her for money so he can go drink.
And it was really dark and the relationship was so complicated,
and I was like, whoa, this is just a specific story.
(07:59):
And I reckon when everybody to watch it, because that
was one of those first movies. And I'm not like
the guy who like, let's go back to the sixties
and like, you know, I just watch these movies. I'm
not you know, I I yes, I love cinema, and
I've definitely that way in my later years and understanding
where cinema really you know, I broke the ground. But
this was one of those movies that like, I just
like I watched it one day and it just absolutely
(08:23):
fractured what was possible, and I was like, if that
tone was possible, then right, I realized everything that was
possible after.
Speaker 3 (08:30):
So you feel that it was the tone or the
execution that resonated with you as opposed to like somebody's
singular performance.
Speaker 1 (08:37):
Yeah, I mean their performances was they were incredibly grounded, right,
they were humbling, and they were fracturing. They were very
they were very grounded, you know, like for that time,
you know, everybody well you know talk like this, you
know what I mean, they were like that that you uh,
that kind of you know, mentality, but I mean vibe
and tone. So I was taken back by movies that
(08:59):
was there was widen. Those performances were almost just so real,
and I think it was a groundbreaking enough that got
nomin area for multiple Oscars. But you know, I go
back to to the Goodfellas, you know, and I think
about these performances, we're so liberating. You know, I felt
like they were drawing with callers and that were you know,
(09:20):
the way they were using the words, the way they
would talk to each other and finish each other's sentences.
It was like it was a different level of groundness.
And I think that that movieould definitely touched me as well.
Speaker 3 (09:30):
Do you think you think do you think that like
like synergy has something to do with it, right, because
you know, we've we've been making movies and TV for
thirty years, right, and I've found that you could have
a singular good performance, right, or you could have somebody
write a really good story. But there's something about when
you know that term, when when the planets aligned right,
(09:51):
like like the planets are aligned and and there's a
certain synergy that comes from the performance and the directing
and the writing and the overall the perfect storm. Yeah. Yeah,
That's what I felt like when I was watching that movie,
Like there was this perfect synergy happening from all from
all aspects of filmmaking. Where sometimes I'll watch a movie
(10:13):
and I'll go, well, that dude's performance is awesome, but
like there's something off about the editing or somewhere else
you know.
Speaker 1 (10:19):
Or the rhythm you know, yeah, And I think it's
when you know, you think about Good Fellas and you
think about the generation of gangster films. Yeah, you know
the Italian you know kind of genre, the Italian American Italian.
You know that it was out here doing it. And
you talk about the Godfather, right, and the Godfather and
Godfather too.
Speaker 2 (10:39):
You know where the Naro is is plaining, you know,
it's you.
Speaker 1 (10:43):
We're seeing him become you know, who he's gonna be,
and that those performances had this rhythm, and I think
the culture really enhanced what these characters had to offer
in the narrative tone, right, I think like that's the.
Speaker 3 (11:00):
The culture in the movie or the culture and.
Speaker 1 (11:02):
Like the Italian culture, right, I mean like the coren
actor to fall back into their character traits, their values
and speak.
Speaker 2 (11:11):
Authentically about what their values are.
Speaker 1 (11:14):
Because you talk about the Godfather, you know, these guys
were real gentlemen, right, There were men of their word.
You know, they were loyal you know and until until
other people, until others.
Speaker 2 (11:23):
Weren't and and uh.
Speaker 1 (11:26):
And you know, so that's kind of stuff I really
resonated as a Latino, you know, and as a brown man,
I can really relate to some of the values, the
family values, you know, the the you know, the spirituality
part of it, all that stuff.
Speaker 2 (11:37):
So, but I think it's I think culture.
Speaker 1 (11:40):
I think that those characters really, you know, just really
came to life because they've rooted it softly in who
they were as individuals as well, right like their culture.
And I think that's one of that's when it gets
really unique, when an actor really performs to their strengths
and leaning on what they really do know. And I
think that I think maybe that's one of the reasons
(12:02):
why I feel like Goodfellas to me also felt like
you were watching something you weren't.
Speaker 2 (12:07):
Supposed to, you know.
Speaker 3 (12:09):
Yeah, it was definitely some like inside something felt inside
about it. Different world as opposed to like watching like
a regular mobster movie, which which I'm sure all of
it has it's it's it's levels of authenticity to it, right,
but but there was something that was different about that
one that, at fifteen years old, absolutely floored me like
(12:32):
nothing has ever floored me before.
Speaker 1 (12:34):
Okay, so we have the last weekend, yep, and we
have Good Fellas.
Speaker 2 (12:38):
What's your next one?
Speaker 3 (12:40):
Carlito's way, Yeah, yeah, man, Carlito's way. You know mine
shout out to Louis.
Speaker 2 (12:52):
Louis, Louis lou Louis from the Hood.
Speaker 3 (12:55):
Yeah, and to John Ortiz and John Sata who's in
that movie and like that movie and all that, uh
I rec and that's a whole other subject's talk about. Look,
(13:18):
it's it's a yeah, it's a tough subject matter, you know.
But but I I I try to I try to
watch that movie objectively, right, I try to watch it
with no preconceived notions going in. I just love the movie. Man.
There was something different about that movie, the way that that, uh,
the director used music and original score with that music,
(13:42):
with that movie, it was almost poetic that I felt
that these other movies didn't use those and and and.
Speaker 1 (13:49):
By the way those other movies there was rarely music.
The music would come in at very specific moments.
Speaker 3 (13:55):
Of the act.
Speaker 1 (13:57):
Yeah, yeah, like there taking you from one act or
the other that dude, h.
Speaker 3 (14:04):
Yeah, yeah, I had that and Godfather or even like Goodfellas,
where Scorsese was also sort of a music buff, right,
so he used very specific music cues and that. But
but go back and listen to the original score in
Carlito's way, and it's it's beautiful, man. It's his beautiful
strings and something that you wouldn't expect to be in
(14:25):
the background of something as gritty as like a film
like that. And I just love, I love. I think
the movie is beautiful and it's poetic. And I know
people have different opinions about Patino and his performance and
him not being Puerto Rican all that stuff, but I
still it still resonates with me. Man. I could watch
I go home and watch it tonight and watch it
(14:47):
like it's my first time watching it.
Speaker 2 (14:58):
I mean, seems we're in the gangster of it all.
I think I'll match you.
Speaker 1 (15:03):
Yeah, just as much of a controversial movie Scarface.
Speaker 3 (15:08):
Dude, I just rewatched that movie.
Speaker 2 (15:10):
Come on, man, from the first one, Dude.
Speaker 3 (15:13):
I just rewatched it. As I always say to myself,
I've been going, I've been going on this journey and
I've been watching movies as an adult. You ever watch
movies now as an adult?
Speaker 1 (15:24):
Oh?
Speaker 3 (15:24):
Yeah, not as a kid? Not as like I'm gonna
go watch Scarface, like the sensationalism of it. Have you
watched it now as an adult? You have? And what
do you think?
Speaker 1 (15:35):
I mean, there's a couple of things, right, Yeah, so
scarface to me felt like these two characters, like, you know,
they kind of breezed through the immigration part of it,
cams and whatever and all that stuff, and you know,
and they really painted a picture that these Cubans were
here like just messing things up, right, Yeah, And and
then it was like just an unhinged interpretation of two
(15:56):
dudes that were just out there.
Speaker 2 (15:57):
Doing whatever they wanted to do, you know.
Speaker 1 (15:59):
And but it's an interesting question, you say, we watched
it as an adult, How did how did how did
he speak to me on that level?
Speaker 2 (16:06):
And and I.
Speaker 1 (16:08):
Think I felt like that era, this analog era of
pain payphones and convertible Cadillacs and like pastel colors in
Miami felt like a different planet. And somehow I allowed
it in my mind, we gave it license to exist,
not just rant free, but like no questions asked.
Speaker 2 (16:33):
I just went along for the.
Speaker 1 (16:34):
Ride and I didn't have to like poke holes on
it because I was like, it just brings me back
to like the first time I saw it.
Speaker 3 (16:40):
At the sensationalism of it, Yeah, because it's so big,
say hello, like what the hell? But wasn't Miami kind
of big at that time?
Speaker 1 (16:51):
Larger than live, like the open silk shirts and you
know and all that, and so do you.
Speaker 3 (16:58):
Think that maybe it was just an interpretation of what
was what was really happening. I mean, look, are people
in a mansion like with a big ass gun like that, Like.
Speaker 2 (17:06):
Maybe back then, you know, you know, it probably is Miami.
Speaker 1 (17:09):
I think everyone was probably you know, liked and loaded
over something, you know, but.
Speaker 3 (17:13):
But a reflection of like of like the externalism of
of like how people were right and how it.
Speaker 1 (17:20):
Just feels to me like it was this grounded world. Yeah,
the movie was a grounded world. And then they told
Paccino step on it or Patino just said, I'm going
to play something so different than you've ever seen me do.
Speaker 2 (17:37):
Yeah, you know, this is a different boss, It's.
Speaker 1 (17:40):
A different gangster he was playing, right, like, so he
just said, I got it.
Speaker 2 (17:43):
I'm gonna play Q and I'm a little more external.
Speaker 1 (17:46):
Yeah, it has to be a little more external because
he's been because every other gangster he played was so internal.
I mean, I go back to Scarface, uh Mooney too.
Speaker 2 (17:59):
Sorry sorry, and that scar I go back to Godfather too.
Speaker 1 (18:02):
Yeah, my got Godfather too was so settle in the eyes. Yeah,
he was he was saying monologues with his eyes. People
were talking around him, and the camera was just on him.
And then you go to Scarface and he's just like
filling up the seventy millimeter like lens like he's just.
Speaker 2 (18:24):
Filling it up.
Speaker 1 (18:25):
So I think he just I think that that opportunity
was making choices, Yeah, to go far, because if I'm
gonna play another gangster, I'm gonna go as far as possible. Yeah,
you know, so it's a different type of gangster. And
I think he he went very far.
Speaker 3 (18:43):
Yeah, and it kind of I don't I don't know. Man,
It obviously works, right because people to this day are
wearing Scarface T shirts and jackets. And at the time
it got panned, right, the film got panned, his performance
got panned. But I feel like sometimes people will make
these bold choices as an actor, right, and and people
(19:03):
crap on it in the beginning, and then and then
and then it needs to sort of live in the ether.
And then and then people like are like, oh, I know,
it's kind of big, but it's big, but it's still
grounded at the same time.
Speaker 1 (19:15):
And I think I think critics and you know, cinema
has become more and more cynical. I think over time,
every decade, we fracture fantasy, and we fractured boldness, and
we fracture originality. And when something is that different or
that bold and it doesn't fit them all that everyone's
(19:39):
leading into this is the trend of subtleness or independent
film making or whatever, then all of a sudden it
becomes like not good, you know, And there's something to
be said about the different cinematic narratives that actually are
needed to tell very specific stories and original cont and
(20:00):
should be given the freedom to be at whatever frequency
they need to be to tell us, you know, to
tell us what this is about.
Speaker 4 (20:09):
Uh.
Speaker 1 (20:09):
And I think for him, uh, what really worked for
me is that the world was very real for Scarface,
but he had to play someone that was a lunatic.
He was just crazy and delusional and that you know,
so you had to see him on hinch. I mean,
one of my favorite scenes in Scarface is when he's
(20:30):
in the restaurant and he gets drunk and Michelle Fiffer
is there and he's just like, you know, say hello,
I do the bad guy. You know that that part,
like that was uncomfortable. That was like you know that
was grounded and real and that he really saw that moment.
Speaker 3 (20:45):
For me, I know, somebody who's done that in the restaurant,
like completely made a scene. And so when I saw that,
I was like, yeah, yeah, I've seen that. There's a
lot of that stuff. That's that's real man. I I
you know, I unfortunately grew up in a in a
in a neighborhood uh somewhat similar and and there's some
(21:07):
there's some big characters in those neighborhoods and who are
a part of that world and that underworld, I mean
people who are really external growing up in that type
of neighborhood. There are a lot of larger than life
characters like that man that that if you were to
meet them in real life, you're like, wow, if if
(21:28):
they were to put someone like this on screen, you
would think that it's unbelievable. Remember when when Snoop at
a time was hanging with that one pimp who used
to we.
Speaker 2 (21:37):
Used to drive, we used to drive.
Speaker 3 (21:40):
The Bishop down Horn Like that's a real.
Speaker 1 (21:45):
Dude, like like every MYSIC video with him.
Speaker 3 (21:47):
That's a real guy who lives his life like that
every single day, who.
Speaker 1 (21:52):
Really addresses like that by the way, every up and
you know the pimp hat and the cane.
Speaker 3 (21:57):
And yeah, I mean, I grew up with some pretty
pretty colorful characters.
Speaker 1 (22:03):
You uh, send me a picture the other day with
a very colorful outfit.
Speaker 3 (22:10):
Which one? Which one? Which?
Speaker 1 (22:11):
I think you were going to a dance or I
don't know if it was a dance or something. You
you were wearing white gloves. Oh, yeah, definitely, I know
I understand that you that was kind of the neighborhood,
you know.
Speaker 3 (22:26):
For our mullet.
Speaker 1 (22:28):
Yeah, you had a ring over the white glove.
Speaker 3 (22:31):
Dude, I had I had gold chains over the tie.
Speaker 1 (22:35):
You know, I gotta say it was it was a
different frequency. And I want to tell you something. Yeah,
I mean, I mean you call me to hang Yeah,
I'm going to my closet and I'm doing the same thing.
Speaker 3 (22:55):
I mean.
Speaker 1 (22:56):
And for those of you who are wondering what we're
talking about, you know, sometimes we send each other funny
pictures of our past or something. He came across a
picture when I think when you went back home or something.
Speaker 3 (23:06):
And I went back home, and my mother always tends
to break out, you know, old magazine articles and old
photos and you know, and she came across a photo.
I stood up and somebody's keen Signetta, which, for those
who don't know what a King Signetta is is somebody
sweet sixteen, right, but fifteen? And this was Wilmer and
(23:28):
I have had multiple discussions about mullets and Dracar Noir
and everything that pertains to that time period. And I
came across a photo of me in a King Signetta
with the most killer mullet you'll ever see in your life, Freddy.
Speaker 2 (23:46):
It was so iconic.
Speaker 1 (23:51):
I was like, I gotta sit over this photo, Freddy.
I want you to understand, like things were differ in
my house. I want you to understand that things really changed,
and I will be honest.
Speaker 2 (24:07):
For the better. Yeah, for the better.
Speaker 3 (24:10):
I was.
Speaker 2 (24:12):
I'm a believer, Yeah, I believe. And you you brought a.
Speaker 1 (24:16):
Level, you up the game to such a degree that I, uh, yeah,
I owe you one. I owe you a picture back
because I'm gonna tell you something. You're gonna realize how
much we were got at THEOD.
Speaker 3 (24:29):
We give you my picture.
Speaker 1 (24:31):
It's gonna be it better be a psychonic Oh no,
it's it's it's a legend.
Speaker 3 (24:37):
You know.
Speaker 2 (24:37):
My mind is an immortal legend. When you see would
you see what.
Speaker 3 (24:41):
You've show You've shown me some year old headshots?
Speaker 2 (24:44):
Yeah, another are problem for me, they are a problem.
I have one photo.
Speaker 1 (24:50):
I have one photo that I think might actually not
only brings us back together, well, we might, we might
move our families together. We might we might have to
move into the same property because we're the same fucking
do it?
Speaker 3 (25:10):
Okay, So Scarface is your is your three? I think
for me my four or my three would be there
will be blood. Wow. Yeah, there's something about that movie
that I can just right now, I can just go
watch it and there's just something, like I said, I
don't know if it's the alchemy of it with everyone
(25:33):
involved in his performance, there's just something that's so magical
to me about the way that film is executed. And
Daniel day lewis right, he's one of those actors that
every time he does something, it's so it's so magnificent
to me, you know, I just I just think it's
a It's a wonderful film.
Speaker 2 (25:52):
I think I would say, like.
Speaker 1 (25:55):
Rocky yeah, right, because when you think about those movies
that became prototypes when it comes to like the underdog stories,
I mean they had to do. They made probably two
hundred movies of the that had one that had this
underdog story, two that had a training montage, right, you know,
(26:17):
and and you think about like this, you know, single
led guy who goes against all odds, you know. And
also that was a prototype for every sports movie, every
sports movie, those acts were identical if you think about
all the you know, the the you know the you know,
losing then winning, then losing again to as still as
a win.
Speaker 2 (26:37):
You know.
Speaker 1 (26:38):
You know that that little sequence I think was was
part of that, that prototype, and I think Rocky what
it what it did for me was, you know, it
became this inspiration. I mean even you know we were
talking about earlier House tallone you know, was able to
champion that movie and get it made and stuck stood
by his you know, he stood his ground and said, no,
(27:00):
I got to play the guy.
Speaker 2 (27:01):
No one can't play this guy but me. I know
what I got to do.
Speaker 1 (27:06):
And that's why I wish he never died and any
of the last that likes to create movies, yeah, you know,
like it's and I also wish that he wouldn't.
Speaker 3 (27:17):
But then what would he have done, though, Like what like,
you wish you wouldn't have died, and then what I've
still been the trainer.
Speaker 2 (27:24):
I think he could have been like Mickey, you know.
Speaker 1 (27:27):
But also I also like he he went through such turmoil,
Like I wish he would have just been like a
happy ending for him because he gave us so much.
I feel like I wish that he would have retained
some of his money, Like why did he have to
be broke? Why did he have to be sick? Why
did he have to be all those things? Like is
it because most you know boxers and that way, I
(27:50):
get it, I get it, But why if he didn't, right, Like,
what would it done to the boxers of the future.
You know, we could have kept a little bit of
my money and you know, yeah a restaurant dude went
up to the restaurant. Yeah, you know, and you know,
to me, it's like for him to die alone, and
it's kind of kind of crazy. I don't know, it
(28:10):
just I don't know, but I get why. It feels
like smart. But you know, there's some boxes that I made.
You know, Look, Oscar has a promotional thing and you know,
I don't know, I don't know, you know, but I
think Rocky to me, when you think about a movie itself,
that's another one that painted such a realistic interpretation.
Speaker 2 (28:31):
About what his world was like. Even the moment where
he's like where is he? Where is he? Where Isy?
Speaker 1 (28:37):
He just pulls up outside the window of the priest
and goes, oh, he was wondering.
Speaker 2 (28:41):
If you can give me a blessing.
Speaker 1 (28:42):
I've got the biggest part of my life, and you know,
I just want to make sure I come back in
one piece, you know, like whatever.
Speaker 2 (28:48):
And I think that that that was like, oh, man,
like this is an Italian guy.
Speaker 1 (28:55):
I gotta go to the priest. I gotta get a
little blessing before I go do my thing, you know.
Speaker 3 (28:59):
Yeah, it's funny you mentioned that movie I just saw.
We were talking about Robert Rodriguez and when we were
working together, he had went out of town for something
and he came back and I was like, I was like,
where'd you go? He goes, oh, man, I want to
go meet with stallone. He showed me his new movie,
his new Rocky And this is the one that you're
talking about that he had the restaurant, the one with yeah, yeah, yeah.
Speaker 1 (29:24):
By the way, big shout out to Milo one of
the most amazing people. Parade man, incredibly talented, and he's yeah,
we should have him on too, because he's he's just amazing,
great stories too, Like.
Speaker 3 (29:35):
Oh yeah, we gotta have him on.
Speaker 2 (29:37):
It's one of my favorite people.
Speaker 3 (29:38):
He had come back and and and mind you, there
was a big gap right between the previous Rocky and
that Rocky, the one that he was in. And I
remember him coming back and saying to me, I mean
I just saw Stallon's Rocky, which he you know, stepped
back into the director's chair, he directed it, he wrote it.
This was like his baby again. And I don't know why.
(30:01):
I think maybe because the Rocky that was prior to that,
what was I don't think it was great. I was
a little cynical, man, I'm not gonna lie. I was like,
really man, He's like, no, dude, I'm telling you, it's
really good.
Speaker 2 (30:14):
So what was the storyline of that one? Again? You
know they had the restaurant right, and.
Speaker 3 (30:18):
He was just like, oh you mean that one with Milo? Yeah? Yeah,
Well Adrian dies right, and and you know you kind
of see him visiting her grave and he he's just
like a like a like a washed up boxer who like,
you know, tell stories at a restaurant and then uh,
what's that? What's the real boxer who was in that
movie comes back and they're like, hey, it's just sort
(30:40):
of an exhibition, you know, and and he kind of
steps back into the ring with Mickey Guns. Right.
Speaker 2 (30:45):
What was it Tommy Guns?
Speaker 3 (30:48):
No?
Speaker 2 (30:48):
No, no, that that was one the street brow right.
Speaker 3 (30:51):
That was the one before before.
Speaker 2 (30:53):
Yeah, yeah that was and unfortunate.
Speaker 3 (30:57):
Yeah it wasn't. So that's why I was cynical.
Speaker 1 (30:59):
But it's like with the video game, right, they're like, oh,
in the video game, Rocky beats this real boxer. Yes, right,
and then they're like, what is do an exhibition and
see where it really wins?
Speaker 2 (31:09):
You know. He's like, don't do what are you talking about?
You know?
Speaker 3 (31:11):
But what was so genius about that movie? And you know,
and I was, like I said, I was cynical. Was
that Stallone made it like this really deep father and
son's story and like the loss of his wife's story.
I was expecting her to be dead. And I remember
watching it on the plane and going like all, Robert said,
this movie is good, and I put it on and dude,
(31:32):
like like a quarter into the movie, man, I start
freaking crying on the airplane.
Speaker 2 (31:37):
That's the loan. Dude, you knows that. I you know,
I hit the strings and a tear comes.
Speaker 3 (31:41):
Down and I'm like, oh my god, I'm on an
airplane like crying in this movie.
Speaker 1 (31:45):
That speaks too, this speech that it's played in every
gym and it's written on every wall.
Speaker 2 (31:50):
You know, anohing's gonna hear you harder than life. Yeah, yeah,
you know.
Speaker 3 (31:55):
It's brilliant at that. But that's a good one, bro. Well,
all right, since we're talking about boxing, like Raging Bull,
Oh my god, there's another one that to me, yes,
he ranks Scorsese Goodfellas Raging Bull. Yeah, Like I could.
That's another one that I've seen thirty times. I could
put it out right now and watch it. There's something
about the execution and the simplicity of that, right. But
(32:18):
but as we talk about sort of a boxer's trajectory,
I felt it was very indicative of a boxer's a
boxer's trajectory, right ending up as that guy he's like
forty pounds heavier, Yeah, and he's like at a restaurant
telling a story.
Speaker 1 (32:32):
And then the nero said in an interview was like
I'll never do that again, you know what I mean.
He was like the weight, Yeah, yeah, he's like that
was that was a challenging thing for him to do,
to put on the weight. Yeah, yeah, I do it
all the time. Man, I don't know what's a problem.
Speaker 2 (32:46):
It's very easy for me. Three weekends, man, I get
to you know, say action.
Speaker 5 (32:50):
I'm ready, I'm ready, okay for this fourth movie, the
final final installment into this four movie journey list.
Speaker 1 (33:09):
Pick something now that that is so unexpected, you know
that somehow it was original. I think like those movies
kind of fall in the eighties sometimes for me, you know,
it's like those colorful movies, you know, like.
Speaker 2 (33:26):
You know, I think like the.
Speaker 3 (33:28):
Like what resonated as a kid, like Back to the.
Speaker 1 (33:31):
Future, right, Like, let me see back to the Future
is one that really like and I watched all of them. Yeah,
I just I just love the Back to the Future movies.
It's like, well that's really possible. Terminator, yeah, you know Predator, Yeah,
you know those movies that like we're just this single
(33:53):
singular stamp of like you'll make this movie again with
different actors and different monsters, or you make this movie
again with you know, in the future, it'll time travel
with different you know, with the same formula. You know,
don't change, don't don't mess with the past, right and
don't definitely mess with the future, right. Like It's like
it's always kind of some some things. So what would
(34:14):
be one of those for you?
Speaker 3 (34:16):
Oh? Man, we're talking about movies like when we were kids. Yeah,
you know, like, man, I remember watching like The Last
star Fighter. You ever see that one? Very good? You know?
Or or Gremlins.
Speaker 2 (34:29):
Gremlins, Bro, that's another one.
Speaker 3 (34:31):
Dark Crystal. Did you ever see the Dark Dark Crystal?
I just missed those movies? Man, I miss those type
of like big Spielberg and.
Speaker 1 (34:40):
Practical stuff probably like the puppeteering and the thing that
made it feel like you could touch it, that could exist,
you know.
Speaker 3 (34:46):
Yeah, I missed those, man. I missed those types of movies,
and they always and the storytelling was always really good
on those. But I don't know I have those been replicated.
I'm not sure that's a really good one.
Speaker 1 (34:57):
I mean when you think about like, like see how
you you talk about.
Speaker 2 (35:03):
Which ones that you said? You said the Dark Crystal? Right,
never ending story, never ending story? Right?
Speaker 1 (35:09):
You think about also, like you know, the Harry Potter movies, right,
Dark Crystal, really like these are movies, these are books
really kind of like have inspired this multiple generations, you know,
but the tonal of things of these movies, you know
where they never ending story. I mean, I think about
you know, what's another one that could mimic that? Again,
(35:31):
these movies were so original, I was they were hard
to duplicate, but that's the formatic or blueprint of the
narrative was replicated with different with different journeys.
Speaker 3 (35:42):
You know, I'm trying to think what would be one
that's I mean, any any of those like you were
we were just talking about, like The working Man that
just came out, you know, shout out to David Ayr
who had a hit movie out. But I like that
they're going back to like that kind of like the Guy,
you know, like you were just you just named a
(36:04):
slew of like Arnold Schwarzenegger, like singular man's you know,
like I love the Commando.
Speaker 2 (36:12):
Another Father Daughters, that's his story.
Speaker 3 (36:15):
Yeah, yeah, true Lies. I just saw True Lies the
other day man. Probably the best stunts, the best I've
ever ever seen.
Speaker 2 (36:26):
A Harry the Plane that what was it that? Oh,
come on, bro, I mean that movie gives me anxiety.
Speaker 3 (36:31):
Man, I'm like it's so, I mean, what movie have
you seen after that that has had real stunts like that?
Speaker 1 (36:40):
The only one and it basically doesn't even fall anywhere
near this category would be Rush Hour and that one
is a prototype of Litho weapon, but a lot more comedic,
right Letho weapon?
Speaker 2 (36:54):
Yeah, got it right.
Speaker 1 (36:56):
Yeah, you know got it writing so many uh and
that was a Donner right, a producer uh and director.
Speaker 3 (37:03):
But I missed those movies, man.
Speaker 1 (37:05):
Yes, I mean there was something very very organic and
real about those you talked about Greenlins, you know, that
movie to me was so crazy invative, like just those poppets,
those things, you know, those things were really banana's. The
fact that they couldn't eat after midnight, that you couldn't
have water on their skin, you know, so what did
(37:25):
that mean?
Speaker 2 (37:25):
They couldn't if they if they eat after midnight.
Speaker 3 (37:28):
But until on soil sunrise, but then after sunrise they
could eat well.
Speaker 1 (37:33):
Like every day is after my yes, yes, yes, well
it's like I think that the science was that, Like, dude,
like if they somehow after midnight they become these monsters,
and I don't know what the metaphor of that was.
Speaker 2 (37:46):
And then we got to look up at the met.
Speaker 3 (37:47):
Was it like midnight to like sunrise or.
Speaker 1 (37:49):
Something like that, But yeah, because then it was one
long night of hell, right, and I.
Speaker 2 (37:54):
Think that's kind of what it was.
Speaker 1 (37:56):
And then Gizmolo so you couldn't put water on his
skin because it will multiply.
Speaker 2 (38:00):
Yeah, yeah, that all that stuff is going.
Speaker 3 (38:03):
Can you believe that that's considered like a Christmas movie?
I was trying to watch that with the kids this
Christmas and there, and they're kind of like, that's a
Christmas movie.
Speaker 2 (38:12):
I'm like, I guess it is.
Speaker 3 (38:13):
Man, I really wanted to watch it this Christmas. Ghostbusters, Yeah,
yeah for that one. I remember having that one on
video cassette. Did you guys have that in Venezuela, like
like just the collection of that you just do. There
was something about having the video cassettes when I was
a kid. It's like, well, this weekend, although I've seen
it ten times, we're going to rewatch it again.
Speaker 2 (38:35):
Yeah.
Speaker 3 (38:36):
I watched what did you have on video cassette in
Venezuela that Yeah, Cobra.
Speaker 2 (38:41):
And I played that out Bro I used to love that.
Speaker 3 (38:45):
You're the disease, not the cure. Yeah, I remember, I
remember we had like I remember Death Wish, Death Wish
one and Charles Bronson. You know what was what was?
What was? What was Chuck Norris's franchise?
Speaker 1 (39:00):
And he had the Seals right? There wasn't he in
like the Navy Seals or something. Strike Force wasn't it?
It was like Delta Force. That's what he was in.
Speaker 3 (39:12):
Bro.
Speaker 2 (39:13):
Like you know that motorcycle had missiles. I didn't really, Yes,
there was that sound and he just shot the motorcycle.
Speaker 3 (39:23):
Wa man, Delta Oh Man. I smember my dad watching
all that. You ever seen this documentary called Electric Boogoloo
and it was about it was about the company that
produced all those movies. They were called Cannon Cannon Films.
These two guys from Israel, and they're the ones who
did the break in movies. But they did all the
Death Wish movies and and Porky's and like you know,
(39:46):
they brought all that stuff from his Porky Wow for
Porky's Wow. Dude.
Speaker 1 (39:52):
I mean, I just I hope that everyone who's listening
or watching us now can literally just grab a little
piece of paper. Right, all these movies, if you haven't
watched them, if you've never heard of him, treat yourself
to the history of cinema, not just as we know it,
but as as it's been recreated over and over and
(40:13):
over again. In the likeness of all the movies.
Speaker 3 (40:16):
They can do a port they can do it. Porky's
now and what about you boy, Tom Hanks Bachelor Party?
We had that on video because that's amazing.
Speaker 1 (40:25):
Watch that over now the way think about risky business,
risky business?
Speaker 2 (40:29):
You make that movie now right?
Speaker 3 (40:31):
Right? What was it? What was the premise of that movie?
Speaker 2 (40:33):
Parents go out of town?
Speaker 1 (40:34):
He throws this party, but no he starts ay, I
think he starts in uh nescal business or something.
Speaker 2 (40:42):
Does he have like all these you know, these dancers
of the night in something work at his house?
Speaker 1 (40:48):
Remember, like he just started a business with with I'm
gonna remember what's the log land on that.
Speaker 4 (40:53):
Movie Ectatic When his parents leave on vacation for a
few days. High school senior Joel good and cuts luice
with his best friend Miles after an attempt at securing
the services of a prostitute, goes goes slightly ari Joel
hires gorgeous Lana for a night of delight, Stunned by
the amount of Lana's bill. The next morning, Joel grows
(41:14):
frantic after he crashes his father's Porsche in an effort
to raise lots of money fast. Desperate, Joel turns the
house into a brothel.
Speaker 2 (41:21):
Yes, come on, dude, that's Tom Cruises one.
Speaker 1 (41:27):
That's one of Tom Cruise's biggest pop culture movies of
all time. And people don't remember that, remember that premise.
They only when they think risk of business. They only
think about him sliding across the floor and the socks
and in the dress shirt.
Speaker 2 (41:41):
That's the only thing that will remember. But if you
listen to that tagline, come on, man, he was a pimp. Yes,
you go to make that movie now, it's a teenager.
Speaker 3 (41:49):
Pip teenager Tom Cruise pimp.
Speaker 2 (41:52):
That's kind of insane, right, that's a bitch, that's a pitch.
Here's my pitch, Tom Cruises the teenage. Can't wait for this, dude.
Speaker 3 (42:01):
You know what else we had on video cassette? Did
you did you ever have did you ever watch Revenge
of the Nerds? Of course, I mean eventually they wasn't that.
Speaker 2 (42:11):
As an actor I think Paul Figure was in that.
Speaker 3 (42:14):
Was he really? I know?
Speaker 2 (42:15):
Maybe not?
Speaker 3 (42:16):
Yeah, Tim Bussfield and like a but but the original
one is so well executed. And then they and then
you see two and three and.
Speaker 2 (42:25):
They they made a lampoon.
Speaker 3 (42:27):
Yeah, they became kind of caricatures of themselves. But the
first one was so grounded. James Cromwell was in that movie.
And Anthony Edwards from from uh Er he played one
of the nerds. And and James Cromwell played his dad.
Speaker 2 (42:41):
In that movie you remember stand by Me? Yeah, of course, man,
I mean.
Speaker 3 (42:46):
Wow, Rob Reiner directed that movie.
Speaker 1 (42:49):
Was in theaters, dude, and you could have made that
movie again right now?
Speaker 2 (42:53):
Like could that movie ever be? It was the four kids.
Speaker 3 (42:56):
They they go on this thing, they find a dead body.
Speaker 2 (43:00):
See see what I'm talking about?
Speaker 1 (43:01):
See the coloration he see the common denominator about these movies. Yea,
you know, there was something really live altering happening. It
was rooted and and the environment, it was rooted in
their journey as people. And uh, you know, they don't
write characters like that anymore. They don't write stories that
are that de boignant and like that heart hitting. Yeah,
(43:23):
you know, it's It's a shame because stand by Me
is like, yeah, what if what did you come across?
Speaker 3 (43:30):
That? And that cast River Phoenix Jerry O'Connell, like, man,
oh man, Rob Ryaner directed that movie. Yeah, so so
well done. Oh man? You know what else? Did you?
We had a Field of Dreams on video cassette. Bro,
you see Field of Dreams?
Speaker 2 (43:45):
Yes, of course, if you're building, they will come.
Speaker 3 (43:49):
Tim Buzzfield was also in that movie. He played the
I think what was he? Yeah, I think he.
Speaker 1 (43:53):
Played that was I think that's Kevin Costner's probably most
iconic movie, right, I mean Untouchables was great. Yeah, Dancing
with Wolves I think it was pretty big for him too,
Which one you think I think Dancing with Wolves was
probably the biggest. Yeah, yeah, yeah, by by far, by far,
But I love him and Untouchables. Yeah, but that was
like also very popcorn right, like yeah, like yeah.
Speaker 3 (44:15):
Field the Dreams was so like like original, and I
don't know if they've remade that one at all or
even taken the blue print.
Speaker 1 (44:23):
He's done a few tributes to it in in Major
League Baseball where he walks out of the field and
audiences just go nuts, because in real life, yeah, Oh really,
I didn't know that. It was very cool. What else
did you have on video cassett and video cassette? I
had to stand by me?
Speaker 3 (44:41):
Yeah, me too.
Speaker 1 (44:42):
I think we've talked at extend about robo Cup. I
had RoboCup. I had a RoboCup.
Speaker 2 (44:48):
Yeah, robo Cup is a big one for me. That
one's one that I used to watch.
Speaker 1 (44:54):
I've said this many times before, but there was one
movie theater in the small town I grew up in Venezuela,
and they played robo Cup all year around. So that's
the movie. I will go watch it and the movie theater.
What else did I have? I've had, uh D Cobra had,
I had Rocky Terminator, you know. Of course Terminator is
(45:14):
like Staple, you had to have that VHS. And then
other movies that the really kind of mind bended cinema
at the time. I mean Jaws, yeah, right, like Jows
was the product that the monster you don't see, yeah
until it shows itself at the end, you know, accidentally
(45:37):
but also now on purpose in every movie you know.
Speaker 3 (45:40):
Did they ever play the Warriors in Venezuela?
Speaker 1 (45:42):
Yeah, Warriors clink clean, clean clean clean, come out and
play that.
Speaker 3 (45:49):
A profound effect on me. We had family in New
York during that time, and I was like, whoa, that's
how it is in New York pre Internet. Yeah, it
was like my perception of what New York was like
that Walter Hill directed movie excellent.
Speaker 1 (46:03):
Occasionally in Halloween you see people bringing that those customs back,
and I think some people are like, what.
Speaker 3 (46:09):
Is that the baseball Furies and all that?
Speaker 1 (46:11):
Yeah, yeah, yeah, yeah, those movies are you know, I
think when when we start really thinking about those films
and not just the role they played in us as
as an artist, you know, but also just the audience
as just simply as people that just went to the
movies or watched the movies.
Speaker 2 (46:28):
It really redefined cinema.
Speaker 1 (46:30):
And I hope that, you know, that the innovation of
those movies doesn't stay and independent in the independent film world,
like I hope that it gets it makes a comeback
to you know, to to cinemas, to to to the theaters,
because nowadays, you know, streaming is the place for a
(46:50):
lot of these movies, and sometimes it's really hard to
find them, you know, there's just so much out there available.
But the theaters was a beautiful experience. Occasionally you see
anniversary screenings of some of these movies, and and and
it's beautiful to re experience it and in theaters. But
is there any other movies you want to share?
Speaker 3 (47:10):
What else? What else had an effect on me? You know?
I remember in high school, like I had, I had
deep cover on on on on video cassette. Did you
ever see that Laurence fish Laurence Fishburne and Jeff Goldbloom
such a such a great great film.
Speaker 2 (47:29):
We speaking of Jeff the Fly. Oh yeah, yeah, David click,
Come on, don't make movies like that anymore?
Speaker 3 (47:35):
Man? Oh man, No, they don't. Isn't a shame, you know,
they don't make movies like that anymore? You know. I
hope we get to a place where where commerce and
art starts to strike more of a balance more, you know.
Speaker 1 (47:47):
Or or that or that art but not I wouldn't
say art, but with our industry gives audiences a little
more credit. Yeah, you know you talk about if if
if you build it, they will come right like that's
you know that they they only feel safe producing those
independent films, you know, because they just they feel like
(48:08):
people want massive world ending stories if you're going to
bring them to the movie theaters, but occasionally just run
away the runaway you know, uh, you know runaway hits
like get Out, you know where, like that was incredibly
you know, original, and but they're not betting on those
horses anymore, right, So I think it's slowly We're gonna
(48:29):
have to just slowly really kind of champion with that,
and all of us have to create kind of a
network of actors and artists are saying like, hey, let's
stick by this, Let's make these movies. Let's prove that
the audiences are you know, have been waiting for for
these two comeback to cinema, so you know, we'll see
how it goes. But either way, this was another really
fun conversation at those yeahs. Thank you everyone for listening
(48:52):
and send us your movies. Tell us what to uh
you know what you guys, what you guys grew up watching.
We love to uh, we love to hear that.
Speaker 3 (48:59):
Yeah, but you grew up watching what was in your
video cassette drawer? What was in your DVD drawer? What
is I want to know why what you grew up
watching and why those movies resonated with you absolutely?
Speaker 4 (49:12):
What's a video cassette drawer.
Speaker 3 (49:17):
You gen Zer you, Leo.
Speaker 2 (49:20):
Yeah, I know gen Z Wanna Beard.
Speaker 1 (49:21):
You know that guy's at three six Mafia over there, right,
So wait, what.
Speaker 2 (49:27):
Do you are you Jen.
Speaker 3 (49:30):
Lenia? Yeah?
Speaker 1 (49:34):
Absolutely, Well until the next episode of Those Amigos, I'm
Wilmer abal Dorama.
Speaker 3 (49:38):
I'm Freddy Rodriguez.
Speaker 2 (49:40):
See you on the next one.
Speaker 3 (49:45):
Those Amigos is a production from WV Sound and iHeartMedia's
Michael through That podcast Network, hosted by Me, Freddie Rodriguez
and Wilmri Valdorama.
Speaker 1 (49:55):
Those Amigos is produced by Aaron Burlson and Sophie Spencer.
Speaker 3 (49:58):
Zabos are execut to. Producers are Wilmri Valderrama, Freddie Rodriguez,
Aaron Burlson, and Leo Clem at WV Sound.
Speaker 1 (50:06):
This episode was shot and edited it by Ryan Posts
and mixed by Sean Tracy and features original music by
Madison Devenport and Halo Boy.
Speaker 3 (50:14):
Our cover art photography is by David Avalos and designed
by Deny Holtzklau.
Speaker 1 (50:19):
And thank you for being at Third Amigo today. I
appreciate you guys always listening to Those Amos.
Speaker 3 (50:24):
More podcasts from my Heart visit the ir Heart Radio
app Apple podcast or wherever you listen to your favorite shows.
Speaker 2 (50:30):
See you next week.
Hey everybody, this is Freddie Rodriguez and I'm Wilmer Valdorama Podcasts.
Welcome back to those of Egos podcasts only, uh, everywhere
you get your podcasts as we say thank you to
our beautiful family at iHeart Podcast and in our home
at Michael Tuda podcast Network. Yes, you know this is
(00:26):
a podcast you can not only listen to, but you
can watch.
Speaker 2 (00:29):
You you're watching. You already know that part. That's right.
Speaker 1 (00:31):
If you're listening, you can go find us a YouTube
and enjoy enjoy this stuff.
Speaker 3 (00:36):
They can enjoy how straight your hat is? Yes? That was.
Speaker 2 (00:41):
How dare you so? The first question? But I think
it is my biggest petic.
Speaker 1 (00:46):
Like I was like, if I'm on TV with a
cricket hat, it's embarrassing to try to talk about some
stuff that matters, Like I can't talk about serious stuff.
Speaker 2 (00:53):
When my hat is like because your.
Speaker 1 (00:57):
So anyways, really really cool to be back with everyone here, Freddy,
I I miss you when we're not in the same
room together. Uh, please don't make it weird. Well it's
too late. He made it weird.
Speaker 2 (01:15):
Uh.
Speaker 1 (01:16):
But today I thought, you know, we could start with
something kind of fun, you know, and the reason I
call it pron is because I think it's always so
talent and so you know, you know, so so philosophical
when we go into some of these moments and entertainment
that kind of not only made us but shaped us.
(01:36):
And we've done a lot of that in our internal
you know, uh, search for each other's histories and and
our trajectory and the industry. But now as we think
about it like a fun like a fan, you know,
like can I be a fan here?
Speaker 2 (01:50):
Can I say?
Speaker 1 (01:51):
Hey, you know, what are these movies that as a
as a moviegoer we look at and somehow we see
recreated over and over and over again.
Speaker 3 (02:00):
Like a lot of.
Speaker 1 (02:00):
People find these iconic movies right that we grew up watching,
and today this next generation is almost watching them for
the first time. And really they don't know that these
movies have been re skinned after original movies that were
the first one of its kind, and now they're like,
it's like this kind of prototype, so they make the
same movie with new characters. Right but without going to
(02:25):
political deep diving on you know, the state of affairs
of our industry right now, where you know, IP and
reboots and sequels and prequels are so popular because they
just can't trust the original content today. I thought they'd
be really fun for us to kind of go down
a list of four movies each you think of four
(02:45):
movies that really changed the paradigmic how you saw film
making and they made you love the movies. And we'll
breaking down one by one, you know, you say one,
I say one, and then you're like, we kind of like,
let's see to see when we meet in the middle
when it comes to this movie is because we might
have the same movie in mind, right, But that's true.
Speaker 2 (03:06):
But I guess do you want to start? You want
me to?
Speaker 3 (03:08):
Sure? Yeah, you start, I'll start, Okay. My top top
movie is Goodfellas. Okay. Now it's always hard for me,
like when people go, what are you top four or five? Right,
because you have like hardcorese and the files out there
who are judging you, and like I judge my top
four movies in the category of movies that I've seen
(03:32):
thirty If I've watched this movie thirty times, then to
meet it's one of my favorite movies. Right. There's no
rhyme or reason.
Speaker 2 (03:38):
Behind or if it's on TV, you have to finish it.
Speaker 1 (03:41):
Oh yeah, you can't get in the car like you're
gonna be late because you gotta watch it.
Speaker 3 (03:44):
It's one of those movies that I feel like it's
fresh every time I see it, you know. And I'll
tell you a story behind that movie. When I first
saw that movie. That movie came out my freshman year
of high school, and I went to art school and
I had a friend who would get us into the
movie for free, okay, And it was called the Webster
(04:04):
Theater in Bucktown, Chicago. And back then in Chicago, you
would go to one theater, and if you want to
be sneaky, you sneak to another theater. Then you sneak
to another theater, especially when you're like fifteen years old, right,
And so I was doing that and I went to
one and I saw another one, and I snuck into
this theater and Goodfellas was starting. It was like, right
up the first frame, I had no idea what I
(04:26):
was getting into. I sat down. That opening scene comes
on Rayleiota, Robert de Niro, Joe Peshi in the car.
They hear Frank Vincent's character in the trunk. They stop
the car, they get out, Joe Peshi whops out this
big kitchen knife, and he's just starts stabbing Frank Vincent
in the trunk. I was fifteen years old, fourteen, and
(04:48):
I'd never seen anything like that in cinema. And I
was riveted. Man, I was paralyzed. I couldn't move a
muscle and I sat there and I watched that two
three hour movie without going to the bathroom, without moving nothing.
I paid attention to every single frame of that film,
(05:10):
and it changed my perspective in movies forever? Did it?
Speaker 2 (05:14):
Did it wake up something else in you?
Speaker 3 (05:16):
Like? Did it?
Speaker 2 (05:17):
Did you not? Did you not know that was possible
in filming?
Speaker 3 (05:20):
I just knew that I was watching something profound. I
knew nothing really about movies. I wasn't a cinema buff.
I was in a movie, you know. But I knew
that I was watching something different. I knew that I
was watching something of greatness. And and I and my
instinct told me that really early on in my life.
And so it was like a tuning fork, right, And
(05:41):
so now I wait for that tuning fork to to
rear its head every time I watch a movie, to
see if it's telling me if this movie is great
or not. And that was the first one and it
changed my life. And I got to tell Frank Vincent
that story too, man one day before he passed away,
God bless him, and he was like, oh, thank you man,
thank you, you know, and I was like, dude, your
movie changed my life. You know. I got to be
(06:02):
a judge at the Tribeca Film Festival and I got
to like tell them about that film. But it was transformative.
Speaker 1 (06:08):
Oh my god, it's so amazing that you said that.
I watched that movie in Spanish, But.
Speaker 3 (06:12):
How was that in Spanish.
Speaker 1 (06:14):
It's interesting because the performances are like they probably it
probably hits harder in English, you know, but regardless, the
movie was so undeniable, right, And then I watched it
in English and I was like boom, Like it just
hit me in so many different ways. I never thought
like I seen performances like that, yeah, you know, and
(06:34):
performances like that weren't uncoming, right, Like you watched the
seventies and even a few movies in the sixties, like
I think, like like The Last Weekend. Yeah, that's a
movie that kind of lost weekend.
Speaker 2 (06:47):
Yeah, it was a movie about so what the movie
is about.
Speaker 1 (06:50):
The movie is about this this writer, the actor was
Ray Melunt and he his performance was so I was
taking at but the fact that it was that it
was black and white and and and because I was like,
this movie had to be one of the darkest movies
of that time, and he was. I think he went
(07:12):
an oscar too. It was nominated for multiple Oscars. And
the movie was about this writer who has lost lost
his way and you know, he was standing in front
of this typewriter and he just couldn't start this page.
And you know, he was an alcoholic, you know, and
he will go back to this this one girl, and
(07:35):
I believe she was, you know, a prostitute, and but
he was like telling her everything, you know, that that
she wanted to hear, and just like at the end,
we just asked her for money so he can go drink.
And it was really dark and the relationship was so complicated,
and I was like, whoa, this is just a specific story.
(07:59):
And I reckon when everybody to watch it, because that
was one of those first movies. And I'm not like
the guy who like, let's go back to the sixties
and like, you know, I just watch these movies. I'm
not you know, I I yes, I love cinema, and
I've definitely that way in my later years and understanding
where cinema really you know, I broke the ground. But
this was one of those movies that like, I just
like I watched it one day and it just absolutely
(08:23):
fractured what was possible, and I was like, if that
tone was possible, then right, I realized everything that was
possible after.
Speaker 3 (08:30):
So you feel that it was the tone or the
execution that resonated with you as opposed to like somebody's
singular performance.
Speaker 1 (08:37):
Yeah, I mean their performances was they were incredibly grounded, right,
they were humbling, and they were fracturing. They were very
they were very grounded, you know, like for that time,
you know, everybody well you know talk like this, you
know what I mean, they were like that that you uh,
that kind of you know, mentality, but I mean vibe
and tone. So I was taken back by movies that
(08:59):
was there was widen. Those performances were almost just so real,
and I think it was a groundbreaking enough that got
nomin area for multiple Oscars. But you know, I go
back to to the Goodfellas, you know, and I think
about these performances, we're so liberating. You know, I felt
like they were drawing with callers and that were you know,
(09:20):
the way they were using the words, the way they
would talk to each other and finish each other's sentences.
It was like it was a different level of groundness.
And I think that that movieould definitely touched me as well.
Speaker 3 (09:30):
Do you think you think do you think that like
like synergy has something to do with it, right, because
you know, we've we've been making movies and TV for
thirty years, right, and I've found that you could have
a singular good performance, right, or you could have somebody
write a really good story. But there's something about when
you know that term, when when the planets aligned right,
(09:51):
like like the planets are aligned and and there's a
certain synergy that comes from the performance and the directing
and the writing and the overall the perfect storm. Yeah. Yeah,
That's what I felt like when I was watching that movie,
Like there was this perfect synergy happening from all from
all aspects of filmmaking. Where sometimes I'll watch a movie
(10:13):
and I'll go, well, that dude's performance is awesome, but
like there's something off about the editing or somewhere else
you know.
Speaker 1 (10:19):
Or the rhythm you know, yeah, And I think it's
when you know, you think about Good Fellas and you
think about the generation of gangster films. Yeah, you know
the Italian you know kind of genre, the Italian American Italian.
You know that it was out here doing it. And
you talk about the Godfather, right, and the Godfather and
Godfather too.
Speaker 2 (10:39):
You know where the Naro is is plaining, you know,
it's you.
Speaker 1 (10:43):
We're seeing him become you know, who he's gonna be,
and that those performances had this rhythm, and I think
the culture really enhanced what these characters had to offer
in the narrative tone, right, I think like that's the.
Speaker 3 (11:00):
The culture in the movie or the culture and.
Speaker 1 (11:02):
Like the Italian culture, right, I mean like the coren
actor to fall back into their character traits, their values
and speak.
Speaker 2 (11:11):
Authentically about what their values are.
Speaker 1 (11:14):
Because you talk about the Godfather, you know, these guys
were real gentlemen, right, There were men of their word.
You know, they were loyal you know and until until
other people, until others.
Speaker 2 (11:23):
Weren't and and uh.
Speaker 1 (11:26):
And you know, so that's kind of stuff I really
resonated as a Latino, you know, and as a brown man,
I can really relate to some of the values, the
family values, you know, the the you know, the spirituality
part of it, all that stuff.
Speaker 2 (11:37):
So, but I think it's I think culture.
Speaker 1 (11:40):
I think that those characters really, you know, just really
came to life because they've rooted it softly in who
they were as individuals as well, right like their culture.
And I think that's one of that's when it gets
really unique, when an actor really performs to their strengths
and leaning on what they really do know. And I
think that I think maybe that's one of the reasons
(12:02):
why I feel like Goodfellas to me also felt like
you were watching something you weren't.
Speaker 2 (12:07):
Supposed to, you know.
Speaker 3 (12:09):
Yeah, it was definitely some like inside something felt inside
about it. Different world as opposed to like watching like
a regular mobster movie, which which I'm sure all of
it has it's it's it's levels of authenticity to it, right,
but but there was something that was different about that
one that, at fifteen years old, absolutely floored me like
(12:32):
nothing has ever floored me before.
Speaker 1 (12:34):
Okay, so we have the last weekend, yep, and we
have Good Fellas.
Speaker 2 (12:38):
What's your next one?
Speaker 3 (12:40):
Carlito's way, Yeah, yeah, man, Carlito's way. You know mine
shout out to Louis.
Speaker 2 (12:52):
Louis, Louis lou Louis from the Hood.
Speaker 3 (12:55):
Yeah, and to John Ortiz and John Sata who's in
that movie and like that movie and all that, uh
I rec and that's a whole other subject's talk about. Look,
(13:18):
it's it's a yeah, it's a tough subject matter, you know.
But but I I I try to I try to
watch that movie objectively, right, I try to watch it
with no preconceived notions going in. I just love the movie. Man.
There was something different about that movie, the way that that, uh,
the director used music and original score with that music,
(13:42):
with that movie, it was almost poetic that I felt
that these other movies didn't use those and and and.
Speaker 1 (13:49):
By the way those other movies there was rarely music.
The music would come in at very specific moments.
Speaker 3 (13:55):
Of the act.
Speaker 1 (13:57):
Yeah, yeah, like there taking you from one act or
the other that dude, h.
Speaker 3 (14:04):
Yeah, yeah, I had that and Godfather or even like Goodfellas,
where Scorsese was also sort of a music buff, right,
so he used very specific music cues and that. But
but go back and listen to the original score in
Carlito's way, and it's it's beautiful, man. It's his beautiful
strings and something that you wouldn't expect to be in
(14:25):
the background of something as gritty as like a film
like that. And I just love, I love. I think
the movie is beautiful and it's poetic. And I know
people have different opinions about Patino and his performance and
him not being Puerto Rican all that stuff, but I
still it still resonates with me. Man. I could watch
I go home and watch it tonight and watch it
(14:47):
like it's my first time watching it.
Speaker 2 (14:58):
I mean, seems we're in the gangster of it all.
I think I'll match you.
Speaker 1 (15:03):
Yeah, just as much of a controversial movie Scarface.
Speaker 3 (15:08):
Dude, I just rewatched that movie.
Speaker 2 (15:10):
Come on, man, from the first one, Dude.
Speaker 3 (15:13):
I just rewatched it. As I always say to myself,
I've been going, I've been going on this journey and
I've been watching movies as an adult. You ever watch
movies now as an adult?
Speaker 1 (15:24):
Oh?
Speaker 3 (15:24):
Yeah, not as a kid? Not as like I'm gonna
go watch Scarface, like the sensationalism of it. Have you
watched it now as an adult? You have? And what
do you think?
Speaker 1 (15:35):
I mean, there's a couple of things, right, Yeah, so
scarface to me felt like these two characters, like, you know,
they kind of breezed through the immigration part of it,
cams and whatever and all that stuff, and you know,
and they really painted a picture that these Cubans were
here like just messing things up, right, Yeah, And and
then it was like just an unhinged interpretation of two
(15:56):
dudes that were just out there.
Speaker 2 (15:57):
Doing whatever they wanted to do, you know.
Speaker 1 (15:59):
And but it's an interesting question, you say, we watched
it as an adult, How did how did how did
he speak to me on that level?
Speaker 2 (16:06):
And and I.
Speaker 1 (16:08):
Think I felt like that era, this analog era of
pain payphones and convertible Cadillacs and like pastel colors in
Miami felt like a different planet. And somehow I allowed
it in my mind, we gave it license to exist,
not just rant free, but like no questions asked.
Speaker 2 (16:33):
I just went along for the.
Speaker 1 (16:34):
Ride and I didn't have to like poke holes on
it because I was like, it just brings me back
to like the first time I saw it.
Speaker 3 (16:40):
At the sensationalism of it, Yeah, because it's so big,
say hello, like what the hell? But wasn't Miami kind
of big at that time?
Speaker 1 (16:51):
Larger than live, like the open silk shirts and you
know and all that, and so do you.
Speaker 3 (16:58):
Think that maybe it was just an interpretation of what
was what was really happening. I mean, look, are people
in a mansion like with a big ass gun like that, Like.
Speaker 2 (17:06):
Maybe back then, you know, you know, it probably is Miami.
Speaker 1 (17:09):
I think everyone was probably you know, liked and loaded
over something, you know, but.
Speaker 3 (17:13):
But a reflection of like of like the externalism of
of like how people were right and how it.
Speaker 1 (17:20):
Just feels to me like it was this grounded world. Yeah,
the movie was a grounded world. And then they told
Paccino step on it or Patino just said, I'm going
to play something so different than you've ever seen me do.
Speaker 2 (17:37):
Yeah, you know, this is a different boss, It's.
Speaker 1 (17:40):
A different gangster he was playing, right, like, so he
just said, I got it.
Speaker 2 (17:43):
I'm gonna play Q and I'm a little more external.
Speaker 1 (17:46):
Yeah, it has to be a little more external because
he's been because every other gangster he played was so internal.
I mean, I go back to Scarface, uh Mooney too.
Speaker 2 (17:59):
Sorry sorry, and that scar I go back to Godfather too.
Speaker 1 (18:02):
Yeah, my got Godfather too was so settle in the eyes. Yeah,
he was he was saying monologues with his eyes. People
were talking around him, and the camera was just on him.
And then you go to Scarface and he's just like
filling up the seventy millimeter like lens like he's just.
Speaker 2 (18:24):
Filling it up.
Speaker 1 (18:25):
So I think he just I think that that opportunity
was making choices, Yeah, to go far, because if I'm
gonna play another gangster, I'm gonna go as far as possible. Yeah,
you know, so it's a different type of gangster. And
I think he he went very far.
Speaker 3 (18:43):
Yeah, and it kind of I don't I don't know. Man,
It obviously works, right because people to this day are
wearing Scarface T shirts and jackets. And at the time
it got panned, right, the film got panned, his performance
got panned. But I feel like sometimes people will make
these bold choices as an actor, right, and and people
(19:03):
crap on it in the beginning, and then and then
and then it needs to sort of live in the ether.
And then and then people like are like, oh, I know,
it's kind of big, but it's big, but it's still
grounded at the same time.
Speaker 1 (19:15):
And I think I think critics and you know, cinema
has become more and more cynical. I think over time,
every decade, we fracture fantasy, and we fractured boldness, and
we fracture originality. And when something is that different or
that bold and it doesn't fit them all that everyone's
(19:39):
leading into this is the trend of subtleness or independent
film making or whatever, then all of a sudden it
becomes like not good, you know, And there's something to
be said about the different cinematic narratives that actually are
needed to tell very specific stories and original cont and
(20:00):
should be given the freedom to be at whatever frequency
they need to be to tell us, you know, to
tell us what this is about.
Speaker 4 (20:09):
Uh.
Speaker 1 (20:09):
And I think for him, uh, what really worked for
me is that the world was very real for Scarface,
but he had to play someone that was a lunatic.
He was just crazy and delusional and that you know,
so you had to see him on hinch. I mean,
one of my favorite scenes in Scarface is when he's
(20:30):
in the restaurant and he gets drunk and Michelle Fiffer
is there and he's just like, you know, say hello,
I do the bad guy. You know that that part,
like that was uncomfortable. That was like you know that
was grounded and real and that he really saw that moment.
Speaker 3 (20:45):
For me, I know, somebody who's done that in the restaurant,
like completely made a scene. And so when I saw that,
I was like, yeah, yeah, I've seen that. There's a
lot of that stuff. That's that's real man. I I
you know, I unfortunately grew up in a in a
in a neighborhood uh somewhat similar and and there's some
(21:07):
there's some big characters in those neighborhoods and who are
a part of that world and that underworld, I mean
people who are really external growing up in that type
of neighborhood. There are a lot of larger than life
characters like that man that that if you were to
meet them in real life, you're like, wow, if if
(21:28):
they were to put someone like this on screen, you
would think that it's unbelievable. Remember when when Snoop at
a time was hanging with that one pimp who used
to we.
Speaker 2 (21:37):
Used to drive, we used to drive.
Speaker 3 (21:40):
The Bishop down Horn Like that's a real.
Speaker 1 (21:45):
Dude, like like every MYSIC video with him.
Speaker 3 (21:47):
That's a real guy who lives his life like that
every single day, who.
Speaker 1 (21:52):
Really addresses like that by the way, every up and
you know the pimp hat and the cane.
Speaker 3 (21:57):
And yeah, I mean, I grew up with some pretty
pretty colorful characters.
Speaker 1 (22:03):
You uh, send me a picture the other day with
a very colorful outfit.
Speaker 3 (22:10):
Which one? Which one? Which?
Speaker 1 (22:11):
I think you were going to a dance or I
don't know if it was a dance or something. You
you were wearing white gloves. Oh, yeah, definitely, I know
I understand that you that was kind of the neighborhood,
you know.
Speaker 3 (22:26):
For our mullet.
Speaker 1 (22:28):
Yeah, you had a ring over the white glove.
Speaker 3 (22:31):
Dude, I had I had gold chains over the tie.
Speaker 1 (22:35):
You know, I gotta say it was it was a
different frequency. And I want to tell you something. Yeah,
I mean, I mean you call me to hang Yeah,
I'm going to my closet and I'm doing the same thing.
Speaker 3 (22:55):
I mean.
Speaker 1 (22:56):
And for those of you who are wondering what we're
talking about, you know, sometimes we send each other funny
pictures of our past or something. He came across a
picture when I think when you went back home or something.
Speaker 3 (23:06):
And I went back home, and my mother always tends
to break out, you know, old magazine articles and old
photos and you know, and she came across a photo.
I stood up and somebody's keen Signetta, which, for those
who don't know what a King Signetta is is somebody
sweet sixteen, right, but fifteen? And this was Wilmer and
(23:28):
I have had multiple discussions about mullets and Dracar Noir
and everything that pertains to that time period. And I
came across a photo of me in a King Signetta
with the most killer mullet you'll ever see in your life, Freddy.
Speaker 2 (23:46):
It was so iconic.
Speaker 1 (23:51):
I was like, I gotta sit over this photo, Freddy.
I want you to understand, like things were differ in
my house. I want you to understand that things really changed,
and I will be honest.
Speaker 2 (24:07):
For the better. Yeah, for the better.
Speaker 3 (24:10):
I was.
Speaker 2 (24:12):
I'm a believer, Yeah, I believe. And you you brought a.
Speaker 1 (24:16):
Level, you up the game to such a degree that I, uh, yeah,
I owe you one. I owe you a picture back
because I'm gonna tell you something. You're gonna realize how
much we were got at THEOD.
Speaker 3 (24:29):
We give you my picture.
Speaker 1 (24:31):
It's gonna be it better be a psychonic Oh no,
it's it's it's a legend.
Speaker 3 (24:37):
You know.
Speaker 2 (24:37):
My mind is an immortal legend. When you see would
you see what.
Speaker 3 (24:41):
You've show You've shown me some year old headshots?
Speaker 2 (24:44):
Yeah, another are problem for me, they are a problem.
I have one photo.
Speaker 1 (24:50):
I have one photo that I think might actually not
only brings us back together, well, we might, we might
move our families together. We might we might have to
move into the same property because we're the same fucking
do it?
Speaker 3 (25:10):
Okay, So Scarface is your is your three? I think
for me my four or my three would be there
will be blood. Wow. Yeah, there's something about that movie
that I can just right now, I can just go
watch it and there's just something, like I said, I
don't know if it's the alchemy of it with everyone
(25:33):
involved in his performance, there's just something that's so magical
to me about the way that film is executed. And
Daniel day lewis right, he's one of those actors that
every time he does something, it's so it's so magnificent
to me, you know, I just I just think it's
a It's a wonderful film.
Speaker 2 (25:52):
I think I would say, like.
Speaker 1 (25:55):
Rocky yeah, right, because when you think about those movies
that became prototypes when it comes to like the underdog stories,
I mean they had to do. They made probably two
hundred movies of the that had one that had this
underdog story, two that had a training montage, right, you know,
(26:17):
and and you think about like this, you know, single
led guy who goes against all odds, you know. And
also that was a prototype for every sports movie, every
sports movie, those acts were identical if you think about
all the you know, the the you know the you know,
losing then winning, then losing again to as still as
a win.
Speaker 2 (26:37):
You know.
Speaker 1 (26:38):
You know that that little sequence I think was was
part of that, that prototype, and I think Rocky what
it what it did for me was, you know, it
became this inspiration. I mean even you know we were
talking about earlier House tallone you know, was able to
champion that movie and get it made and stuck stood
by his you know, he stood his ground and said, no,
(27:00):
I got to play the guy.
Speaker 2 (27:01):
No one can't play this guy but me. I know
what I got to do.
Speaker 1 (27:06):
And that's why I wish he never died and any
of the last that likes to create movies, yeah, you know,
like it's and I also wish that he wouldn't.
Speaker 3 (27:17):
But then what would he have done, though, Like what like,
you wish you wouldn't have died, and then what I've
still been the trainer.
Speaker 2 (27:24):
I think he could have been like Mickey, you know.
Speaker 1 (27:27):
But also I also like he he went through such turmoil,
Like I wish he would have just been like a
happy ending for him because he gave us so much.
I feel like I wish that he would have retained
some of his money, Like why did he have to
be broke? Why did he have to be sick? Why
did he have to be all those things? Like is
it because most you know boxers and that way, I
(27:50):
get it, I get it, But why if he didn't, right, Like,
what would it done to the boxers of the future.
You know, we could have kept a little bit of
my money and you know, yeah a restaurant dude went
up to the restaurant. Yeah, you know, and you know,
to me, it's like for him to die alone, and
it's kind of kind of crazy. I don't know, it
(28:10):
just I don't know, but I get why. It feels
like smart. But you know, there's some boxes that I made.
You know, Look, Oscar has a promotional thing and you know,
I don't know, I don't know, you know, but I
think Rocky to me, when you think about a movie itself,
that's another one that painted such a realistic interpretation.
Speaker 2 (28:31):
About what his world was like. Even the moment where
he's like where is he? Where is he? Where Isy?
Speaker 1 (28:37):
He just pulls up outside the window of the priest
and goes, oh, he was wondering.
Speaker 2 (28:41):
If you can give me a blessing.
Speaker 1 (28:42):
I've got the biggest part of my life, and you know,
I just want to make sure I come back in
one piece, you know, like whatever.
Speaker 2 (28:48):
And I think that that that was like, oh, man,
like this is an Italian guy.
Speaker 1 (28:55):
I gotta go to the priest. I gotta get a
little blessing before I go do my thing, you know.
Speaker 3 (28:59):
Yeah, it's funny you mentioned that movie I just saw.
We were talking about Robert Rodriguez and when we were
working together, he had went out of town for something
and he came back and I was like, I was like,
where'd you go? He goes, oh, man, I want to
go meet with stallone. He showed me his new movie,
his new Rocky And this is the one that you're
talking about that he had the restaurant, the one with yeah, yeah, yeah.
Speaker 1 (29:24):
By the way, big shout out to Milo one of
the most amazing people. Parade man, incredibly talented, and he's yeah,
we should have him on too, because he's he's just amazing,
great stories too, Like.
Speaker 3 (29:35):
Oh yeah, we gotta have him on.
Speaker 2 (29:37):
It's one of my favorite people.
Speaker 3 (29:38):
He had come back and and and mind you, there
was a big gap right between the previous Rocky and
that Rocky, the one that he was in. And I
remember him coming back and saying to me, I mean
I just saw Stallon's Rocky, which he you know, stepped
back into the director's chair, he directed it, he wrote it.
This was like his baby again. And I don't know why.
(30:01):
I think maybe because the Rocky that was prior to that,
what was I don't think it was great. I was
a little cynical, man, I'm not gonna lie. I was like,
really man, He's like, no, dude, I'm telling you, it's
really good.
Speaker 2 (30:14):
So what was the storyline of that one? Again? You
know they had the restaurant right, and.
Speaker 3 (30:18):
He was just like, oh you mean that one with Milo? Yeah? Yeah,
Well Adrian dies right, and and you know you kind
of see him visiting her grave and he he's just
like a like a like a washed up boxer who like,
you know, tell stories at a restaurant and then uh,
what's that? What's the real boxer who was in that
movie comes back and they're like, hey, it's just sort
(30:40):
of an exhibition, you know, and and he kind of
steps back into the ring with Mickey Guns. Right.
Speaker 2 (30:45):
What was it Tommy Guns?
Speaker 3 (30:48):
No?
Speaker 2 (30:48):
No, no, that that was one the street brow right.
Speaker 3 (30:51):
That was the one before before.
Speaker 2 (30:53):
Yeah, yeah that was and unfortunate.
Speaker 3 (30:57):
Yeah it wasn't. So that's why I was cynical.
Speaker 1 (30:59):
But it's like with the video game, right, they're like, oh,
in the video game, Rocky beats this real boxer. Yes, right,
and then they're like, what is do an exhibition and
see where it really wins?
Speaker 2 (31:09):
You know. He's like, don't do what are you talking about?
You know?
Speaker 3 (31:11):
But what was so genius about that movie? And you know,
and I was, like I said, I was cynical. Was
that Stallone made it like this really deep father and
son's story and like the loss of his wife's story.
I was expecting her to be dead. And I remember
watching it on the plane and going like all, Robert said,
this movie is good, and I put it on and dude,
(31:32):
like like a quarter into the movie, man, I start
freaking crying on the airplane.
Speaker 2 (31:37):
That's the loan. Dude, you knows that. I you know,
I hit the strings and a tear comes.
Speaker 3 (31:41):
Down and I'm like, oh my god, I'm on an
airplane like crying in this movie.
Speaker 1 (31:45):
That speaks too, this speech that it's played in every
gym and it's written on every wall.
Speaker 2 (31:50):
You know, anohing's gonna hear you harder than life. Yeah, yeah,
you know.
Speaker 3 (31:55):
It's brilliant at that. But that's a good one, bro. Well,
all right, since we're talking about boxing, like Raging Bull,
Oh my god, there's another one that to me, yes,
he ranks Scorsese Goodfellas Raging Bull. Yeah, Like I could.
That's another one that I've seen thirty times. I could
put it out right now and watch it. There's something
about the execution and the simplicity of that, right. But
(32:18):
but as we talk about sort of a boxer's trajectory,
I felt it was very indicative of a boxer's a
boxer's trajectory, right ending up as that guy he's like
forty pounds heavier, Yeah, and he's like at a restaurant
telling a story.
Speaker 1 (32:32):
And then the nero said in an interview was like
I'll never do that again, you know what I mean.
He was like the weight, Yeah, yeah, he's like that
was that was a challenging thing for him to do,
to put on the weight. Yeah, yeah, I do it
all the time. Man, I don't know what's a problem.
Speaker 2 (32:46):
It's very easy for me. Three weekends, man, I get
to you know, say action.
Speaker 5 (32:50):
I'm ready, I'm ready, okay for this fourth movie, the
final final installment into this four movie journey list.
Speaker 1 (33:09):
Pick something now that that is so unexpected, you know
that somehow it was original. I think like those movies
kind of fall in the eighties sometimes for me, you know,
it's like those colorful movies, you know, like.
Speaker 2 (33:26):
You know, I think like the.
Speaker 3 (33:28):
Like what resonated as a kid, like Back to the.
Speaker 1 (33:31):
Future, right, Like, let me see back to the Future
is one that really like and I watched all of them. Yeah,
I just I just love the Back to the Future movies.
It's like, well that's really possible. Terminator, yeah, you know Predator, Yeah,
you know those movies that like we're just this single
(33:53):
singular stamp of like you'll make this movie again with
different actors and different monsters, or you make this movie
again with you know, in the future, it'll time travel
with different you know, with the same formula. You know,
don't change, don't don't mess with the past, right and
don't definitely mess with the future, right. Like It's like
it's always kind of some some things. So what would
(34:14):
be one of those for you?
Speaker 3 (34:16):
Oh? Man, we're talking about movies like when we were kids. Yeah,
you know, like, man, I remember watching like The Last
star Fighter. You ever see that one? Very good? You know?
Or or Gremlins.
Speaker 2 (34:29):
Gremlins, Bro, that's another one.
Speaker 3 (34:31):
Dark Crystal. Did you ever see the Dark Dark Crystal?
I just missed those movies? Man, I miss those type
of like big Spielberg and.
Speaker 1 (34:40):
Practical stuff probably like the puppeteering and the thing that
made it feel like you could touch it, that could exist,
you know.
Speaker 3 (34:46):
Yeah, I missed those, man. I missed those types of movies,
and they always and the storytelling was always really good
on those. But I don't know I have those been replicated.
I'm not sure that's a really good one.
Speaker 1 (34:57):
I mean when you think about like, like see how
you you talk about.
Speaker 2 (35:03):
Which ones that you said? You said the Dark Crystal? Right,
never ending story, never ending story? Right?
Speaker 1 (35:09):
You think about also, like you know, the Harry Potter movies, right,
Dark Crystal, really like these are movies, these are books
really kind of like have inspired this multiple generations, you know,
but the tonal of things of these movies, you know
where they never ending story. I mean, I think about
you know, what's another one that could mimic that? Again,
(35:31):
these movies were so original, I was they were hard
to duplicate, but that's the formatic or blueprint of the
narrative was replicated with different with different journeys.
Speaker 3 (35:42):
You know, I'm trying to think what would be one
that's I mean, any any of those like you were
we were just talking about, like The working Man that
just came out, you know, shout out to David Ayr
who had a hit movie out. But I like that
they're going back to like that kind of like the Guy,
you know, like you were just you just named a
(36:04):
slew of like Arnold Schwarzenegger, like singular man's you know,
like I love the Commando.
Speaker 2 (36:12):
Another Father Daughters, that's his story.
Speaker 3 (36:15):
Yeah, yeah, true Lies. I just saw True Lies the
other day man. Probably the best stunts, the best I've
ever ever seen.
Speaker 2 (36:26):
A Harry the Plane that what was it that? Oh,
come on, bro, I mean that movie gives me anxiety.
Speaker 3 (36:31):
Man, I'm like it's so, I mean, what movie have
you seen after that that has had real stunts like that?
Speaker 1 (36:40):
The only one and it basically doesn't even fall anywhere
near this category would be Rush Hour and that one
is a prototype of Litho weapon, but a lot more comedic,
right Letho weapon?
Speaker 2 (36:54):
Yeah, got it right.
Speaker 1 (36:56):
Yeah, you know got it writing so many uh and
that was a Donner right, a producer uh and director.
Speaker 3 (37:03):
But I missed those movies, man.
Speaker 1 (37:05):
Yes, I mean there was something very very organic and
real about those you talked about Greenlins, you know, that
movie to me was so crazy invative, like just those poppets,
those things, you know, those things were really banana's. The
fact that they couldn't eat after midnight, that you couldn't
have water on their skin, you know, so what did
(37:25):
that mean?
Speaker 2 (37:25):
They couldn't if they if they eat after midnight.
Speaker 3 (37:28):
But until on soil sunrise, but then after sunrise they
could eat well.
Speaker 1 (37:33):
Like every day is after my yes, yes, yes, well
it's like I think that the science was that, Like, dude,
like if they somehow after midnight they become these monsters,
and I don't know what the metaphor of that was.
Speaker 2 (37:46):
And then we got to look up at the met.
Speaker 3 (37:47):
Was it like midnight to like sunrise or.
Speaker 1 (37:49):
Something like that, But yeah, because then it was one
long night of hell, right, and I.
Speaker 2 (37:54):
Think that's kind of what it was.
Speaker 1 (37:56):
And then Gizmolo so you couldn't put water on his
skin because it will multiply.
Speaker 2 (38:00):
Yeah, yeah, that all that stuff is going.
Speaker 3 (38:03):
Can you believe that that's considered like a Christmas movie?
I was trying to watch that with the kids this
Christmas and there, and they're kind of like, that's a
Christmas movie.
Speaker 2 (38:12):
I'm like, I guess it is.
Speaker 3 (38:13):
Man, I really wanted to watch it this Christmas. Ghostbusters, Yeah,
yeah for that one. I remember having that one on
video cassette. Did you guys have that in Venezuela, like
like just the collection of that you just do. There
was something about having the video cassettes when I was
a kid. It's like, well, this weekend, although I've seen
it ten times, we're going to rewatch it again.
Speaker 2 (38:35):
Yeah.
Speaker 3 (38:36):
I watched what did you have on video cassette in
Venezuela that Yeah, Cobra.
Speaker 2 (38:41):
And I played that out Bro I used to love that.
Speaker 3 (38:45):
You're the disease, not the cure. Yeah, I remember, I
remember we had like I remember Death Wish, Death Wish
one and Charles Bronson. You know what was what was?
What was? What was Chuck Norris's franchise?
Speaker 1 (39:00):
And he had the Seals right? There wasn't he in
like the Navy Seals or something. Strike Force wasn't it?
It was like Delta Force. That's what he was in.
Speaker 3 (39:12):
Bro.
Speaker 2 (39:13):
Like you know that motorcycle had missiles. I didn't really, Yes,
there was that sound and he just shot the motorcycle.
Speaker 3 (39:23):
Wa man, Delta Oh Man. I smember my dad watching
all that. You ever seen this documentary called Electric Boogoloo
and it was about it was about the company that
produced all those movies. They were called Cannon Cannon Films.
These two guys from Israel, and they're the ones who
did the break in movies. But they did all the
Death Wish movies and and Porky's and like you know,
(39:46):
they brought all that stuff from his Porky Wow for
Porky's Wow. Dude.
Speaker 1 (39:52):
I mean, I just I hope that everyone who's listening
or watching us now can literally just grab a little
piece of paper. Right, all these movies, if you haven't
watched them, if you've never heard of him, treat yourself
to the history of cinema, not just as we know it,
but as as it's been recreated over and over and
(40:13):
over again. In the likeness of all the movies.
Speaker 3 (40:16):
They can do a port they can do it. Porky's
now and what about you boy, Tom Hanks Bachelor Party?
We had that on video because that's amazing.
Speaker 1 (40:25):
Watch that over now the way think about risky business,
risky business?
Speaker 2 (40:29):
You make that movie now right?
Speaker 3 (40:31):
Right? What was it? What was the premise of that movie?
Speaker 2 (40:33):
Parents go out of town?
Speaker 1 (40:34):
He throws this party, but no he starts ay, I
think he starts in uh nescal business or something.
Speaker 2 (40:42):
Does he have like all these you know, these dancers
of the night in something work at his house?
Speaker 1 (40:48):
Remember, like he just started a business with with I'm
gonna remember what's the log land on that.
Speaker 4 (40:53):
Movie Ectatic When his parents leave on vacation for a
few days. High school senior Joel good and cuts luice
with his best friend Miles after an attempt at securing
the services of a prostitute, goes goes slightly ari Joel
hires gorgeous Lana for a night of delight, Stunned by
the amount of Lana's bill. The next morning, Joel grows
(41:14):
frantic after he crashes his father's Porsche in an effort
to raise lots of money fast. Desperate, Joel turns the
house into a brothel.
Speaker 2 (41:21):
Yes, come on, dude, that's Tom Cruises one.
Speaker 1 (41:27):
That's one of Tom Cruise's biggest pop culture movies of
all time. And people don't remember that, remember that premise.
They only when they think risk of business. They only
think about him sliding across the floor and the socks
and in the dress shirt.
Speaker 2 (41:41):
That's the only thing that will remember. But if you
listen to that tagline, come on, man, he was a pimp. Yes,
you go to make that movie now, it's a teenager.
Speaker 3 (41:49):
Pip teenager Tom Cruise pimp.
Speaker 2 (41:52):
That's kind of insane, right, that's a bitch, that's a pitch.
Here's my pitch, Tom Cruises the teenage. Can't wait for this, dude.
Speaker 3 (42:01):
You know what else we had on video cassette? Did
you did you ever have did you ever watch Revenge
of the Nerds? Of course, I mean eventually they wasn't that.
Speaker 2 (42:11):
As an actor I think Paul Figure was in that.
Speaker 3 (42:14):
Was he really? I know?
Speaker 2 (42:15):
Maybe not?
Speaker 3 (42:16):
Yeah, Tim Bussfield and like a but but the original
one is so well executed. And then they and then
you see two and three and.
Speaker 2 (42:25):
They they made a lampoon.
Speaker 3 (42:27):
Yeah, they became kind of caricatures of themselves. But the
first one was so grounded. James Cromwell was in that movie.
And Anthony Edwards from from uh Er he played one
of the nerds. And and James Cromwell played his dad.
Speaker 2 (42:41):
In that movie you remember stand by Me? Yeah, of course, man,
I mean.
Speaker 3 (42:46):
Wow, Rob Reiner directed that movie.
Speaker 1 (42:49):
Was in theaters, dude, and you could have made that
movie again right now?
Speaker 2 (42:53):
Like could that movie ever be? It was the four kids.
Speaker 3 (42:56):
They they go on this thing, they find a dead body.
Speaker 2 (43:00):
See see what I'm talking about?
Speaker 1 (43:01):
See the coloration he see the common denominator about these movies. Yea,
you know, there was something really live altering happening. It
was rooted and and the environment, it was rooted in
their journey as people. And uh, you know, they don't
write characters like that anymore. They don't write stories that
are that de boignant and like that heart hitting. Yeah,
(43:23):
you know, it's It's a shame because stand by Me
is like, yeah, what if what did you come across?
Speaker 3 (43:30):
That? And that cast River Phoenix Jerry O'Connell, like, man,
oh man, Rob Ryaner directed that movie. Yeah, so so
well done. Oh man? You know what else? Did you?
We had a Field of Dreams on video cassette. Bro,
you see Field of Dreams?
Speaker 2 (43:45):
Yes, of course, if you're building, they will come.
Speaker 3 (43:49):
Tim Buzzfield was also in that movie. He played the
I think what was he? Yeah, I think he.
Speaker 1 (43:53):
Played that was I think that's Kevin Costner's probably most
iconic movie, right, I mean Untouchables was great. Yeah, Dancing
with Wolves I think it was pretty big for him too,
Which one you think I think Dancing with Wolves was
probably the biggest. Yeah, yeah, yeah, by by far, by far,
But I love him and Untouchables. Yeah, but that was
like also very popcorn right, like yeah, like yeah.
Speaker 3 (44:15):
Field the Dreams was so like like original, and I
don't know if they've remade that one at all or
even taken the blue print.
Speaker 1 (44:23):
He's done a few tributes to it in in Major
League Baseball where he walks out of the field and
audiences just go nuts, because in real life, yeah, Oh really,
I didn't know that. It was very cool. What else
did you have on video cassett and video cassette? I
had to stand by me?
Speaker 3 (44:41):
Yeah, me too.
Speaker 1 (44:42):
I think we've talked at extend about robo Cup. I
had RoboCup. I had a RoboCup.
Speaker 2 (44:48):
Yeah, robo Cup is a big one for me. That
one's one that I used to watch.
Speaker 1 (44:54):
I've said this many times before, but there was one
movie theater in the small town I grew up in Venezuela,
and they played robo Cup all year around. So that's
the movie. I will go watch it and the movie theater.
What else did I have? I've had, uh D Cobra had,
I had Rocky Terminator, you know. Of course Terminator is
(45:14):
like Staple, you had to have that VHS. And then
other movies that the really kind of mind bended cinema
at the time. I mean Jaws, yeah, right, like Jows
was the product that the monster you don't see, yeah
until it shows itself at the end, you know, accidentally
(45:37):
but also now on purpose in every movie you know.
Speaker 3 (45:40):
Did they ever play the Warriors in Venezuela?
Speaker 1 (45:42):
Yeah, Warriors clink clean, clean clean clean, come out and
play that.
Speaker 3 (45:49):
A profound effect on me. We had family in New
York during that time, and I was like, whoa, that's
how it is in New York pre Internet. Yeah, it
was like my perception of what New York was like
that Walter Hill directed movie excellent.
Speaker 1 (46:03):
Occasionally in Halloween you see people bringing that those customs back,
and I think some people are like, what.
Speaker 3 (46:09):
Is that the baseball Furies and all that?
Speaker 1 (46:11):
Yeah, yeah, yeah, yeah, those movies are you know, I
think when when we start really thinking about those films
and not just the role they played in us as
as an artist, you know, but also just the audience
as just simply as people that just went to the
movies or watched the movies.
Speaker 2 (46:28):
It really redefined cinema.
Speaker 1 (46:30):
And I hope that, you know, that the innovation of
those movies doesn't stay and independent in the independent film world,
like I hope that it gets it makes a comeback
to you know, to to cinemas, to to to the theaters,
because nowadays, you know, streaming is the place for a
(46:50):
lot of these movies, and sometimes it's really hard to
find them, you know, there's just so much out there available.
But the theaters was a beautiful experience. Occasionally you see
anniversary screenings of some of these movies, and and and
it's beautiful to re experience it and in theaters. But
is there any other movies you want to share?
Speaker 3 (47:10):
What else? What else had an effect on me? You know?
I remember in high school, like I had, I had
deep cover on on on on video cassette. Did you
ever see that Laurence fish Laurence Fishburne and Jeff Goldbloom
such a such a great great film.
Speaker 2 (47:29):
We speaking of Jeff the Fly. Oh yeah, yeah, David click,
Come on, don't make movies like that anymore?
Speaker 3 (47:35):
Man? Oh man, No, they don't. Isn't a shame, you know,
they don't make movies like that anymore? You know. I
hope we get to a place where where commerce and
art starts to strike more of a balance more, you know.
Speaker 1 (47:47):
Or or that or that art but not I wouldn't
say art, but with our industry gives audiences a little
more credit. Yeah, you know you talk about if if
if you build it, they will come right like that's
you know that they they only feel safe producing those
independent films, you know, because they just they feel like
(48:08):
people want massive world ending stories if you're going to
bring them to the movie theaters, but occasionally just run
away the runaway you know, uh, you know runaway hits
like get Out, you know where, like that was incredibly
you know, original, and but they're not betting on those
horses anymore, right, So I think it's slowly We're gonna
(48:29):
have to just slowly really kind of champion with that,
and all of us have to create kind of a
network of actors and artists are saying like, hey, let's
stick by this, Let's make these movies. Let's prove that
the audiences are you know, have been waiting for for
these two comeback to cinema, so you know, we'll see
how it goes. But either way, this was another really
fun conversation at those yeahs. Thank you everyone for listening
(48:52):
and send us your movies. Tell us what to uh
you know what you guys, what you guys grew up watching.
We love to uh, we love to hear that.
Speaker 3 (48:59):
Yeah, but you grew up watching what was in your
video cassette drawer? What was in your DVD drawer? What
is I want to know why what you grew up
watching and why those movies resonated with you absolutely?
Speaker 4 (49:12):
What's a video cassette drawer.
Speaker 3 (49:17):
You gen Zer you, Leo.
Speaker 2 (49:20):
Yeah, I know gen Z Wanna Beard.
Speaker 1 (49:21):
You know that guy's at three six Mafia over there, right,
So wait, what.
Speaker 2 (49:27):
Do you are you Jen.
Speaker 3 (49:30):
Lenia? Yeah?
Speaker 1 (49:34):
Absolutely, Well until the next episode of Those Amigos, I'm
Wilmer abal Dorama.
Speaker 3 (49:38):
I'm Freddy Rodriguez.
Speaker 2 (49:40):
See you on the next one.
Speaker 3 (49:45):
Those Amigos is a production from WV Sound and iHeartMedia's
Michael through That podcast Network, hosted by Me, Freddie Rodriguez
and Wilmri Valdorama.
Speaker 1 (49:55):
Those Amigos is produced by Aaron Burlson and Sophie Spencer.
Speaker 3 (49:58):
Zabos are execut to. Producers are Wilmri Valderrama, Freddie Rodriguez,
Aaron Burlson, and Leo Clem at WV Sound.
Speaker 1 (50:06):
This episode was shot and edited it by Ryan Posts
and mixed by Sean Tracy and features original music by
Madison Devenport and Halo Boy.
Speaker 3 (50:14):
Our cover art photography is by David Avalos and designed
by Deny Holtzklau.
Speaker 1 (50:19):
And thank you for being at Third Amigo today. I
appreciate you guys always listening to Those Amos.
Speaker 3 (50:24):
More podcasts from my Heart visit the ir Heart Radio
app Apple podcast or wherever you listen to your favorite shows.
Speaker 2 (50:30):
See you next week.
Hosts And Creators
Wilmer Valderrama
Freddy Rodriguez
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