Hate to Interrupt - EP 020 | Love and Pop - Hate to Interrupt

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
It's a big war trying to like basically destroy humanity because humanity has free will and

(00:12):
there's a decision to which level we want to go to. We have free will so evil's allowed to come
and contend and not just good. And the elites themselves believe they're racing using human
technology to try to take our best minds and build some type of breakaway civilization where
they're going to merge with machines, transcend and break away from the failed species of this man,

(00:36):
which is kind of like a false transmission because they're thinking what they are is ugly and bad,
projecting it onto themselves instead of believing, no, it's a human test about building us up.
And so that was a wonderful quick minute analysis from Alex Jones on the epic story of Evangelion
that I thought was very applicable. Is that actually what he was talking about?

(01:00):
No, but no, that's the meme. It's a fucking joke. But I thought the great soothsayer,
Alex Jones's incredible analysis on Evangelion would be applicable to the topic we're going to
be talking about. Welcome back to another episode of Hey! Tent around podcast. I'm Shinji from Love
and Pop. I'm Nick from Stop Culture. I'm Ethan from youtube.com slash guliff. I'm VHS guy Nick.

(01:30):
So today we're doing some Oscar coverage first and then we're going to go into the 1998 film
Love and Pop. So does anyone have the Oscar nominations? I haven't pulled up right.
Yeah, I have. I can just go down. Should we just start? I'm just going to start from the top of

(01:51):
the list. Sure. I'll skip like short films and stuff because I don't think we'll care about that.
Short films aren't real movies. Yeah, jump in if you guys have any big opinions about this.
Because so first, first off, we have actor in a leading role and the nominees are Adrian Brody
in The Brutalist, Timothy Chalamet in A Complete Unknown, Coleman Domingo in Sing Sing, Ray Fiennes

(02:12):
from Conclave, and Sebastian Stan in The Apprentice. I haven't seen A Complete Unknown, but I feel like
I don't know. Maybe it's just I don't know. I feel like you could have nominated him for Dune
Part II. I think Timothy Chalamet just being nominated is a basic bitch ass choice. I haven't
seen the movie, but I already know that he's just there because he did the Bob Dylan things and then

(02:35):
that counts as an Oscar nomination, I guess. It's a typical Oscars move to just nominate the person
who did the most work. I know he prepared for that role for years. He was cast in it, I think,
over five years ago. So he did the work to get the role. Like Ethan said, I prefer him in Dune Part

(02:58):
II over Bob Dylan. But I don't know. I guess out of that grouping, I would want Sebastian Stan to
win, actually. I thought he was excellent in The Apprentice. I just started watching Conclave. Ray
Fiennes is really great in that. It seems like Adrian Brody will probably win. I still haven't
seen The Brutalist, though, so I don't know. Yeah, I have no qualms with Adrian Brody being

(03:22):
in the list as well. He'll probably win just purely because The Brutalist is the current
hype machine right now. I haven't seen Sing Sing yet. I don't even think it's out. I have no way
of watching the movie. But from what I heard, he's really great. It would be kind of based if
Sebastian Stan won for the Oscars because the Trump thing or whatever. Well, I guess not based. Just

(03:46):
more, Teehee, we did a thing where the president is also the actor and blah, blah, blah. But yeah,
like you said, I'll probably go to Adrian Brody. Yeah, I haven't seen too many of these movies.
Yeah, I'm more of an issue where a lot of these aren't showing near me, which is part of the
problem. I actually really wanted to see The Brutalist. I just never got around to it.

(04:10):
They don't have any boring theaters by you that play like artsy farty stuff, Ethan. I mean,
they're playing Wicked still. This is the multi-bucket. I'm sure I could find it.
The other three hour plus epic. You have to find a movie theater where only old people and hipsters
go to. That's where they play the good stuff. They're all the way in Reno, but that's like an

(04:32):
hour and a half from me. I should have drive to Austin. It's a little bit of a way, but
yeah, too far. Right next to my apartment is a Nighthawk movie theater, which is really nice.
They play. Hell yeah. They're playing The Brutalist right now. Nice. I mean, that's one
of the only upsides about living in New York. You get to see everything. It's true. Yeah. You got

(04:55):
to see unlike us other peasants, you could have seen a Megalopolis in IMAX. That would have been
truly wonders. When I was in Dallas, right down the road was one of the only,
or one of the seven 70 millimeter IMAXs in the country. It was pretty sick. It was right down
the road for me. What's the next category even? Real quick, were there any big snubs for this

(05:20):
that anyone was concerned about? I don't know. I haven't really been thinking about the Oscars,
but let me look at my 2024 list and see if anything comes to mind. I actually disagree
with Ray Fiennes being great in the movie. I thought he was just fine. The whole movie was so
just screamed mid and fine that when I was watching the film, I actually watched it on Christmas

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because I thought, I'm sure Jesus would appreciate me watching this film. I got so bored so quickly
that I just started doing other things while the movie was going on. I think it's incredibly
interesting. I really liked it. Yeah. That's fine. I know. I'm in the minority. It wasn't really for
me. I didn't really connect with anything that was going on, but it at least looked nice, I guess.

(06:08):
Here are a couple. Daniel Craig for Queer, I would have preferred. Yeah, Luca Guadagnino actually got
fucked this year. He's just fucked in general because not a single one of his movies got any
sort of nomination whatsoever. I guess he just ran over the Academy's dog or something and they're

(06:30):
like, that's it. No nominations for you. I'll save it when we get to a fucking score, but yeah, let's
just move on. Actress in the leading role, we have Cynthia Arrevo for Wicked, Carla Sofia Gascon
for Amelia Perez, Mikey Madison for Enora, Demi Moore for The Substance, and Fernanda Torres for
I'm Still Here, which I have seen The Substance of Wicked. I fucking hope it goes to Demi Moore.

(06:52):
She absolutely deserves it. She's not going to win, but I hope so. She won the Golden Globe.
How is anything to do with Amelia Perez being nominated for anything? I have not seen it.
I've seen like 90% of that movie through clips online and holy fucking shit. That's a very accurate
way to do a film. It is one of the worst things I've ever seen in my life. I don't understand

(07:17):
how that's getting nominated for shit. All I've seen is the clip where it's like vagina to penis,
penis to vagina. I saw that one. Yeah, a couple of friends of mine keep posting that clip as like a
meme every time it's relevant to the conversation. It got 13 nominations. I'm like, wow, this is
doing such a great job selling me it. Yeah. So I heard it was just fantastic. I heard it was

(07:41):
just wonderful and I can't wait to watch it. It was pretty epic. It was a bar yard level film.
You have to remember the people who make up the Academy, it's a lot of older people who are
probably tired of younger people criticizing the Oscar voting pool of Academy members of not being

(08:01):
progressive enough or woke enough or whatever. So anytime there's a movie like a movie for us,
they just want to like make up for perceived slights in the past and then nominating a movie
like this that is pretty clearly undeserving of it. It's just really just being nominated because
the subject matter is tackling. The Academy just does this shit all the time. They just nominate

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movies that think that make them progressive, but it really just goes to show how out of touch they
are. Because when they nominate shit like Crash or what was the other anti-racist,
racist Green Book, that was it. When they nominate shit like that, they're just like, look, see,
we're progressive. We're not racist. We nominated a movie where the whole film,

(08:42):
the white guy drives the black guy. Jesus fucking Christ. I liked Green Book. I don't know what
we all were fucking talking about. That movie was really good. I finally watched it after y'all were,
there was one episode where y'all were shitting all over it. And I was just like, okay, I'm going to
watch this shit. It was fucking, it was pretty good movie. Nick Liking Green Book is the most

(09:03):
unsurprising boomery thing I've heard him say for the past couple episodes. It's very much a,
oh yeah, this is normie shit. Nick will probably like this. Nick will eat this shit up.
Yeah, he'll appreciate it. Yeah, honestly. Yeah. Yeah, Higgin Mortensen was good in it.
My hope is that Demi Moore wins. And I'm hoping there's a chance because, I don't know,

(09:24):
she won at the Golden Globes. That has to mean something. But it might go to Mikey Madison.
I've heard she was great in Nora, but, or they might give it to Carla Sofia Gascon just because
it's a part of the movie. I love that movie, but I don't think she deserves to win for it over the
substance. Are the performances that great in, okay, because I haven't seen Wicked and I think

(09:46):
Ariana Grande also got nominated, right? So like, are the performances just the most spectacular
shit out, because all I've ever heard is people really, really like it and the people who don't
get shit on on Twitter or something like that. So I haven't seen Wicked. I'm going to. Yeah,
it's like a film where it's got a big audience. Because I've seen it. I'll go in more into that.

(10:07):
I think Cynthia Riva was really good. I definitely don't think she deserves to win over Demi Moore,
though. But moving on to actress. Yeah, you said that the Golden Globes doesn't have any influence
on who wins the Oscars. I mean, it's you know, they call it the Golden Globes and whatever, you
know, what are the other ones like the Spirit Award and shit like that? I just think that,

(10:27):
yeah, I just think the precursor awards that it does build the momentum up to for certain people
to get the Oscar eventually, you know? Yeah, I just think that in terms, like if you care about
predicting what will win at the Oscars, I don't think the Golden Globes is necessarily that good
of a job because it casts such a wide net, you know, because it's like, oh, we're not just

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nominating movies, we're nominating drama and comedy and all this other shit, you know, and I
just don't think it's that good of an accurate representation of what might win when I think
about like award shows that could actually be decent indicators of what will win. I'm probably
thinking of more of things like the BAFTAs or some shit or some other award shows. I don't know. But

(11:11):
yeah, yeah, critics choice or something like that. Yeah. So now we have the actresses in a supporting
role. We have Monica Barbero from A Complete Unknown, Ariana Grande from Wicked, Felicity Jones
in The Brutalist, Isabella Rossellini from Conclave and Zoe Saldana from Amelia Perez.

(11:31):
You guys were asking about Wicked. If Ariana Grande won this, I would not be offended. I think she was
actually genuinely probably the best part about the movie. Really? I do not like Ariana Grande.
Me and my wife are like, don't like her. I don't like her vibe. I don't like anything. We went in
there and about 30 minutes in, I was like, damn, she's really, really good in this. She gives a

(11:53):
genuinely great comedic performance and she's just a fucking crazy talented singer. But I wouldn't be
shocked if she won. Her vibe is all fucked up lately. I don't know what's going on. Every time
I see a clip of her, it looks like she's out the launched mentally. You know what I mean?
What's with her vibe? She's been in character for like fucking 10 years now.

(12:15):
Yeah. As soon as she got cast, she just completely changed her personality.
Remember the clip of Hillary Clinton looking at the balloons on stage during one of the vates?
No. Well, to anyone who's listening to this, Hillary Clinton, there was one time, it was at
the DNC in 2016. She was looking up at balloons, like kind of being twitchy. That's been just

(12:37):
Ariana Grande's kind of chipmunk sort of vibe lately. That's fair. Look, it all went downhill
from here after Sam and Kat. Notable, no nomination for Margaret Qualley in substance. Yeah, that
sucked. But I don't know. What can you do? I am honestly not. Yeah, but she was great in the movie.

(13:02):
She was like, it's why I wanted. I've got to watch it. Yeah, substance is so fun. Yeah, I'm not really
I'm not really excited about any of these nominations. I guess if I had to pick one of
these, I guess Felicity Jones, but I didn't even think she was that great in the film. And I honestly

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forgot Isabella Russellini was even in Conclave in the first place. So I was trying to think of
who she even is. She's like the head nun or whatever. Is that what she is? Something like that. Yeah.
Nick, you've seen completed known as Monica Barbaro. Good. Yeah, yeah, she's good. She has a good
singing voice and everything. She plays well off Chalamet. I wouldn't have like singled her out as

(13:48):
a performance that wowed me this year, though. I don't think that she'll she'll win. No, OK. Yeah,
I wouldn't be shocked. That's my lock. I would. I bet it's going to go to Ariana Grande. Yeah,
I hope it doesn't go to Zoe Saldana and Emilia Perez. Yeah, I don't know. She won the Golden
Globe. Remember, she did. I know. I saw people were pissed. Her speech was wild, dude. Oh, I didn't

(14:12):
hear her speech. It was the most exasperated speech I've ever seen. Yeah, I was going to say,
I'm pretty sure I asked about this, but I already forgot. What was her schtick with the speech again?
She just threw a fit or something like that. I don't really remember. I think she just wasn't
expecting to win. And when she did, she was like, oh, she was very she was like hyperventilating.
You know, it was a little oh, yeah, OK. It was kind of like it was like they like me. They really

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like me energy. But 10 times 10 almost, you know, was she just like, oh, my God, I didn't know this
movie was going to get awards. It's so bad. All right. Let's move on to animated feature film,
which there is one obvious snub, which I will get to. We're starting off. We have two. OK,
yeah, we have flow. We have inside out to we have memoir of a snail. We have Wallace and Gromit

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Vengeance Most Vengeance Most Foul. And we have the wild robot first snub, which I know Tim's
going to talk about this look back. I like the movie about anxiety. I like the movie about motions.
That being said, that being said, I'm very pissed that I well, I'm pissed, but I'm not surprised
that Lookback didn't get a nomination. First of all, it was barely in the theaters for like a week,

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maybe even less than that. And plus, it's like weeb shit. The Academy can barely tolerate Miyazaki
movies. They nominate his movies out of pure obligation because he's an artist. People really
love and connect with. They're not going to nominate fucking weeb shit that only anime nerds
are super excited about, but also regular film. OK, it was just wasn't going to happen. I mean,

(15:46):
yeah, but it's technically a feature length. So it could have been nominated. It just wasn't going
to because, you know, the stacks are against it. I mean, at least you got cool kind of other ones
like Memoir of a Snail and Flow. I'm really happy. Yeah, I'm really happy. Memoir of a Snail got
nominated, but it's not going to win. I am confident. I will bet a thousand dollars that

(16:07):
it's not going to win. I want it to, but it's not going to. It's going to go to the Wild Robot
100 percent. You think so? I'm that confident. Yeah, I hope it doesn't go to Inside Out 2. That
would make me cry. Well, I mean, Inside Out 2 is like a safe bet because let's be real, the Academy
voters don't give a shit about animation. They don't give a shit about the genre. They just let

(16:30):
their kids pick whichever one should win. So I wouldn't be surprised if Inside Out 2, but I would
say the Wild Robot has a better chance because just purely because the Wild Robot got nominated
for a bunch of other awards for some reason. And I was like, OK, I guess that's an indicator. But
I think Flow also got another nomination for something else. I think, and I best case scenario,

(16:51):
Flow would win because Memoir of a Snail isn't going to win. But I bet you that the Wild Robot
is going to win just purely because it was big enough of a success that general audiences are
aware of the film. But it also technically has enough artistic merit where they can be like,
yeah, this movie gets it or whatever. Is the Wild Robot like the jungle book for robots?

(17:16):
I think it's like, oh man, I saw someone else describe it. Like it's basically some other story.
I don't know. It's a robot who gets raised in the wild, right? A robot lady. She becomes a mom to nature.
Yeah, the robot gets dumped into the woods and the robot's like, I'm a robot. But then the animals

(17:36):
are like, no, we're animals and connect with shit. It was fine. It was the most fine whatever Dream
Works movie in a while. And I was just like, people really like this for some reason. Great, cool,
whatever. I didn't see Inside Out 2 because I like valuing my time and I don't want to waste my time.
It was fine. Yeah. Flow was pretty decent. I think I talked about this film like a couple episodes

(18:01):
back. I recommend you guys watch it whenever you get the chance. I think it's like less than
90 minutes is a short commitment. It's an hour and 15, I think at best. And then the
Wallace and Gromit movie, I was honestly really disappointed with this film. Because I'm a huge
Wallace and Gromit fan. I unironically think The Wrong Trousers is one of the best movies ever.

(18:25):
I really love that short. And then you also have A Close Shave and Curse of the Were Rabbit.
But this just wasn't it. I liked parts of it. There were parts I really admired and
really enjoyed watching. But overall, this was just like, it felt like some B team was working on this
and there was no sauce. It was a sauce-less Wallace and Gromit film, I'll just say.

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Okay. I was moving on to cinematography. We have The Brutalist by
LOL Crawley. We have Dune Part II by Greg Frazier, Amelia Perez, Paul Guilame, Maria by Ed Lachman,
and Nosferatu by Jiren Blassk. I was shocked Nosferatu even got a nomination to begin with.

(19:13):
That's like one of the only ones he got. I would like to see Nosferatu win. It's time that guy's
an excellent DP. You should really get some recognition, I think. Is he the same one that
Eggers has been using every time? Really? Probably. Yeah, he's got a great, especially
Nosferatu, especially those night sequences with Nicholas Holt when he's arriving to the castle

(19:34):
are so gorgeous. They look like paintings. I'm going to be honest, I didn't think
Nosferatu was that well shot. I don't know why it got a nomination. Shut the fuck up.
Yeah, I'll just go kill myself. Let us have fun. I think Dune looks great.
No, Dune Part II, I wouldn't be mad if that won. Did Dune Part I win a cinematography Oscar?

(19:54):
I don't think so. Right? It wasn't really nominated for much at all. I mean, it definitely
didn't get any of the big ones. Dune Part II got way more nominations. I remember Dune Part I got
Best Picture nomination, right? I think it did. I don't remember. Dune Part II? No, both Dunes.
Oh, Part I. Yeah, Part I. Oh, I did it. Yeah. Maybe. I'm pretty sure. No, he won, I think he won

(20:19):
Best Cinematography. Okay. I don't know. Maybe I'm wrong. Yeah. I can't see it right now. But anyway.
Either way, it's going to. Yeah, sorry. At the beginning of the year, I remember thinking that
Dune was going to sweep. Just because like, remember in March when Dune came out, it was like
everyone had Dune fever, you know? Yeah. And then the spice must flow. Like looking ahead at the

(20:39):
rest of the 2024 slate, it was like, it kind of seemed pretty light. I remember thinking, all
right, it's coming out in March. So that's always kind of, that's going to be held against it come,
you know, Oscar season. But I don't know, I remember feeling like this might hold water. But
now it seems like it's not even in the conversation for most of these awards, which is kind of a bummer
to me. Because I think, I mean, especially Villeneuve, we'll get to that, but I think he

(21:02):
should have been nominated for Best Director. The fact that Challengers didn't get a nomination
makes me furious. Yeah, the cinematography is pretty sick. Yeah. But I'll probably go to the
Brutalist because the film's being hyped up as like, oh, it's shot on this division. It's, you
know, it's the first since the end of Evangelion, if you can believe it or not. So they really were

(21:25):
hyping up sort of the camera work and the cinematography using like very old cameras
with this. And to give it credit, it is very well shot. I think the film visually looks gorgeous.
I don't have it like, I'm very mixed on the Brutalist because I think on a technical level,
there's a lot to appreciate. It's my issues just more stems from the narrative and writing

(21:48):
perspective more than anything. But I can save those thoughts whenever you guys watch the Brutalist
and I can have a further conversation about those. Do you like Brutalist architecture, Tim?
I grew, I grew, I don't know. I was trying to do a balls joke, but I got nothing. I thought your
brain just fried. No, my brain is fried right now. I'm so, so whatever. Let's just move on.

(22:14):
I'm so, okay. Costume design. We have a complete unknown Conclave, Gladiator 2 and Nosferatu and
Wicked. This is going to Wicked 100%. Honestly, weirdly Gladiator 2 was really impressive in
that regard. That's like the one thing I thought was great in it. I think it would be the most
boring win. It would be a very boring one. I think honestly Nosferatu would be a sick win because I love the

(22:37):
costumes in Nosferatu. But being realistic, I can, I can almost guarantee it's going to Wicked because
they have the most costumes and that's usually how the Oscars judges things. I was going to say,
wouldn't a complete unknown be that? Because it has the most costumes that they have. They're wearing
all the 60s or 70s, whatever the fuck the film takes place. They're wearing the period clothes.
Yeah, but those are just real people clothing. Wicked had to make cool costumes. You can go to any thrift store in the village and get those Bob Dylan

(23:03):
ass clothes. Just raid a hipster's closet and you'll find some. I think the Nosferatu costuming was great.
Yeah, I think it was good. Aaron Taylor Johnson looked like an actual plantation owner from the 1800s to me.
He was giving Calvin candy vibes to me. I thought he was a dog owner. No, I know. He just looked like that.

(23:24):
He had that energy to me. Let's move on to directing, which is honestly probably going off of history of the Oscars.
Whoever wins best director is usually going to win best picture. Not necessarily. Generally though, that's almost certainly what happens.
I know. I just wanted to be a dick. I'm sorry. Dammit. We're going to start off Sean Baker for Enora.

(23:51):
Brady Corbett for The Brutalist. James Mangold for a complete unknown.
Jacques Odiard for Amelia Perez and Colery Farguet for The Substance.
Damn, how do you say that one? I don't know. I'm going for Sean Baker because I'm a fucking huge Sean Baker fanboy.

(24:19):
Enora was probably my favorite movie of last year. That just got a Criterion collection copy, I think.
I think he's the second lamest pick to win this one, if I'm being honest.
Actually, no, it would be funnier if the Amelia Perez director won it instead of Sean Baker. That would just be funny to me.

(24:40):
What's the part in Enora when she's like, what's going on with all these Russians? These Russian guys?
Is that a part of the movie? I haven't seen Enora. I'm the only one.
She says Russian with a New Jersey accent plenty of times, so it might as well happen.
I think honestly, if Corley Farguet wins Best Director while the Oscars are going, I'm going to immediately get hyped up thinking The Substance is winning.

(25:10):
That's all I'm saying. The Substance is not going to win Best Picture. I'm just saying, I'm going to have an optimistic mind.
I really, really want her to win. You don't know how badly I want her to win.
She's my favorite out of all these picks. It'll probably go to Brady Corbett or Sean Baker.
Maybe the Oscars old guys will be like, well, if we pick a woman, we'll get them points.

(25:38):
They already did that with Kathryn Bigelow. They're like, we already gave a woman an award.
They don't need to do it again. We'll do one in 30 years.
During the ceremony when they show a clip from the movie while they're like, they show the substance.
I hope they show a close up of Dennis Quaid eating shrimp. I think about that a lot.

(26:01):
I was getting really close to my camera.
Best Dennis Quaid performance because he was just being himself.
Clearly haven't seen Reagan. Oh yeah, good point.
Thanks. Yeah. Anyway, let's move on to, did anyone see any documentaries this year? Because I did not.
There are a couple of documentaries that I've been meaning to watch and I just haven't gotten the

(26:25):
chance to. Actually, no, I saw one of them, No Other Land. Highly, highly recommend. It's a very
visceral, very just gut-wrenching documentary. I saw that at NIF. It was really great.
The Black Box Diaries has been on my watch list for a while. I heard that was great as well.
So I'll probably watch that. I mean, I'm going to watch all of these because I am contractually

(26:47):
obligated to watch everything that gets nominated, but I would say Black Box Diaries. I'm excited to
watch and then the rest I'm not too familiar with. Yeah, I've not heard of any of these.
All right, let's breeze by. Let's go into film editing. So we have Anora by Sean Baker,
The Brutalist, David Janso, Conclave, Nick Emerson, Amelia Perez, Juliette Welfling,

(27:09):
and Wicked Myron Kirstein. When you guys see a good movie, what's the biggest marker of good
editing? How do you gauge that? I think that depends on the movie and what they're going for.
Yeah, I feel like it varies. I think for me, there's a level of, if I notice the editing

(27:30):
and it's taken me out, then I'm like, you fucking failed. And I'd say it's good if I don't even
think about it, if it just feels natural. And then when it's taken to another level where I'm like,
holy shit, this is so fucking cool. How they're telling this story, then it's really, really good
to me. It just depends. The most basic things I notice is how long they'll stay on shots and
how often the frames are switching. Yeah. This is another one of those Luca Guadagnino got robbed

(27:57):
one because the Challenger's editing is so good. I think Challenger's and Queer had amazing editing.
I don't know why neither of those movies got nominated for that. I think Enora has to win,
bro. I mean, it literally had the best editing of the year. In my opinion. I think it's going to go

(28:18):
to Amelia Perez. Moving on to international feature film. I don't know any of these, but two. We have
I'm Still Here from Brazil, the Girl with the Needle from Denmark, Amelia Perez, of course, from
France, The Seed of the Sacred Fig from Germany, and Flow from Latvia. So.
So, Flow being nominated is fucking based. I think that is really cool that an animated film gets

(28:41):
nominated for international. What makes the substance not count as a foreign film? It's like
entirely French funded. It's an American production. It's an American production of stars.
It's an American production of stars. Yeah. But it was. Mubi is a French company and it was shot
entirely in France. It just has American actors. It doesn't matter. It's an American production,
which is why it doesn't count for it. It's not an American production. It's literally not an

(29:04):
American production. The money that made it is not from America. It was not shot in America.
But it's set in America. You can't just say it's an American production. That doesn't make any
fucking sense because it literally isn't. Look, I didn't make up the fucking rules, okay? This is
their world. I'm just telling you what they would say. Maybe they get to pick or something
if they want to. Yeah, I don't know. Well, but what makes it an American production though?

(29:26):
That's what I'm trying to say. It's just the vibe.
They have to do the pledge of allegiance at the beginning of every film.
Yeah. All right. Let's move on to makeup and hair styling.
Well, sorry. I was just about to say I've seen two of these. Cita's Sacred Fig I saw
at a NIF. It was very great. I highly recommend you watch that one whenever you guys get the

(29:48):
chance. I think it's out on digital. I don't know, but I thought it was great. It was quite a banger.
And then I need to watch I'm Still Here. Yeah. I'm hearing a lot of good things about I'm Still
Here. I don't know anything about it, but that's when I keep hearing about it.
It was available at New York Film Festival. I was thinking about maybe watching it, but I was just

(30:09):
so pertout with so many political dramas. I did not want to watch another one. But now that I've
heard it's great, now I missed out. That's the same name as the Joaquin Phoenix documentary
that you did with Casey Affleck, right? Remember he did that whole social experiment thing when
he had the giant beer and he went on David Letterman and was chewing gum.

(30:30):
Oh, no. I think it's I'm... Is that what it was? I think it's called I'm Still Here.
I'm not. I think it's called I'm Not Here. I'm Not Here, right?
I think it is I'm Still Here. Yeah, because he made a song about it like I'm still here
through these years. How the fuck do you spell his name?
He was a rapper for a while. That was a big part of the movie.
J-A-U-Q-U-I-N. I hate...

(30:51):
I love your rules, by the way. I love that. Oh, yeah. It's called I'm Still Here.
Or J-A-O. I haven't seen it.
Oh, okay. And then he has another movie called You Were Never Really Here. So...
That movie was pretty good. Yeah.
Guy doesn't know where it is. He just likes movies with the word here.
He should be in the sequel to I Am Here Now by Neil Breen.
Hell, yeah. All right.
Makeup and Hairstyling. We have A Different Man.

(31:12):
We have Amelia Perez, Nosferatu, The Substance, and Wicked.
A Different Man. Have you guys seen A Different Man?
A Different Man is awesome. That's the one with Sebastian Stan, right?
Yeah, that's great. Or is that the monkey?
Yeah. No, that's a better man.
No, that's Better Man. A Different Man is... Yeah.
A Different Man is with Sebastian Stan. Sebastian Stan.
Yeah, I wanted to watch it. I just never got the chance to see it.
I'll probably watch it before the Oscars.

(31:33):
It's on max now. When are they, by the way?
Oh, it's sick. It's like March.
It's the beginning of March, I think. First of March.
Oh, okay. Does anyone have any opinions on this?
I don't know. Maybe Nosferatu. Any of these you'd be fine with.
I mean, yeah. Well, just give it to Wicked.
Because it's like you said, it has the most makeup and the most hairstyling.
I would... I mean, the makeup in A Different Man was really impressive,

(31:56):
considering it's a lower budget... made it to a lower budget movie.
I would like to see that one. I would highly, highly recommend that movie.
I really, really loved it. One of my favorites.
If we did the favorites of 2024 episode before I saw that,
that would have been on my list for sure.
Yeah. The second half of the substance in its entirety is why I think it should win.

(32:19):
For just makeup alone. Yeah.
I think they should give it makeup just purely because they got a giant face monster to wear it.
Spoilers. And I think that...
Oh, sorry. Spoilers.
Well, fuck. Fuck him.
I didn't mean to... Sorry. Damn it.
Jesus. Forget what she just heard.

(32:39):
Yeah. Just forget what I just heard.
Ari Aster should have been nominated for the penis monster in Bo Is Afraid.
I think that's more visual effects than makeup.
Not Ari Aster. What's the fucking lobster dude? Yorgos?
Yorgos Lampinos.
Didn't you do that movie with fucking whatever the fuck her name is?

(33:00):
Kinds of Kindness.
Kinds of Kindness.
Didn't have some good makeup in that.
I have not seen it.
Not really.
That got nothing this year.
Yeah.
I don't like it very much, but that movie looked cool from the trailer.
I remember Poor Things got a bunch of nominations. That was very well deserved.
I don't think it won, right? I don't think it won anything.

(33:21):
I thought Poor Things won Best Picture.
No.
Did it? I don't think so.
Oppenheimer won Best Picture.
Oh, yeah. I'm way from the halfway for some reason.
That's right.
Okay. Let's go on to music. I want your input, Nick, since you're the music guy.
Best Original Score. We have The Brutalist, Conclave, Amelia Perez, Wicked, The Wild Robot,

(33:42):
and no fucking challenger score.
No doing either.
Oh, yeah. Well, oh, they disqualified that because they said they reused songs from part one.
So they were like, doesn't count.
Wow.
Yeah.
That's fucking nice.
Dude, I feel so bad for Trent Reznor and Atticus Ross. This was such an easy slot in.
Yeah. I have no idea why Trent Reznor and Atticus Ross didn't get nominated because the score is

(34:05):
arguably the best thing about challengers. I mean, there's a lot of great things about it,
but the score is what I really remember most out of anything in that film.
I still listen to the score.
And the fact that it's not nominated is kind of bull. Yeah, so do I.
Whenever I go for a jog, I like listening to the
Matchpoint song that they play in the other end of the film.
Yeah. But yeah, I'm sure Culture Nick, you can tell us how amazing the music was in Amelia Perez.

(34:33):
Yeah, I can go into the iambic pentameter of the Penis of Vagina song if you guys really want to.
But yeah, I don't know. I like the music from challengers. I don't think I like it as much
as everybody else, but it just felt like kind of this might be a little bit too much.
A little bit derogatory, but kind of just paint by numbers, like electronic dance music to me.

(34:58):
I was like, all right, it fits the movie well. It didn't wow me though on a musical level,
I guess. I don't know.
Yeah, I guess that's fair.
It's like a unique sound. It's unique for a score because usually it doesn't go that hard on the
techno edge of things in movie scores, which is cool to see. And it was certainly a choice, but it

(35:23):
definitely like, and from compositionally, it didn't really blow me away, I guess. That's all.
Sure.
I feel like Dune's like the only film that actually had like a real good score. So like,
I don't care about this that much.
I don't know why the Wild Robot got nominated for score. I barely remember anything about the
music for that movie. I don't even know what, like, I don't know. It doesn't seem like anyone has

(35:50):
big strong opinions on the score of any of these options. So I don't know, was Conquist's score good?
I actually do kind of like the score for The Brutalist, because I was actually re-listening
to some of the themes while I was taking my jog. And to give it credit, it does a great job
of selling sort of the tones that it's going for. Like, I'm sure you guys saw this in the trailers,

(36:14):
but they play this like epic, you know, throughout the film. And, you know, it's a really good piece
of music. In fact, I think the music, I remember the music quite well throughout the film,
because it definitely changed kind of what it was going for throughout the film. Like at times it
had this big bombastic horn theme, and then other times it was much more quieter using the piano

(36:38):
and at other times it felt like screeches on a chalkboard. And I mean that as a good thing,
because it definitely felt more sinister at certain points. So yeah, I would say probably
my vote would go to The Brutalist. I did like the score a lot. But yeah, in terms of Conclave,
I barely remember anything about the music for that movie.
Yeah, I was just trying to think of what if the music stood out to me and it didn't really. But

(36:59):
I kind of watch movies on low volume sometimes, especially if I'm like watching something next
to my girlfriend who's sleeping. So I can't really hold that against the music, you know, subtitles
in low volume. Yeah. But it doesn't matter because it's probably going to go to Wicked because the
most music, it was everywhere. It doesn't even make sense to me because like I'm like Wicked
was a stage play, like a musical, like beforehand, and they just took the songs and turned them into

(37:24):
anyway. Anyway, wait a minute. You're telling me that the academy isn't consistent with their
own rules? That's crazy. I know. I don't have any strong opinions. Should we even mention original
song? Sure. Penis to Vagina. Yeah, that one's up there. Is it actually? No, I'm just kidding.

(37:48):
It's one other one from Amelia Perez. And the Oscar goes to... Sorry, Penis to Vagina.
Amelia Perez is called Le Vaginoplasty. I think that's what it's called. Yeah, Le Vaginoplasty.
It got nominated for El Mal and it got nominated for Mi Camino. And then Elson John got nominated

(38:11):
for Never Too Late. I don't even know what movie that's from. I just want to know.
It's from his documentary. Honestly, they should nominate the Gran Torino song every year,
just as a tribute to how amazing that song is. What's the Gran Torino song?
The one that Clint Eastwood sings at the end. He's like, I'm my Gran Torino.

(38:33):
You know what I'm talking about? No, I don't fucking remember this. I mean,
I purged most of Gran Torino from my brain anyway, so I'll just believe you.
All right. Let's move on to writing for Best Original Screenplay. We have The Substance written
by Coralie Farguette. We have September 5th by Moritz... I'm not going to read all their names.

(38:54):
September 5th. We have A Real Pain. We have The Brutalist and we have Anora.
I still would like to see A Real Pain. I know Tim doesn't like that one, but I'm interested.
That's Jesse Eisenberg and Kieran and Culkin. I want to see it too. I want to see it really bad.
But I don't think the writing into Substance is what made it good at all.
No, I don't think that was the standout element. It's good, but it's not like why I watched that

(39:17):
movie. Yeah, I mean, the writing does a great job in the sense that it sells the over the top tone
and it sells the hyper satirical nature that it's going for. But yeah, like you guys are saying,
I would agree with that. The writing is great, but it's not the thing that I remember about the film.
What is September 5th? I don't know what this shit is. I don't know what that is. I don't know

(39:41):
either. Wait, is this Adapted Screenplay or Original? This is Original Screenplay.
Original Screenplay. Yeah. We can move on to Adapted Screenplay though. We can start with
A Complete Unknown, Conclave, Nickel Boys, Sing Sing, and Emilia Perez.
I think Conclave has a really, really tight script. They really do.

(40:01):
Oh yeah, that's like the one Nickel Boys nom. Yeah, I'm shocked Nickel Boys got nominated at all.
It got nominated for Best Picture. I was shocked by that too. I was like
surprised. I was like, holy shit, this is awesome. We'll say that. But was Complete Unknown
interesting enough to get a Best Screenplay? No, definitely not. You liked that one too, right?

(40:23):
I did like it. It just came out at the right time. It came out on Christmas, which is totally
intentional. If that movie came out over the summer, it wouldn't be getting all this.
I'm going to be honest. Not for all this stuff. Maybe Chalamet, just Chalamet.
Yeah. I'm going to be honest. I haven't seen the movie, but when I think about

(40:45):
this movie and how it was written, all I can think about is Kultrnick's video on the skit that he
made about the, oh my God, he just sang blowing in the wind or whatever. I can imagine the
writing is just that for the entire fucking movie. Oh my God. It really is like that.

(41:09):
It gets so old. I'm pretty sure even James Mangold was kind of talking shit on his own movie. I read
some interview he did where he's talking about audiences won't let us make good shit anymore.
They don't want good shit. They want slop. That's what he said. He said we made a fucking dumb ass
movie for these stupid idiots. Fuck you with these Chalamet, you're a little bitch. It was
a week ago I was reading. I was just like, why did he say that? As he says, as he's going to make a

(41:33):
Star Wars movie and I guess doesn't care about the lore. He's making a DC swamp thing movie.
I would personally like Nickel Boys to win because I did like the writing a lot in that film,
but it's not going to win because what the academy wants and what I want is just so completely
different. I don't know if that's true based on your movie recommendation later.

(41:58):
All right. Let's move on to where we only got a few categories left. We got production design for
The Brutalist, Conclave, Doom Part II, Nosferatu, and Wicked. This has to go to Doom Part II.
They got to give it something. I think maybe we'll see. I wouldn't be shocked if Wicked wins this
again because again, it has one of the most production designs because there's just a lot

(42:20):
of props and sets and that's it. Yeah, but I wouldn't be surprised.
Doom can't lose it. All the fucking big ass sets with the arena and everything in Part II was so
fucking nice. It's got that maximalist, minimalist style and it's so fucking sick. But yeah, that's
specifically like you were saying, the arena scene. So cool. I wouldn't consider anything in Doom

(42:41):
Part II minimalist, but I get what you're saying. No, no, no. It's a minimalist, maximalist style.
You know what I mean? Everything's maximum, but everything's minimalist style. You know what I mean?
Yeah. Yeah, I guess so. It perfectly exemplifies the repercussions of the butlerian jihad that
happened 8,000 years before Paul Trudy's birth, which of course was the battle against the humans

(43:04):
against the thinking machines. So in case anyone wanted a primer on that.
Banker. Yeah. I wouldn't be surprised if the Brutalist won this though.
Yeah, I'm hoping Nosferatu gets one thing, just one. They really deserve something. I think I got
fucking snubbed in a lot of these categories. Wait, what did you think that snubbed?

(43:27):
I want Nosferatu to get one win. I think he deserves one win at least.
I honestly think he might win for cinematography. It was really nice.
That would be sick. It was really pretty. And it could be one of those legacy awards
because I think the lighthouse is incredible, the witch is incredible in terms of cinematography.
They might remember that I think when they're growing up.

(43:48):
Yeah, lighthouse got massively. I think it didn't get a cinematography
nomination. I remember the only nomination the lighthouse got was best cinematography,
and it didn't even win that one. Yeah, I think that was it. I was
kind of annoyed by that. Let's move on to sound, which is going to be a complete unknown. There's
a lot of sound out of that little Tim Chams mouth. We have Dune Part 2, Wicked, The Wild Robot,

(44:14):
and Emilia Perez. I like the sound out of that kid's mouth.
That's some Oscar sounds going out of his mouth.
I don't even like Dune, and I think Dune's going to win this.
He'll probably win just for that part when there goes like fade or alpha or whatever.

(44:37):
Whatever's the loudest of these movies, it will win sound because that's how the academy thinks about this shit.
Remember when he was like, may thy knife chip and shatter.
Remember when they're doing the duel? May thy knife chip and shatter.
Yeah, that was a good sound. There's a lot of cool sounds.

(44:57):
All right. Do we have anything else? Nope.
Guys, if you think about it, we're just making sounds right now.
We should get nominated for a sound not Oscar-named.
The most sounds in any podcast goes to Hate to Interrupt.
Blasting fucking Alex Jones in the beginning. Nobody does that.

(45:22):
All right. We have one more before best visual effects.
We have Alien Romulus, Dune Part 2, Wicked, and Two Monkey Movies.
We have Better Man and Kingdom of the Planet of the Apes.
I hope it goes to Dune.
Wait, Kingdom of the Planet of the Apes came out?
Yeah, it came out in summer.

(45:44):
Don't worry. I also forgot about the movie.
I don't think anyone saw it. I think it did okay, actually.
It did decently okay.
Yeah, Monkey Movie. Two Monkey Movies in one year.
That's pretty good for visual effects.
True Monkey Movie.
Yeah, the one where he's riding a horse and it's post-apocalyptic.
Didn't Better Man only earn like $10 million at the box office

(46:08):
and a $110 million budget or whatever?
It's a $129 million budget.
Oh yeah, didn't you guys see that?
No, I want to see it because I've heard it's actually not bad.
I'm not going to go see it in theater on principle, but I will watch it.
I heard that, I think it was Paramount who produced it.
They were just like, we kind of had a feeling it would bomb,
but we just thought it was kind of a fun idea.

(46:28):
I'll watch Monkey do anything.
That's refreshing.
I watch Monkey videos on TikTok all day, so I will watch a movie about one singing.
What about Alien Romulus?
Okay, Alien Romulus being on this, fuck you.
No, this should not have, I don't know why this was nominated for Best Visual Effects.
I haven't seen Romulus.
The shitty Ian Holm deep fake AI shit that they did,

(46:51):
that alone was the ugliest piece of shit ever.
I actually didn't mind that.
What killed it for me is at the end when they did the humanoid alien thing.
I think that looked like shit.
That was practical.
That was more visually appealing than the fucking ugly ass AI Ian Holm shit.
I don't know what you're talking about.
If they got rid of the Ian Holm deep fake on a puppet,
would it be worthy of a nom then, Tim?

(47:13):
No, I still don't even think that.
I think it's worthy of a nom.
Just putting your biases aside,
do you think it visually has really impressive visual effects?
I remember being extremely impressed by the first half hour of that movie.
I think the practical effects in it are really fucking nice for the most part.
I remember the production design more than I do the visual effects.
I remember the sets and I remember the spaceships that they're in,

(47:34):
but in terms of actual visual effects,
there is nothing significant or outstanding about any of that shit.
I agree with that, but also visual effects do count like practical effects and set design
and shit like that, things that they actually have to craft.
Yeah, but that goes under production design, doesn't it?

(47:55):
Yeah, but that goes to production.
Those are two different things.
Yeah, because practical effects are makeup and hair styling.
I would love if Aileen got nominated for best hair styling.
Building a house for characters to be in and an explosion are not the same thing.
Unless you actually explode the house with actors in it and then that's practical.
Yes.

(48:18):
Michael Bay would totally have done that shit.
Actually Christopher Nolan absolutely blasted Killian Murphy with a nuclear bomb,
so it should win best to practical effects.
They actually killed all of Japan by dropping real nuclear bombs.
And then they didn't film it.
They felt like the lens cap was on.
They kind of fucked up there.

(48:39):
What fucking pussies?
They didn't even bother showing us all the dead people.
All right, let's move on to the one and only best picture.
Here we go, nominations.
We have Nora, The Brutalist, A Complete Unknown,
Conclave, Dune Part II, Amelia Perez, I'm Still Here, Nickel Boys, Substance, and Wicked.

(49:06):
I think it's such bullshit that Dune Part II isn't even in the conversation right now.
For like what, could win?
Yeah, it's not even a possibility that it could win, which is a bummer to me.
I personally think it deserves it.
I think Dune Part II was like a momentous cinematic occasion this year,
probably the biggest one of the year.
Like remember how it felt when Dune came out?

(49:26):
I mean, obviously Nick didn't feel anything, but most people felt a lot of things.
Because Nick's a fucking soulless hack.
I also partially didn't feel much, but I just don't have a say.
I'm with you, Culture Nick.
I felt it.
I was there premiere night.
I went there and it was electric energy in the theater.
Yeah, I'm upset that 2049 didn't win best picture.
Like that was his like, he's never going to make a better movie than 2049.

(49:51):
And it sucks.
I don't even think it got nominated, so it wouldn't have won anyway.
It got nominated for best visuals.
I think that was it.
I think Dune Part II is better than 2049.
I have to rewatch 2049.
I haven't seen it in years.
2049 is a perfect movie.
Yeah.
So is Dune Part II.
I don't know.
Have you seen all of Villeneuve's filmography, Nick?

(50:12):
Like the vast majority of it.
Have you seen Enemy?
Yeah.
That's my favorite.
There's like one of his, I've seen like, what's like his first, very first one?
It's like a...
Insanity?
Oh, Polytechnique.
Yeah.
Oh, was Polytechnique before Insanity?
Polytechnique, yeah, Polytechnique was before Insanity, which I haven't seen either.
Okay.

(50:32):
Some of them I need to rewatch.
I've only seen Prisoners and Sicario like once and I haven't thought about them since then.
I'll probably give them a rewatch at some point.
I don't think I've disliked a single thing he's made, so...
I haven't seen Enemy.
I heard people liked that one.
I'll give them a rewatch at some point.
I love Enemy.
Well, one of you can recommend it at some point.
It's like Spider-Man almost.

(50:52):
Yeah, it's really cool.
I don't know.
I think I wouldn't be...
Could you imagine how funny it would be though if Amelia Perez won Best Picture?
I think it should win.
We've been saying that for like six other times.
It would be funny.
Now we're actually in the right category.
You know what would be funny though?
If they did, like if they gave it the...

(51:14):
Because I am kind of disappointed that... Actually not that disappointed since the
Academy likes embarrassing themselves by picking the worst shit ever to win Best Picture,
the greatest show on earth, Green Rush, Crash, Driving This Daisy, all this other shit.
I think it would be for the funnies if Amelia Perez won and the Academy was like,
look, we love trans people, but then it's just like that.

(51:38):
Have you seen all the memes that have been pointing out that Amelia Perez has more Oscar
nominations than like Return of the King, even Citizen Kane, Jaws, there's more nominations than
all of those.
No, man.
Again, as many nominations as Joker, right?
I'm going to look this up.
Maybe.
I think it's 13 nominations, which is crazy.

(51:59):
Yeah, I think that's what the number was.
Yeah, that's insane.
I mean, who knows?
I might secretly think it's amazing. I might love it whenever I get around to watching it at some point.
I mean, the sad part for me is like the majority of these movies that are being nominated are things
that I was not interested in seeing at all.
Yeah, well, I mean, I think Conclave is actually really great.

(52:23):
It's a cool story about old guys in the Vatican trying to decide who should be Pope.
It's a cool story.
It's like a dad movie.
How many of these have you guys seen?
I have seen Dune Part II and Substance and Wicked.

(52:45):
So I've seen three of them.
Okay.
I think I've seen three out of ten, but I try to make a point to see them all before I...
Yeah, I'm going to try to see a handful.
Yeah, same here, because I've seen six of these and three of them are movies I was...
I never wanted to watch anyway, but now the Academy is forcing me to watch them.
And then one of them I was going to watch at some point anyway.

(53:07):
That being, I'm still here.
I had no interest in watching either Wicked or...
fucking... what was the other shit called?
Amelia Perez?
Yeah, that was it. Yeah, sorry. I don't know why I forgot about it.
Yeah, I had zero interest.
How could you ever forget about Amelia Perez?
I know, how could I? I'm such a piece of shit.

(53:30):
Oh, no, actually a complete unknown.
I also had zero interest in watching that, but now I guess I have to now.
Yeah.
Yeah.
All right, I'll just watch Nick's video like for an hour and a half and then that'll be it.
Yeah, I think I would rather do that as well.
Which ones have you seen, Nick?
Nora, fucking Timothy Chalamet, fucking Dune...

(53:50):
You saw the Timothy Chalamet movie?
Yeah, I saw it like two days ago.
And then I saw Substance.
Did you like a complete unknown, Nick?
It was okay.
Riveting.
I like Timothy Chalamet. I don't know.
I thought he was okay.
I think this...
It's on my thing.
I think he's cute.

(54:11):
He's a little cutie patootie.
My wife knows everything he's in. We like him.
Honestly, I think this year's Joker that's going to not win Best Picture and the fans are going to get super pissed off is going to be Wicked.
Because they were fucking pissed when it lost Golden Globes and they were more pissed at Amelie Perez, which is valid.

(54:34):
But I don't think Wicked should win everything.
It just is one of those films that has a big fan base that don't actually watch award shows.
Wait, does the Oscars also have the popular cinematic achievement award like the Golden Globes?
No, they were going to do that, but then they scrapped that.
They created that for Black Panther to win and then people made fun of them and then they just didn't do it.

(54:56):
Well, Black Panther was nominated for Best Picture, wasn't it?
It was.
Well, they did it because of the culture.
It was because the kids liked it.
It made a billion... a Black Panther billion dollars.
We can say that movie is not good now, right?
It's very mid.
It's not that good.
I've been saying that for a while.
It's like a five out of ten at best.

(55:16):
We're all white, so we're fucked, dude.
But I'm just saying.
Tim's Asian.
Poltergeek is Italian, so me and VHSnake are fucked.
I don't like Black Panther.
Are you saying Italians are not white?
Yes.
Okay.
I'm just kidding.
I mean, Luigi Mannyone got charged with terrorism, so he's technically not white anymore.

(55:39):
That's true.
I'm glad I can be the token.
I'm reminded I'm the token non-white guy on this show.
Yeah.
Let's get into the...
Let's get into the wreck.
Sorry, what do you guys think will win Best Picture?
I forgot to ask.
Let's put our bets down.

(56:01):
But that's also how little I care about this.
I very rarely care about the Oscars anyway.
And looking at this list, I'm like, yeah, sounds about right.
This is about what I expected.
I guess the Brutalist is probably going to win.
Yeah, I also say Brutalist.
I'm going to go out on a limb and say the substance.
I know I'm going to be way fucking wrong, but could you imagine how good it's going to feel if I'm right?

(56:23):
Dude, I wish.
I wanted to.
Do you know how wrong I was?
I was betting money on the, I think it was the 2019, no, 2020 Oscars.
And I was like, look, Parasite got nominated for all this shit, but it's not going to win any of them because it's a Korean movie.
And, you know, asking Americans, old Americans at the Academy to watch a foreign film in of itself is already a challenge.

(56:45):
I was like, so I'll probably just say 1917 or some shit that will probably win.
And they just got won everything.
I was like, hell yeah, I'm so glad to lose money.
I don't think anybody actually expected everything ever at once to win.
I was like excited for it, but it was again, it was like they won best director and then that led to that.
Same with Parasite.

(57:06):
So I'm just hoping that she wins best director.
I think that was, I was less surprised by, I mean, I still was very happy with that, but I was less surprised by that because I think that was just more, everyone kept talking about the movie.
Everyone was saying like, oh, you've got to watch everything ever all at once.
Like I remember even when the movie came out months ago, people were still talking about it.

(57:28):
So I think like the word of mouth is what made me realize, yeah, this will probably win.
And it won. And I was very happy. Yeah.
Most people I knew in person had not seen it.
But I also don't surround myself with a lot of film people.
I love that movie.
What the fuck are we?
I mean, just fucking creeps.
Y'all are new.

(57:49):
All right.
Yeah, that's my lock.
So you three say brutalist, I'm going to go out on a limousine substance.
Anyway. All right.
Oscar's chat done.
Let's move on to the rec. Tim, do you want to introduce your film?
Yeah.
So I recommended Neon Genesis Evangelion.
Sorry, I meant Love and Pop.
That's what I meant.
It's I say that because when I was watching the film, I literally kind of sat there.

(58:13):
I paused the movie and I was like, wait a minute.
This is just fucking Evangelion.
I'm not even mad because I was into this so much.
But I was like, this is just Ava.
But anyway, I don't watch the giant fucking robots.
Watch the fucking show.
Then you'll never know.
So, yeah, I am never watching Evangelion.

(58:35):
Let it be.
OK, so Love and Pop is about stuff.
How do I explain them?
So basically, there's a girl and she's with her friends and they do shit.
And then they were like, hey, why don't we prostitute ourselves and do all this other shit to make money to buy a ring?

(58:56):
And they technically do that.
What it's called is compensated dating, which is like NG cosi.
So basically they go with these men and it's known to be a date and they go meet these men and they pay them to go on a date with them.
And as the movie progresses, they basically start the men start asking them to do weirder and weirder things.
And it just gets more and more sketchy as it goes on.

(59:19):
Yeah, yeah. Sounds about right.
Yeah. So, yeah, I hadn't seen this film.
This has always been on my watch list for a while, but I really wanted to watch it because I know it was one of my favorite directors of all time.
He's just one of my favorite artists in general.
And so I figured this would be a perfect opportunity to recommend it.
And then I sat down, I watched it.
And I think like the first like 10 minutes, I wasn't really sure where this was going.

(59:44):
I was like, I'm kind of I was curious, but I was a bit unsure of where things were going.
But then like around the halfway point, I was not even the halfway point.
I think once I started understanding what I was going for and like the overall presentation of the film, because like the film, I'm going to admit, it doesn't look great.
You know, but that's the point as well, because they're filming on very super old digital cameras.

(01:00:08):
It's like when 28 days later, they shot on super like cheap, like handheld digital cameras, you know, to get that grainy sort of aesthetic that fit the movie very well.
They're going for something similar here.
And at first, I was a bit confused why they made why Anno made that artistic choice.
But then once I understood what he was going for and once I understood the characters motivations and their attachment towards like photography and camera specific, specifically, I got super, super into it.

(01:00:37):
And, you know, as the film goes on, I was connecting more and more.
And then once the credits rolled, I was like, I this is amazing.
I think this is like one of the best movies I've ever seen.
I quite love this one.
This is one of the best movies you've ever seen, Tim.
Are you serious?
Yeah, yeah, for sure.
Why not?
Yeah, why not?
There's a lot I really loved about it.
There was I wasn't bored a single second.

(01:00:59):
I was really my eyes were glued to the screen.
I was I really emotionally connected with not necessarily the characters and their actions themselves, but more what Anno was trying to communicate with their actions.
So the reason why I'm calling this just Evangelion again is because, OK, I'm not sure I'm going to do my best not to spoil it because I know Nick wants to watch Ava.

(01:01:23):
Basically, I want to watch Ava too.
Yeah.
And I know you want to watch Ava too.
So basically, Anno likes doing a lot of these postmodern experimental attempts at exploring the human psyche and specifically exploring loneliness and isolation and our wants and needs to emotionally connect with other people and, you know, love not just each other, but ourselves as well.

(01:01:47):
He's really fascinated with these concepts, which makes sense because, you know, I, Anno himself is a really interesting cookie.
He famously when he was making Evangelion, he was he had gone through like a four year depression bender and a lot of what Evangelion would eventually become is essentially kind of his own emotional turmoils and his own like raw raw depression and mental issues.

(01:02:13):
He channeled that into something that encapsulated what he was feeling, but in a way that like felt artistically fulfilling, but also made sense to people because Evangelion, you know, is still a fighting anime robot at the end of the day.
But it still has so much more raw emotion that's trying to communicate these basic feelings that Anno had that he wants others to feel and have these like conversations about depression, about loneliness, about isolation.

(01:02:39):
And I think it's really interesting that Anno made this after Evangelion. So the year before this film came out, so this film came out in 1998 and End of Evangelion came out in 1997.
And I think it's really interesting that he chose this film to be his follow up project because there was a lot of connecting tissues that I could see between this and Evangelion.

(01:03:00):
Even in terms of like the presentation, like there were a lot of moments where it was just a blank screen and there was like writing on the blank screen.
It was more just like, you know, this is what the characters are speaking, but we don't actually see the characters talking or hear them talking.
He did that all the time in Evangelion, and so I was very surprised to see that, but it fit very well what he was going for.

(01:03:22):
You know, like just every single artistic choice that Anno made in this is just phenomenal.
I was loving every single second of this and I thought, yeah, this is, I have no qualms calling this the best movie ever.
Okay, so just on like a level of like what this movie is about is like completely fucked and it like screams like social ineptitude.

(01:03:43):
Like this guy wants to make a movie that says so many fucking things, but the perspective of this movie is absolutely fucked up.
Like this movie is about how this culture and otaku culture, whatever the fuck it is in Japan, is like so bad.
It's terrible for these girls. And half of the fucking movie is upskirt shots of fucking 16 year old girls.

(01:04:04):
They fucking decide there's a guy who fucking grabs, there's a guy who fucking, that is the fucking point.
What are you fucking talking about? He's doing the thing that he's talking shit about.
The girls are being sexualized in the way they care.
Let me finish my point.
They're being sexualized by the director though.
Yeah, they're being fucking sexualized by the director.
It's like a scene where a guy is fucking groping a little girl and he's fucking jerking off in a fucking video store.
And what do they do? They start fucking flipping the camera upside down, fucking circling around the fucking store like it's a fucking joke.

(01:04:30):
There's a guy at the fucking end who's like sexually assaulting a girl.
They're switching the perspective between first person, between the victim and the fucking predator.
Like you're supposed to be in both of their shoes.
That doesn't even make any fucking sense. Who are you supposed to even fucking identify with here?
Then he has a fucking speech at the end.
You're supposed to identify with both.
There's a speech at the end that's obviously directly towards the audience.

(01:04:51):
Like a hundred percent his speech at the end is towards the fucking audience.
And he's saying, well, you have so many people in your life that fucking would care about you.
So you doing this is bad for them.
It's like, dude, she shouldn't fear for her fucking life.
The point of the movie shouldn't be that fucking everybody around you fucking is worried about you.
It should be that you shouldn't be fucking worried to fucking go on a date and fucking feel like a dude's going to fucking rape you.

(01:05:14):
Like the whole perspective of this movie is just insane.
He doesn't understand the entire concept of what he's making a movie about.
It pisses me off.
I feel it sounds like, okay, I'm trying to.
It sounds like the reason why you hated this movie is not necessarily the filmmaking or like the intent of it.
I think the film making is just found out.

(01:05:36):
Well, it just sounds like you just found the subject matter uncomfortable.
Which that's perfectly fine. I'm not going to I'm not going to knock you on that.
Like, yeah, if a movie makes you uncomfortable and you can't handle those emotions, that's fine.
That's not what it is. I think that's not what he said. That's not what I said.
No, I know that's not what you're saying, but I'm saying like it is perfectly fine to not find the like the subject matter of the film.

(01:06:01):
Like it. But that's not what I can do.
My problem is the perspective that that it's told through.
My problem is that he's doing the things that he's saying are bad in the movie.
And he's also not treating them with very much respect.
And also the filmography sucks like the cinematography fucking sucks.
The layered shots looked fucking horrible.
Him deciding to fucking squeeze shots down like this, like it's in fucking Windows movie maker made by a fucking child.

(01:06:25):
It looked fucking horrible. I thought it was really great.
I really like that. OK, I'm going to I'm going to keep rambling about this movie.
I want to get both culture, Nick and Ethan's thoughts on the movie.
You want to go, Ethan? You go ahead.
I mean, I agree with a lot of a lot of what Nick said.
I mean, from cinematography wise, the entire time it was kind of like reminded me of like a 90s skate video.

(01:06:52):
I don't know if you guys were skateboarding a lot.
Like big fish eye lenses.
Yes. The insistence on really relying on the fish eye lens a lot was was weird to me.
It didn't really seem very complimentary to the movie.
I don't know. I just I it's hard for me to get past the camp quarter look like I don't.

(01:07:13):
It doesn't feel cinematic to me.
It makes me feel like I'm not watching a movie.
And I really I guess maybe this is like a basic take, but I like things to look good.
You know, I like when it when it looks clean and presentable.
It makes me feel like I'm watching a movie and I'm like watching something that is worthy of me investing my time.
And there are, you know, there are like exceptions to that.

(01:07:36):
But this definitely wasn't that for me.
And then also, I totally agree with what Nick was saying.
I mean, I think there's a way to tackle subject matter like this.
I mean, conceptually, as you guys know, I think it's good that that he's making a movie about these kinds of issues because I've said this a bunch of times.

(01:07:57):
Whenever we talk about things that are made in Japan, that this is kind of an issue that that are a lot of those creators have.
But when, like Nick said, when you're doing upskirts shots every two seconds and doing these like weird, I don't know if it was sexualized, but all the fucking close ups on them eating was also kind of grossing me out in a weird way.
It just it felt it felt very strange and kind of exploitative.

(01:08:19):
And I was a little bit confused by that.
But I don't know.
It's kind of where I'm at on it.
Well, don't worry, Tim.
You got one guy in your corner.
Yeah, the guy with good taste is joining forces with me.
Hell, yeah.
No, I'm just kidding.
So I didn't love it like as much as you.

(01:08:40):
I thought it was really good, though.
But I don't know.
It took me probably like five, ten minutes to buy into the camera angle premise.
That's never really bothered me.
You can give me the weirdest possible fucking camera angle.
I mean, Nick, I'm a Joel Haver Glazer, so obviously I don't really fucking care how the movie looks.
I honestly I honestly didn't hate that.
I didn't hate the digital camera look that much.
I mean, for me, the problem with the camera work more so was like it impacted the direction too much.

(01:09:05):
Like whenever they were doing like, like, for example, you know, that scene that started the guy who started fucking jerking off or whatever.
Yeah.
When they when they introduced him, they would like linger on shots for way too long because they wanted to hit so many different camera angles.
And I think it like really impacted the actors abilities to like perform.
I don't think I agree with that.

(01:09:26):
I don't think I agree with that.
Yeah, I think we kind of bought in as like that's the style of the movie.
I don't know.
It just kind of felt natural to me after a certain point.
Yeah, I will say the editing took a while to get used to.
Not a while. It took a bit to get used to because there was that point in the opening breakfast conversation where they're just like cutting back and forth like every per second.

(01:09:47):
And I was like, what the hell?
And normally I hate that shit.
But the way that it's utilized in this and like it's trying to get like different perspectives, because I what I really found fascinating about how the film was shot is that it's almost kind of like detached.
I don't get the vibe that it was on.
It was trying to sexualize what they're what what he's showing.

(01:10:08):
I did not get that vibe at all.
What is an upscaled shot then?
What is it?
What is like one of the first shots being literally a shot from her koochie's perspective?
I don't understand why that's an issue when the whole point of the film is that it's commenting on how.
It's not that it's an issue.
I'm saying how do you not see it as sexualizing?
Well, the point of the film is that it's commenting on like especially these young high school girls are being sexualized at every moment.

(01:10:33):
Like what I found particularly interesting.
Yes, by the sure.
But like it still fit what he was going for.
It still thematically was appropriate because every single moment of this film is just you know, like the the high school girls, whenever they can't even like walk down the street without being pestered by some guy who's just like, yo, I'll give you five thousand dollars if you have lunch with me or fucking whatever.

(01:10:58):
And and that's the point.
Like the way that the women are portrayed in this film, like from every angle, like I really found it interesting that this kind of reminded me of perfect blue in the sense that both perfectly in this movie is like kind of like predicted like a lot of the in cell culture that like is more prevalent like today.

(01:11:19):
I mean, I'm sure there were people like there were definitely people like this in the past, but like to see them so upfront and disgusting, you know, especially the guy who just jerks off like in the in the store, which was just terrifying.
I was just like, Jesus Christ, I am very uncomfortable right now.
But like it's just like it's it kind of takes this very detached look on like, look, this is how society is.

(01:11:40):
And this is how the types of people who would go out of their way to see this shit out are not like they're not good people. They're not normal functioning members of society.
And you can see that. But I what I like about the film is that it like, you know, because Otto himself is a massive otaku.
He's like the king. His relationship with otaku culture in of itself is like a fascinating thing.

(01:12:01):
And I'm happy to go into it more.
I would use this conversation or later.
Basically, they're just huge mega nerds that like don't touch grass and just spend all their time like watching the thing that they're super into.
So like whether it be anime or manga or like Tokusatsu, like common right or Godzilla type shit, like basically they have a thing that they're so into.

(01:12:23):
They're like people that collect Funko pops.
Yeah, like, sure. Yeah. It's like the people unironically get excited to go to Comic Con or something like that.
But in a more extreme lens and I and I like how that's the perspective we're getting it from because it makes for a very interesting viewpoint where I'm just like, yeah, all of this is really uncomfortable.
And all of this is just really fucking with fucking with my brain, fucking with my emotions and stuff.

(01:12:49):
But nonetheless, like I think for what Otto is going for, it is very poignant.
And I was I was really, really just heartbroken at every turn, just like look at what these just not only just what these girls are being forced into, but like how they're portrayed by the movie itself.
And I just found that very heartbreaking, but also you don't think with very artistically poignant as well.
But you don't think with those themes that they're touching on, it deserves a little bit more respect because what you do with your camera and how you actually present the information very much tells as much of a story as the actual like thing you're recording.

(01:13:20):
Like how I know I think honestly for my argument for why I don't I'd never found because I was initially worried when it started doing like the underswing camera angles.
And then I think it kind of clicked halfway through and I was like, OK, what's the point of this film?
I didn't know what the synopsis was before going in.
But as soon as it kind of clicked, I was like, oh, I get why there's so much jumping camera angles, why there's every like you were saying the problem you had.

(01:13:44):
There are so many different camera angles they want to cut to.
It's in my mind, I viewed that as like this is how a lot of men in Japan, like every there's an angle.
Everyone is looking at them from a different angle in a very creepy and leery way.
The shots that the director got of like the upscarce stuff, it never felt leery to me.
It just felt like it was pointing out something about how the world is viewing.

(01:14:07):
I would. That's how I felt.
I would love for a woman to watch this movie and reach out in the comments and tell us what you think.
I watched it next to my girlfriend and she was pretty disgusted by it.
Yeah, but again, like that's again like yeah.
And again, I'm I'm perfectly fine that people are having those reactions like VHS Nick Nick having that this reaction doesn't surprise me.

(01:14:32):
That is perfect. That is a perfectly valid way.
An opinion of the film. I just didn't personally see it that way.
I mean, it's very disgusting and very uncomfortable to sit through like, yeah, of course, 100 percent.
But I'm just saying, yeah, that's the point.
Like that's why like that's it's supposed to make you sick in your stomach.
Like if you don't feel that way, then you you're you and of yourself are just as fucked up as the characters in this movie.

(01:14:58):
Here's the thing, though, like even the fucking the rapist dude at the end is the guy who has a fucking conscious conscience at the end.
And he decides that, oh, I'm a good guy.
Like I'm like he doesn't not like that, not that he's a good guy, but that he's not a monster.
This movie should be picturing those people as fucking pieces.
I mean, he is a monster. He did. Yeah.
Like it wasn't like you made him a good guy. Yeah.

(01:15:19):
Like it's not like he portrayed him as a good guy.
He's a piece of shit.
You shouldn't have the like moral ending of this movie and on.
Oh, he decided that he decided he didn't want to do it.
So, I mean, it's just the whole script of this just felt like fucking just ill conceived from somebody who doesn't have any kind of understanding of how society works.
I mean, Japanese society is way different than our society.

(01:15:40):
Yeah. Japan is just like in of itself in its own little bubble.
Like I can't like you can't I don't think it's fair to say this guy just doesn't know how society works when Japanese society, especially Japanese otaku society comes from a very specific point of view.
Like I don't think it's fair.
I think it's more I found it very authentic that it's coming from his perspective.

(01:16:01):
Like he's not going to the movie doesn't pretend that we like we as guys can connect with or like understand what these women are go through what what these women go through every day.
But I at least really appreciate that movie.
I really appreciate that the movie still kind of goes the extra mile to show like because if we can feel uncomfortable about what's going on, then I think Anno does a good job of like making us feel like the disgusted emotions that we have.

(01:16:30):
The disgusted emotions that that that the characters are going through.
And I and I think that was very well done.
It's it's. Yeah.
Ethan do you want to keep talking about why you love I don't want to be the only person just ragging on.
No, I love that. Yeah, I feel like I don't know.
I really enjoyed the like filming style. And again, I never felt like it was leery in a way that was like object like taking advantage of the actions rather than like proving a point of what the actual film is about to say or what the actual film is saying.

(01:17:02):
Yeah, I don't think that he was trying to take advantage of the actresses.
I think just it was it was the way it was perceived on screen isn't very like careful with the subject matter.
It didn't seem like he actually cared. I watched this on YouTube totally legally.
I don't think it's fucking available anywhere, anywhere else.

(01:17:24):
But did I hit the subtitles. What was the guy called because it kept censoring.
I have no idea. Yeah, I have no idea. I was sex or something.
I know it's apparently Captain EO is the only thing he's listed as an AO.
What's what's AO.
Captain EO. Yeah, that's the only thing I can see online. They seem they made they made it sound like it was such a bad thing because they bleeped it.

(01:17:47):
I don't know. Like I don't know what EO means. If that's what I think they were trying to.
I think they were trying to set it up like they were hiding his identity because it's like they're trying to go for like a documentary style thing with it.
I see. It's just essentially it loosely translates to the letter E in English.
Yeah. But they also censored his little fucking stuffed animal. Well, it was probably just because they wanted he wanted to hide his identity as well.

(01:18:13):
So they probably added that now that I'm glad VHS said that because now that I understand that was what they were going for.
I was like, oh, OK, then that's probably why they did the same for his his stuffed animal, his doll or whatever.
Yeah. So culture, Nick, do you have any more thoughts on the I.
Do you hate it as much as VHS, Nick? I'm I'm curious.

(01:18:35):
Like, did you at least understand where we're coming from?
Me and Ethan on why we why we really like the movie?
Not really. Yeah, I didn't like it. I don't I don't.
I feel like I've said a lot about this topic. I don't really want to talk about this that much.
Yeah, I think I would really prefer for the podcast to just stay away from things that are like if they're regarding kids from Japan.

(01:19:00):
Let's just let's just not do it. I didn't realize I didn't realize that's what the movie was about.
I didn't know anything about it. That's what I was going to. Yeah, I was like, it was just damn it to him after this whole talk last time you recommended another fucking thing.
I don't want to have to come in mad about something like it.
Well, here's the thing. I actually physically upset me.
I didn't purposely choose the movie for like I had no idea what the movie was about.

(01:19:23):
The only reason why I wanted to watch it and why I recommended was because it's on.
Oh, and that's it. I just I knew on it was the director and I did not know anything about the movie.
But now that I realize this is what the movie is about, I even when I was watching it halfway through, I'm just like, yeah, like half of us are probably not going to like this.
Yeah, that's my bad. I, I, I do not mean I feel like this. I swear to God.

(01:19:49):
We have like this like vitriolic argument every time I recommend something for the podcast.
And I swear to God, it is not on purpose, but it just happens every time I want us to talk about something.
And I, I don't know what that says about myself or my taste. Tim, next rec, you have to have no minors in the movie.
Yeah. OK, so what's the movie with the most old people? I got to think about that. Tim's next rec is cuties.

(01:20:16):
We're going to watch 80s for Brady.
Yeah, that's what I'll do next time. 80 for Brady.
I think this is interesting because this is the first ever one star and ten or one star, the fuck half star and five star movie we've had on the pod because Nick made this a one out of 10 and Tim, it's a 10 out of 10.

(01:20:39):
So I think that's a first. Yeah.
I think that also the size of the spectrum. Yeah, this also happened when we talk about when we talked about, I think it was climax. I think that's similar.
I didn't give climax a 10 out of 10, but I, I love that one a lot as well. I gave a climax to 10 out of 10, but I wasn't here for that.
I wasn't a part of the pod. You didn't exist before that episode. I didn't exist. Yeah, I came into being a few days later.

(01:21:04):
Let's give it. Yeah, it gets me and Tim, I have our ratings. What do you all, what do you all rate it?
I gave this one a seven out of 10.
One out of 10.
Yeah, really? I thought you didn't hate it.
No, I think he hates it as much as I do. I think he just doesn't want to rant about it like I did.
That's fair.

(01:21:25):
Tim, Nick, can you, can you do the fucking Gandalf thing where you like blow a pirate ship out of your mouth with a vape?
You just do smoke rings. I can't get to pirate ships yet.
Yeah, next time I'll pick the safest, most uncontroversial movie next time. I'll do fucking Green Booker.
I don't want pedophile shit, bro. That's it. That's all I ask.

(01:21:48):
There's no more. I can't do it.
Okay, this one wasn't even my fault. Okay. Like I said, I didn't know what the movie was about. I just wanted to watch it because Anno did it.
That's good. I was going to be a little more annoyed because I was like, damn it, Tim, if you know what the fuck this was, why would you even try?
Especially right after.
I will not be watching Evangelion.

(01:22:09):
Maybe I should just make that my sole mission just to recommend the most fucked up contract.
Like maybe I should just do like solo 120 days of Sodom or some shit next time.
The podcast will fall apart.
We had to go from the Oscars, which I absolutely don't give a shit about, to something I absolutely hated.

(01:22:30):
So your energy was absolutely in the gutter this episode.
Yeah, this is a rough episode for me, boys.
Well, do we have anything else to say about Love and Pop?
I will say maybe it's just because I'm the biggest Evangelion fan in the world and I just won't shut the fuck up about it.
But I think it's because my love for Evangelion and Anno just in general was definitely a huge reason for me giving it such a high rate.

(01:22:57):
I mean, would I still love it if I didn't know anything about Anno and I didn't care about anime?
I don't know. Probably.
Probably not.
But as someone who really loves Anno's voice as an artist, as a creative person, this very much was very creatively fulfilling.
And I was just picking up everything Anno was dropping off.

(01:23:19):
And I can't wait to watch more of his stuff.
I still need to watch Shin Godzilla and Shin Kamen Rider.
I know he did those.
Oh, he did Shin Godzilla?
Yeah, he did.
Oh, fuck yeah.
Yeah, so he directed Shin Godzilla and Shin Kamen Rider.
He didn't direct Shin Ultraman, which is the second movie of that trilogy.
I think the co-director of Shin Godzilla directed Shin Ultraman.

(01:23:43):
He also worked on Evangelion and a bunch of other stuff with Anno.
Those are all on my watch list. I'm going to watch those.
I haven't seen the original Godzilla though, so my plan is to watch the original Godzilla first before I watch Shin Godzilla.
I have that on criterion. I want to watch that Shin Godzilla and then Godzilla minus one because those are the ones I've heard are really good.
Yeah, I haven't seen that as well.
And I also want to watch the Roller Decker Godzilla movie because it looks funny.

(01:24:07):
Oh, I love that movie as a four-year-old dumbass.
Yeah, so I'm happy to bring controversy and hate and conflict in the podcast.
I'm glad that's my role.
Could you imagine how fucking miserable this episode would have been if I wasn't here?
It would have just been too fucking bummed out, Nix and Tim.

(01:24:31):
Yeah, it would just be like the Doug Walker.
No, the guy with the board meme where he's just explaining why something is great and then the Nix are just like, just want to kill themselves.
This fucking sucks. You're a fucking PDF file.
All right, Drake.
Stay now.
All right.

(01:24:52):
So I think that's pretty much it for this episode.
I think it is my turn to recommend.
And since next episode will be coming out February something, I think, right?
It will be recording February 4th.
Oh, sick. Okay.
So we'll be releasing in early February and we're going to be kind of doing a sort of for the month.

(01:25:16):
Each of our recs are going to be very loosely.
You can interpret this however you will to you guys.
We're going to be loosely recommending things that might go in terms with like romance, whatever.
You know, you can interpret that however you will.
You can recommend something fucking bonkers.
I think it'd be fine.
So I'm going to go ahead and recommend 2013's Upstream Color by Shane Carruth.

(01:25:37):
Oh, yeah, I was like, no one's seen this.
I don't think. Yeah, I have not seen.
This has been on my watch for a while.
But yeah, but I haven't seen it.
Okay. This is the guy that did primer was like that time travel movie from the early 2000s.
It's made for like five dollars.
I've heard that this movie wasn't great.
Well, I guess we'll find out.

(01:25:59):
Yeah, I guess we'll we'll I guess we'll see.
Okay. I haven't seen primer.
Do you do you recommend that I watch primer before?
How long is primer?
That one primer is like an hour, 10 minutes.
It's really short. Okay.
Then maybe I'll watch it before I watch Upstream Color.
I think it was like privately funded.
But I made that movie with like five thousand dollars.
Yeah, it was like super, super cheap.

(01:26:22):
But I think Upstream Color was like a second film, like 10 years ago.
Yeah, I think it has like a like a like a fifty thousand dollar budget, too.
I think it's really. Yeah, they're really, really small indie films.
Yeah. Anyway, if you guys liked this episode of the podcast,
please leave us a like on YouTube or leave us a review on your podcast listening platform,
such as Apple Podcasts and Spotify.

(01:26:43):
And if you do not want to be spoiled for Upstream Color on next episode, make sure you watch it before.
And I think that is it.
Thank you guys for watching. Thank you, Bush, for being here.
And directed it. Yeah, directed Shane Caruth.
I can fuck. I almost had that.
Upstream Color. I'm going to go stuck my eyes myself after this.
Yeah, we should not go get stuck when I start.

(01:27:04):
Good night, everybody.

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Hate to Interrupt - EP 020 | Love and Pop

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Hate to Interrupt - EP 020 | Love and Pop