Ida (2013)

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:01):
You're listening to Radio Free Reinkliffe.
Welcome to Studio Property, the cinema podcast for people like you.
I'm Doug Wartell.
And I'm Devin Irby.
And this week we are discussing Polish film, Ida circa 2013.
And why did we pick a Polish film this week, Devin?

(00:21):
I request a Polish film because this episode drops on Kashmir Pulaski Day.
For those of you who did not grow up in Illinois and have no idea what I'm talking about,let me fill you in.
Yes, please do that.
Kashmir Pulaski.
And I think I'm actually saying it wrong.
I think it's Casimir, Casimir, Casimir Klaski.

(00:43):
Kashmir sounds good, though.
It's all...
But that's why I always said it as a kid.
That's why I always heard it as a kid.
So, So who is Kashmir Pulaski?
He was a American Revolutionary War Cavalry officer who was born in Poland.

(01:05):
And so he's praised for all the contributions he made to the US military in the AmericanRevolution.
And he's known as the father of the American cavalry.
But it was this Polish guy.
And again, for those that don't know.
you think, huh, that's a random American war hero that apparently some people celebrate.

(01:25):
The reason it is so he is celebrated is because in the state of Illinois, the lovely,beautiful city that is Chicago,
has the largest Polish population outside of Poland.
There is a huge Polish population in Chicago and then lots of, you know, just generationalAmericans that, you know, however far back they were all, there's a whole bunch of Polish

(01:48):
people, So do you have like Kielbasa carts just rolling around Chicago?
Basically, yeah.
I mean, feel like Cody Ramone should have been on here to give us a couple of littletidbits about it since he lives in Chicago.
yeah, there's just, you can get lots of like,
If you want a good pierogi, you go to Chicago.
If you can't Well, I know this because you and my wife grew up very close together.

(02:13):
Right?
So, she told me you guys got off school for that We did.
We did.
the state of- That's bananas.
I know it's bananas.
So the state of Illinois.
It's almost like a Wes Anderson holiday.
It is.
It's just completely made up.
Yes, it is.
like- something you hear on Parks and Rec.
You're right.
Kashmir Pulaski Day does sound like a Parks and Rec made up holiday, 100%.

(02:36):
But no, it's true.
When we were kids, we got that day off of school.
It was a thing.
And it's literally because Chicago has a massive Polish population.
And yes, you can get all sorts of Polish food-related goodies if you ever find yourself inChicago.
Well, you know what?
It makes sense to me because in Brooklyn, you know, like we got off all the Jewishholidays because we have a lot of Jewish people.

(02:59):
OK, OK.
Right.
Yeah, that makes sense.
But did you guys do anything like weird?
did you like, I don't know, what do Polish people do?
Like, did you have to like play Polish games or?
No, but no, my family, this was more like when I was in high school and just like out ofhigh school, actually when my husband and I first got married, when Brian and first got

(03:22):
married, my parents and a bunch of their friends, we'd all go bowling and it would beKashmir Plaski bowling day.
Okay, now what do you do?
What does one do in, do I wanna know?
is it just a regular bowling night and they just slap his name on it or is it?
it's a regular bowling night and they slap his name on it and then like we just basicallycelebrate the day, celebrate the holiday, we all would go bowling and then like take a

(03:51):
photo.
cheaper or do they do a different thing or?
Nope.
Oh, all right.
In fact, making it even weirder, because of where I grew up,
lived really close to the Iowa state, to the state border.
So I remember one year we actually went over to Iowa to a bowling alley nearby.
So we celebrated the Illinois holiday in Iowa bowling, which has no historicalsignificance to Poland whatsoever.

(04:15):
Right.
Or Iowa for that matter.
Or Iowa for that matter.
Yeah.
Right.
You were trying to migrate the holiday and it just- were trying to, yep.
So that was a thing.
So- Casby Polaski day has been inside of us all along.
That's what we've learned just now.
It is, it is, isn't it?
So that's why I was like, let's do a Polish film.

(04:37):
And then of course, I don't know much about Polish cinema.
I don't know that you do, other than like the color trilogy.
Well, that's just a Polish director, right?
But that's in French.
Yeah, but still it's kind of considered, yeah.
It's like ish French ish, Polish ish.
Yeah.
Yeah.
Now did you pick this director because his name almost sounds like Plesky?

(04:57):
No.
I picked it.
I picked the film for the film.
So I basically researched, you know, lists of what are considered the best Polish filmsever made.
And I was looking through them and what caught my eye about IDA.
One, the fact that it's so highly touted, but is much newer because apparently Poland hadlike a real Renaissance period post World War Two because of the film industry they had

(05:24):
just went all down the tubes during the war.
Yeah.
Which I mean, guess shouldn't be a surprise considering they were such a, would theappropriate term be battleground area of World War II?
I Poland, right?
mean, it's the first Let's go with battleground.
It's the first country, they got invaded.

(05:47):
many of the concentration camps were put on Polish soil.
mean, there's all these things, like it was.
It's a It's a part of, yeah, a lot of what was happening.
And so they didn't have time to really develop their cinema.
No, they did not have time to develop their cinema.
So so many of the movies on this list were these like post World War Two films kind of upinto the 80s.

(06:12):
And they looked interesting.
But Ida just really caught me.
you know, and I was like, this is the one this is the one we should watch.
I'm glad you did, because I absolutely adored the movie.
But you know, but we'll get into it.
Yeah.
But after I read this copy.
yes.
Then I got to read.
OK, so you ready?
Ready for this?
I'm I'm ready for it.

(06:32):
OK.
The 2013 micro masterpiece Ida was the first Polish speaking film to win an Academy Award.
Now, I'm sure there were some of you out there who would clap back.
Of course, it won an Oscar, guys.
It deals with the Holocaust.
Hollywood loves that.
To which I would respond, well, you're part right, but then again, let's talk about whatit isn't about instead.

(06:59):
Also, you're a fucking moron.
It's true though, the film does deal with aspects of World War II and those aspects aren'tpleasant.
But the film isn't about war.
It isn't about politics.
It isn't about perpetrators, dictators, nor liberators.
It's about Aida, a young woman we meet in the year of our Lord 1962.

(07:19):
The film isn't even an hour and a half long, but I can promise you it'll stay with you fora long time after it's over because you've not seen anything like it.
Now...
My cousin and I tend to go on and on about cinematography, yada yada, nausea, zina, yadaBut every frame of Aida's four to three aspect ratio features one sublime composition

(07:39):
after the next.
Now, full disclosure, I've seen both versions of this film.
The one where I wasn't high off my tits on two gummies in a catatonic state of awe andwonder, and the other version too.
Both times I was reminded why some of us choose to differentiate the word cinema frommovies.

(08:01):
Devin, hit that theme song.
I've been
So that studio property, your studio property, hey!
Shut your mouth or you'll

(08:28):
I'm going to just tell you right off the bat before you rule credits because this is goingto be one of my favorite episodes.
can tell you going in, not just because the movie is wonderful, but because you're incharge of the franchise segment later on.
But also I get to watch you pronounce a lot of Polish names.
and I want you to know, I made a point of not practicing.
I just thought, no, I'm just going to go into it knowing it's going to be horrible.

(08:53):
Everybody's just going to have to deal with it.
And we're just gonna deal.
It's just gonna be what it is.
It's gonna be You're gonna raw dog some consonants.
That's great.
I am.
It's exactly what's happening.
my gosh.
All right.
So here we go.
All right.
One Ida is directed by Pawel Pawlikowski.

(09:14):
Although I have the feeling it's probably Pawel.
I'm guessing that there's W's or probably V's.
So I think it's probably Pawel Pawlikowski, who is actually a
Polish-British director.
Well, was, I think he was born in Poland.
Born in raised in Poland, but he went over to the UK because he like met a woman.

(09:36):
No, I think he went over with his mother originally.
because I...
like a teenager.
Yeah, as like a teenager.
And then spent some time, I think with his mother in Germany and then ended up back in theUK.
Right, because he linked up with, what is it, she's a playwright, Rebecca Linkiewicz.
Yes.
I I got that right.
I'm not even gonna repeat it, because I think you did.

(09:57):
And so speaking of, she and Pavel wrote the screenplay.
So yeah, Rebecca is the nice easy part, yeah.
actually, no, hold on.
I think it's Lenkovitz, or Lenkinvince.
Every time you try it, it's funnier.
So by all means, yeah, let's go with that.

(10:19):
All right, cinematography.
This is one of our easier ones.
Lucas Zal.
Okay.
How's that spelled by the way?
Z-A-L.
But Lucas has a Z on the end.
L-U-K-A-S-Z.
Lucas Zal, apparently.
Those people out of control.
Apparently.

(10:39):
I have a feeling like the design of their names are just villain.
Yes.
Okay.
So our second cinematographer, I'm going to really butcher this one.
I would like to think that his name is
Richard, but it's Rizard?
Rizard.
Of course it's Rizard.
It's Rizardaz.
That's what it is.

(11:01):
And he has a similar name to Rebecca, but instead of Lenkovitz, it's Lenk-zusky.
But I bet it's like Lenchusky.
Lenzusky?
Lenchusky?
No, they threw an album.
They threw a vowel at the end of it.
They did.
that's nice.
Yeah, it is kind of nice, isn't it?
Yeah.
Then our music and score.

(11:22):
which was going to be probably quite a topic for us today.
Yeah, it's multiple people, yeah.
Christian Eidnus Andersen, who I believe is actually not Polish, but I think Danish.
And it features music by Neil Sadaka and John Coltrane.
Yeah.
I don't know if you know this, like, I don't know, like in communist Poland, right?

(11:46):
Jazz was a big deal.
I did not know that, but it does explain chunks of the film now.
Yeah.
I don't know if it's like the same thing as like in France, right?
In France, it was almost like the sound.
was like the music of like resistance, right?
I don't know if it had those connotations in Poland specifically.

(12:06):
Okay.
I know like when Miles Davis got his head kicked in or beaten by a cop, that happened inAmerica.
But when he went over to France, he was worshipped.
Yeah.
Like a cultural icon.
Right?
it just meant something completely different over there.
So I'm wondering if that's the same sort of thing in Poland.

(12:29):
don't know.
That's good question.
people are more than welcome, by the way, to chime in and also get angry at us forbutchering these names.
You can go to studiopropertieshow.com and you can go to the About Us thing and there'sactually a form where you can send us notes directly.
Yeah.
And Devin will read them.
I will read them.

(12:50):
will read them.
But if you're going to correct us, make sure you like phoneticize the pronunciation so Iget it right.
That'd be great.
Yeah.
And we'll have to do like an Apologians episode.
Yes.
Yes, absolutely.
Yeah.
All right.
So let's get into this cast.
Okay.

(13:11):
And it's not a huge cast.
It really isn't.
We've got Agata Kuleza who plays Wanda
Gruz, one of our main characters, the ant.
Then our other star is also Agata.
Oh, but she's Agata Trzbukowska.
And Agata's like almost like, is that like an Agatha situation over there?

(13:34):
I kind of maybe think so.
Yeah.
I think it would be like Agatha.
It's the Jennifer Polish names, probably.
Right.
Yeah, probably.
It probably is.
That's how you end up with two of them in the same film.
Absolutely.
And she plays our
our Ida, Ida Liebenstein.
And then we've got, think, David Ogrodnik.

(13:59):
Wow, Ogrodnik, David Ogrodnik.
David Odenkirk.
There we go, David Odenkirk.
He's Liz.
Liz.
this next one's going to kill me.
Adam Siskowski.
maybe that wasn't Look at that.
Look at that.
It sounded right.
Yeah, yeah.
Although,

(14:19):
Looking at it.
I actually have a friend who who is now that I'm thinking about it more than likely got avery aggressive Polish last name and How this is spelled and I'm thinking about how their
name is spelled.
Yeah, I'm probably ruining that Did you go to school with a lot of Polish kids?
Surprisingly, no but then I also I I grew up in a much more rural area and

(14:45):
Yeah, I did not.
I am not from Chicago, not from one of the suburbs, nothing like that.
So no, there really wasn't.
Where I grew up, a lot of Irish Catholic and German and Dutch immigrants.
Clearly when I say immigrants, y'all know what I mean, which is like multiple generationsback.

(15:08):
So you go to school with a girl named like Natalie and her last name is Super Dutch,right?
Or Jennifer is the case maybe with like a super German last name or super Dutch last namethat's been super duper Americanized.
Not unlike my maiden name.
Not unlike my maiden name, same kind of thing.

(15:29):
So, okay.
So this guy Adam is our friend Felix Skiba.
And then Jersey Trayla plays, I think it must be Simon Skiba.
It looks like Sysmen, Sysumon.
but I think it's Simon Skiba.
And then the fun one is pop star Joanna Kulig plays a singer in the movie.

(15:54):
No name, just the gal who sings for the band, but she's an actual singer and apparentlyrelatively popular.
Okay, well, I'm popular over there.
Popular over there, yes.
But I believe she also does some acting as well.
yeah, so they- She had a wonderful voice.
She did.
Their version of throwing Lady Gaga in, as you like to do when you, we got like a moviewith Simpson, and you're like, let's put Lady Gaga in.

(16:19):
I feel like that's what they did here.
But her name is Joanna Cooley.
Whether it's a psycho killer or an alcoholic who's gonna drink himself to death, Lady Gagais required.
Exactly.
Well, like I said, I adored this movie.
We have to address a couple of things that you'll notice right out of the gate when itstarts, is it is an aspect ratio of four to three, right?

(16:41):
if that language or math seems a little weird to you, if you've seen Late Night with theDevil, they pulled the same sort of gimmick to get it.
like it's meant to make it look like a period film by making it look like a period film.
So at first glance, you're like, it's a Bergman movie.

(17:01):
And then, you know, the story kicks in.
You're like, this is clearly not a Bergman film.
know, but the movie starts in a convent.
Right?
Ida is about to take her vows to become a nun.
Yes.
And she is, how old would you say she was?

(17:21):
She can't be more than 20.
I would say late teens, possibly, possibly early twenties.
But before she could take these vows, the, I guess, mother superior, right?
Tells her, you know, hey, why don't you slow down on this mission?
and maybe meet your only living relative.

(17:42):
Who of course poor Ida did not know existed.
Yeah.
So why don't we get into Wanda a little bit.
Okay.
Who is Ida's aunt.
You know what, before we hit this road, we probably should point out that Ida's name isnot Ida yet.
Ida's name is Anna.
Oh yeah, that's right.
convent, right?
Yes.
in the convent.
Or is it, is it Anna or is it Agnes?

(18:03):
I have Anna already.
Anna.
It's Anna.
Is it Anna?
Okay.
Yeah.
I had.
I saw Agnes was written down a couple spots, but I just figured it out.
Agata is Agnes.
my God, I just realized that because the articles I was reading kept talking about Agnesand I was like, I thought her name was Anna in the film, but I think they were talking
about the actress.
I don't know.
Okay.
I'm making up at this point because yeah.

(18:28):
So she's sitting with Mother Superior.
So far she goes by Anna at this point and Mother Superior says, you have an aunt.
And poor little Anna's like, do I?
Did she not know about me?
And they're like, no, we wrote her a bunch of times.
And Anna's like, well, maybe they didn't get the letters.

(18:49):
And they're like, well, apparently she did because she didn't respond for a long time.
And then she finally responded to say she couldn't take you.
This is how we learn.
that Anna was raised in the convent.
Or whatever orphanage say that the convent maybe runs, right?
So some sort of like Catholic orphanage or something, but that's where she's raised.
She came up in the Holy system, as it were.

(19:11):
She did, sure did come up in the Holy system.
So she packs a little suitcase and off she heads to meet this aunt, Wanda.
So our first impression of Wanda is Anna going to her apartment, then
meeting at the door.
It's in the morning.
Wanda is still like in her bathrobe.

(19:32):
And there's just a real awkward hi.
Are you Wanda?
You must be my aunt.
I'm about to take my vows.
Mother superior said I should come meet you.
They go into the apartment.
That's when we discover aunt Wanda likes to play it loose and fast.
She's chain smoking.

(19:53):
we see a gentleman getting dressed who clearly spent the night with her.
Yeah.
Who's clearly also, although not stated initially, you figure out right away is no spouseor even boyfriend or boyfriend.
Yeah.
No significant other.
It is a one night stand or he's a single serve.

(20:17):
Exactly.
That's exactly what he is.
and my favorite moment there is when he's like, all right, I'm off realizes Anna is a nunor a novice and is like, God bless.
And she's like, God bless you because apparently what else are you going to do in thatmoment?
Right.
I loved that little exchange.
Correct.
My correct.

(20:37):
It made it less awkward.
It did.
was a less awkward.
No.
So then we, we have this
lovely moment where we just start to figure out who Wanda is.
And we get a little bit more and we realize Wanda's very emotionally detached.
Yeah.
Fully admits that she couldn't but also didn't want to take in Anna as a small child.

(21:02):
I have a couple of questions.
Yeah.
When you watch the film, Did you, right away, speak with Agatha, right?
Yeah.
The first, Ida Agatha.
Did you know it wasn't an actress before this film?
I did hear about that.
Well, I read about that, yeah.
I thought that She was like reading a book in front of a cafe or something and thedirector's like, yeah, you're the perfect person for this film.

(21:28):
Yeah.
And it turns out he was right, right?
Yeah.
Because she has to be sort of like not with the rest of us, right?
Like she has to sort of be isolated even emotionally, right?
You know, so filming a person like their first time on a movie set around people who'veacted for a while, just looking shell shocked, turns out was perfect.

(21:51):
Yes.
You know?
Yeah.
But the first time you saw this film, there's a moment where she's dealing out pictures,Wanda, right?
Right.
And she's saying, you know, this is like almost like the family tree.
where she came from, because she sort of warms up to Ida little by little.

(22:14):
Right.
Because she's very much like, I know who you are.
And she's annoyed that she's even there.
Yeah.
Did you catch right away when she said, you know, there's a picture of her mother andfather, you know, with Ida, but also a little boy.
And when she says to her, she was like, did I have a brother?
And she said, no, you were an only child.
yeah.

(22:34):
I knew what we were in for the second she said it.
I know I use this phrase a lot, but it was a real Chekhov's gun moment for me.
I was like, this is happening.
This is going to be a thing.
It's going to be significant.
We're going to find out.
Yep.
But I liked that you could tell Ida didn't really pick that up.

(22:57):
We as the audience do, I think.
And you're right.
It was very subtle.
So I could easily see somebody else watching it and just completely missing it.
There's a deep cut in that shot.
I got to tell you about, little Easter egg, as it were.
So, you know, like the family tree kind of goes back a ways where you would see like,where you would think grandparents and great grandparents might be in this deck of

(23:21):
pictures, right?
One of the women that are in that pile is a woman named, let me get this name right.
I don't know that you need to worry about that.
I clearly haven't gotten any names right tonight.
no, no, this one's important.
Okay.
More important than the people who played the characters.
Okay.

(23:42):
One of the women in that family tree is a woman named Irena Sendler.
Okay.
Not a hard name, right?
She worked in the municipal social welfare department in Poland, right?
Okay.
During the occupation.
This is real life.
is real life.
life, yeah.
So she had a team of women who figured out right away

(24:07):
what these Germans were about to do.
And as soon as she heard that her department wasn't allowed to hire any more Jews and herdepartment were firing the Jews that they had, she quickly started printing up fake
paperwork and fake identities for every Jewish child in the Warsaw ghetto.

(24:29):
Really?
Yes.
So she was smuggling children out of the ghetto and
getting them to Polish families that could adopt them to orphanages and yes, convents.
sidebar, no convent refused any of these children, right?

(24:49):
So how you see Ida come up is exactly how in real life, a lot of these Jewish children whowere smuggled out by Irena Sendler grew up and lived.
And this is a real true story.
I can't encourage this enough.
Look up Irene Sendler because she was actually captured by the Gestapo.

(25:15):
Really?
She was tortured and beaten, but didn't give up a name, not a single name.
She was ordered to be executed and narrowly escaped the day of.
Really?
Yeah.
She didn't pass away until May of 2008.
Wow.
So yeah, that's just a deep cut hidden in this scene.

(25:37):
That's such an interesting Easter egg that they put in there.
Because the one thing you and I haven't said yet as we've talked about this is theimmediate hard left turn that this film takes, which is when Wanda casually says to Anna,

(25:59):
AKA Ida, huh, so you're gonna become a nun.
So Jewish girl becoming a nun.
And Anna's like, I'm sorry, pardon?
Didn't they tell you?
You're Jewish, you're Jewish.
She had no idea.
had no idea.
And Anna's not your name.
And she's like, what was my name?
Your name's actually Ida.

(26:20):
It makes you wonder about Mother Superior's motive.
That was this Mother Superior's way of being like, you need to know so you don't feel likeyou're being lied to.
And then if you choose to take the vows,
It continued, or did Mother Superior just be like, no, no, it's good, it's good.
You were raised, you're North and you do have a living relative, you should go just sayhello.

(26:41):
So we don't really know what her motives were.
In the same conversation, you do learn that that Ida's parents were killed.
Yes.
And the aunt tells her that, you know, like I know where they were, where they were hiddenand they were probably buried in the woods.

(27:02):
and we can go find out for ourselves how they died.
And then it sort of becomes like a road tripping movie.
Yeah.
Where the two of them pile in an adorable little car.
Yes, a Vortberg 311.
Oh, is that what it's called?
Yes.
Is it the model?

(27:23):
Yeah, oh yeah, because I thought that car was delightfully adorable.
I'm not here finding activists and you're like, actually the car.
Nice.
We come at it from different directions, don't we?
Yeah.
Look at us.
There was a East German automobile company called VEB Automobile Work Eisenach.

(27:46):
And yeah, and it was like from that particular model car.
I mean, obviously they no longer exist now, but that model of car was made from like mid50s.
Yeah.
To the mid 60s.
Yeah.
If it's a road trip movie, it's got to have a good car that you're following.
And it looks beautiful in all of the road tripping shots.
It's like perfect.
Oh, well, every shot of this film, first of all, the way it's shot, it's very,everything's a static shot, right?

(28:11):
It's almost like, it's almost like he's taking a photograph that just happens to bemoving.
sometimes the composition is more important than the subject, right?
Because sometimes they look mis-cropped in places, you know, and that's of courseintentional, but it's, it is.
Gorgeous to look at from beginning and even the very very beginning of the film where yousee the most hideous Statue of Jesus you've ever seen your life.

(28:39):
Right.
It looks like it's melting It does it's pretty painful to look at it.
It is shot so incredibly It's just an image you won't forget anytime soon and it's no anda scene where nothing is happening It's right a transitional moment.
But yeah, you won't forget that image once you see this film.
It's I mean the

(28:59):
Again, the cinematography is that gorgeous.
Yeah, it's, and I know we'll talk, we'll dive into it a little harder a little laterbecause everything about the way this film is presented is spectacular.
Yeah.
So back to Wanda and Ida, they're road tripping.
They're about to go find out, you know, they're going to find where Ida comes from, whathad happened to her family.

(29:26):
there are moments that are like, you hey, why don't you loosen up with the Jesus stuff?
And she's like, you know, if you go out there, maybe, you know, what are you afraid youmight not believe in God anymore?
How did she put it?
It's a great line.
Oh yeah.
How did she put that?
She's like, what if you go out on the road and find out there's no God?
That's what it was.
But the whole road trip itself gives you this fantastic juxtaposition about two, these twowomen who have this connection that

(29:55):
you know, at least Ida never knew existed and Wanda knew existed, but didn't care toparticipate in and you, and they're so very different.
So like you said, having a non-actress be Ida is perfect because she's never been outsidethe convent really.
Right.
So she's a young lady.
She's been raised by nuns.

(30:15):
She's going to become a nun.
She's literally very buttoned down her costume the whole time.
She, you never,
Nobody outside of Ida herself really sees her without that novice hood on, right?
The whole time, right?
The habit.
The habit, yeah.
So if she's out, the habit is on, right?

(30:37):
And Wanda even says at one point, know, I bet you have red hair, like Rosa, your mother.
It's a shame that you're hiding it, you know?
So there's all these little things.
And then, like you said, then you've got Wanda, who at this point,
We know she's again, she's about vice.
She's being presented as a lady.
I gotta tell you, I quit smoking three years ago.

(30:58):
It'll be three years in April, right?
I never wanted a cigarette so badly.
Watching a movie.
I hate to cut you off like that.
No, that's okay.
It's still bothering me how badly I wanted a cigarette.
Watching one just slam them down.
mean, she just chains smoking.
She drinks tons of alcohol.

(31:18):
It's clear that she's.
pretty much an alcoholic to a point where we get to see the aftermath of a minor fenderbender, which is also pretty presented.
It's a funny scene.
It's actually a funny scene.
And then of course, you know, she's going through men like, I don't know.

(31:39):
Like nobody's business.
Yeah, like nobody's business.
Yeah.
And then she's kind of saying these, you know, making these comments to straight LaceDida.
Like you said, my
The most interesting comment to me, course, is when they're in the car and she's like, thevows don't really mean anything unless you're actually giving something up.
And so it was basically like, you need to live a little so you know what you're giving up.

(32:02):
They do pick up a hitchhiker along the way who is a jazz musician, but oddly, like, I gotto say just sidebar white kid.
He's meant to be like, he's a good looking kid.
Right?
But he kind of looks really kind of straight laced in an annoying vampire weekend kind ofway.
Yes.

(32:22):
You know what I mean?
Like he might have boat shoes.
you know.
Yeah.
Yeah.
Like his sweater collection is probably really.
Well, it's probably a lot, right?
Yep.
Probably is a lot.
But again, like good looking kid, great cheekbones.
You get what you're going for.
This is going to be, you know, a point of interest for Ida.

(32:43):
Right.
And,
And the Anne is encouraging this.
The Anne's like, you know, essentially saying like, hey, why don't you give this a whirl?
Yeah.
Life.
But life being represented by the heavy handed mevfor of the jazz musician in the backseat who in no way looks like any jazz musician I've ever met.
Yeah.
So she's encouraging Ida to get out there and live.

(33:05):
And by live she means, hey, why don't you get down with this, with cheekbones back here.
Yeah.
Yeah.
Cheekbones in the back seat with his.
with his alto saxophone, which is clearly, what does she say?
Masculine and sensual or something.
And you're like, whoa, little on the nose lady.
Some metaphors are heavier than others.

(33:28):
Yeah, exactly.
But at this point, I think it's important we also add, this is how this is beingpresented, but we're already,
we're already seeing that there was more happening.
There's more to the story.
Yes.

(33:49):
Although I will say, as you're watching this, there is an element of, they found eachother.
Like they're getting along, they're bonding, you know?
So there's that as well.
Right, right.
So there's a little bit of that in the film.
is nice.
Just like, you're right, like a little bit of a connection that maybe neither of them wasexpecting to have.

(34:11):
It's hard to ignore the fact that both of them are almost portrayed in a stereotypicalway, right?
Like, Wanda's a little too like the loose lady, right?
I mean, she literally at one point says, your pal Jesus literally loves ladies like me.
Right.

(34:32):
Literally loved ladies like me, just so you know.
There was one line where she was like, well, you're so perfect and proper and I'm just aslut.
And I wanted Ida so badly to be like, well, your words, not mine.
Like I wanted her very much just like, just react to her once in a way that she deserved.

(34:52):
Just because she was so, like just so on her case.
I just wanted her to be back and be like, well, you said slut.
didn't say slut.
if you want to stick.
You know what though, I left the phone line.
you did?
Okay, yeah.
So let's we'll pick up from here.
Okay.
As long as it's callers or is for real.

(35:13):
All right, I'm ready.
Hello, Radio Free Ryan Cliff.
Hello, Doug.
Hello, Devin.
is is Neil.
spoke to you a while ago.
am I am so glad to hear you talking about this movie.
This is great.
I see either years ago and it first come out I think five.

(35:35):
No, seven years ago, maybe more.
I don't know.
It was wonderful.
I could not adapt for the play.
It is not one of those things that would really go over in the Rambit Performing ArtsCenter, I don't think.
But I did want to call you to thank you for the help that this program has done to bringmy family back together.

(35:58):
What?
You went home?
You got back together with your husband?
Mikkel, we we are corrected a lot.
He is, he is, it's funny because I worked so much in drama.
He is the drama queen, if you know what I mean.
I hear him.
I hear him on the program.

(36:19):
He says, oh, you should listen.
You should listen.
I sound so good.
You don't sound so good.
It was, it was very nice of you to put us all back together.
I feel that it was very nice of you to do that.
And now we're family again.
Everything is good.

(36:39):
I am back at work.
We are working on new things.
At the Performing Arts Center in Rhinebeck, right?
Late at night, yes.
Late at night.
I will say they don't even know we are there.
And that's the way we like it.
I have a special key.
So we get in, we work.

(37:03):
It's nice.
Also happy Kaczmina-Prolowski day.
Yay!
How do you know about that?
Are you from Illinois?
Illinois?
No, I am familiar.
He is very famous.
He's very famous for the revolutionary war.
He is of our people.
Well, he is, you know, same area.

(37:25):
Very strong, famous, Polish.
Very famous Polish man.
And so we celebrate this all over.
We say, one of our boys, he's helping out the foreign America.
He saved George Washington life.
is a very, very well known.
So yes, happy Polaski Day.

(37:45):
Full disclosure, Neil, I only learned about this holiday a week ago.
Like, Devin grew up with it.
I only learned about it a week ago.
didn't know anything about it.
Devin, celebrate?
Yeah, because I grew up in Illinois and we celebrate Cashew-Napolanski Day.
yeah, absolutely.
you put on like horse riding clothes because he is the father of the, I say this all thetime, Calorie.

(38:17):
He is the father of the American Calorie.
The horse rider.
Cavalry.
Cavalry.
Yes, you are correct.
Yeah, he is the father of the American cavalry.
Absolutely right.
No, won't.
I don't I don't dress up.
But I did tell Doug earlier that we used to go bowling.
That was a family thing that my parents did with some friends and like my brother and myhusband and I.

(38:39):
Yeah, would go bowling.
clearly weren't thematic about it.
No, we thematic about it.
But that's how we celebrated the day.
We'd all go out and go bowling.
was really
You don't know, maybe you bowl a better game if you dress up like Kazimierz Bulaski.
That'd be funny to see him on the lanes, bowler, a striker.

(39:00):
That's Very good.
Now I feel like I've missed out by not doing that.
Maybe next year.
Maybe next year.
year, yeah.
Maybe a little mustache.
Because, well, the pictures, I he's been on stamps, this guy.
Yes.
Maybe your bowling shirt just says, know, it's just like cashmere.
Yes.
very nice.

(39:20):
Not cashmere, Doug.
Not cashmere like, let's settle in cashmere.
This is casamere.
Casamere, pardon me.
Casamere.
Right.
Well, how are things at the Performing Arts Center, Neil?
I am kind of in, kind of a pickle.

(39:42):
We are besides ourselves.
are between shows of my group.
I tell you last time we talked about my all female theater troupe.
And so right now we are not working, but I have been hired to work on a show I amproducing, kind of trying to direct, but some people, this is a one woman show.

(40:11):
Oh, you don't say.
Earlier I say that the Mikael, my husband, Mikael is sometimes a bit of a drama queen.
Yeah.
person that I'm working with now is definitely a diva, a diva, definitely a diva.
A diva?
A diva.

(40:32):
A to work with.
Oh, diva, diva.
Oh, I got it.
There are many things I want to say.
bring, hey, this one woman's show, she wrote, she wrote it herself.
She wrote this one woman show herself.
means much to her.
They bring me into maybe jazz it up a little, to bring something to it.
And so I'm thinking, hey.

(40:52):
When is the show?
Just to make sure.
The show is, I think it's coming up.
It's coming up very quickly.
Not March 8th and March 9th at the Performing Arts Center in Rhinebeck, right?
Yes, this is, know.
know of Oh no.
Neil, is this diva named Heather Delamore?

(41:16):
Heather, yes.
Oh, you know of her.
Oh, maybe I say too much.
Maybe I talk too much.
Maybe I'm not saying she's a diva dramatically.
Maybe I say she's No, no, it's fine.
You can tell us all about it.
Everyone should go see the show.
It's wonderful.
It's one woman show.
She does lots of woman things.

(41:36):
She talked about a lot of being a woman.
Which, you know, where am I?
How can I tell that?
No, wait a minute.
I happen know that the show is called The Mother Stand Still.
Yes, yes.
Well, it would be performed on March 8th and March 9th at the Performing Arts Center inRymek.
And for more information, you can call Errico at 845-876-3080.

(41:59):
See, I believe when I first was told that the title of the play, her play, is The MotherStand Still,
I thought it definitely a comedy.
This was going to be lots of laughs.
Well, they were funny moments.
Because my mother, we would be running all over the house and we'd be running around mymother.
My mother would stand still because this would be a great way to smack us as we go by.

(42:22):
But this is not what this play is about.
So if that is what you're looking for, do not look forward to the smack as you go by.
it is a very, very interesting.
So yes, please, please go, please see if you see her, if you talk to her after the show,tell her that you feel that Neil did a little something, you know, that I helped out in

(42:49):
some way.
say, you say Neil was, I felt that I could feel that Neil was involved.
She would like that, think.
Oh, yeah.
Oh yeah.
Yeah.
I mean, we can go Heather.
we, yeah, I definitely would agree.
Realizing.
This means when you go see the show, you will also see Neil.
You guys could meet in person.

(43:09):
Are you going to go to the premiere, Neil?
I will be, but probably, you know, backstage like a director, producer does.
I don't usually go up and sit in the audience because in most cases I cannot afford theseat, but I will be watching from backstage.
OK.
All right.
Maybe you'll see me.

(43:31):
Well, thank you so much for calling in, Neil.
I'm so happy about the update.
Yeah, thank you.
Thank you very much.
Your dear friend of the show, as is your husband, Mikael.
Yes.
Please tell him and the children we said hello.
Yes, I will.
And thank you very much.
again, happy Pulaski Day.
Yeah.
Happy Pulaski Day.

(43:55):
Well, that was quite the update.
It is.
I cannot believe that.
They got back together and they feel like we helped that.
That's amazing.
I'm feeling really good.
I really feel like this show improves the lives of all who listen.
And that's evidence of it.
Evidence of it.
Absolutely.
Where were we in the film?

(44:16):
yes.
We talked about the dynamic between Wanda and Ida and kind of how they're coming at itfrom two different places.
And then like you said, we're starting to figure out that there's more here than meets theeye, particularly with
the kind of stereotypes that the ladies almost seem like they're playing because they arebeing a little stereotypical Satan center.

(44:39):
And yeah, so we're about to.
And it's intentional, right?
Because it's going to take this turn.
Yeah.
So we're, think we're watching like this, like bonding road film, you know, and it turnsout as the stops are going along the way, Wanda is just shaking people down for
information.
Yeah.

(44:59):
And she knows exactly where to go and how to talk to the people who are withholding saidinformation.
Yep.
They're looking for this older man.
Yes.
After the son tells her that he's in the hospital.
And they go to the hospital and he won't tell them anything.

(45:21):
What he tells them, I mean, is really general.
It's very vague.
Yeah, he doesn't really tell them anything of...
true significance at all.
I hid them, essentially.
Yeah.
They were good people.
Yeah, I hid them, I fed them, they were good people, that's it.
But what you learn is the son that was trying to keep the information from her in thefirst place actually murdered the family.

(45:49):
Yeah.
Murdered the husband, the wife, and a little boy who turned out to be, if you haven'tguessed it already,
want his child.
As they're learning all of this, because the deal was made, I'll tell you the information,I'll show you where they're buried, if you give up all claims to the house.

(46:11):
Now, I guess, did they have a claim to the house?
Yes.
Is that how that works?
Yes.
So basically, the house, the farm belonged to Aida's parents.
The parents owned the farm, but obviously they are Jews in...
Poland.
This is World War II.
So essentially what happens is this Christian family comes in, they take over the house,they hide the, I guess, what's their last name, Liebenshteins?

(46:38):
So they basically hide the Liebenshteins kind of out in the woods.
And the father, the old man in the hospital was essentially hiding them and taking care ofthem.
And that's how we also discover, it turns out Wanda was a resistance fighter.
So she left her little boy with her sister, with Rosa.
So the claim would be technically if the correct, I guess if the correct paperwork wasfound, I mean, it's not as though the house was ever sold to these people.

(47:08):
Right, right, because they still own it, right.
Yeah, they still own son still lives there with his family.
With his family.
They make the deal and he ends up digging up the remains so they can be moved to a familycemetery.
It gets harder, right?
So like they, you know, the remains go in the backseat.
Wanda deals like handles her son's skull at one point.

(47:31):
So it's funny right about here, if you're wondering like, would you deal with a movie thatwith so much depressing content, like why would you to watch this?
I gotta tell you, every bit of this is intriguing.
It's an engaging movie.
Like even with all of this, you're like, what an incredible film.
And it's what I love about this moment and

(47:56):
what happens next?
The last time we see the son, he's in the wholesale.
Having to explain to Ida that, you know what, the boy was circumcised and dark.
I had to kill him, but I took you to an orphanage.
Right.
Yeah.
basically this guy- Or to the convent, To the convent, So yeah, basically he's like, I didit.

(48:18):
My dad didn't do it.
I'm the one who killed him.
You could pass.
He literally says, you were so tiny.
Because you figure out she can't be more than two, if that, when this all plays out.
And he's like, you were tiny and you could pass as Christian, but he couldn't.
So I killed him alongside your parents.

(48:38):
And then he also breaks down in that moment and you're kind of left wondering how youshould feel.
Because there's no real explanation as to why he murdered them.
Other than...
You can make assumptions.
You can make assumptions.
know, because he could have just turned them in.

(48:58):
you know, you know what mean?
Like if he was going to go down this ugly path, he didn't actually have to murder them toget the house.
They were literally Jews in Poland in World War II.
He could have just literally gone to the Gestapo and been like, hey, there's some Jews onmy property.
Like it's just impressive to think about that.

(49:21):
And then on top of that, trying to figure out- I have to explain something to the audiencereally quick.
I'm sorry to interrupt you, but Devin is always gonna try to find the most efficient wayto do things.
And whether it's scheduling the podcast or getting rid of the Jews on your property,Devin's the person you talk to first.
I mean, it's true.
Efficiency is the name of the game for me.

(49:43):
But yeah, so trying to process, because you have no explanation, why did he choose tomurder them?
What is powerful about that moment too, is as I just walking away at the remains, heremains in the hole he dug, sobbing, right?
But there's no justice, right?

(50:05):
Like a Western film might've handled that different.
I don't wanna say that either.
maybe, know, sensibilities are different or maybe that's just better storytelling.
But there's no justice, there's no resolve.
There's no interest in trying to find meaning.
Mm-hmm.
And it, right, like it's not Spielberg.
No, it is not.

(50:26):
It is what it is.
This is what happened and you can't change it.
And you have to sit there and deal with that for a moment before they get back in the carwith the remains and take it to the family plot.
And the fact that the girls don't even try, they don't say anything.
They don't get physical.
They don't attack him verbally or physically.

(50:47):
They just take the remains and they walk away.
They do bury the remains in the family plot.
Now they part ways.
Ida's gonna go back to the convent to take her vows.
And she asks her aunt, will you go to come see my vows?
And she's like, no, but I'll wish you well, essentially.
And now Ida has now decided, she's at the convent and she's like, now she's been outside.

(51:14):
So it's a little bit different.
Like now,
she starts to see things a little bit different.
There's an audible laugh that she lets out in the convent, which is looked at as if shelike shat herself.
Yes, yeah.
on those nuns' faces.
like, right?
So she tells that hideous statue of Jesus that she's not quite ready to commit yet.

(51:40):
She watches her colleagues take this vow.
And she just starts to well up and you see that's the first and only time you really see alot of emotion on Aida's face.
Meanwhile, Wanda is at the apartment.
What is she listening to, Devon?
The Jupiter Symphony by Mozart.

(52:02):
And she just she's smoking a cigarette as she does after a man has taken her home and hegets up and he's on his way out.
She opens the curtains and like, you see her like sort of bathed in light and you feellike, maybe she's like gonna sober up.

(52:23):
maybe she's like, you know, cause the light just gave it gave the room a completelydifferent feeling, right?
She has the music going and then she walks out of the frame.
get a static shot of the window and then she just walks up to the window sill and jumpsout the window and kills herself.
And it's immediate.
There's no pause.

(52:43):
She's
put on a coat and she just walks over climbs on that sill and it's like one fluid motion.
She doesn't slow down at all.
I want to ask you Deb real quick and as a listener at home, if you can indulge us even alittle bit further for exactly 30 seconds, because I'm going to show something to my

(53:06):
cousin.
If you want to see what I'm about to show her, you can go to studiopropertieshow.com
and go to the video section because I will make sure that this video is up immediately.
I'm gonna ask you, is there anything about that scene that seemed familiar to you?
That seemed familiar to me.
What's the closest scene you might have ever seen where somebody just gets up on awindowsill and bounces?

(53:31):
I don't know.
Were you a Game of Thrones fan?
I've seen it.
okay.
I mean, yeah, I watched the whole series.
I wouldn't say that I'm a huge fan.
Right?
So you've seen the whole series, you said?
Yeah, I've seen the whole So you remember when Tommen jumped out of the window.

(53:51):
yeah.
Can I show you something?
I actually edited the two scenes together.
you?
them up.
Yeah, lined them up.
So I'm gonna show this to you really quick.
no.
Okay.
So, Tommin is on the right side.
You got Mozart playing on the left side.

(54:12):
Mm-hmm.
Where Wanda is now turning the stereo up.
They both now have walked out of the frame.
Mm-hmm.
Now you got a static shot of the two windows.
One has the CGI of the burning temple in Westeros.
The other is just Wanda's front yard, presumably.
Now they're back into the frame and out the window they both go at the same exact time.

(54:36):
that's so weird.
Isn't that wild?
That's wild.
Now, I don't want to say like, I will say inspired by, right?
Probably inspired by Ida because that is actually that Game of Thrones is from an episodecalled The Winds of Winter, which aired on June 26th of 2016.
So this is three years after Ida was released.

(54:59):
Okay.
They actually offered Agatha, I would just say the Aida Agatha, the role of the waif.
So they're familiar with the film Aida at the very least.
Okay, yeah.
So I thought that was really interesting because it felt familiar to me.
And then when I looked up the scene, I'm like, this is exactly the same choreography.

(55:22):
It's even shot the same way.
Like I said, I watched it.
I liked the books.
And I liked the show, but I didn't love the show.
Well, last season was garbage though.
Yeah.
Right.
And like, eh.
But you're absolutely right.
dismissive of the season.
No, no, no, no.
Of the show itself.
Yeah, yeah.
No, I know what you're saying.
And I didn't, I'm not saying I didn't like it.
I watched the whole thing and I did like it.

(55:44):
of the frame.
And here they go at this, almost the same time, they're back in the frame and out thewindow they go.
And that's actually cut down, right?
That's the last 30 seconds before they're out of
but the scene itself is almost a minute.
You got like another 15 seconds where they're still sort of at the window, presumablycontemplating what they're about to do.

(56:11):
Right.
Well, and I guess that is interesting.
I do wonder then, yeah, if the Game of Thrones is inspired by Ida because that is thething the scene in Game of Thrones.
The scene, that scene in Game of Thrones.
Yes, that scene in Game of Thrones.
Right, there's Dungeons and Dragons-y about Ida.
Ida, no.
Ida's not walking around with a 12-sided eye.
Right.
No, but because I think what fascinated me so much about the scene and Ida is the factthat you're feeling it.

(56:38):
You're feeling the moment ramp up because there's a reason it's there.
There's a reason that they're just stuck on the window.
I feel like every other version of some sort of suicide where somebody's going to dosomething like they did, like fall out a window, jump off a building, whatever, there
always seems to be a pause.
There seems to be a Almost like letting you know it's gonna happen.

(56:59):
Like this is what's gonna happen.
We're doing this.
Right, exactly.
And that is not what happens in Ida.
No.
She's like you said, she cranks up the stereo.
We followed her because she was eating breakfast and she took a bath and she put her coaton.
Like there's just all these things, cranks up the music and like she's in and out offrame.
And then just, she just walks to the window and there's no pause.

(57:23):
It's just literally.
the window.
It is.
just that much more impactful, I think, because we've been spending so much time talkingabout the story, but we haven't spent as much time talking about how the film is
presented.
And I think this scene is the culmination of how this whole film was presented.
Everything in this movie is intentional.

(57:47):
There's nothing extraneous whatsoever, and it's nearly minimalist without actually beingminimalist.
As you say, so editing choices, the editing choices are incredible, right?
Like, yes, like what's not seen is just as important as what you see.
Exactly.
So we're in black and white.

(58:07):
We are what's our ratio again?
Or four to three.
OK, so the the ratio is specific.
that way, again, it's trying to give you the feel of 1962, a film from 1962, thecostuming, the the set design every moment.
It's everything's so intentional.
And then every shot, the way everything's portrayed, like you said, there's like a staticfeel, almost as though he's, the cinematographer is, like he's taking a photo that happens

(58:38):
to be moving.
There's no extraneous dialogue.
Every word is important.
There's nothing extra there.
I mean, that's significant.
And then the sound and the music are the same as well, where it's a minimal soundtrack.
It's a minimal score.
There's so much.
quiet.
And then when there is music, it is for a specific reason, like where she's playing herVictrola, right?

(59:05):
I mean, it looks kind of like an old school, right?
So she's playing the records.
That's me in my house.
That's just me in my house.
Yes.
So you've got that.
Putting on Casimir by Led Zeppelin.
Exactly.
There's like, there is a scene when they go first to see the farmhouse where the noise ofyou hear the chickens clucking in the yard and then the wife has like clothes that are

(59:35):
sheets and stuff that are line drying and the way they're flipping around and flapping inthe breeze and the sound of that, like the fabric snapping.
Like every sound, every shot, everything that you see, everything you hear, every wordthat is spoken, everything is intentional.
So the misdirection
We'll say, Mr., I think that's fair.

(59:56):
The presented idea that they could become a family is definitely dangled in front of you.
Yes.
And immediately just taken away.
Wanda just walks out the window.
Of course, right after that, Ida goes back to the apartment, which I assume now is hers.

(01:00:16):
Yes.
She definitely has access to it.
Yeah, I thought the same thing, because she's the only living relative.
She's putting on Wanda's dresses after the funeral, right?
We'll skip to this part, because you should see the We should also point out that at thefuneral, you see a little smiler in her face, because you realize, Lys, the alto saxophone

(01:00:37):
player has also shown up at the funeral.
Yeah, which is a little bit adorable.
Yeah.
Like he shows up at the aunt's funeral.
And so she's at the apartment.
now no longer in her habit.
She's wearing her aunt's clothing.
She ends up with cheekbones.

(01:00:58):
They end up doing the deed.
Yes.
And then what's interesting is I'm going to rush to this so we can have a conversationabout it.
Right?
The ending of the film.
And we're going to, if you don't want to hear it, just turn this off now and come back.
But note the time, note the time stamp.
What ends up happening is,

(01:01:19):
there's an important conversation between Ida and cheekbones where she says to him like,Hey, you know, like what's next essentially.
And he was like, Oh, we'll get married.
And then she's like, and then what?
And he's like, we'll have some children.
And she's like, and then what?
We'll get a house and then what?
You know, not necessarily in that order, you know, but there seemed to be like a finalityto the shopping list of the future would bring.

(01:01:46):
And he falls back asleep and she gets up.
puts her habit on and just pieces the F out.
And the last shot of the film is her walking, presumably back to the convent.
Although the buses are going by and from her aunt's house, we know she had to be on aspecific bus to get back to the convent, but she doesn't get on that bus.

(01:02:08):
So it can be argued maybe she's not going to the convent, but we're definitely led tobelieve she is by the outfit that she's wearing.
And she's returning to the convent.
and then credits, if you're a, which, you know, certain viewers of the film could maybefeel dissatisfied that there's not like a full closure if you don't, you know, but then if

(01:02:33):
you remember that the aunt had told Ida, as Devin pointed out, these vows don't meananything if you haven't lived.
Well, she did, she lived for, you know.
for a week or two, decided it wasn't for her, and now she's ready to go take her vows.
She seems very certain in that moment too.
Would you agree?
As she's walking away?
Yes, yes.

(01:02:53):
Whereas in the convent, she's like partially lit.
Yeah.
You know, like there's a lot of shadow on her face.
Like in this shot, you clearly see who she is.
She's very confident about where she's going, right?
Yeah.
What did you think of that ending?
I really enjoyed it for its mild ambiguity.

(01:03:14):
I enjoyed that it's almost like a little nod to Wanda.
Because I think that, I mean, it really does seem like that's exactly what Ida's doing is,okay, she's, it doesn't matter.
The vows don't mean anything if I haven't truly given something up.
And it's almost cute the way she tries cigarettes, chugs a bunch of vodka clearly.

(01:03:35):
right, right.
Yeah, she tries all of her ants, you know.
Yeah.
Recreational.
Yeah.
Yeah, business, yeah.
Goes out with the...
with the cheekbones like without her habit on.
know.
Without the habit on, right?
So like it's a big deal because it's the only time we see her with her hair out whereshe's out in public.

(01:03:58):
I have a question.
She's dancing with him, right?
And her feet are like the Barbie movie.
Yeah.
Right where she's up in her tiptoes.
Yep.
Yep.
Presumably because of the shoes she was wearing.
Well, she took it, cause there's also that little bit where she's sort of practicing inthe heels, cause she's a done and clearly she doesn't wear high heels.

(01:04:18):
And so it almost comes across as a, he's also, cheekbones is a bit tall.
So I think there's also a little bit of a, clearly Oh, is that what was happening?
Yeah.
I think so.
Not smooth enough to dance in the heels.
Right.
Because clearly dancing is not something she's done, right?
Like that's- No, right.
Not something she's done.
So she, think she's a little bit on tip toes to-

(01:04:40):
Yeah, so she can kind of reach him a little bit.
so it is sort of, yeah, this just like lovely her going, okay, well, I guess I'm gonna tryit.
I'm gonna see.
Right.
And at the same time, you his response, like you say, his response is, you know, the usualthings, maybe we should get married, have some kids, get a dog, buy a house, you know, and

(01:05:06):
just like live life like a normal.
I mean, he's captivated by her clearly as he's out to her in the middle of the film.
Yeah.
He's definitely, that is one thing that I did appreciate is that it's clearly not just aone night stand for him.
He is very drawn to her.

(01:05:27):
He's very interested in her.
He's not portrayed at all as some sort of man whore or anything who's just trying to belike, did a nun.
I mean, that's not what's happening.
He's very much interested in her.
she allows herself to be interested in, I guess you would say, right?
Cause that's certainly not- Well, this is where it gets a little weird for me, right?

(01:05:48):
Because I feel like, like you said, like, no, he wasn't that way.
was in that moment, he's definitely, you know, full on ready to commit to this person he'scaptivated by.
However, he's a young traveling musician, right?
Right.
Who's not a chode.
Right?
Yeah.
She's inexperienced.

(01:06:09):
Like, I feel like we run into the Disney princess problem.
Right?
Where like, you know, like by like month three, you're probably tired of explaining, like,you know, I'm sorry she was at the dinner table, snorting krill.
She's from the sea.
Like, yes.

(01:06:29):
You know what mean?
Like all the weird stuff that comes with, you know, being from a convent where she has noidea about human life.
outside of those walls.
Like, after a while you kind of be like, yeah, well, she's so excited by the idea of, youknow, soda.
Like, yes.
No, you're right.

(01:06:50):
sniffing all the household cleaning products because she's never smelled anything likethat before.
Right, right.
They use like pure soap made from animals or whatever they do with the company.
I'm just making stuff up, but you get the idea.
Yeah.
You know?
Well, and it's interesting too, because
again, we didn't know much going into this, right?
We picked it for a goofy reason.

(01:07:12):
So we didn't really know much going into it.
So I definitely did a lot of reading and there are some interesting articles and there wasan opinion piece from like the year after it came out where basically this, like a film
studies professor basically says the whole thing's a cop out.
because the director doesn't give you any real opinion on anything that's going on,portrays the ladies in these very stereotypical ways.

(01:07:43):
And then at the end, almost has them succumb to the patriarchy.
And I guess I didn't see it that Yeah, I didn't see that either.
didn't see that.
Ending up with the boys that way.
That's what I thought.
Yeah.
Right?
Because I felt like,
The convent was a choice.

(01:08:04):
Yeah.
The convent was a choice.
It's only she's known.
All of this has been thrusted on her.
And don't get me wrong, we can listeners make arguments all day long about, you know, theCatholic church is run by a bunch of old white men.
I mean, that's certainly something, you know, you know, so it is patriarchy.
We can certainly do that.
But at least in this specific case, we never see a priest at that convent.

(01:08:27):
It is nuns.
We only see the ladies.
We see the ladies.
I don't necessarily, I didn't think there was anything to judge about the way Wanda washandling her melancholy.
I mean, that's, cause that's what it is.
I mean, she's literally lived at least, what'd we say?
18 to 20 years, right?

(01:08:49):
Well, cause You Ida or Wanda?
No, Wanda, because the movie's in 62.
And so the war ends in 45.
So we assume-
They died 44, 43, 44, right?
Cause it makes it kind of sound like later.
So it's been maybe 20 years, if you know, at the absolute most since the family, theparents, know, Aida's parents were murdered, since the little boy was murdered, right?

(01:09:22):
So I feel like Wanda has been living with this.
And then we also get all these little tidbits about how
Not only was she part of the, essentially the communist resistance, but she was aprosecutor and she prosecuted big things and literally- Yeah, even sentenced people to
death as well.
Yeah, tells Ida that that happened, but never got married, never- She was a judge, she wasa Yeah, and then she was a judge.

(01:09:50):
So she was, yeah, so she also being a state prosecutor, but then her last thing, we dorealize she's a judge there.
And she's clearly fallen down, fallen from grace to certain extent because the case thatwe see her judging at the beginning is literally like a socialist like this anti-socialist
guy literally mowed down his neighbor's red tulips with a sword to make a point.

(01:10:14):
up on that.
I had to read up on the sword business because apparently like every like house like oflike of family blood
with their land comes like a family sword.
So that's a thing.
Yeah, I thought it was weird.
So, but I mean, the fact that that's the kind of case she's presiding over.

(01:10:35):
Yeah.
So.
She's essentially like, she's like not, let's say in the American equivalent of like acelebrity judge who did like awesome things, not like Judge Jeanine or any these weirdos.
Like, know, like former DAs of tiny towns that they
have their own DUIs in, look that up.

(01:10:56):
But like, she was like a big deal revolutionary who becomes like this really importantjudge, but she sort of drinks away her position is what you're led to believe.
She's like, her lifestyle has led her a different direction.
And you can tell even by the way she smokes the cigarette the first time that she'sclearly self-medicating.

(01:11:20):
Yes.
And as it goes on,
that becomes so much more obvious as we go along and as we get closer to these, evencloser to the truth that leads us to the remains.
Right.
hats off to the actress whose name I will not gonna attempt to pronounce for thatperformance, because that's an incredible performance.

(01:11:43):
It is, it is.
It's really good.
It's almost as if Ida was an excuse to deal with...
what she was dealing with.
Like, wasn't being sincere in getting to the bottom of this for Ida's sake.
It's almost like, well, no, you know what?
I'm going to find out because I didn't bother.
I wasn't dealing with this myself.

(01:12:04):
Right.
Right.
Which is really way more interesting than these think pieces about how Ida should haveexplored her Judaism after she learned what had happened.
She was, in her mind, she was Jewish for exactly four days.
And nothing about the outside world had offered her any kind of feeling of safety at all.

(01:12:29):
I liked that it wasn't heavy-handed.
Because I think that's the other thing.
So often, films with this specific type of content are so hard to get through becausethey're so heavy-handed.
And I know why they're heavy-handed.
Because it's a very real topic.
It's a very real thing.
I'm sorry, but genocide is never gonna be a giggle when presented on film.

(01:12:55):
just- Right.
mean, you can make one character red in a black and white background all you want to.
Right, exactly.
It is that topic.
And so the fact that you have didn't mean to knock Shin Liz Liz.
I'm sorry.
I didn't mean to knock Shin Liz Liz.
That's a very, very important movie.
Right.
But heavy-handed, nonetheless.

(01:13:15):
Right, but heavy-handed.
And I just really appreciated this very small story about regular people who wereaffected, right?
Because it wasn't the story of a rescue.
like, okay, right?
It's not the story of Schindler who, you know, granted did a huge amazing thing, likeliterally save lives.

(01:13:43):
Because all too often there...
Of course, he profited from it and maybe he had sex with lot of the Jewish females.
All right.
There's that too.
There's that too.
going to.
It's not in the movie, but it happened.
No judgment.
No.

(01:14:05):
But the fact that this wasn't a savior movie, it wasn't the I have to survive movie.
it wasn't the boy in the striped pajamas.
Do you know what I mean?
It wasn't that.
It was literally, no matter how far removed you think you are, you're not really that farremoved when something on that scale has happened.

(01:14:27):
Right.
And also like the answer isn't like a distant relative and a little bit of D.
Like that's not the answer either.
No, you're, yeah, you're absolutely right.
Yeah.
Yeah.
So her making that decision is her self-actualization and I, and then, know, and you don'tknow which way that's going to go.
But it's also open for you, right?
Like what do you think would happen?

(01:14:49):
Which I'm going to use to set up whether I'm right or wrong, because it's your turn.
America and Poland's favorite new segment.
Let's franchise this comma baby.
So this is first time you have tuned into the show.
This is the part of the episode, which is.

(01:15:12):
Hopefully it doesn't run longer than the actual movie.
Because it is a really short movie.
it clearly made an impact.
But this is the part of the show where we make new content out of the content we weretalking about.
I'm going to be that dick and just talk about film.
It's content.

(01:15:32):
It's But we repurpose it to its most profitable potential.
Is that fair?
Or in your brief summation, cash money hose.
Because if my cousin and I are anything, it's we cash money hose.
All right, Devon, let's see what you've come up with because it was your turn this week.

(01:15:54):
Are we doing a sequel?
Are we doing a prequel?
Are we doing a musical?
Are we doing a play?
We're doing none of the above.
I'm going down a different road.
So this film is.
nearly perfect in its presentation.
There's, okay.
So from a story content, from a story, there's, there's nothing else to tell.

(01:16:18):
There's no nothing else that I want to know.
I don't need to have some backstory about- back in the habit.
don't need- You don't need Ida too?
No, don't need Ida too.
I mean, I even, when I was, when I was trying to put this together, I was like,
Do I want to run into cheekbones in 30 years and see what happens?

(01:16:40):
No, I don't.
I don't want Ida back in habit.
don't want Wanda's prequel.
I don't want to go I don't want that either.
I don't want to go I'm glad you chose none of these things.
So I was like, from a story standpoint, absolutely no, there's nothing to be touched.
What I do think can be repurposed is the presentation.

(01:17:04):
And I know we already talked about this folks, but like it's minimalist while not beingminimalist.
Everything has a purpose.
is, it's deliberate.
It's intense.
is as, as my hubby would call it, cinematique, right?
It's what's the phrase you always use?
It's art, darling.
that's how it felt to me.

(01:17:26):
It's wonderful.
It's so good.
And so my thought was, that's what I would want is
I want that presentation, but I don't want this story.
I want to keep the crew.
I want, and I'm going to butcher their names one more time.
I want to have this type of presentation.
I want it directed by Paul.

(01:17:47):
I'll translate.
Pavlovsky.
I'll translate their names.
Yeah.
Paul to direct it.
I want Paul to direct.
Lucas Zoll, our cinematographer and.
Luke, obviously Luke.
and Rezard Lenchewski.
good time, Robert.
Yeah.
Good time, Rebecca Linkovitz for a screenplay.

(01:18:08):
yeah, yeah, yeah.
Rebecca the nose, they call her on the street.
Damn right they do.
And then of course, music and score by Christiane Eidness Anderson.
Kristi the Hun.
Yeah.
I don't even know why they call them that.
it's weird.
So I want that crew and I want this type of film.
So then I just had to ask myself, well, what story?

(01:18:30):
what story would work with this type of presentation?
What's the story I want with this presentation?
And I got to tell you, I really thought about it.
And I was like, I don't know, I don't know.
And then it hit So just want them to make a different movie?
Is that what you're saying?
Yes.
But I want it to be, you know, I want this.
I want no CG.
I want black and white.
I don't want CG.
don't want effects.

(01:18:52):
You don't want CG.
You don't want Ida in the multiverse?
Yes.
I don't want Ida in the multiverse.
Is it going to make us a lot of money, your story?
Because it sounds like
I hope so.
You're doing a very, yeah, it sounds like you're just hiring the same crew to tell adifferent story.
Uh-huh, basically.
And so you wanna know what movie I want them to make?
Please tell me.

(01:19:13):
I want them to do Gaslight.
okay.
But an American version.
No, no, want it be British.
want like the original gas, yeah.
I want it to be.
Very, very, I mean, I know there's a director is, yeah, he's, yeah, yeah.
So basically I was like, this is my opportunity for Gaslight.

(01:19:34):
Cause we did not franchise Gaslight.
I was like, yeah, we didn't have the sag, the segment back then.
you didn't have the segment, right?
So, so we do, cause I feel like Gaslight could be remade, but part of the beauty of thoseboth original versions of Gaslight is it works for this.
Cause
Cause it should be, it's about a lady being- see it though.

(01:19:58):
Especially in the, almost in the, because the 40 version has a lot more of shots thatwere, more conducive to this cinematographer.
Exactly.
the 44 version even.
Like the 40 version is a little more, a little more artful with the cinematography.
Again, music will be, music and sound will be intentional.

(01:20:20):
Dialogue will be minimal.
And it's a story that works with all of that.
think it works with all of that.
I really do.
Did you this thing?
you just, you just, you just.
Oh I cast it.
Oh no, I cast it.
Okay.
Once I realized that that was the movie I should be done.
Oh no, I cast this bad boy.
Are you ready for me?
Okay.
This is okay.

(01:20:41):
You know, it's weird because I always think I'm being clever or sneaky when I backdoorsequel something, but this is a wormhole.
you just created a wormhole.
Yeah.
Damn right I did.
All right.
So clearly we all know I'm keeping my crew.
So my cast, Gregory Anton slash Serge Bauer.

(01:21:03):
Yep.
I have two options.
I've got an older option and a younger option because I felt like an older man maybeworked.
Cause I feel like if he's a criminal, he would have been around a bit more, right?
Around the block a few times, but then I was like, but she's also, our lady is also prettyyoung.
So maybe.
a younger guy.
my older first- really matter in the 40s though?

(01:21:26):
Are we doing period by the way?
That's actually- we're doing period.
So it's got to be half, I mean for- so the girl's gotta be like a teenager and he's gottabe like 90.
Right.
And remember we're looking like 1890s.
I mean, this is, it should be- so Steven Tyler is clearly gonna be-

(01:21:46):
Well, the other thing I really thought about when I was picking on my people is Part ofthe beauty of this style of filmmaking is you've got to have an expressive face Because so
much is just being told by reaction So it's got to be people that can do that that canhandle not a lot of dialogue So I would that's probably part of the marketing also that

(01:22:08):
think yeah lean into right like for sure Did they make a silent movie like ten years agoor something?
Yes
The artist.
Yeah.
So they made the artist.
Yeah.
So we kind of do something like that where it's like, look, we're doing a novel thing, butit's actually really good.
Yes.
Okay.
That's cool.
You totally get my idea.
love it.
Yeah.
Dirty rotten marketing.

(01:22:28):
I'm all about it.
Yeah.
All right.
That's what we do.
So Matthew Reese is my first pick.
Oh, nice.
Nicely done.
Cause the Gregory slash Sayers character has got to be charming and
be able to love bomb this young lady while at the same time have this very insidiousunderlying character to him.

(01:22:52):
So you gotta be able no would have been perfect for that.
Like in his prime Raul Julia would have been perfect.
Oh, he would have been so good.
My parents actually had a fight over him one day.
True story.
Really?
Yeah, my mom was like watching like probably the Addams family or something.
was like, yeah, he was loved.
Raul Julia, my stepfather was like visibly jealous.

(01:23:12):
It was hilarious.
And I guess they repeated this again, like when the sequel came out.
like, I don't know why I remember.
I'm sorry, keep going.
That's awesome.
I'm still stuck in my head.
Oh, I love it.
Okay.
So if you like Matthew Reese, I'm not even going to give you my young selection because Idon't even think it matters.
Paula Alquist Anton.

(01:23:34):
Pouda.
I was going to say Reese has got to call her Pouda the whole time.
Yes.
Emma Corrin.
Where do I know her from?
She was a young Princess Diana in the crown.
okay.
All right.
I'm aware of it.
saw the trail.
Okay.
And then did you ever see I to stay away from that stuff.

(01:23:56):
That's fair.
Actually, didn't, I mean, I've seen clips, but I mean, that's, so like I know her, thatshe's in that, but I never watched it.
Murder at the end of the I don't understand the fascination with the royal family, like atall.
Like I don't get it.
And I was around for like the first marriage, Like the whole brand.

(01:24:19):
Oh, right, right.
I think was like the same week Luke and Laura happened.
I'm like a pulled up.
My brain is a Oh my gosh.
Yeah.
You just pulled that right out.
Also- Well, I'm old, you see.
I was going to the fact that I also understood your Luke and Laura reference does pointout that- It's a big deal at the time.
Yeah.
I'm like, you're older than me, but not by a ton.

(01:24:41):
No, not by a Because I knew that.
Not by a lot.
My mom told me that story, not my grandma.
it's not that far.
Right.
Yeah, exactly.
But I just thought, yeah, she would be petite, young, kind of frail, right?
Like she's got to have that like, she's got to look like she can be broken.

(01:25:04):
Okay.
Yeah, this way it is a total 360, 180.
Yeah, it's 180.
So it's a total 180 when Paula
turns to the tables.
Yes.
Yeah, yeah, yeah.
That's the deal.
Yeah, that's the deal.
Yeah, So, and I think it works.
Did you see that mini series, Murder at the End of the World?

(01:25:25):
I didn't.
Okay, she's in that.
She's quite good.
Clive Owen's the main guy in that.
You'll have to look that up.
Yeah.
I feel like, yeah.
You know, I do a show every week.
I don't actually have time to watch things that aren't assigned to me now.
That is, yeah, that is fair.
That aren't homework movies.
Right, right.

(01:25:46):
That I just end up loving.
Right.
Because I have nothing else to compare them to.
That's probably that.
It's only entertainment we get now.
It's true.
It's really true.
my goodness.
OK, so who else is in this movie that's significant?
Brian Cameron, AKA The Cop.
We're going to rename him.
He needs a better name.

(01:26:07):
His name sucks.
But I think John Boyega.
Okay, yeah, I like John Boyer.
Right?
Because I feel He's also very British in real life.
Right?
He's very British in real life.
And he kind of has like, I think what I like about that character is he's a little plucky.
Because he's like- Yeah.

(01:26:28):
Then of course we have to have Ms.
Thwaites, AKA the Gossipy Neighbor.
Oh, yeah, And remember her?
And I really- Yeah, yeah, remember what her nickname was?
Remember in our version, she was a pot, she was a murder crime podcaster.
Bloodthirsty Bessie.
Bloodthirsty Bessie.

(01:26:48):
Yes, yes, yes.
That has the remain canon.
It's yeah.
And I did some real work because I was like, she's whoever plays her needs to be a linebetween like a lady that's a little older, but I didn't necessarily want her to be old
old, but she's got to be appropriately gossipy while also trying to be a proper lady.

(01:27:09):
Like that whole thing.
Like you.
Yeah.
I'm thinking Miranda Hart.
Ooh, that was nice.
See, there's part of me that's like, you did such a left turn that I'm like, I'm trying tosee the money, but then I had the marketing shoulder for me and I'm still kind of like,

(01:27:35):
hmm, but then you make a casting choice like that and I'm like, you know what, this is agood idea.
I like it.
Right?
I think, I think it works.
Of now you're forcing new listeners to have to go back and listen to the Gaslight episode.
Yep.
Which is, yeah.
folks, gonna have to do it.
Gonna have to do early days.
Yeah.
That's our early stuff.
That one's off our fourth album, Houses of the Holy.

(01:27:58):
Exactly.
Right.
All right, so then there's only two more people.
Elizabeth, the cook.
And not only promise she legitimately needs to be older, cause remember half of her wholeshtick is the fact that she is deaf, cause that's the only way all of this works.
right, right, right.
So that could, yeah, I mean, you don't have to get too fancy with that one, but go ahead.

(01:28:21):
I went with a gal by the name of Geraldine James.
Classic British TV lady.
if you look her up, it's one of those where there's, I'm not going to.
I'm not gonna name any show or anything where you're gonna really recognize her, but ifyou Google her later, you'll be like, I've totally seen her and stuff.
Yeah.
Okay.

(01:28:41):
And so I think she can do the proper like, cause right, it's a proper household staff,1890s, needs to be pretty much stone deaf, but also have a real soft spot and concern for
the lady of the house.
Right, okay.
balance there.
Right.
Now who plays our girl?

(01:29:01):
or girl.
Okay.
So that was where I had trouble and I thought you could help me out.
Oh, I got it.
I got it.
If you need.
Oh, okay.
Yeah.
Cause I was just like, who, who is the, yes.
Yeah.
This was going to be my IDA actually.
So it works.
Okay.
Sadie sync.

(01:29:22):
Oh yeah.
From stranger things.
Yeah.
That's okay.
I'm putting her on the list.
That's perfect.
All That's good.
That she's gonna be my IDA.
Yeah.
No, she's perfect.
Okay.
Of course we're talking about the roles for the, you don't know that they were talkingabout the role that was originally played.
Oh, by one Angela Lansbury.
Yeah.
A young Angela Lansbury, like a 16 year old.

(01:29:44):
And again.
Lansbury.
Folks, you want to go back?
18 year old?
17, cause remember she turned 18 on the show.
while she was making the movie because the scene where she smokes.
Smokes, right.
Couldn't happen until after her birthday legally.
Yeah.
So this maid, she is like a cockney maid.

(01:30:05):
She dates around a fair amount.
She flirts overtly.
With the master of the house and also has a pension for beat cops.
Yeah, has a toll thing for beat cops.
I wasn't even worried, right?
I wasn't worried.
was like, Doug's going to help me come up with Nancy the maid.
Yep.
So be honest, be honest.

(01:30:26):
Yeah.
Does this work?
Did I do all right?
It was sneaky.
Right?
Uh-huh.
Do I, I do like this same crew making Gaslight.
I think that's an incredible move.
Mm-hmm.
Is this a cheat?
Were you playing dirty ball?
Absolutely.
Absolutely.
Absolutely.
But you know what you didn't do?

(01:30:48):
What's that?
You didn't do what I would have done for the Cash Money Hoes.
the purposes of Cash Money Hoes, right?
Okay.
Which would have been to do what American filmmakers did to Wings of Desire.
Right?
They made that crappy, Nicholas Cage, Stinny Angels movie, that piece of s***.

(01:31:08):
Yes.
With that f***ing Goo Goo Doll song that wouldn't go away.
You know?
I actually like said Goo Goo Doll song.
Don't tell anybody.
ever to talk about that.
We're never going to talk about that.
Ever.
Ever.
I would much rather you admit to loving meth.

(01:31:29):
That being said, like I thought this was the route we might go, right?
To make the money off of like a great concept, right?
That the inventors had with wings of desire and just make it like the McDonald's piece ofcrap that City of Angels was.
And I was ready for it.
Were you?
Yeah.
Like I had like, because Wanda had to be a really great performance, right?

(01:31:53):
had to be like an older-ish actress.
who maybe needed the comeback role to be like, you've never seen her like this.
And by the way, she's gonna sweep the Oscars, right?
okay.
So I had three choices for Wanda.
Now mind you, these are all incredible actresses, they're not as young as the thingsthey've done that they've been known for.

(01:32:20):
But if they came back in this whole other context again, money, money, money,
And definitely a lot of ink would be spilled on this automatically without our presspeople or that much of a budget.
Okay, okay, yeah.
Very rotten marketing indeed.
Jennifer Connelly was my first choice.
that's good.

(01:32:40):
Wynonna Ryder was my second choice.
Yes, yes.
And my dark horse definitely auditioned Sarah Michelle Geller.
those are all good.
Yeah, so that's what I thought we were going to do if we were going to do like the thehorish American version.

(01:33:01):
Got it.
But I love the eye.
But I love your gaslight.
I want to see that made now, like by this guy.
Right, because I just think it will be what by Paul Jones.
Yeah.
But if you just be like, I was like, that and like I said, Ida was too it's too beautiful.

(01:33:25):
to ruin, because you're right, because I mean, what you're, yeah.
I mean, I was totally prepared to ruin Amelie.
That's true, you were.
Yes, I was prepared to just wreck it.
And we did.
Yeah.
And we did.
Our remake is a little different.
Right.
I do think like that is one of the discoveries of mine, at least, as we've been hittingthese different movies and for, you know, for franchising, let's franchise this comma

(01:33:54):
baby.
is I have a hard time.
If I think it is perfect as is, I don't want to mess that up.
I just, don't want to touch it.
And so that's why I feel like I keep doing this whole like, all right, so what would I do?
Well, my escape route when I find myself in that position and I did anomaly, right?

(01:34:15):
Like was, okay, what would Americans really do?
Yeah.
With that, right?
Yeah.
That wouldn't just be them because it, first of all, they would be accused of just rippingoff
because as all Americans know is Wes Anderson.
Yeah.
That's because his style is very similar.
Right, right.
Yeah, so you're absolutely right.
Right.
So we had to go like street level.

(01:34:36):
Yeah.
Like, you know, listen to the episode if you don't know what we're talking about, whereit's like, you know, House of Yes.
We're like, how do you remake that?
Like, again, to your point, like it's we get in these, we get cornered and we just tryhalf the fun is finding a way out.
Right.
And then finding a way to make American money.
By doing it.

(01:34:57):
Yeah.
Yeah, so that's, yeah.
So you're right.
I 100 % cheated today.
I absolutely, I deflated that football.
I did.
You did, but you know, but you're out here making art.
Yeah, that's right, but I'm out here making art.
And so yeah, so I was just like, all right.
Again, regardless of how we got here, we did suggest a movie I definitely want to see getmade.

(01:35:23):
Yeah.
Right?
Yay!
Success!
Well, that is our show for this week.
It might be longer than the actual movie, but it needed to be.
It needed to be.
Next week, we are doing a movie I'm very, very excited about.
And I warn you, Devin, a lot of it is uncomfortable.

(01:35:46):
There are uncomfortable things.
OK, OK.
Thank you for the heads up.
Well, it's a gangster film.
Mm-hmm.
written and directed by a woman who clearly sees who these people were.
they're not like the sort of glorified, not the glamorized Goodfellas, is mean,masterpiece that movie, right?

(01:36:07):
But like, glamorized a little bit, right?
It almost looks fun being them, right?
Or the Godfather, you know, no, no, no.
These are the low-life, like low-level, not even bookies.
Right?
Like the Aaron boys of the mob, the neighborhood, the neighborhood mob.
Yeah.
Yeah.

(01:36:27):
Yeah.
So we're doing Mikey and Nikki starring John Cassavetes and Peter Falk directed by ElaineMay, one of the greatest humans that we ever got to share air with.
Yep.
So she's still with us and I can't wait to talk about her, the film and everything aroundit.
Also, we're going to be joined by Mikey Pococo.

(01:36:48):
Yes.
Mike's going to come back, bring back his
Film Wikipedia, brain to help us out.
You know what?
You can watch it on the Criterion channel or you just go to YouTube.
think the whole thing is on YouTube.
If I'm not mistaken.
Yeah, actually, you know what?
Hold on.
I also believe if I recall correctly, Mikey and Nikki, isn't that also on?

(01:37:10):
Yes, it's also on Prime.
It's on Criterion Prime or YouTube.
You have options this week, folks.
Yeah.
No excuse not to pre watch it for us.
But yeah, so I'm excited to get to that next week.
Yeah.
But we better get out of here.
Where your studio property.
My name is Doug Wartell.
I'm Devon Irby.
And Steve.

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