TCOE!#93 OC Welcomes two very special guests!

OC finally sits down with the two men that inspired TCOE!

Episode Transcript

(00:00):
Welcome back everybody to another episode of the core of
entertainment with your Boy Me OC, an audio only podcast
available on Apple and availableon Spotify every Monday morning
and every Wednesday morning in the AM.
And today is Wednesday, no solo work today.
We're going to get back to that.But I would be remiss if I did

(00:20):
not have the collab in front of me that I have right now. 2
gentlemen that and in some ways are responsible for everything
that you've heard, everything that you've seen, everything
that basically established this podcast, this audio podcast.

(00:41):
It was early days bullshitting essentially that gave your boy
Hero C the the proper nudge, theproper nudge out of the door, a
very Gandalf like nudge. And I would be remiss if I did
not get a chance to talk to these wonderful gentlemen that
you're going to hear from in a minute.

(01:01):
They are two very, very well spoken, very well mannered, very
smart individuals that I am truly excited and blessed and
fortunate enough to have them down here in the studio today.
And you're going to hear from them without a doubt.
Brian Garrett, my boys, it's good to see you guys.

(01:24):
Good to have you guys here finally making it happen.
I am so excited for you guys to be here today.
The Gandalf moment you shall pass, my friend.
I have to tell you. I have to tell you, this is
Brian's voice for those listening.
I was so blown away because the inspiration.
So you're saying that we're responsible for this happening?
When I heard your voice behind aset of lockers around the
corner, I immediately was like, whoever that is chatting,

(01:48):
they're going to be famous. So I genuinely thought to myself
like I need to hear this voice more.
And that's before I met you. That's before I understood the
content you were you were delivering.
So kudos to you. I'm glad you're doing this.
Yeah, well, it was, you know, that you, you were interested.
I mean, like, there's a lot of things out there that you hear.
We all hear stuff, you know, youhear stuff.
Maybe it's like it ruffles the feathers a little bit.

(02:08):
Maybe it's a few like sound bites, maybe a few things here
and there. But what what, what led up to it
was Brian came in town for for that particular evening.
But I had heard you talk about this in the past multiple times.
And. I was overhearing it.
I wasn't saying anything, but I was overhearing it.
And then as soon as Brian pickedup on it, I fed into it to

(02:30):
Brian, like, you know, dude, like he has been talking about
this for like months. You got to egg him on.
Well, and it's weird because like, I always talk about this
kind of stuff, you know, it's just something that I've always
been ensconced with, you know what I mean?
It's just been in my DNA for as long as I can remember.
But only if we get a chance to like get close to you and talk

(02:51):
to you like from a distance. I would never be able to say
like he's really into the moviesor, or he's like, dude, you, you
have no idea how knowledgeable it is.
But then when you get close, like close meaning like you get
in his proximity and you start hearing him talk about the
things you're like, what? I had no idea that OC had that
type of knowledge on the movie basis.
Yeah, yeah. And.

(03:11):
I was going to say, I'm a firm believer in synchronicities and
serendipitous moments in the universe and what is completely
bizarre to me but also interesting, that Friday before
I came to Denver, I watched PulpFiction for the first time.
So one of my best friends, guy named Craig, that's his favorite
movie, and he would constantly talk about it and I would hear
about the asynchronous way that Pulp Fiction was created and how

(03:31):
it was kind of long form content.
Tarantino just let things roll. Dialogue was the key in that
movie and I kept starting it andI was 5 minutes in and I would
get through that first scene which revolt in Simula and I
would turn it off. For whatever reason, I just
wasn't in the right mind space to watch it.
But that first Friday, right before I met you, I watched it
and I was blown away 'cause I was ready for it.

(03:52):
I was in the mindset. And when you see character
development to that degree, it didn't feel like a movie.
That felt like I was hanging outwith those characters.
And so then to hear you talk about all the linkages in
Tarantino's movies, I'm like this.
I'm in, I'm connected. So yeah, very nice to meet you.
I'm glad you're. I'm glad you're having a song
of. Course, no worries.
While we're on the subject of going off of what he said was,

(04:14):
what was your first apprehensivemoment with Tarantino?
Did you ever have any of those? Where you're like, I've heard
it's good, but I just can't bring myself to to sitting there
and finishing it or watching it.Yeah.
So the the the one that I think it was about Kill Bill, right,
the first one. And so I would, I would, I would
either this is hold on, what wasit?
What was that 2? 1004 Two. 1004 so I was at it in

(04:36):
college, right? So if you can imagine a college
kid in in the ADD kicking in andlike I have friends that would
start it and then mid midstream I'd jump up and like I have to
do something else, whether it was school work or back then it
was pagers, right? Put cell phones and pagers.
And I never actually finished the Kill Bill, but I always got
bits and pieces of it. So I never really got into it.
And I watched it again probably when you know what, 10 years

(04:57):
later and you so with age you appreciate more things, I think.
But that's when I really got into at least a little bit of
Tarantino on the Kill Bill. And then a few others came out
after that. But that was the first one was
Kill Bill. Yeah.
Did you ever, did either of you ever understand what it was like
for him maybe to settle off, youknow, From Dusk Till Dawn, True

(05:21):
Romance, Natural Born Killers, just to fund, you know, with,
with like 16, you know, $1600 tofund Reservoir Dogs.
And I'm just going to shoot thisgorilla style.
All the while you have George Clooney, who auditioned for it.
You got Robert Forrester, who was later on featured in Jackie

(05:43):
Brown. And before you know it, it comes
across Harvey Keitel. And he's like, oh, not only do I
want to be in this, but I will. I'll fund this.
I'll produce this. Yeah, that was the crazy part.
Yeah. And then you you see the gorilla
style filmmaking in the solid, solid, tight, tight script that
it is. Before you know it, you
understand that you're just watching a movie with people

(06:03):
talking. And to your point, with Pulp
Fiction, it feels like you're there, feels like you're right
there with the characters. It's the dialogue.
It's the dialogue and the creative monologues, the choice
phrases, the choice words that keeps you engaged with these
characters. Because by all accounts, films
like that should not work with the vulgar content, the over

(06:27):
over stimulating violence sometimes.
But somehow you're still captivated to watch this from
beginning, middle and end. Because if you had no interest
in revisiting it, you wouldn't have ever finished it, right?
And then you would never have understood that.
Oh well, wait a minute, this is all somehow connected, right?
And before it's all connected, Ijust sat for almost 2 1/2 hours

(06:48):
of people having a conversation.And before that conversation is
even over, you completely forgotthat this is a movie just with
people talking. There's not a lot of people out
there that that can do that. It's incredible.
It brings me two points when youwere talking one, the first,
Rocky with Sylvester Stallone. So he had to sell the thing that

(07:09):
he loved most, his dog, just to have enough money to be able to
contribute and fund that first movie.
And studios wouldn't buy into the script because what he was
doing is that he wrote it, but he wanted to be the main actor.
He wanted to be Rocky, and no studio would get on board with
that. The story of that first initial
thing, which became a meteoric success, came to mind with
Tarantino having to how do I connect money to make this

(07:30):
happen and having a bold idea that maybe not everyone's going
to buy into, but you trust the process.
You trust your own talent. And the second thing is
characters. I find that characters in movies
that are not stereotypical, whatyou'd expect by what they wear,
by their ethnic background, whatever that it is.
I think Guy Ritchie does a really good job of that too.
So Lock stock and Two Smoking Barrels, Snatch, you get these

(07:51):
characters that are so unique, right?
Bullet toothed, Tony. Oh yes.
Vinny Jones is, yes, he's an enforcer.
He was an enforcer on the soccerpitch.
But also when you see him insideof a movie, you're like this
character's unbelievable. He's not what a typical enforcer
is, right? Extremely articulate, well
spoken, well dressed, confident.You saw that come to play and

(08:12):
that brings you into the movie. So I think when we as viewers
see things that we don't expect,that's a that's a great tell for
movies and directors you. Got anything you want to add?
Nah, I'm agreeing. Yeah, yeah, yeah, yeah.
I think that when you're, I mean, you mentioned Snatch,
which is in my one of my top 20 movies of all time.
I mean, Guy Ritchie can do no wrong.

(08:33):
I I think that you talk about a chameleon of how he can blend.
I mean, he would be the last choice to direct Aladdin.
You know, the live action Aladdin and a lot of people were
like, wow, that's a bit of a leap.
That's the guy from Snatch and And the Gentleman, which is a
highly underrated 1 The Gentleman and the Gentleman
series on on Netflix. He wrote the 1st 2 and directed
the first two. Yes, you did.
That is when we're talking aboutwhat we're watching.

(08:55):
Yeah, first two episodes of Gentleman on Netflix.
When you see that Guy Ritchie wrote and directed it, you're
like, yeah, obviously I'm in. Yeah.
It's unbelievable. Also Sherlock Holmes.
He did what? The trilogy of Sherlock Holmes
he directed. Another one that gets completely
lost. I mean that was like at the
height. I always say it's complicated to
remember what came out between 2010 and 2015 because so much of

(09:18):
that was either a Star Wars or aDisney.
So you lost on Logan Lucky, you lost on The Nice Guys.
You lost on a lot of, you know, films that were actual films.
And not to take anything away from Marvel or Star Wars, I
mean, they're making a billion dollars.
I mean, they're doing something right.
But you tend to forget all the films that came through there

(09:41):
and the streaming that came through there.
And people tend to like, oh, yeah, that's completely right.
I've never heard of this film before.
And before you know it, it blossoms and it finds an
audience, you know? So it's it's very unique, very,
very profound when there's something that kind of comes
back around or comes through theweeds that has never been given

(10:02):
the time of day. So, can I tell you an
interesting story about a character development?
From stash please please. Tommy, you know the back story
about Tommy getting the role? So Guy Ritchie was looking for
an authentic London accent and he was often like, I don't
understand what's so challengingabout this.
The authentic London accent should be prevalent everywhere.
And he just couldn't find that gritty, polished character to do

(10:23):
that. Tommy, the character, I don't
remember his name, who played the character, but he came on
set and he was actually bringingsomeone else to set for casting.
And he hurt. He overheard Guy Ritchie talking
about this. And he was like a London
accent's easy, mate, It's fine. Let me do it.
And he did it. And so that became the, oh,
Tommy, you like dogs? Dogs.
Yeah, like dogs. He.

(10:43):
So his accent is one of many roles that he played.
And he was recently in that movie or the series Adolescence.
Oh, Graham, Stephen Graham. Stephen Graham, I believe is his
name. I can double check that.
But he he's, he's absolutely amazing.
So he just was on set. And I think I like Guy Ritchie a
lot too, because most of his characters were either working
at a pub or was a friend of a friend and he gave opportunities

(11:07):
to individuals that never would have had it.
So if you ever saw the movie Rock'n'roll a of course you know
the. Butler and and Tom Hardy.
Yeah. And so the character who goes by
the tank is going to think tank My that character never was an
actor. He's a friend of a friend of Guy
Ritchie's. And he was like, you would be
perfect for this role. I, I admire things like that

(11:27):
because now that guy is is a legitimate actor.
So you must be a real taken backon how Han Solo was originally
picked and how Harrison Ford. Tell me more about that, I don't
know. He it was actually the the
furthest choice from originally who they wanted.
The first pick was Nick Nolte. Nick Nolte was the first pick

(11:48):
because they wanted an older character.
They wanted an older mentor to Luke and how Mark Hamill got the
role is even funny too. With Robert England, it was
Freddy Krueger at the time, but Harrison Ford just I think he
was working, he was working on the set and he did not have any

(12:10):
guides to read for Solo and he was a stand in to read lines.
And before you know it, the restis history as far as who they
originally wanted to be Han Solo, which it does make sense,
which it does make sense becausewe all know the fate of Obi Wan.
So naturally you would want to have that next older mentor

(12:31):
clashing with a young, young stallion kind of energy that
that Luke that Luke brought. And Mark Hamill was the same way
about how he got the role. He was roommates with a Robert
England who was Nightmare on ElmStreet's Freddy Krueger, and
they were sharing an apartment. And Robert England, the casting
office for what he was auditioning for, was right

(12:52):
across from Lucas. And they were looking for a
young, you know, young actor to play this this role in this
film, the sci-fi film. It's kind of ironic.
Both of those were like kind of niche properties back in the 70s
as far as sci-fi and horror, because now those things are run
in Hollywood. They're running a town.
So he goes back and he sees Markon the couch eating a bowl of

(13:14):
cereal. And he tells them he's like,
hey, they're auditioning for some George Lucasfilm.
I think you should go down thereand audition for it.
The rest is the rest is history on that.
He drank the milk. Hopefully he was getting Lucky
Charms or sending his crunches. Something like that.
I can't imagine that. And that I mean just.

(13:34):
Casting to me is an unbelievableart because you not only have to
recognize talent, you have to envision the role long before
you've ever seen footage, right?You're casting talent based on a
script. And so two things that inspired
me. We'll, we'll, I'll ask the
people to come with me on this one because we'll get back to
Snatch, We'll get back to Brad Pitt, and then we'll parlay Brad
Pitt into F1. So his role as Mickey as a

(13:57):
Pikey, which is a negative word,but we'll talk about that and
get back to F1 in a second. But I think when you think about
casting, you have to get it right and sometimes the person
is right for the movie but not right for the role.
So one really interesting story that I recently came across was
Glen Powell. So Glen Powell rose to meteoric
fame. He was in Twisters too.
You know, he's now a main character in ROM coms and action

(14:19):
flicks, etcetera. But he was also supposed to be
cast for Rooster in Top Gun Maverick.
And originally when he was casted, he sat down and he did
the interview. Now Tom Cruise is also sitting
down and as part of the casting and he's watching and under
underlying the the connection. But Glenn Powell came in as this
different personality altogether.
And they said, listen, he's not right for the role.

(14:40):
We we're thinking Miles Teller. Miles Teller looks a lot like
Goose. He's got the stash.
He's got the same facial expressions.
He's going to be right for that role.
But Tom Cruise pulled Glenn Powell aside and said, listen,
we want you in this movie, but we think you're much more right
for Hangman versus Rooster. And Paul was like, I don't want
to play that role. Like, that role is cocky.
It's edgy. It's not what I envisioned.

(15:01):
And I want a role that's more significant in the movie.
And Rooster was one of the main characters, of course,
influential to the story. And Tom Cruise said, listen,
it's not the role that is going to make you successful.
You have to make the role great.You have to be great in the
role. And invited him back and said we
want you to play Hangman. And he thought about it.

(15:21):
Had a one-on-one conversation with Tom Cruise, and Tom Cruise
effectively convinced him to play the role.
As one does. And he, and he absolutely
crushed it. And from that role, he, his fame
went on through the through the roof.
So if you actually just quickly look for any YouTube shorts of
Powell sitting down giving that interview, it's inspirational
cause the casting director and Tom Cruise ultimately said he's

(15:43):
right for the movie, but we see him for this.
And that just that vision to me is so interesting, I think
anyway. No, absolutely.
I would agree with that. I think most of what you would
consider casting and and choosing is you have the greats
that they write various characters in mind and you're
just giving various, you know, words.

(16:05):
You're just breathing life into these into these characters.
They're just words on a page. And I always go off of the
pessimistic side of, I don't want to be like shallow or
pedantic, but when you're writing something, it's not like
a comic book right, where you know how this person should
look, You know what they're right for because even then they
can be wrong. The average person that's a

(16:27):
comic book fan would remember one of the original shortlists
for Wolverine for the very firstX-Men was Danny DeVito.
And aside from that, he's comic book accurate because in the
comics, Wolverine is shy of 54. So Danny DeVito fits the mold.
They don't need some sing and dance Hollywood guy.
And and Hugh Jackman, that's a Broadway star who's 62.

(16:51):
So you think about that for a second.
The casting is the exact opposite of what that role was
intended for. But somebody can breathe so much
life and charisma and talent to that role that now you can't
imagine anybody but him playing.You know James Logan, you know
I. Imagine he's a gorgeous casting.

(17:12):
That's. Amazing.
Though Logan's the best but was but going back and and
remembering that movie though, but was there actually a was he
five? It was really 5 foot.
That's what they were casting for.
Yeah, well, the idea of like, they got to make it accurate.
They got to make it comic book accurate, you know, because at
that point, that's early days. Up until that point, you have
Dolph, the Grunden's Punisher, you had Wesley Snipes Blade, and

(17:35):
then it predates it. X-Men in the 90s, I mean, that's
what they were casting for it. Because you know, some of those
books that are on the wall when you guys walked in here, that's
the resources that they had to work from.
So right off the bat, you know that what they should look like,
but based upon what performance can they bring to make this a
compelling narrative, a compelling story, you know?

(17:56):
So bring it back to Deadpool. Deadpool 2 with Wolverine,
right? Did they not cast a short
Wolverine in that? Well, they made him short.
They made him the they made him the comic book accurate.
Wolverine. Where he was like 5, he was like
5-2, which I'm like, that's, that's brilliant.
It only took 30 years for that to happen.
But you know, that's, that's awesome.
I get it. And for a lot of, you know,

(18:17):
comic book fans out there, they did a lot of like nods to
various covers and various things, But to the original
point of like casting and and choosing, there's certain things
that are picked perfectly. And when we jump to like F1
movie that you gentlemen just saw leading into that would be
one that's Brad Pitt. Whereas a great he's a unique

(18:43):
actor because very seldomly is he in a bad movie.
But even if he's in a subpar movie that didn't perform well,
maybe it wasn't the strongest story, maybe it didn't turn a
profit, he's always good. He is always good.
From Legend of the Fall to The River Runs through It to Fight
Club to the Oceans movie to Inglourious Basterds all the way

(19:05):
through to The Curious Case of Benjamin Button or Seven or
Fight Club, his performance stands alone 'cause he does
little things through those movies that you just instantly
remember. Like in Oceans, he never
finishes any of that food. You ever notice that he's always
eaten? Watch it again.
When you watch it again, it's either a hot dog, a corn dog,

(19:27):
nachos, chips, a pretzel, a burger, fries.
He's always eating and he never finishes any of it.
Yeah, exactly. And it's hilarious because
you're like, how has he eaten? And then every scene that's
different, but it's like little quirks like that that allow you
to be like that. It just stands out, you know?
How did you gentlemen feel aboutF1?

(19:48):
Oh, I, I did. That was probably one of the
best movies I've seen in the last 15 years.
At least it I mean that and Top Gun, you know, knowing that the
the two directors or the director was on both.
But that for me, Top Gun and that and, and watching F1, I
mean, F1 was insane. We obviously saw them in the
theater too, not at home. And that is a whole new

(20:09):
experience. But the sounds, the, the music,
the, the acting, the reality, you could tell that, oh, there
was almost no C Well, at least this is how it appeared to the
naked eye. Almost no CGI, right?
It was all, everything was felt real.
You felt like you were there. It was incredible.
There is a certain development for me.
I knew nothing about Formula Oneuntil about 3 years ago and then

(20:29):
I got hooked on Drive to Survive.
So Drive to Survive is a Netflixshow where they covered
basically the prior season and then they would release it
directly after. So the producers of Drive to
Survive went on to do full swingand wanted to do several
different docu series based on sports, super talented guys and
girls team. But Formula One Drive to
Survive, what it did is it addedthe mystique.

(20:50):
It took a very ritzy, luxurious,unbelievable sport that most
Americans weren't really aware of because we didn't have the
public, media or the coverage tounderstand what it was.
It was kind of known to most of us average Americans as, oh,
that's a British sport, when actuality it's the most
multicultural, diverse sport that's really out there because
the races are all over it. It's they have races on every

(21:11):
single continent. So when you watch this show, the
sound, the characterization, andthey set up a studio to
interview all the drivers and they had this unbelievable
coloring where they basically used six different primary
lights, but they set up the background to be very black.
When you watch Travis survive and you're getting all the
characters, you feel them because they're in this black
setting, so their colors, their voice, their personality comes

(21:34):
out. And I remember the first
episode, you see all this camerapanning up to the cars, the
engine sounds, the races, and you're like, this is
unbelievable. And then you get introduced to
Danny Ricardo, who drove for RedBull.
He had the 1-2 seed. He was fighting for the number
one seed for Red Bull. And so I started watching that
show. I binge the entire first and
second season. So that's what got me into it.

(21:54):
And that's where I started to learn some of the nuances.
The announcers, some of the leading journalists like Will
Buxton, Formula One brought all of that in.
So it wasn't just the authenticity of how do I put
cameras on these cars and make sure that we're actually filming
these races. It's also how do I have the
leading commentator who announces every race.
Oh, it's Lewis Hamilton. He's on the third lap.

(22:16):
That guy is real. And so they bring that into the
movie and they change the audio and the and the sounds in a way
where you're sitting in your chair going.
I genuinely feel like I'm at this race.
So with that, it was all the real sponsorships and cars.
You had appearances of every driver on the paddock.
You had team principals. So Zac Brown and the team
principal of Ferrari were sitting and actually

(22:36):
interviewing with Apex GP, the kind of the fictitious brand
that was brought out. So I think to answer your
question, Formula One or F1 to me was unbelievable because they
put so much time and effort to say we want this to be an
extension of the real sport. And it wasn't like when you
watch Remember the Titans and you see a wide receiver running
a route on Remember the Titans and you're like, human beings

(22:57):
don't run like that. Division One athlete, a pro
athlete would never run like that.
The tackling was so almost comedic that you got lost in the
movie. But the narrative for Remember
the Titans was very special. The underlying message was very
special, but the authenticity was garbage.
So if you're a real football fan, you're like, come on, guys,
cast better. F1 did that, I think exquisitely
well. And to the point of Brad Pitt to

(23:19):
see him play Mickey from snatch call back and he could do that
accent. You know, the candidate phoned
me on, you know, and he could goto now this charming, suave,
debonair, slightly washed up gambler who gets back into
Formula One, but is a real, realtiger when he gets on the track.
And I think, you know, Garrett told me this last night.
He's like the the team building,the inspiration that you walked

(23:41):
away with 'cause we watched thatmovie and we're like, we want to
go build a team and just change the world, 'cause you see that
and they did a really good job of that.
My take is you're immersed. If you want to see a movie that
your adrenaline's going to be pulsing and you're actually
going to be sweating while you're watching it, like this is
the movie to see. So I loved it.
Personally, I would definitely say that it is one that needs to

(24:04):
be experienced in the theaters. You know your experiences.
You don't get that experience outside of that that that feel,
you know the size and scale. There's various directors out
there that can capture sound, they can capture scale, they can
capture the scope, and you can actually really appreciate what

(24:25):
it is they're trying to tell youand what story they're trying to
tell you. If you consider like a Top Gun
Maverick, there is a lot more tothat narrative than just
revisiting a you know, you're Val Kilmer, rest in peace by the
way, or you're Tom Cruise or you're Jon Hamm.
You got my money, you got your money, your money.

(24:48):
We're there, We're there, but they know we're there.
It's the people, your significant other, your
children, your Co worker, your friend, people that are like I
don't really know what is Top Gun.
Why would I want to go see that?That's the audience.
That's who needs to go see it because the fans, they already

(25:09):
have that. That's the beauty of when you
tell a captivating story becauseif we remember correctly, Top
Gun Maverick was supposed to come out four years before it
was actually released. It was delayed due to COVID.
It was delayed, delayed, delayed.
And Tom Cruise, being that you're Tom Cruise, you have that
ability in that pole to put everybody on yachts, everybody

(25:30):
on boats during COVID for the social distancing.
So you can continue to film yourmovie, finish what project
you're working on and having thepure confidence, the
unapologetic faith that this movie will do well.
It was 100% correct. Cause Top Gun Maverick came out
and blew everybody's doors off. I saw it with the misses and I
found myself getting very, very choked up, very emotional.

(25:53):
The scene with, with Val and, and, and Tom is truly remarkable
because to every person that's seen the original Top Gun, they
hated each other. They didn't like each other.
They had no confidence in one another.
They had no respect for one another.
And then that full circle of coming face to face with age,

(26:14):
face to face with the mistakes that you've made, the demons,
the skeletons in the closets, the regrets, the sadness.
Like that really hit hard. And a new way too.
And a new way too, because MilesTeller had a pretty decent role
to fill. But the way he filmed it and the
way he was able to choose the right lens or however you want

(26:39):
to film the scene, I mean, it's,it's captivating.
It's beautiful because you're like, Oh my God, I know exactly
where this is going. And they're like, well, hold on.
Well, maybe I don't know where this is going.
Like, why would he hate him? Why would he be disgusted with
him? Why would he be so resentful?
And all the while, it's because what any mortal man or guardian

(27:00):
or caregiver would do want to protect the next the next line
of who's? Responsible.
For it. Yeah, exactly.
Yeah, something very profound about it.
And I thought that was a movie was way better than it had any
business being. It's one of the one movies that
you'll see and I'll watch it over and over again and I'll
actually pick it up midstream, like on a plane or, or, or at

(27:21):
home or whatever it is. I'll just watch it.
And as there's very few movies like that that I'll just do
right. Like the rewatch value?
The rewatch. Value is just, is just you like
you like, yeah, I want to watch that again.
Like I want to watch that party again.
Oh yeah, I'll watch it four times, right.
And then when we left F1 last night, I was like, dude, I will
go watch that tomorrow. I'll watch the whole entire
thing. Like that is awesome.

(27:42):
Like that, that got so much trouble.
But I think the the inspirational part going back to
the, you know, to the the the commonalities of I think top
government maverick with Brad Pitt.
But also I'm gonna bring in something else here, which is
the departed right? So like Mark Wahlberg is like an
incredible character in the departed, right?

(28:04):
His just cockiness, his you know, his his Boston accent in
the way that he just just says his one liners, right.
I felt that there was a like top, top Top Gun Maverick and
what what was going on there Hadthat.
But in F1 I got a glimpse of that almost like probably every
what every other scene, Brad Pitt was just throwing these one
liners out that are like, I could actually use that in just

(28:26):
just normal conversation with mybuddies.
Like one of those like it's going to be quoted, right?
I feel like that that's that's what's going to happen from it.
It's going to be quoted and and there was a commonality there.
So my one of my favorite movies is the departed and then the
Nexus Maverick. And then I think F1 is going to
be up there as well. So.
Did you find it unique at all that both stories are stories of

(28:50):
redemption mixed with an amazingsound, amazing cinematography,
captivating dialogue, relatable characters, but not too
relatable because neither one ofus could ever relate to being in
an F1 car. Neither one of us could ever be
in some planes that are designedto go faster than the speed of
sound. But yet both of them display

(29:13):
what emotions Relatable themes, right?
Definitely emotional. Like it came up, yes, 100%.
There was times where I'm like, am I going to cry?
No, no, like emotional type thing.
Like it got me. It got me good.
I was like looking back up because we didn't sit next to
each other because we got last minute tickets in the recliners
and I'm like, I'm down here, he's over there and I'm like,

(29:33):
I'm looking up trying to see like, is this guy going to cry
too? I mean, for sure you're
emotional the whole time. I think what maybe it's
Kaczynski who does this so well,or maybe it's just the way the
stories come together, but the character arc is not a
conventional character arc that you would see in most movies.
The characters you spend so muchtime developing certain
qualities. So I'll give you an example of a

(29:54):
couple things that came out of F1 is you had two female lead
characters. One was one of the head
mechanics, So she was in the pitcrew and she was a female in a
crew that's typically 99% of thetime male dominated.
And then you had the director oftechnical operations as part of
the F1 team, also a female. And in the storyline, she
previously worked for Lockheed Martin.

(30:16):
She was in aerospace, and she got plucked by a really
disruptive innovator who owned the team.
His name was Ruben, played by Javier Barden.
And what I like about this is they're unloading the storyline
and they're making. So I'm a guy, right?
And they're making me feel empathy for what a female
character has to go through by going into a male dominated
field. And they lead in these stories.

(30:36):
Not a conventional arc to help you understand.
Wow. Like I never realized if I make
that comment that they're gonna feel that.
But the movie does such a good job of unloading that and
depicting that on screen where you say, oh, and there was 1
scene where the head mechanic, she made an error where she
basically was, was trying to change the tire and tighten the
lug nuts and it's 1 continuous pull.

(30:56):
And unfortunately it snapped back and they were in the pit
crew for over 10 seconds. Catastrophic error, right 'cause
that could change the whole dynamic of the race.
And so she was in a very tough spot and some of the other
characters were really harping on her and you could tell she
felt awful about it. But Brad character Sonny, Brad
Pitt's character, Sonny Hayes came out and stuck up for her

(31:16):
and made a defending comment. Then later on in the movie, she
came in when he was in an ice cold ice bath and she was like,
oh, I'm so sorry, I didn't realize you were in here.
And he he kind of looked at her and smiled And she said, listen,
thank you so much for sticking up for me, but don't ever do
that again because it makes me look weak.
It makes me look like I need youto defend me.
And that little bit of dialogue to me is incredible because you

(31:39):
realize like, oh geez, I do thata lot.
I jump to someone's defense in ameeting when they're ostracized
or they're targeted. Don't do that.
Because when you defend somebody, it makes them look
weak. You could find other ways to be
respectful to build up that character.
And that's where I got a lot of the inspiration.
And so I think just coming to the point where you have these
characters where you say they don't follow a conventional arc,

(32:01):
but the story of redemption, thestory of authenticity, the story
of struggle, where struggles could just be, hey, listen, I
got injured in a sport that I was in and it never got to
fulfill my dreams. So I'm angry and they put those
characters on screen. And I think the I realize I'm
jumping around a lot here, but hopefully we can track it in Top
Gun. Top Gun Maverick is when you see

(32:23):
the Iceman Maverick story and how they worked in Val Kilmer
had a real voice issue. So they were typing the
messages, I don't know about youguys, but when they were typing
the dialogue to each other and he was saying a message, I can't
remember the exact words, but Val Kilmer typed like, well,
what would happen if you didn't question mark?
And the question mark was just blinking that scene for them to

(32:43):
say, I want to pay homage to ValKilmer, still give him this part
respect what happened with his voice, but the emotion that was
led to that. And they held on to that scene
for like 1015 seconds. I was bawling my eyes out.
Absolutely. And so I think they do a really
good job as well of I really need to turn up the emotion of
this scene. And in F1, there's these moments

(33:03):
where before the race you have arace strategy and you're in this
room where you have all the mechanics, the pit crew, the
team principal, the technical director of the drivers, and
they're all wearing headsets andthey're all wearing headsets.
You everybody can hear the dialogue consistently and they
also record the dialogue. But at the point where they go
over the strategy, then the drivers have a chance to

(33:23):
comment, etcetera. And that's something that we as
viewers probably wouldn't get a chance to see.
They spent maybe 8 to 10 minutesof the movie in those scenes
playing up those drama to show like, hey, this is what it
takes. This is this whole team has to
talk about the race strategy andthe cockiness comes in and the
arrogance comes in and people putting each other in
uncomfortable spots to see that is what drew me in.

(33:47):
Where either of you would you say that Top Gun Maverick was a
little bit more of a captivatingstory than F1?
Either one of you. I have thoughts on that.
I mean, do you want to jump in or you want me?
To I would say that I think Top Gun was more captivating, but I
felt that F1 was more inspiring just based on personal.

(34:07):
Yeah, interesting because it wasit related to building teams and
that's what I love to do is build teams, right?
Anything about we're we're either I think Grant Cardone
says it's the best. I think he said, you know, we're
we're either selling or being sold to right.
So like in, in all instances I'mbuilding, I'm either selling to
my team to build my team or I'm being sold to them by they're

(34:29):
selling me right. And I just, I felt that the F1
is, is to me was inspirational of like the struggles that I go
through as business owner, as someone that has just in terms
of like friend, friend networks,friend groups, like how can I be
inspirational and be a leader inthose instances?
And it showed how leadership could.

(34:50):
So in a way, there's a leadership there, right?
But which both movies have, right?
But I felt that I was more connected to more realistically
being able to be that leader in,in, in, in, in F1, whereas I was
captivated by the story of like,dude, that is cool ass shit like
being able to fly those types ofplanes and those types of
conditions underneath that type of, you know, intensity.

(35:11):
So that that that's, that's for me is like the the that's why I
think both are incredible, but they hit me differently for.
Sure. I think Maverick did something
really special where it was in an era where there was a lot of
things happening geopolitically and also just generally
politically, where we had so much division in the US.
And I felt like I could have been wrong about this.

(35:31):
I've never served in the military, so I can't really
understand what it's like to follow that hierarchy, that
bureaucracy, that structure, that commitment to the country.
I haven't seen that, but I'm amazed by it.
Like anybody who serves in the military, for me, I have
immediate respect for it. What I mean by geopolitically,
what was happening is you have this division of America and
people are either red or blue and they you say a different

(35:53):
opinion and automatically you'rebeing judged.
And now I don't like you becauseyou believe in this.
And there was also a lot of hatefor America that was brewing and
COVID just exacerbated that. I think what Top Gun Maverick
did is it made you fall in love with the country that we live
in, that we are, we should be really proud to be a part of.
And I think the part of that is because even in the scenes where
Tom Cruise came back and he was now the team lead that had to

(36:15):
teach. And he's a pilot.
He's not meant to teach, but he's now standing there and
behind him, you have this massive American flag that
transcended. And so every scene that was
where he came in with the manualand he threw it into the trash
can. You see this massive American
flag and you're like, OK, undertone of patriotism.
Then you see this eclectic groupof individuals were mostly in
movies. I think Hollywood's gotten a

(36:36):
little bit bizarre with this force diversity concept where
we're going to cast roles because we need one African
American individual, one Latin American individual, one Asian.
I think when you force diversity, you could feel it as
a viewer. And I think Top Gun, Maverick,
there's no force diversity. You got on on there and you had
Coyote and Phoenix and Bob and Hangman.
You had all these call signs, everyone was represented.

(36:58):
There was nothing backgrounds all over.
But again, back to that non stereotypical.
They didn't typecast the woman to act a certain way.
Like when you look at Phoenix inthat movie, she was a badass and
she was quick witted and she wastough and she thought on her
feet and she gave every single one of those guys a run for
their money. And I love that.
And so when you see this, I think there's a couple things
that play in Maverick. You saw a little bit in F1, but

(37:21):
I think Maverick brought you to fall in love with country again.
You realize that like good always prevails over evil
redemption stories and underdogswin.
So there's these common themes that I saw unfold where I, I
genuinely thought to myself, like, oh, that's why we have
such a high military budget. Oh, that's why we training
matters. That's why when you're on time,
you're early for something. There's all these little themes

(37:42):
that you looked at and you go, Ikind of want to be a better
person. You know?
F1 for me, I looked at the authenticity of some of the
races played into the Hollywood narrative.
Like you would never clip your front spoiler to slow down a
race. You never do certain things like
that. But I think F1 to me was more
relatable in the sense where I felt like I was a part of that
pit crew. I felt like I was on the team

(38:03):
and I saw the the second character, some would say like
the the antagonist was Joshua Pierce, who raced with Brad
Pitt's character, Sonny Hayes. He was cocky.
He was up and coming. He faced a lot of adversity.
He had a great relationship withhis mom, and so he's a bit of a
mama's boy. But you didn't see that
publicly. You saw the arrogance 'cause he

(38:24):
had something to prove. But when you see a character
like that and you see the dichotomy between Sonny Hayes
and Pierce and you see that how that came to be, that's what I
fell in love with. Cause by the end of the movie
they started working together. I would agree with that.
I would agree with the the climax and ending of F1 was a
little bit more captivating thanthe narrative because the

(38:45):
narrative in itself for F1 I felt was very predictable.
I felt it was very predictable in the in the concept of the
washed up old hero that's kind of coming back into the fold.
And right off the bat, they had my money because when I saw Shay
Wiggum as the first pit boss when he was in Daytona, I was
like, oh, Shay Wiggum. Anything that Shay Wiggum is in,
I will see tenfold, whether he'svoicing a character, whether

(39:08):
he's in American Primeval or whatever he's doing.
He was in Kong Skull Island and a very minute military role
which just owns the screen everytime, every time he's on.
So they have my money right away.
I understood as someone who watches Drive to Survive and
understands the intimacy and understands the nature of that

(39:32):
marketing. And it's brilliant marketing
because at the end of the day, strive to survive.
Formula One for the American audience.
It is a very, very creative way of marketing because it's not
reality TV, it's not pseudo reality TV, it's not Duck
Dynasty, Love Island, Jersey Shore.
It's not that. It is a intimate look into that

(39:53):
world, so as a launchpad for people to be interested in that
world. For a gentleman like yourselves,
you're like, oh, I get it, I've seen this before.
I know that it takes an average of 25 to 30 people to change all
the tires, to rotate the fins, to rotate everything, to get in
and out in under 3 seconds. But to the average person, they

(40:16):
have no clue. They have no clue that 3 seconds
is a light year for a race like that.
They have no idea what safety cars are.
They have no idea what strategies, how to gain points.
That 10th place and 9th place isliterally life or death for some
of these teams. Whether that's competing for
millions of dollars, whether that's losing out on this year,
burning this year, worrying about next year, who's going to

(40:38):
own the team, who's going to buythe team, where the investors
at. Obviously there's certain things
in F1 that are for the everyday person because as I said before,
it's not for you. It's not for you.
It's not for me. Yeah, it's for the people that
don't really understand it. And then hopefully you go and
watch a drive to survive or you just do your own research.
To me, it's very fascinating that it's a cultural thing.

(41:00):
It's just something that is so diverse on Aston Martin,
Ferrari, Audi now is coming intoit.
I know some of the my, my personal favorite team has
always been Mercedes. Mercedes of for Tribe to
survive. I think their head honcho.
I've said this before and I'll say it again, When you
understand that nobody's bigger than the team, it's a very, very

(41:23):
interesting mindset to have whenyou're considering the millions
and millions of dollars that go into these sports and the
engineering and the tech. But to have the top dog say
that, yeah, we have Lewis Hamilton, world champion, world
champion, but he's not bigger than the team.
You talking about Toto? Yes.
Well, yeah, Toto also owns the team, which is wild team

(41:43):
principal and owner. So for to hear him say that,
talk about leadership cascading down.
Yeah, I mean, it's it's profound.
You never see that and you neversee that on a on a intellectual
level with dealing with that kind of money.
And so the idea to see a drive to survive and really be
intimate, like intimate with these characters.
You know their parents, you knowtheir kids, you know their

(42:04):
house. And you, you feel like, oh, wow,
that's the real race. That is the real race that is
insane. And then to find out that
they're making a movie and the biggest tech giant company in
the world is actually producing it.
So you got the money and the backing of Apple and then you
got Brad Pitt's producing. You got all the the bells and
whistles to make this thing run.Obviously there's things that

(42:26):
are going to fall short. They're going to fall a little
short as far as who leaks out certain information because of
course that would never happen. But the nature of I'm trying to
educate this younger driver. Let me show you how to properly
do this. That part was pretty crazy.
I will give it that. When he saw the straight O and
he said don't pass yet, do not go wait.

(42:49):
And then he didn't wait and thenit basically took off like an
F18. Yeah, exactly, which I mean,
that's that's very Hollywood S right.
You know, the lowest point and then you find out like, oh, it's
the heroes quintessential rise journey or what have you.
I had an individual in here the other day.
We were talking about it and I had mentioned that I thought it

(43:10):
was really deserving that Brad Pitt and he agreed that Brad
Pitt was the one that got it, not the predictable narrative
that oh, well, of course Demson Demson Idris's character would
get it right. He's the one that showed the
most growth. He showed the most promise.
But no, it was. It was Brad Pitt is, and that

(43:32):
was. And the call back to flying as
well, because at that point you're watching him drive and
zones in and now you're almost in his first person view and
he's cascading through all the chicanes and you hear basically
his love interest of the movie, then pause and go.
He's willing. You know, that's that's a really
wild. Part to me and they they cut the
sound. Yeah.

(43:53):
Was your theatre quiet? Yeah, it was completely quiet.
Like you'd hear a pin. Drop I know, isn't that wild?
Like it's one minute loud everyone and then before you
know it, you're like trying not to chew on the popcorn because
like holy shit, it's so quiet inhere.
That's remarkable, man, that's remarkable.
I well, you convinced it all with the team, with the
marketing and the companies thatactually are real in companies

(44:13):
that are endorsing this apex, the fictitious team.
Were you guys captivated at all by that?
It's defined, captivated. Like intrigued.
Were you intrigued at all as faras like, OK, Mercedes is there,
Ferrari is there, Red Bull is there.
Those are real drivers to. See the real drivers, the real
team principles to take footage from the race to have a real

(44:35):
podium. When you talked about the Abu
Dhabi Grand Prix and they took that podium, they took a moment
to film that, that that's a realfilmed podium that wasn't
staged. And so, and to me, it just felt
so real. Like there was moments in the in
the movie where I kind of cringed a bit and said like, oh,
that would never happen. But then it very quickly I
ignored it and I was like, yeah,but this feels so real.

(44:56):
I believe that Apex GP is a realteam.
I believe that all these people actually are mechanics, whether
they were characters or casts. I mean, I don't know the
difference of that, but I felt, I felt like I, it was real.
I was. I was captivated.
I actually felt like the hero's journey, I could do the hero's
journey. Like I actually felt like I
could actually be that person. Like when you're talking about

(45:17):
Top Gun and Maverick, I could never be that person.
I just, that's just, but for whatever reason, I, I could
relate to the point where I'm like, I could be part of that
team in some way capacity, right?
Inspirationally wise. So, yeah, I mean, it was, it was
incredible of how real it was, right?
And I, I, I think that was the what related to me the most.

(45:37):
And it continues to because it'slike, I want to watch it again
because I'm like, I want to see myself in that.
Like it's not like I actually think that like with money or
time or whatever, you could actually do that, right?
Whereas military it's, it's the elite of the elite.
But I know that this the, there's a lot more, there's
different process to become an elite fighter, right?
Whereas like, could you, you know, I, I've actually

(45:57):
witnessed, I've driven. So maybe it's a little bit
different for me. I drove like small, small cars,
like race cars, carts, cars and then got up to a certain point
and then I'm like, I can actually see myself elevating
continuously. And I obviously I didn't in my
lifetime, but I could see myselfdoing it.
So I could relate in that capacity.

(46:19):
Yeah, One thing I admired mostlyis how people can respond in a
situation without letting their stress or their emotions get the
best of them. Javier Bardem's character in
that, in that movie, I thought was expertly done because you
have Reuben a bit of a redemption story for himself as
well. He was going broke, but he had a
lot of money. He owned the team.

(46:40):
The board was giving him pressure.
But there was moments where you would see certain things and the
way that they would react. So, for instance, after Sonny
Hayes gets injured and he's in the hospital and you see this
moment between two friends that have their own long complex
story, which you don't really know how deep that complex story
is. But Javier Barden's character is
like, listen, I can't let you race.
I didn't know that your medical chart says that you have this

(47:02):
spinal injury that could cause vision loss, that you could die
on the track. Like, I'm not going to be that
person putting you in that situation.
And the reactions of the two characters, You know, oftentimes
I think about my personal life. If someone attacks me or says
something to me that hurts my feelings, you know, we get
triggered and we have a response.
What I liked about that movie was there was so much

(47:23):
thoughtfulness that was put in, like the poker scene as well.
I remember when there was that team building meeting where the,
I think her name was the tech director.
I can't remember her character'sname, but they organized this
poker session in Vegas and everyone's wearing like these
really sexy outfits. And you can see that they're
embodying the wealth and they play cards.
And Brad Pitt's character let his understudy or the younger

(47:46):
character, Pierce's character, win with a pair of fives.
And he did that. He kept his cards folded down
because he knew that he had to take that step to say, I'm going
to give him this because I want him to have the confidence
coming into the next race. This person needs to trust me.
And earlier in the movie, there was dialogue where you said, now
I just saw this last night, so Ihaven't processed all of it.
But there was a moment where Brad Pitt was in bed and he

(48:06):
called Ruben really late at night, which is Javier Bardon's
character. And he said, tell me about the
kid. And there was that background of
like, he wanted to get into the psychology of him.
But we ever actually heard what it was.
Exactly. And then we saw it unfold in the
poker game, which is like, OK, this is somebody.
And then they found out both their fathers died at 13.
So they have that commonality. And so I think where I'm going

(48:27):
with this is I was inspired by that movie to say, OK, when I'm
in a situation where someone maybe stresses me out or maybe
does something that I, it challenges my norm of life, the
conditions that I have in my life, How do I pause for a
second and go, OK, let me look at this differently.
Let me not react because there'san opportunity.
Because you're using logic versus emotion, and that shows

(48:48):
emotional intelligence. Well, you know what you're, what
you're talking about is something that I've told to many
people within the inner circle, Family members, friends,
children, spouses. It's very appropriate to
respond, not react. That's.
How That's it. That's the nature of it.
Your immediate reaction when somebody pisses you off is we

(49:11):
all know the immediate reaction.But if I take a step back and
think about it and process it, take a moment to respond, that's
the fair, you know, commonality that's displayed in both of
those both of those films. And it's said brilliantly by
Glenn Powell's character and andyou know, Maverick, he knows

(49:33):
that you it we the audience, we know that he's right.
We know 110% that Rooster is called Rooster because he sits
on the fence and you never, he doesn't do anything, you know,
but we know the nature of the beast and why that is and what
the whole full circle narrative is going to be there.
But it's how they get there and it's how they show that.

(49:54):
And it's whether it's predictable, whether it's
relatable, it's kind of irrelevant if it's done in in
the correct way. You know, I think when it comes
to F1F1 to Top Gun Maverick, forme personally, I would prefer
Top Gun Maverick a little bit more just because, you know, I
mean, that's that's a pretty powerful message, you know, to

(50:15):
kind of come face to face with, you know, you know, maybe some
buddy in your past that you weren't exactly too fond of and
now you're kind of met with themand you're in that scene that
you're talking about. Very, very powerful on the
computer when he says, I don't want to talk about work, I don't
want to talk about work. We can talk about whatever you
want to talk about. What do you want to talk about?
And all he does is point to the screen and it's his work.

(50:36):
And so there's there's things totake away from both of them.
And I think that there's things that are displayed perfectly.
And when you have a talent houselike a Brad Pitt, and when you
have a talent house like, you know, Tom Cruise, it's very,
very hard to put those guys in within boxes, you know, of what
they're capable of. There's so many, there's so many

(50:57):
layers. I mean, this is one of one of
the things I love about this show is that there's so many
layers and as you say something out loud in your and for me at
least, I'm, I'm sometimes I'm, I'm thinking it and saying it.
Maybe it sounds like it's been rehearsed, but it's not like I'm
actually connecting. That's how I learned and that's
how I I love, but listening to others talk about it and it's
like, oh man, I never thought about that ankle or or that

(51:18):
ankle or like, oh man, this is what I love about the the web
that you're uncovering and everysingle podcast that you do.
Oh, thanks, man. It's just inspiring to know that
the that there's so there's complexity, but you're bringing
light to the complexity that others would just kind of gloss
over. Right.
And in in knowing that there's like a whole nother like sub

(51:39):
world that exists and through that sub world, there's also
other learning. So like like the the Tom Cruise
and the Tom Cruise like as an amazing character and the Brad
Pitt as an amazing character. And then your connection to they
never really have bad roles because they define the role,
right, which is incredible. Like they just shows that the

(52:00):
power of an individual in a movie can outshine and and
overcome anything that has to dowith producing or how the film
was created, right? And they then those roles will
then blossom into others, which goes back to your core premise,
which is like they never really had a bad role because they or
they never did a really a bad movie because they were always
so good in their role. Yeah, And a lot of people have

(52:22):
this misinterpretation that the director is the one that's in
charge of the film. That's not the case.
Not the case at all. It's producer, the producer is
in charge of the film. The producer figures out where
all the money's coming from. Where are we going to film this?
What are we going to do here? What are we going to do there?
And the studio is the one that bankrolls the director, which
you 2 are both businessmen. So essentially look at the

(52:42):
comparison for this. You hire somebody to paint your
house, right? You hire somebody to paint your
house. You give them the brushes, you
give them the equipment. You say you hire whoever you
want. You hire whoever you want, but I
don't want the color blue. I don't want the color blue.
I don't want light blue. I don't want dark blue.

(53:03):
I don't want Navy blue. I don't want it.
And then you as the painter, in this instance, you're the
director. It's like, but I'm the artist.
You hired me. I want to do my thing.
I want to do my thing. And then studio looks at it and
goes, I literally told you, don't use blue.

(53:25):
Why is my house blue? You know what, you're fired,
you're done. And that's where the clash comes
in, where the creatives and the money in the studio heads.
And then you get the weird symbiotic relationships
sometimes where the talented people and the artists can
actually be fundamentally in charge of their own craft.

(53:47):
Very unique when that happens, because you look at the greats,
you look at Hitchcock, you look at Spielberg, you look at Lucas,
you look at Kubrick, you look atmost of these cemented auteurs.
They weren't always the auteurs that we know them to be, but the
people that were in charge of these enterprises were the

(54:09):
artists. They were the ones that were
allowing them to be creative. Go, go your vision, your vision.
Make your vision. Do what you have to do.
But before you know it, it's allabout the money, which is what
you were talking about a little bit.
Where we see the downfall now offorced diversity or in your
face, they use that ridiculous word woke, which is kind of a

(54:30):
coincidence that most people usethat word because it describes
things that scare them, right? No one's saying that there
shouldn't be diversity. No one is saying that there
shouldn't be an equal opportunity from everybody.
It's more displayed in an organic matter that Hollywood
had a systemic problem with racism and bigotry and hatred
towards the opposite sex, gay people, people of minorities.

(54:54):
One of the most iconic lines andphrases in the world was to the
moon, Alice. OK, all right.
We all know what that he's referring to.
And everybody loved it. Everybody loved it.
You ever watched the behind the scenes of I Love Lucy?
The first interracial couple, they tried to tear that thing
down from the inside out. But the idea behind artistic

(55:16):
integrity, and when it's done inthe right way, the people that
bankroll the film, they don't care if the house is blue or
not. If it's a good solid artistic
rendering of interpretation. And you get somebody as talented
and you get someone that has confidence.
And if you truly love your craftand you're good at your craft,
it's going to come through regardless of what it is you're

(55:38):
preaching, regardless of what itis, you may be telling, people
are going to be interested to see it.
Because if you really peel back the layers, I know both of you
deep, deep down, you don't care if that character is a woman, if
that character is black or whiteor Chinese or Bolivian or

(55:58):
Colombian, it doesn't matter. Because when the story is good,
the story is good. And one character does an
amazing job and lets their artistic craft come out.
I don't think twice about where they're from.
I don't think twice about how their voice sounds or where
their accent is. I'm watching them unfold on
screen and have an emotional connection because I see parts
of myself in them. And that's shared empathy.

(56:19):
It's funny you mentioned how many layers and complexities and
connections OC might be standingfor.
Omniscient connections, right? Because if you think about it,
you're kind of the all knowing and the omniscient director sees
all hearing you talk about the development of certain things.
It's amazing. It almost makes me want to watch
go back and watch things again. Well, it's true differently.
It's true because at the same point you don't think about the

(56:42):
insurance and outs and the in goings on of like, like your top
five movies. Everybody has a top five movie.
Everyone has a top list of films.
You don't think about who's playing this role, who's playing
that role, who's doing XY and Z.It really just boils down to how
was the film, the story, how wasthe film?
It baffles me. It baffles me.
It baffles me. It baffles tells me when people

(57:03):
for a long time got mad at Quentin Tarantino for a long
time that his violence against women, it's he uses derogatory
language, he uses obscene violence, he uses crude
narratives and offensive narratives.
OK, maybe. But in every single one of his

(57:23):
films, be it Kill Bill, be it Once Upon a Time in Hollywood,
every single one of his characters has a redemption
story, and the hero always prevails in the very end.
Think about the narrative of every single film that he has.
Jackie Brown, Pam Grier, What isher story?
She's just trying to get over onthe guy that set her up to try

(57:44):
to get her killed. Kill Bill.
She gets her daughter back. She takes out Bill Shoshanna and
the fictitious Inglorious Basterds.
What happens? This little Jewish girl that
locked the doors unbeknownst to what the bastards already had
planned. And then Once Upon a Time in
Hollywood, it's displayed brilliantly that Sharon Tate did
not die and the golden age of Hollywood continued going.

(58:08):
Because a lot of cinephiles believe that the golden age of
Hollywood died with the real Sharon Tate.
And when she had passed away, movies had changed.
The climate had changed the way that they were filmed, the
comedy, the, the art, it changed.
So there's a lot of different narratives to take from that and
there's a lot of different things to digest and look into.

(58:30):
I mean, that could be a directing, A directing choice,
that could be an acting choice. But the whole nature of like
entertainment, it makes you think.
It makes you think. It's the emotional turmoil, you
know, I always equate it to Pixar and Disney, which is
truly, truly remarkable. 3 full grown men.
And you're telling me not one Pixar movie made you cry?

(58:53):
Rat, I mean, listen, Ratatouilleto this day is my favorite
animated movie. And why is that?
Several reasons I can give you off the top.
First and foremost, it embodied the character of a rat to be a
likable, beautiful, loving animal.
And you actually had empathy fora rat.
And so you see this colony of rats in the sewer that you're
like, I want to feed them. I want them to find food.

(59:15):
And just two weeks before I saw the movie, I'm in New York City
watching alien sized rats walk across and I'm like, this is
disgusting. How dare these animals frequent
by my feet. And then all of a sudden you
turn on ratatouille. So you see a an animal
differently. And then you have this character
like Linguine, who is the lovable nerd who you just want
to see him succeed. And that's the classic underdog
story where you go, this guy hasno idea how to cook, but he

(59:38):
falls into a position and now a rat is guiding and it's and
that's that's the connection of teamwork.
Now you see Linguine rise to this meteoric level of success
because of a rat. And then the food critic who is
so wrapped up in this anger and like deployment of childhood
traumas that he's treating everyone in a terrible way.
And now you see his character arc reach to a point where he

(01:00:01):
finds love and he finds connection.
And he realizes that while I'm actually in this for the right
reasons because I do love food and I should probably be kind
all the characters. And then you know Gaston, who's
who's basically saying Chef Cousteau.
Sorry, Chef Cousteau. Who's saying everybody can cook?
There's all these little messages that get played out.
There's love stories, there's underdog stories.

(01:00:21):
There's, you know, rising stories of of stardom.
There's getting rid of childhoodtraumas.
There's so many things I saw in that movie.
It could be a date night movie that, you know, you're sitting
next to somebody you like a loveinterest and you'll fall in love
with it. It could be something you watch
on a Sunday. You're not feeling so happy,
you're hungover and you watch rats too.
And you're like, man, I had tears streaming down my face
multiple times in that movie, but I loved it.

(01:00:43):
It's fascinating that that's a challenge movie, but yet all
those themes in there are for the adults, you know, And it's
not a coincidence that most of what you would consider a Disney
film or your favorite film, whatwould your favorite like Pixar 1
be? Monsters.
Monsters. Why is that?
I was, I think it was just it brought up as a child, I was

(01:01:04):
always scared of the dark. Like I think it's just it just
rooted in the journey of being able to overcome that for myself
as I grew older. So it's like as an adult that
brought me back to this is very simplistic, but it and then I
just love the the gentleness of what could be otherwise scary,
which is the monsters, right? And then the whole entire this
whole entire world that exists. I'm like, Oh my gosh, you know,

(01:01:27):
and and it it it humanized what my fears were right to a place
because, you know, growing up, Iwas jaws, right?
It like back then, our imagination didn't really exist
outside of her mind. And then on film that those
things would just that they would they would scare they'd
scare the shit out of me, right.I mean, I remember being just a
side note, like seeing Jaws, which which is a great movie, I

(01:01:49):
believe, thinking that I was like 7 or 8 years old and I was
in the deep end of the pool thinking the sharks would come
through the bottom of the drain and they were somehow going to
come and get me and I couldn't see them right.
I mean, that was my imagination.But so, you know, being scared
of the dark and remembering as achild, you know, screaming to my
mother, like, or my father like,you know, I'm, I'm, I'm scared,

(01:02:10):
you know, I'm down in the basement where the monsters do
exist, right. So Monsters Inc was that
reliving of those childhood traumas or experiences?
Traumas, but experiences that traumatize me a little bit.
And yeah, so it's Monsters Inc. It's just, and I love the story.
So isn't it fascinating that in that story, the monsters are
scared of us? Yeah, they are scared of us.

(01:02:32):
They're. Scared of us?
Yeah, they're terrified. They take our.
Screams, though. Yeah.
And it's not only do they take our screams, but they want
nothing to do with us. They are terrified.
It's a contamination. It's a hazard.
We got to. We got to get.
We got to get out of here. This is terrifying.
Are you kidding me? Like, what's going to happen,
You know, And then you believe through the narrative of

(01:02:52):
friendship, it even goes furtherinto the world.
It goes further into the world of of Boo, the character of Boo,
which is essentially our, you know, perspective into like, OK,
well, she's not really scared ofanybody, right?
But she the compassion and tolerance of understanding of
somebody that you trust and you love and you care for.

(01:03:14):
And then it's heartbreaking. Like it's fundamentally rocks
you to your core when she sees Sully in the in the light of a
monster of a true monster. And when he's like roaring and
she is crushed and she and he goes to hug her and she cowers
away and because she's legitimately scared.

(01:03:36):
I mean, there's many, many things you can take from that
theme of like who this person that you love and look up to,
you know, isn't who you thought they were.
But then at the end of the day, but you know who they really
are. You know, someone that provides
you comfort, provides you, you know, safe haven, what have you.
It's remarkable that it comes through in those themes for
kids. I mean, you take what you will

(01:03:57):
about, you know, your your big Hollywood guys, you know your
Tom Cruises or Brad Pitt's, but when they're displayed through
an element of animation, that's for the children.
But you as an adult, take it in.You're like, boy, that movie
really screwed me up. Like, how many times watching
the movie Inside Out do you not resonate with every single
emotion that fundamentally it gives you a perspective of what

(01:04:22):
those emotions up there look like.
And the ironic thing for that film, when you see, I'm trusting
you guys have seen Inside Out, correct?
Yeah. What?
Oh, go ahead. Sorry.
The beauty of that film is what are Riley's emotions doing?
O'reilly's emotions are all overthe place.
Joy is running the board, Sadness is running the board,
but it's only ever one emotion, played brilliantly by Lewis

(01:04:45):
Black. But every single emotion has a
turn at the board, right? And the representation of
anxiety is what? They won't like me, I won't be
accepted. It's anxious.
And what does that teach you? It teaches everybody that it is
OK to have anxiety, it is OK to be scared, it is OK to be

(01:05:07):
insecure. It just has a place.
Most of the most predominant memories, whether you're
married, you have a kid, you have a business, you're anxious
through all of that. That's what makes those memories
so important. So it teaches kids in a weird,
roundabout way, and adults that it's OK to feel anxious.
It's OK to feel anxiety, but notto let them be in control, but
to acknowledge it and let it go by.

(01:05:29):
But when you look at the parents, every single emotion is
operating the board in perfect sync.
Whereas in Riley's head, it's only ever one emotion operating
the board, which is a good parallel to the parents of like,
well, we have all of our emotions in check, or at least
we think we do. But to the child's perspective,
it's one extreme or the other. Yeah.

(01:05:52):
What were you going to say? Oh.
No, I was going to say when Disney and Pixar in these
animated films, I think what they do really well is if we
were to have like an intellectual or logical
conversation about homosexualityor anxiety or diversity or
politics or any of these things that are contentious, people
immediately react and say, Oh myGod, how dare they do that or
how can they do that? Or why are why is someone doing

(01:06:13):
this? Those movies make you think
about those things in a way thatyou don't even realize you're
doing. Like, for instance, if I were to
talk to my father, baby boomer, very close minded, never went to
therapy, looks at therapy as a crutch, would have negative
things to say about anything that he didn't understand.
Doesn't make him a bad person. It's just how he's conditioned.

(01:06:33):
And I think what's interesting is that, but when he watches a
movie like Inside Out or Ratatouille or Monsters Inc or
Cars or any of these things, he's seeing certain issues and
certain unconventional relationships and he's finding
love in those characters. And now going, Oh, maybe that
should lighten up the way that Isee the world.
And maybe if I could see these two characters on screen, even
if it's Shrek, you have this biggreen ogre married to a

(01:06:55):
Princess, even that of itself isgoing to say, oh, how, how can
those two people be together? That person is so much more good
looking society driven away thatthat person is so much more good
looking than this person. And I think they do such a good
job of making you go, oh, wow, Ishould probably look at that
differently. And I, I really appreciate that
because, you know, whether it's Walt Disney or all these major

(01:07:15):
studios that put movies out, it's not woke, it's not certain
things. What it is, is it's challenging
your belief set and it's making you think.
And I think if you're open to it, you can grow that.
That's what I love most about those.
And the parents and the kids arewatching it together and the kid
has a very different experience,the kids learning and loving
that movie for different reasons.
But even the parent is sitting back with their hand and their

(01:07:37):
face going, OK, I got to re evaluate the way I look at
things. And that that to me is what
entertainment in films too, right?
How can I tap into somebody's emotions that they might not
think they're prepared for? That I find incredible.
Yeah, well, and the incredible part about it is, is through the
lens of entertainment, you brought up Jaws.
You brought up Jaws and the the passionate, like unique thing

(01:08:00):
about that film. It's the original summer summer
blockbuster, right? I mean, you take into
consideration you didn't even see the fucking shark for almost
half the movie, right? Well, what was it?
It was the hint of the shark. It was just the fin.
It's just the fin and the two notes on the piano.
Weirdly enough. 2 notes on a piano and a fin just slicing

(01:08:26):
through the water. But yet you as a child, me, I
don't want anything to do with the fucking water after washing
that I'm like. I'm still out.
I'm like, do you really want to go to Nantucket?
I'm not sure if I want to go to Cape Cod.
Yeah, exactly. And you think about that because
the imagination, the imaginationis, it makes it real.
The fear makes it real, you know?
And that's pretty, pretty powerful.

(01:08:49):
Pretty powerful as far as like what is like real?
And your mind makes it real, youknow, and you 2 gentlemen are
very astute when it comes to entertainment.
And I truly enjoy speaking with both of you on the levels of
like entertainment, peeling backeverything.
Because a lot of people can sit there and say, oh, I like that
movie. That's a good movie.
Like, OK, well, why'd you like it?

(01:09:10):
Why did you like it? And then when you actually like
peel back the layers and you start talking about it and you
start becoming a little bit moregrounded down, you know, to the
nuts and bolts, you know, you take the entire thing apart and
put it back together. Then you find yourself like
really being well versed in and why it is that it did resonate
with you, why it did scare you, why you did love it, why you

(01:09:30):
laughed. And before we get out of here, I
wanted to ask both you gentlementhis.
If either one of you had a MountRushmore of your film makers or
directors, I mean, there'd be a top four, who would they be and
why? That's a good place to end this
one off at. I would go with, I'll start with

(01:09:55):
George Lucas because I just love, you know, the, the going
with pretty much half my life with the stories that are told
through the Star Wars, right? It's the trilogy.
Not true. It's a trilogy, but just the all
the movies. Why?
Why don't we alternate so you give one of one this week.
I think about it because it's a great question and I think it's
multi layer. Probably agree with some of ones

(01:10:16):
if you say them, but we'll see. My first and foremost,
unequivocally. But why?
Because it's part of my, the journey of my life, right?
So I've, I've got a chance to have different glimpses of
different movies throughout, right?
Star Wars started with, was it the 70s, right?
I wasn't alive in the 70s, but Calderon and I got a chance to
watch them. So but it's still relevant today

(01:10:38):
in the 2000s, so 2010, two, 1020.
So it's just, it's something that has been part of, I guess
our culture and is part of me growing up so.
Love that. Inspiring too.
Unequivocally. My first one is Guy Ritchie, and
I'll tell you why. Guy Ritchie to me to know that
he's written and directed and helps very heavily with the

(01:11:00):
casting, the movies that he's made.
And I'm not talking about the Sherlock Holmes of the world or
the big productions of live action Aladdin to me, like those
are fine, entertaining, they're good.
The side of me when I watched him create a movie like The
Covenant as well with Jake Gyllenhaal, that story was based
on true events. I don't know if you've seen that
movie, but Covenant to me was soconnected.

(01:11:22):
Lock Stock, Snatch, The Gentleman, The Gentleman Show.
I put him up on the Mount Rushmore because he challenged
the status quo in ways that I don't think other directors do.
Also, he was all about the craftand he took 2 industries and
melded them together. So he originally used to do
music videos, which is a two to three minute, very captivating,

(01:11:42):
hard edged type way of art. And he said, listen, I want to
take music videos and inspire that to do full length
productions on movies. And when he dated Madonna, he
actually did large scale advertising campaigns for BMW
where they were called BMW shorts.
And there was one actually whereMadonna was in it.
These are these five to seven minute like live action ultimate
driving machine shorts. That guy Richie, you know, wrote

(01:12:04):
and directed, he's on. He definitely my top for short
because I can watch those moviesover and over and over again.
Characters are still just as good as today as they were.
And the other thing too is I could just imagine being on set
and just him sitting there riffing.
And Snatch's budget, I think it was like $8000 or something
super like astronomically. Low.

(01:12:24):
Very low. And to pay those characters,
there was like deals that they signed to say, listen, when the
company and the movie is successful, we're going to go
ahead and pay out the rest of this contract because I can't
afford it. I don't remember what the number
was. Don't call me in the number.
So he would be my first Mount Rushmore.
Guy Ritchie, who would be your second Coen brothers?
Oh, that's a good poll. Everyone's got a favorite Coen

(01:12:47):
Brothers film. Yeah, it's.
The Big Lebowski, The Dude, really.
Oh, yeah. I could watch that over and over
and over and over again. For me, that's something that
was probably college era, right?So like, yeah, college.
And I think, well, for me, my myimpression of it was is that I
didn't really get it at first, but after I watched it a few

(01:13:08):
times, I'm like, I just started quoting.
I'm like, that is so genius, like just so many parts of it,
right? And I still quote it today.
But that's, that's something that is part of I guess the
college era slash younger adolescent that is always stuck
with me. I mean, it's I have only
purchased maybe you have a lot of movies and things are up
here, but I don't really buy movies.

(01:13:29):
I'll consume, but I don't generally rewatch, right?
And I only have maybe purchased 8 movies in my whole life and
one of them is one of them. That is, that is the The Big
Lebowski. I think I got introduced to it
from Fargo, right, Right. It was that that.
Fargo is usually the top. I mean tops raised in Arizona.
But I was from Minnesota, so it kind of like was a hit on me.

(01:13:51):
Like I kind of like, I don't really want to hear a bunch of
people, you know, exaggerate thethe, the accent that yeah, it
does. It is that bad.
But yeah. Right, right.
One thing I love about their films is that it's always boots
on the ground. You ever notice that?
It's always boots on the ground with whatever movie they're
doing. They never give you time to
marinate. It's always as they just drop
you right in. And Fargo, you're like, I'm, I'm

(01:14:13):
kind of cold. I don't like this feeling.
And then in No Country for Old Men, you're immediately dropped
in and you feel like this is this is really uncomfortable.
And raising Arizona, it's the same thing.
Or whether it's burn after reading, you're immediately in
the weird CIA office like God, this is bland.
This is horrible. And Lebowski is like he's, he's
getting, you know, his drug's getting pissed on and he's

(01:14:34):
holding a bowling ball up and ask and telling him he's
obviously not a golfer. So.
It's right off the bat. You find out right away when Sam
Elliott is narrating and he's writing a cheque for 1/2 gallon
of milk. That's it.
You know what I mean? And President Bush is in the
background. This aggression shall not, shall
not stand. It's.
Amazing. So you got OK, so for year 2,
what would you say? What would you say you Coen

(01:14:56):
brothers? What was your first?
What did I say? It was the first one.
I thought I said something. You did?
Yeah. What was it?
You said George Lucas. Hey, George Lucas and the Coen
brothers for you. Guy Ritchie for you.
What's your second? This is my second one,
conventional, but Steven Spielberg.
Now I know now why I was in so why Spielberg is my it's.
It's everyone's brother and don't feel bad.
Yeah, you you could cosign it for sure.

(01:15:17):
Why say Spielberg, of course. I mean, he's had some of the
best blockbusters on the silver screen you could ever imagine.
But I think about the reality ofI went just think about Jurassic
Park as an example, just plain and simple.
To me, that's a life changing movie, like animatronics and
robotics and connections that still look real to this day.
Like I prefer the original Jurassic Park and I also read
Michael Crichton's novel Jurassic Park, so I had the

(01:15:39):
reading material and to see thatdepiction on the screen.
Unreal. But also just the calmness.
The calmness of somebody who never let fame and money get to
his head, who never abandoned a good story.
He gave Vin Diesel his first original shot and was like,
listen, you're a bouncer from New York City.
There's something inside of you that is very special.
Gave him his first role. And so whenever you see, you

(01:16:01):
know, a Spielberg film, I just know it's going to be good.
Or I know I'm going to watch it and say, I also like the fact
that the hero always wins in hisstories as well.
He pushes the bounds and yeah, he's made some shitty movies
like War of the Worlds where you're like, what are we doing
here that? Wasn't that?
Bad. I thought it was bad personally,
but I we could talk about why I didn't like it.
However, I think, yes, some movies maybe missed the mark to

(01:16:22):
the conventional standard of Spielberg.
But yeah, he's up there. And he gave a lot of composers
their shot in a sense where he was like, you do you.
This is the the vibe that I'm looking for.
I want you to to take creative freedoms and just think about
John Williams. His name's on almost everything.
I'm a big fan of sound, composing and then reality of
film. I think Spielberg does a good
job of that. There's no comparison.

(01:16:43):
Don't feel bad, he's always on somebody's top five list because
anybody who can do Jurassic Parkand Schindler's List in the same
year is a truly gifted person. What would your third one be?
So I don't know who who actuallyproduced it.
There's a movie I'm thinking of a movie that I absolutely adore.
The movie Departed. That would be Martin Scorsese.
OK, there we go. Yeah, yeah.

(01:17:04):
OK, do you a big fan of Scorsese?
Yeah, interesting. OK, OK.
Do you have any other? Scorsese movies that you like?
Have you seen the Irishman? Have you seen any of his other
rich goodies? Goodfellas.
Goodfellas. I like Goodfellas.
I didn't really like Irishman. A little too long.
A little too long, yeah. It was the one.
It was over 3 hours. Well, they jumped around Eris as
well. They were going multiple
decades. Yeah, so like, this is where I

(01:17:26):
jump around like, you know, Tony, Brother Scorsese, Yeah.
He's still up there. Scorsese's got a place.
Yeah, he's got a place. Whether it's the vision, the
original mob view, the that lensinto that world.
Yeah. You can't, no, can't be
replaced. We got for number 3 for you.
The only reason I'm not going tosay Kaczynski is because we
talked so much about F1 and Top Gun Maverick.

(01:17:49):
So you you could take that one. I have a feeling you're going to
take that. You, I'll give you that one.
I would say, and he's I'm a little bit of I'm angry with him
right now. But Christopher Nolan to me, and
I'll tell you why I'm angry withhim, but to me easily on the
mount top of Mount Rushmore. I think what Christopher Nolan
does that no other director does, is he can see the forest
through the trees in a way that when you think about Inception,

(01:18:13):
you think about The Dark Knight,you think about that whole
trilogy. He took characters and
reimagined them in a way that you you're surprised he can do
it. But at the same time he has
these massive set pieces, massive set pieces.
And when I watched Inception, that was one of the 1st movies I
bought on Blu-ray. The sound, the connection, the
kick, the dream within a dream. Killian Murphy got his kind of

(01:18:36):
major, major jump forward. I would say Tom Hardy also got
his major jump forward as his character Eames and Inception.
I think Nolan takes these reallyexpansive universes and does it
in a way that you can digest it.Why I'm a little bit mad at him
is 'cause I think he's kind of gotten in his head where
Oppenheimer, you just try to do too much, man.
Like stick to your normal formula, which is make every

(01:18:57):
scene exquisitely thoughtful. Have characters connect.
And I think Oppenheimer got way too complex.
You walked out being like, that movie should have been 2 movies.
It was just way too much, way too deep for one showing.
And I went with three other people and we walked out of the
theater and we were like, what in God's name did we just watch?
Historically accurate to the most part, right?
The way he tried to depict thosecharacters.

(01:19:18):
But I'm the reason why I'm only a little bit angry is because
the why The Dark Knight for me is one of my top, It's literally
my top three movies of all time.It's because you watch every
scene unfold, the sound of the guns and the weapons, the
costume design, how characters interacted, why dialogue was was
prioritized. I think Nolan is just to me,

(01:19:39):
untouchable. I want him to get back to that.
I want him to get back to some of his earlier movies like
Memento. Were you watching?
You go, how did you think of this and how are you directing
in a way where I'm, I'm not lostbecause I feel like I should be
lost. I would say Insomnia is one of
his most underrated ones. I've never seen that.
Yeah, I will, definitely. Watch with Alaska with Al Pacino

(01:20:00):
and Robin Williams is the serialkiller.
Yep. I will definitely watch that.
Yeah, this is. It's a very early 2000s, early
2000s, but it's a very itchy, Scratchy.
Uncomfortable it is I I I couldn't get.
I got through it, but it was hard.
It it was a tough one. Who?
Who was the woman in it though? Is that?

(01:20:23):
She's the one that works in the hotel, correct?
And she he's the one when he's taping up the blinds and she has
the dialogue exchange. Yeah, it's it's very unsettling,
but it's it might be, it might be.
We have to Fact Check that. Anybody out there listening, you
know, please feel free to let meknow.
But yeah, Insomnia. Insomnia and the Prestige were

(01:20:45):
two that were Christopher Nolan ones that kind of get like taken
by the by the wayside. Obviously you got the Prestige,
which was remarkable, you know, I mean the twist and then
Dunkirk, obviously. But OK, So what about you?
What about you? No.
Spielberg's there, of course, isthat who did Indiana Jones?

(01:21:10):
Yes. Yeah, yeah, definitely.
Either that or who's the producer of this is this is this
is where I I'm not great with names, but I remember
characters. But just say the movie.
Well, no, the F1 and and who didthat?
That's. Yeah, that's definitely is part
of my top so. Yeah.

(01:21:30):
I mean, there's others too. I mean, I could definitely do
Tarantino, but I don't know enough of his films.
Glorious Basterds I actually didenjoy.
That one was actually really good.
Of course, another great show byBrad Pitt.
Yeah. Brad Pitt and.
Another amazing character. 2 great performances and they're
actually continuing it too. And Cliff Boost, Dian Dianjo,

(01:21:51):
What's up Django? Django Unchained.
Yeah, Django Unchained. Yeah, that was that was bloody.
But I I definitely enjoyed that one.
I like that. Hero's redemption, man.
Well, I also like that to put DiCaprio in an uncomfortable
spot, not only with some of the language and profanity, but just
that role alone. You could tell he was like, I'm
uncomfortable and this is pushing me on my comfort zone.
My. Character he played where he did

(01:22:12):
not like it, where he did not like that character.
That was the only character, which is weird because he did
The Great Gatsby, he did The Revenant, and he did Django and
Chained all in the same year, which is fascinating to work
with. Basil Erman, Christopher Nolan
and Oh my goodness, Tarantino and the gentleman who's the

(01:22:38):
Oscar winner who did Birdman with Michael Keaton?
Alejandro. Alejandro.
Yeah. That was the director.
For Revenant. For the Revenant.
Yeah, Sublime. All natural light.
I mean, they shot that movie. So that's a that's a fun fact is
all the sets were natural. So they had a wait.
The cinematographer was like, OK, we're waiting for the sun to
come out. We're waiting for this cloudy,

(01:22:58):
misty day and. One take, one take shots, which
means the entire opening of The Revenant is about a 15 minute
opening scene and the entire thing was shot in natural light.
And everyone has to know their mark.
They have to know their lines, they have to know their
blocking, they have to know their movements.
And if one person messes up, yougot to wait a full 24 hours
because it was all filmed in natural lighting.

(01:23:20):
So the snow, the river, the fields, the mountains, the
trees, that's what you see is what you get.
This is early days. Will Poulter from Midsummer.
The Bear We are, We're the Millers.
Early Days. Will Poulter as young Jim
Bridger and Tom Hardy, 1 of Dicaprio's only film that he
ever won an Oscar for. But anyway, please continue.

(01:23:42):
My last one, JJ Abrams. And, well, I'll.
Tell you why, right? Star Trek was an incredible
series. Every single time I've seen Star
Trek, the old school shows, the first trilogy, etcetera.
Incredible when he rebooted thatbecause he did the 1st 2:00 I
left the theater with my jaw on the floor.
How he was able to make sci-fi look that real with so much CGI.

(01:24:06):
And also to make Chris Pine's character to to have the beloved
Captain Kirk be loved again to me and be like how could you
ever outdo Shatner? And I just think he not that he
outdid him, but I think he had another take and another slice
on virt JG Abrams to make that happen and to build a movie for
two hours and 40 minutes where again, the sound, the set

(01:24:27):
pieces, the unfolding, all of itwas incredible.
And the underlying message too. It wasn't just the great beyond
show me great special effects. It was show me a lot of
underlying stories and with Spock and that young version of
Spock in terms of like what is people had to go through and
what does suffering look like and how do you rise above that
and what is logic versus emotion?

(01:24:48):
The. Human side and the Vulcan side.
Really, really unique. And let's be fair, Zachary
Quinto is the next best thing toLeonard Nimoy.
I don't see how anybody could have picked a better.
Spot agreed. And just the look and feel too.
So I would say that's up there cause a lot of the movies that
I've liked, frankly, I don't even really know who directed

(01:25:08):
them. Some of the the smaller movies
that I fell in love with that I would watch a bunch.
But I would say those would be in the Mount Rushmore for how
how they've been able to build their careers and face adversity
and make a few struggling moviesand just come back with a fury.
That's me. I like, but no when I see his
name pop up and also he's behinda really great project.
I don't know if you're into cryptocurrency at all, but

(01:25:30):
getting into crypto, there is one token called render.
And render is a Solana based token where what it is is the
democratization of animation. And they're using like a wide
range of GPU networks and computing power to speed up the
rendering and animation process.And I'm a big gamer, Lovefilm
love animation. I think movies, animation and
gaming is the future. And render token, JJ Abrams was

(01:25:51):
one of the original board members and original minds to
say, I'm going to get behind this because think about it like
this. If you're an animator and what
you're doing is you're taking huge, complex animation to
render, it takes a ton of time and uses a lot of computing
power. If you're a small studio and you
don't have these massive data centers, your animators have to
spend a lot of time just waitingand you have to go, OK, we're

(01:26:11):
going to make a few changes in tweaks to lighting.
Click render. I'm going to have to leave my
desk for four hours and come back and then see how it
unfolded. When you use large scale GPU
power and you can use other people's computers, not only can
you speed up that render process, you can lower the cost
of it. And so it's a cool token.
If anybody's into crypto, look at Render because they just
moved from an ERC 20 Ethereum based token to now Solana based

(01:26:34):
token. When you look at if you go on
Coinbase, it's an approved token.
Look at it. But I like it because he's in it
for the art. He's not just in it for the
money. So that's another reason why I
bring up JJ Abrams. Outstanding.
Yeah. I got to tell you, gentlemen,
this has been a lot of fun. It's been a whole lot of fun.
And I think that the the nature of of where the discussions

(01:26:55):
ended up going, the avenues and directions, I don't think either
one of you imagined that that's what we would be doing.
No way. Creative collision.
That's no, we're in a we're in apoint like what are we watching?
Has turned into like inspired toto be a better person.
It's wild. It's wild.
And that's, that's beautiful. I mean, especially when you get
to see it from another perspective.
And I cannot thank you gentlemenenough for coming down here and

(01:27:17):
lending your voices because the best part about this is we are
eventually going to get to video.
We're going to eventually get a little bit beyond, you know, the
the Center Studio out here in 5280.
It's going to grow. It's going to be bigger.
But the beauty with audio is people can create an
amalgamation of what you look like.
They hear my voice twice a week.They hear your voice and the

(01:27:40):
analytics when I get them back. I mean, I'm very, very curious
to hear what the feedback's going to be on this one.
Because if the people speak and you guys want to come back and
do another one, I would be thrilled to have you gentlemen
come back and do another one. We're going to watch the movies,
think about it, let it, let it digest, let it wash over you,
you know? So I would truly be fortunate

(01:28:01):
and blessed to have you gentlemen come back.
Likewise, yeah, Likewise, yeah. Can I can I give one sign one
sign off kind of point? Absolutely.
For those listening, I will tellyou one, I'm thankful that you
pushed ahead. You're inspired to do this
because for me to be a part of this and to hear your voice like
and listening to the episodes, Igot to tell you, you really do
have a gift. And not only for your ability to

(01:28:24):
retain information, for you to see things from alternate
perspectives. Like you're one of those
individuals that I will tell so many other people about this
experience and also go back and just watch movies and films
differently. I'll have interactions
differently. So your ability to articulate
your vocabulary, your thoughtfulness, like you are an
eclectic, interesting person. And for anybody that's trying to

(01:28:44):
envision where we are and what what we're doing, what the
studio looks like, there is every advert, comic book,
unbelievable visual that you cansee everything from Dark Knight
Rises to Deadpool to from Dusk Till Dawn.
You have original comic books. I honestly feel like I'm in
somewhere that I I couldn't evendream that it exists.
So it's awesome. You get people in the space.

(01:29:04):
So for anybody that's really picturing this, there's
everything from sketched animations to colors across the
spectrum. Amino C is the absolute.
He's a dog. It's amazing.
So thank you so much for the theopportunity.
And I'll tell you there's no better place to spark curiosity.
I'm sitting next to thing right now in Johnny Torch.
And that's why that's the one ofthe, Oh my God, it's one of the
hottest versions and iterations I've seen of Sue Storm, by the

(01:29:25):
way. Yeah, those are, those are
variant covers. Those are variant covers.
I think they're like 1 of 20. So that means only 20 covers are
printed of each one of them, anda few of the shops that I do
work with I was able to land a few of them.
What a dream. So yeah, keep being you man.
Never change. Thank you.
Just evolve. Right.
Never change, but evolve, yeah? Thanks for having us on 5280.
Man, Oh, absolutely. I couldn't, couldn't have done

(01:29:46):
it without you gentlemen. And just that little bit of
push. And I definitely, definitely
want to have you gentlemen back here.
Thank you so much for being here.
Thank you so much for lending your voices and being a part of
this. I think it went long and I think
it was perfect the amount of time.
And I hope you guys get out there and check out some other
movies and hopefully when you have your back, it'll be a whole

(01:30:07):
other conversation. If you had, it will definitely
evolve. Absolutely.
All right. Hey, thank you out there to
everybody for listening to this special Wednesday episode of the
core of entertainment with me, OC and my 2 amazing guests.
Brian and Garrett, once again, this entire endeavor would have
not been possible without these two gentlemen and lending their

(01:30:29):
voices, lending their time, lending their, you know, ability
to just want to be a part of this and see it in its infant
stage and it's the ground floor truly is truly special.
And I'm very fortunate and very blessed that this podcast has
been able to reach various people.
It's been able to reach various states.
And I cannot thank all of you enough out there for making this

(01:30:51):
platform a part of your day. Once again, this is an audio
only podcast available in Spotify, available on Apple.
And while we're on the subject, you can check me out at OC
Entertainment 01 on Instagram and YouTube, OC Entertainment on
Twitter and OC Entertainment Oneon Tiktok, doing some videos
that don't really compartmentalize with the the
audio version of the podcast, but entertainment nonetheless.

(01:31:13):
As for this platform, jump down in the comments section below.
Is there anything that we made you think more about?
Get a conversation going. Do not forget to like subscribe.
Punch that notification bell. Punch that subscribe button to
never miss another episode. Thank you so much for your time
and I will talk to all of you next week.
Peace.