September 11, 2019 • 48 mins
Imbibe Cinema crew discusses the story, direction, casting, direction, and music behind the 2018 Brett Haley comedy/drama HEARTS BEAT LOUD, starring Nick Offerman, Kiersey Clemons, Toni Collette, Sasha Lane, Blythe Danner, and Ted Danson. The film tells the story of a father and daughter who form an unlikely songwriting duo in the summer before she leaves for college. In this episode, host Jonathan C. Legat is joined by Michael Noens (Executive Director of Blue Whiskey Independent Film Festival) and Tricia Legat (Program Director of Cinema Centennial).
MUSIC: "Woe Mountain" by Band Called Catch
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
BandCalledCatch (00:00):
♫Whoa is me, woe is me.
They have seen what I've seen.
Yes.
My mamma didn't let them makechange on me.
Put change on me.
Yeah, whoa is me, woe is me.
This is the product of A.D.D.
Apothecary, not for me, I dreamnaturally.
Yeah, woe is me.
Woe is me.
They have seen what I've seen.
♫
Jonathan (00:25):
Greetings and or salutations.
Welcome to Imbibe Cinema.
I'm your host Jonathan C.
Legat and I'm along with...
Michael (00:31):
...Michael Noens...
Tricia (00:32):
...and Tricia Legat.
Jonathan (00:34):
In this episode we're going to be discussing HEARTS
BEAT LOUD, which is currentlyavailable on digital download
and rental as well as also onHulu; while imbibing the scarlet
heart, uh, which you will beable to find on our webpage.
Although I will state that, uh,maybe it was the bourbon we used
or, or the the maraschinoliqueur, but this isn't very
"scarlet." It's delicious! Imean, it's got, do you know
(00:56):
Costco bourbon and chocolate andwine.
So, hello! It's a very sweetdrink.
Um, but yeah, it's not red, so Iapologize.
Michael (01:04):
How dare you.
I know I have failed you all.
Tricia (01:07):
It doesn't look like a very healthy heart.
Jonathan (01:10):
It's got some clogged arteries and shit.
Like a three pack a day smoker.
[Laughter] The Imbibe Cinemapodcast is brought to you by the
Blue Whiskey Independent FilmFestival, otherwise known as
BWiFF.
Our festival seeks independentcharacter-driven films of all
lengths, genres, and styles.
To learn more, please visit usat BWiFF.com, once again, that
(01:32):
is B.
W.I.F.F.
dot com.
You know, um, so HEARTS BEATLOUD.
I really enjoy this independentfilm and I know that it was on
the top of Michael's list.
So, um, now I know that this isa father-daughter,"Not A Band"
band film.
Uh, so I think that it's onlylogical that we kind of discuss,
uh, the music and the score aswell as the story to really
(01:55):
start off this.
Uh, this was a, a Brett Haley,uh, film who had, uh, a worked
with Nick Offerman previously on, um, THE HERO.
He seems to be somebody who's,who's kind of, uh, coming to the
foreground here are theindependent scene, you know,
making these films and gettingsome, some really good names
with Nick Offerman coming backfor a second helping.
(02:19):
He must be, you know, prettynice to work with here.
Michael (02:22):
I mean, I haven't seen a ton of, uh, Nick Offerman
films or TV shows I should say.
Jonathan (02:28):
Okay.
Michael (02:28):
When I think of Nick Offerman as an actor, I think,
you know, dry comedy and I don'tthink drama at all.
And to me, I mean, yes, sure,this is a hilarious movie(at
least in my opinion), but thedrama behind it was fantastic
and I thought his performancewas fantastic.
(02:49):
So much, so much is done in thisfilm that is without words
through music obviously.
But, um, there, you mean thereare some beautiful with this
synth score?
Jonathan (03:01):
Yes.
Michael (03:01):
That, uh, that Keegan did, I thought was beautiful.
It was like, it said more than,than any lines that could've,
could have been said in thatmoment.
Jonathan (03:10):
It is amazing how much of the film was, was driven, uh,
through not the silence per se,but without actual dialogue, um,
what Keegan was able to do, uh,through the music, not only in
the, in the, the original songsthat, uh, both Nick Offerman and
Kiersey Clemons sing together.
Uh, is that father daughter,"We're Not A Band" band.
(03:34):
Um, but just everything.
Michael (03:35):
What a great name.
Love it.
Jonathan (03:35):
Yeah, this is a perfect line.
Yeah.
It's like the uh, the uh, Bannedfrom TV and it's, it's a pun on
the fact that they are a bandand everybody on that band was
from TV;'cause HOUSE, HughLaurie, was the piano player.
Michael (03:50):
Oh!
Tricia (03:51):
Oh cool.
So–.
Michael (03:53):
That was like a standard,"Oh cool.
Whatever.
I'm going to go ahead and saywhatever I want to say."
[laughter].
Tricia (03:58):
Hey, hey, I go back to drinking.
It's fine.
You guys talk.
I'll drink.
Michael (04:01):
What do you mean go back to drinking?
Jonathan (04:03):
I don't think any of us have stopped.
Tricia (04:04):
Well anyways, let me get back to dismissing you.
[laughter]
Jonathan (04:10):
At least she's honest.
Tricia (04:12):
No, one of the things that I find really impressive
and kind of terrifying aboutfilms like these where they rely
so heavily on the music, like,um, ONCE...
Michael (04:24):
Oh, yeah, ONCE.
Tricia (04:25):
Where so much of the story is about the love of music
and is told through that andthat you have to, like, have
songs that not only help tellthe story on a new layer, all
right, but in addition to that,they have to be like, songs that
you're like,"oh yeah, that's agood song." That's a lot of
pressure.
Michael (04:43):
Yeah.
Tricia (04:44):
Right.
It's like a bridge between afilm and a musical in a way that
is just very hard to get right.
And uh, yeah, that soundsterrifying to even try to do.
And they did such an amazingjob.
Jonathan (04:57):
Identical too.
I mean, you might as well countit as a musical in the sense
that just like a musical, you doneed to have a catchy song that,
that, you know, still grabsthe–.
Tricia (05:06):
And the voice talent! Oh my God.
Yeah.
Michael (05:10):
Fantastic.
Jonathan (05:11):
Yeah.
Kiersey Clemons has a set ofpipes.
And actually, I have seen anumber of things for Nick
Offerman.
Um, I have, I've seen him begoofy.
Uh, but still you're, you'reright.
I'm the goofy dry, but I know heis an accomplished, uh,
craftsman.
Uh, he's got an entire show, uh,you know, where he, he, you
(05:31):
know, builds things with his ownhands.
Tricia (05:33):
If you look him up anywhere online, upon, like his
job titles, actor, whatever andthis and that.
And, but carpenter very, likethis is something that's very
important.
Jonathan (05:43):
Yeah.
Tricia (05:43):
He's a carpenter.
Jonathan (05:44):
Though he is also apparently an accomplished
musician because he was playingdrums and guitar.
Tricia (05:50):
And they did play live during takes like they did with
LES MISERABLES did live.
Michael (05:55):
Right.
Tricia (05:56):
Yeah.
So that kind of thing, uh, Ithink does make a difference on
what you see on screen whenthey're actually singing.
And then you wonder how didpeople like just lipstick.
That's kind of weird.
The thing that we would alwaysbeen done the other way.
Jonathan (06:10):
But yeah, it depends on what all is going on.
Cause I can only imagine ifyou're–.
Tricia (06:14):
There's a dance number.
It's probably–.
Jonathan (06:16):
Really difficult to keep, you know, your air.
Tricia (06:18):
Luckily no dance numbers.
Michael (06:20):
Your comment about, you know, music driving the story
and how terrifying that must bewith like a musical, people that
don't like musicals...
Like, one of the commoncomplaints I hear from people, I
talk to are like,"oh, I didn'tsee that cause it's a musical
and I hate musicals." And then Iask why.
And they say,"well, it's like,you know, there's a story and
then all of a sudden we gottastop and sing about a particular
(06:40):
moment for five minutes and Iwant to take a nap and then move
on." And I'm like,"oh, okay.
That's your opinion, but–."
Jonathan (06:49):
You could say you're watching the wrong musicals.
Michael (06:50):
Perhaps, but with this it was, it was interesting
because, I mean, I don't want torush right to the end, but this
whole movie builds up to a showand you watch that show almost
in real time.
I don't know if you'd call thatthe actual climax, but to me
that was the, the big moment tome as I was watching, I was
(07:11):
like, oh, are we going to justkinda like show the, the, the
highlights of the show?
Jonathan (07:16):
Them starting their show and then–.
Michael (07:18):
No, it's like the show, it's like, it's like the concert
is the payoff of the movie and,and there's so much about what
is going on with theminternally.
Um, and their relationship andtheir family and Frank Fisher
(07:39):
and his, uh, his store.
Uh, so much of that is themusic, you know, it's like that
the emotion is buried in thatmusic.
And this is how, I mean, it'slike a way of communicating.
Jonathan (07:53):
Yeah.
And that's actually what makesit so beautiful is even as
they're writing these, you know,I do especially like that as a,
uh, you know, a band, each ofthem kind of is writing their
own songs.
There's, there's not like, youknow, one person who's, who's
kind of taking the lead on thatand, and it, it shows that the
(08:13):
relationship that, you know, heand his daughter have where they
do these jam sessions wherethey, they just kind of, you
know, pull out a couple ofinstruments and play together
to, to really, you know, bond asa family.
Tricia (08:25):
Right, it is a special language that they have that jam
time is their, their time to beable to talk to each other,
artists to artists and, uh, orhuman being human being instead
of, uh, the father daughterrelationship, which then reminds
me of how I have been talkingabout this movie MOTHER earlier
where Albert Brooks at the endof the film is like,"we can talk
to each other like writers likeone bitter and, and, uh, uh,
(08:50):
oppressed in one..." And I don'tremember the line, but it's just
like really negative stuff.
But, but we can bond, right?
Yeah.
And his mother's like,"whateveryou need dear."
Michael (09:00):
Oh, oh, Debbie Reynolds.
Tricia (09:03):
But the fact that you can communicate on that line and
it gives you a special bondoutside of your connection, this
family.
Jonathan (09:09):
Yeah.
And I mean, you, you can seevery early on that, that he
knows that his daughter has anamazing amount of talent and
that, you know, he's, he'salways just been trying to show
her, uh, you know, let, let herbelieve in herself for the
talent that she's got.
Now, I know he's, he's got someselfish and nefarious purposes,
(09:31):
you know, of his own, uh, causehe just, he's not happy with
everything that's going on inhis life and he wants to start a
band like he originally hadwanted to do before he fell in
love and had a kid and had to,you know, own a shop.
And his mother started, youknow, going off the wall and
shoplifting and getting arrestedand his, his daughter's about to
(09:52):
go off to college.
Um, so he, you know, his, hislife is kind of falling apart
around him and so he's got thischild like glee, uh, to, to, to
bring this band to, to light.
Um, and he's literally doing,he's giving himself, all of
himself into this to have ithappen.
Um, but it is amazing how wellthe music really helps drive all
(10:16):
those emotional silence moments,um, when really keep the plot
moving.
The, the writing of the script.
Um, so it was, it was BrettHaley, uh, who is also the
director and, and Mark Bash.
And, uh, what's interesting is,uh, all, uh, four scripts that
Mark Bash has on IMDb were alsoco-written by Brett Haley.
(10:39):
So they obviously have found, uh, you know, this, this really
cohesive relationship betweenthe two of them where the,
they're either getting soundingboards or whatever, but, um, you
know, I mean, you look at, uh,what, what's going on for IMDb
with, with Brett and, uh,obviously Mark has really been
helping move that along for him.
Michael (10:57):
Well, and to add another layer onto that; I was
reading an interview with, um,with Keegan, how he has this
relationship already with Brettas well.
And so the background of wherethis all came from, that the,
the, the title song,"Hearts BeatLoud." That was a song that
(11:19):
Keegan had already written as asinger songwriter and uh, Brett
had heard it.
And, uh, out of that song iswhat, where this movie kind of
came from.
Tricia (11:33):
Oh, that's beautiful.
Jonathan (11:35):
That's beautiful.
[laughter].
Michael (11:35):
And, uh, and I think that's why I would assume that's
why the the movie is, is afterthat song rather than, you know,
you almost feel like, you know,the other song,"Everything Must
Go" is almost like, oh, wellthat would be a like an obvious
title for this.
Um, however, it's already amovie starting Will Ferrell,
(11:56):
which we should have on our listby the way.
Jonathan (11:58):
Oh.
Tricia (11:58):
Ooo!
Michael (11:58):
Um, it's a drama starring Will Ferrell.
Tricia (12:00):
Well then I'm very interested.
Michael (12:02):
But there are two songs , um, that I believe, I believe
these were the only two songsthat were written for the movie.
Uh, the song"Blink" and"Everything Must Go." Those two
songs were for the movie.
Everything else–.
Jonathan (12:14):
Already existed.
Tricia (12:14):
Listening to the radio, uh, like you do, in the car.
Uh, there are some songs thatare so good about giving you
like an instant visual of like,you see the whole story of what
the song is about and then lateryou find out that's not at all
what the everybody else– But Ionly know, no, that's what the
songs about in your head, thatyou have this whole story that
goes with it.
(12:35):
And that somebody listened to asong and was like, I have a
whole movie for this song.
That's pretty impressive andit's awesome.
Michael (12:42):
I wanted to talk a little bit about the, the very
first scene of the movie.
Uh, and I think I've done thisactually with the last two
podcasts unintentionally, but,um, I'm starting to figure out,
like, things that I really careabout in movies that I didn't
realize that matters so much tome.
And it's the hook.
It's the initial hook.
And for me with this movie, whatI loved so much about the first
(13:04):
60 seconds of this movie is itsets up so much.
Jonathan (13:09):
Oh.
[laughter].
Michael (13:10):
And it's so, it does it with humor, very dry,
fantastic–.
Jonathan (13:15):
Nick Offerman humor.
Michael (13:16):
But I love, he's, you know, he's got the headset on
and you just hear that, youknow, somebody's talking to him
and he's just like, whatever.
You just lit up a cigarette,takes the headphones off, and
he's like,"you can't smoke inhere." And at this point as a
viewer, it's like we don't know,is this his store?
Is he just an employee here?
So is he, you know, was he aboutto get in trouble?
(13:37):
And his response I think issomething to the effect of like
a buy something and I'll put itout.
Jonathan (13:41):
Yeah, exactly.
Michael (13:41):
The guy leaves and then comes back and says,"Hey, I just
bought what I would've boughthere on Amazon for much
cheaper." And I don't know if hehas any response, but he's just
like, yeah, whatever.
Tricia (13:52):
The response is he points to the head ones, like, I
can't hear you.
Michael (13:56):
That was it.
And that sets up this whole ideathat, oh, this little boutique,
I don't know that's not theright word, but this, this um,
you know, record shop, which arevery rare to come by.
Jonathan (14:10):
Yes, they are.
Michael (14:11):
He's in trouble.
Jonathan (14:12):
Yeah.
Michael (14:12):
That's what it's setting up–.
Jonathan (14:13):
He was his only customer and yeah...
Michael (14:16):
And that 60 seconds.
Jonathan (14:18):
Yep.
Michael (14:18):
You know, and I was like, well, first of all funny
and the store is in trouble, Ican see this.
Is he the owner yet?
I don't know, but I'll find out.
I'm I, that was the hook for me.
Jonathan (14:28):
It is a very convenient, I would say that
actually the, our, our lastthree technically I first three,
um, podcasts have all had a, youknow, a very solid, uh...
Michael (14:39):
Hook.
Jonathan (14:40):
Hook right off the bat.
We, we tend to be, you know,film lovers, we're not film
critics per se.
I would say we're more reviewers, uh, than else.
Michael (14:52):
Well, and nowadays–.
Tricia (14:54):
Nerds.
Michael (14:55):
Neeeeerds...
Jonathan (14:55):
Nerds!
Michael (14:56):
They always say when you're pitching a story, that,
you know, like the 30-secondpitch and you got to grab their
attention beyond just as ascreenwriter cause as an average
moviegoer you don't think aboutthat.
If you've bought a ticket for amovie and you go see it,
you're–.
Jonathan (15:13):
You've already got that person.
Michael (15:13):
Exactly, you're going to stay unless it's that
terrible apparently.
And then you walk out, whichI've only done once.
Tricia (15:20):
Me too!
Michael (15:21):
Yeah.
Well I want to know what movie,but uh, but in a streaming
world, now in a streaming world,I feel the viewer is actually
much more conscious of that.
Jonathan (15:32):
Oh yeah, and in control.
Michael (15:33):
Yeah, they go, you know, all right.
You know, whatever their timelimit is, 30 seconds, a minute,
five minutes.
Give me a reason to continuewatching.
Jonathan (15:41):
Yeah.
Yeah.
If you're not butt in the seat,it's a, it's a completely
different.
Tricia (15:45):
And that's interesting because you look at all the
shows, they're out therestreaming and they'd have like a
very slow first season whereyou're like, how did this even
get past this point?
Like I know that you had said aBREAKING BAD was one of those
kinds of shows.
Jonathan (15:59):
Season one was very difficult to get into and
through, but as soon as you werethrough season one, um, strap
in, because you're in for aride.
Michael (16:10):
Like GAME OF THRONES for me.
Jonathan (16:11):
Yeah.
Tricia (16:11):
Not the film...
Let's not deviate from the filmwe're talking about, but yeah–.
Michael (16:16):
No, I, I'm sorry.
I think HEARTS BEAT LOUD is alot like GAME OF THRONES.
[laughter]
Tricia (16:22):
There is all that violence...
Michael (16:25):
All the dragons! [laughter]
Jonathan (16:26):
New York dragons.
Tricia (16:33):
True.
Jonathan (16:33):
We're talking primarily about film, but when
it does come to like thesestreaming shows specifically,
like almost every show has suchan immense cliffhanger at the
end of the episode, just tocause you to need to click next,
rather than be like, okay, I canwait another couple of days to
(16:55):
see the next episode.
Tricia (16:56):
I think a testament to how brilliantly that can be done
is, um, what's the British, uh,television show that–.
Michael (17:03):
DOWNTON ABBEY?
Tricia (17:04):
Yes.
Jonathan (17:04):
Oh dear.
Michael (17:05):
Wow.
She, all she had to say wasBritish television show–.
Jonathan (17:10):
Tea and crumpets, DOWNTON ABBEY!
Tricia (17:10):
Guys, they make other television shows.
Pigeonholed them in–.
Jonathan (17:14):
All into DOWNTON ABBEY?
Tricia (17:15):
Yeah.
Jonathan (17:15):
I could've said SHERLOCK, but–.
Tricia (17:17):
You could have.
You could have said–.
Jonathan (17:19):
Or DOCTOR WHO, yeah...
Tricia (17:20):
But you knew instinctively how do you make a
giant cliffhanger, intense dramaout of like biscuits and do it.
And you're like, damn, I need tosee this next episode because
what if the dinner party doesn'tgo right?
[laughter]
Michael (17:36):
As far as music goes, I got the soundtrack and I'm, I
listened to it and I love thescore bits other than the actual
songs.
Um, and I love how they're, theycompliment one another.
They're all part of like thesame family if you will.
And so you could hear a clip, Ifeel of the score and go, oh
that sounds a lot like this songfrom the movie.
(17:59):
And...
Anyway, so I loved that.
Jonathan (18:03):
Is that specifically the chord progression or is it
snippets where they just arepulling snippets out of
something, like, if you thinkabout STAR WARS, and I know what
were surprised that it took usthree podcasts to start getting
into like STAR WARS and GAME OFTHRONES apparently, um, but uh–
Tricia (18:19):
John Williams, in general,
Jonathan (18:21):
John Williams in general.
But again, you look at even justthe more recent films and it's
got it's own music because it'sgot the Ray theme and you know,
the Finn theme.
But periodically they'll throwin like the Leia theme or the
Luke theme where the Hantheme...
You you hear it, and immediatelythere's that sense of warmth
almost to it because you, yourecognize that theme.
(18:43):
Even, even, even if they justput that like just the three
chords in there, you know,immediately what it's trying to
convey out of it.
Whether it's the chordprogression or there's just a
snippet of HEARTS BEAT LOUD thatis being brought into another
song.
You know, it can bring up thatresponse from you.
Tricia (19:00):
That was a question, right?
You were asking...
Jonathan (19:02):
Yes.
Tricia (19:04):
Michael?
Jonathan (19:04):
Do you know?
Michael (19:05):
Yes or sure.
Jonathan (19:07):
Sure.
Positively, maybe.
Tricia (19:12):
Same thing, same thing.
When we watched MARY POPPINSRETURNS, they did the score,
they did such a great job ofputting the original in it and
so many places that you've gotthat,"Oh!"
Jonathan (19:23):
Yup.
Tricia (19:24):
So yeah, no, now I want to listen to the score of the
film.
Jonathan (19:28):
Yeah!
Michael (19:28):
Yeah, it's great.
Jonathan (19:29):
Spotify that.
Michael (19:30):
How did you feel about when he took the song and
uploaded it to Spotify withouttalking to her?
Did you feel that that was likea betrayal in any sense?
Jonathan (19:43):
I guess you could say that given that it was her
intellectual property, uh, to adegree that, I mean that was her
poem that she wrote into athing, but uh...
Michael (19:56):
But they did create it together.
I mean, he was a part of thatprocess.
Jonathan (19:59):
He was, he was a full part of it.
It was a jam session.
And, and I think he was so proudof it.
And like I said, I mean to adegree, uh, up until pretty much
the very end of the film, hemakes his intentions very clear
that he's, he, there is a lot ofgreediness to, you know, a self
interest in, in his actions.
(20:20):
Uh, he is trying to reconnectto, you know, his happiness
because he's not happy right nowand, and it's, it's incredibly
sad to watch this entire filmwhere he, he's chasing a dream
that he can't, he can'tphysically cannot chase that
(20:41):
dream anymore is there's way toomany people who depend on him.
He realizes he's being selfishwith it, but–.
Michael (20:50):
And financially, like the investment he makes in all
this recording stuff that hecan't afford.
Jonathan (20:55):
No, exactly.
He's being very selfish.
Tricia (20:57):
One of the things I love about the, uh, the arc of the
film is she's the grownup, he'sthe kid.
From the beginning.
And then that climax, you talkabout the concert in the store,
basically the very little, uh,show in the store.
Uh, at the very end of it, she'sthe kid and he has to be the
adult.
And if you noticed in thatmoment, like is he going to step
(21:18):
up to the bat?
The moment she becomes a kid, ishe going to be the adult?
And he, he is in that moment andit's, it's beautiful.
I mean, to me that's, that's theclimax is when he has to be an
adult.
In the entire film he's been thekid, she spend the adult in
here's– And he was just waitingfor her to be, I think become a
kid again and then he would bethe adult.
But he didn't wanna.
Jonathan (21:39):
See, I actually, I don't see anything about him
wanting that.
I just see him realizing in thatmoment that he can't continue to
be selfish.
Tricia (21:50):
Or the kid in the relationship.
She was the responsible one andhe was the child.
Jonathan (21:54):
Uh, we're going to take a few moments here to fill
our glasses, but uh, get readyto Imbibe more after this.
Michael (21:59):
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Jonathan (22:30):
You're listening to Imbibe Cinema.
I'm Jonathan C.
Legat and uh, I am here onceagain with...
Michael (22:35):
Michael Noens...
Tricia (22:37):
...and Tricia Legat.
Jonathan (22:38):
And we have been discussing, uh, the independent
film HEARTS BEAT LOUD.
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Michael (22:57):
Take that one again?
Jonathan (22:58):
Yeah.
I'm gonna...
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Twitters.
Uh, you know, so we, we weretalking primarily about the
score and the music and, uh,story and then I know while I
was filling up my glass it didsound like we had a couple of
(23:21):
story ideas that we reallywanted to get back to.
Um, so, uh, let's hit thatbefore we get into the cast and
crew'cause I think it'll move–.
Tricia (23:29):
So, quick recap of what we were talking about when we
weren't recording–.
Jonathan (23:32):
Last time on Imbibe Cinema...
Michael (23:34):
Or during the break...
[laughter]
Tricia (23:38):
We were talking about how, you know, there are a lot
of, uh, stories where, uh, youhave a going off to college or
an, uh, a parent-childrelationship that's older where
you show a sequence offlashbacks where you see them
having these bonding moments asthe child is little and getting
(23:58):
older to where they are now.
And this film does not have thatand it did not need that at all.
In fact, there was so little, Imean, first of all, their
chemistry, their bond on screen,uh, the father-daughter
connection is beautiful.
It's so fascinating to watch.
Jonathan (24:16):
Natural.
Tricia (24:16):
Really...
Yeah.
It brings you in and you werejust hooked.
Now, the history of their familyand where Mom is is not stated
right away.
We talk about how it's like,wow...
How long was it in the filmwhere we still didn't know what
happened?
Like did she leave, did she die?
What happened to Mom?
We don't talk about it.
And as a viewer you're justtrying to figure like what,
(24:38):
what's going on?
And they let it, how it is like30 minutes in, how long before
we figured it out.
Michael (24:44):
I don't remember.
It's–
Jonathan (24:46):
Probably even longer than that.
Michael (24:46):
Yeah, it's well into the movie.
And then earlier when I wastalking about how they convey so
much without words, what I loveis this, the scene where he's
walking along the street and hewalks up alongside this, this
white bicycle and he looks down.
(25:07):
Then we see–.
Jonathan (25:09):
Her name.
Michael (25:09):
Danielle–
Jonathan (25:10):
And a date.
Michael (25:10):
–Fisher and a date and you go, oh, and, and then he
pulls, he's got like the, Ithink...
Jonathan (25:17):
His notebook.
Michael (25:18):
In his pants and he pulls that out and then sits
down on the curb and it's justlike, I'm just, you know, I'm
going to sit here, you know, gothrough some music and sit here
with my wife.
It's beautiful and sad at thesame time.
Tricia (25:31):
Heartbreaking.
Jonathan (25:33):
Specifically, you know, what we were discussing
about, they don't need to show,uh, their relationship.
They don't need to showflashbacks.
So many times in films I think,I think most people who are
watching films are just smarterthan needing to be spoon fed all
(25:54):
of the information.
Like we, we, we like to solve alittle bit of a puzzle or, or,
or, or see a glimpse ofsomething and go,"oh my gosh,"
that's what this has alwaysbeen.
I think that, that a lot offilmmakers, you know, and I'm
very happy that Brett, uh,managed to pull this off, is
he's not spoonfeeding us all ofthis exposition.
(26:15):
He's letting it come outnaturally as, as the film
progresses and letting us, youknow, kind of share these
moments with these people aswe're also understanding and
realizing things.
That's nice.
Michael (26:27):
Yeah.
And it's that constantlythroughout the film questioning
whether or not you missedsomething, um, because they,
they refer to something that youdon't know and you're like, wait
a minute, what?
Did I miss something?
And, and no, no.
You're going to find out aboutit.
And that curiosity is what keepsyou engaged.
Tricia (26:45):
In the approach to the Meet/Cute.
Um, one of the, one of the great, uh, uh, moments in the film
that I, uh, I really appreciatedwas when Clemons goes to the art
gallery or whatnot.
She's just walking around andSam and Rose meet.
There's just this like kind ofsmile exchange and then she just
(27:05):
starts laughing and that's,that's it.
This is adorable reaction.
And I just thought of likeAudrey Hepburn and I don't know
why, but that reaction that shehas where she just giggles.
It just struck me as somethingthat's very Audrey Hepburn and I
was like, Oh, I love thischaracter even more now.
Jonathan (27:23):
Oh, I find it funny that, uh, you know, throughout
all these items that we've kindof been discussing, we, we
haven't even hit on, um, BlytheDanner or Tony Collette...
Tricia (27:33):
Or Ted Danson!
Michael (27:34):
Or Ted Danson!
Jonathan (27:35):
Yeah! We, we like three, three, three key
characters to this.
Tricia (27:39):
Can we have a Ted Talk, please?
Jonathan (27:39):
A Ted Danson"Ted Talk?" I'd be perfectly fine
with that.
Um, yeah, we've got threeabsolutely amazing actors, um,
who, who, who while they're insupporting-esque roles are...
Bring so much to this story and,and everything that's going on.
Uh, Blythe of course being, uh,uh, Marianna Fisher, uh, which
(28:01):
is Frank's mom.
Uh, the one who's suffering fromsome sort of dementia or, um,
Alzheimer's, uh, and is, youknow, starting to make his life
a little bit more difficult.
Uh, the fact that, you know,he's got a post bail and doesn't
have the money for that.
Um, you know, he's trying todecide whether or not he needs
to be putting her into a home,but he knows he can't do that to
(28:22):
her.
Toni Collette playing thelandlord.
Um, and, and what an interesting, uh, character and character
arc, uh, Toni and, and NickOfferman have together because
there's this whole like, arethey in love?
Aren't they in love?
(28:43):
Does she actually like him?
'Cause it looks like Nick likesher, but is so confused by the
whole relationship that even herealizes that this, this is, or
this isn't going anywhere.
I, I can't tell.
Tricia (28:54):
Well, and you know, we had that we had that opposite
reaction because when I first,when we were watching the movie
together and uh, we see theirfirst few interactions to me
it's like she's so waiting forhim to ask her out and he never
does.
And she's like, okay, nevermind.
Like when he's like, oh, whenyou have some time to talk about
a few things.
He's like–.
Jonathan (29:11):
I'm free now.
Tricia (29:13):
And she's like looking at him and you can see like this
anticipation like is he goingto?
No it's not, oh...
Jonathan (29:17):
"I'm not going to renew my lease." Oh! That's not
where I thought thisconversation was going to go.
Tricia (29:22):
Right.
Jonathan (29:23):
It is very interesting when they do go out on the date.
Michael (29:26):
Yeah.
The date that's not a date–.
Jonathan (29:29):
It's a date that's not a date'cause they started making
out and then she sees someyounger gentleman.
I don't even remember whatexactly was going on there.
Michael (29:40):
This is my friend...
Jonathan (29:41):
This is my friend, Frank.
Yeah.
It's like, oh we were literallyjust playing tonsil hockey and
now you're going to call me thefriend.
Ouch.
Tricia (29:48):
No, that was like one kiss and then she apologized for
it and he was like, no, that'sfine.
And they didn't go any furtherwith it.
So I, yeah, I think she waslooking for like, the thought
that this might go further.
I don't think he would ever goanywhere further.
Michael (30:04):
See, and I felt like, especially when he kinda like
loses it on her.
Jonathan (30:07):
Oh yeah.
Tricia (30:08):
Oh yeah.
Michael (30:09):
I feel that that was a, you know, obviously more to
your, your comment about howhe's the kid the entire time and
he has his very immaturereaction to all of it and ends
up like snapping at her, um...
Jonathan (30:28):
Going to her house and rang her doorbell in middle of
the night, drunk.
Tricia (30:33):
But then you think, you know, I wonder how, like, if, if
this is the, the, the characterbackstory that you go with,
like, here is this guy is a bigkid that, that's how we see him
and, uh, Offerman does thisamazing job of being like super
giddy, like"red wagon, Christmasmorning," super, super excited,
like little kid happy.
And then like, I, I'm like–.
Michael (30:54):
Trying to contain it.
Tricia (30:55):
Yeah.
Jonathan (30:55):
Yeah.
Tricia (30:55):
Yeah.
Hi, I'm, I'm cool.
I'm cool.
Cool, cool.
Uh, but–.
Michael (31:00):
"Cool.
Cool, cool, cool, cool."[laughter] STORKS.
Tricia (31:02):
But, uh, super excited! And uh, yeah.
So yeah, he has this likechildish glee that comes out in
this, and maybe it could stemfrom the fact that like, hey,
after you lose somebody, likethey lost, uh, his wife and her
mother.
Maybe people treat you with kidgloves for a very long time and
(31:22):
everybody, um, is walking oneggshells for so long that you
can act any way you want.
And so you can be an impetulantchild for as long as you want
because nobody,"oh, you're awidower, we don't want to,"you
know, so maybe that's a–.
Michael (31:35):
I never really thought about that.
That's a good point.
Jonathan (31:37):
Yeah.
I, uh, I also think that, uh, ifthere's one thing I'm gleaning
from, from, you know, just wherehe is as a person, uh, he
doesn't seem like the kind ofguy who is out dating after his
wife passed.
And so like, literally, he'sbeen off the market for the last
15 or something odd years.
(31:58):
I mean, it has to have beenabout 15 years in the sense that
they never taught their daughterhow to ride a bike.
She, she never learned how toride a bicycle, uh, because her,
her mother died obviously on abicycle.
But again, she's about to go offto college.
So she's at least 18 circa 19,or is she going into medical
(32:20):
school?
Tricia (32:21):
She's going for premed.
Jonathan (32:22):
She's going for premed.
Tricia (32:22):
I don't know...
College was so long ago.
I don't remember.
[laughter]
Jonathan (32:25):
I mean, could, could she have finished a four year
college and now she's going intomed.
Tricia (32:32):
I don't know.
Michael?
Michael (32:36):
Let's call Brett up.
Jonathan (32:37):
Hey Brett!
Michael (32:38):
Hey Brett!
Jonathan (32:38):
Brett!
Michael (32:39):
Answer us this!
Jonathan (32:39):
"Riddle me this..."
Tricia (32:39):
Oh, speaking of fun facts...
Fun Fact about this film.
Here's a fun film fact! TedDanson in this film is a
bartender.
So, uh, like a stretch reallyfor him as an actor.
Jonathan (32:53):
Well, he's a high bartender and Sam was never
high.
Tricia (32:57):
It's true.
Michael (32:58):
Well, I mean, define a high because you did fall off
the wagon at one point in thatshow.
Jonathan (33:03):
But that was a, it was that pain meds or was that a,
was that just alcohol?
Michael (33:07):
It was because Shelley Long left him.
Jonathan (33:10):
Oh.
Michael (33:10):
And then he went off the wagon.
Yeah, because I rememberimportant details from CHEERS...
[laughter]
Tricia (33:17):
So, um, bartending and uh, uh, Ted, so there is uh, his
character is evidently, um, wasan actor on Broadway where he
had one Broadway show and theBroadway show, uh, playbill is,
uh, hanging above the bar and itturns out that uh, the show that
is referenced, uh, Ted Dansonwas really in that show on
(33:40):
Broadway.
Oh yes.
And it was one before.
In 1973 in which he played abartender.
Jonathan (33:49):
Oh that's...
Michael (33:51):
Meta.
Jonathan (33:51):
Wow.
That's super meta.
Tricia (33:53):
It's like, you know, it almost seems like the world just
wants Ted Danson to tend bar.
Jonathan (33:59):
I'd, I'd want him to tend my bar.
Tricia (34:02):
That sounds...
Jonathan (34:04):
That did really sound a little like a little euphemism
there, but no, like, like Iwould, I would love to sidle up
to like a bar and like just talkto Ted Danson'cause he seems
like the kind of guy who wouldbe like the bartender of your,
of your dreams, the kind of guywho'd be listening, you know,
aptly you and, and distillingthat beautiful advice while,
(34:24):
like, you know, popping anotherbeer and, you know, pouring
another shot.
Tricia (34:27):
Take your time is what he says in this film.
"Take your time, enjoy it." Andthen he just does it shot real
quick while saying that.
Jonathan (34:34):
Shouldn't we have shot glasses for this?
No.
Michael (34:35):
See and that's the thing is I, we don't really ever
find out what that drink is.
Jonathan (34:41):
No.
Michael (34:42):
And I'm really curious–.
Jonathan (34:43):
It's the good stuff.
Michael (34:44):
Because part of me–.
Tricia (34:46):
It was Tequila, I thought...
Michael (34:46):
Okay, well'cause part of me was like–.
Jonathan (34:48):
It really does look like Tequila.
Michael (34:48):
Is it just water?
Jonathan (34:50):
The acting obviously was, was fantastic.
It's very, uh, robust, uh, castof characters.
Michael (34:58):
Well, and I, I love Toni Collette and absolutely
everything.
I think she's just anincredible, incredible actor.
Yeah.
I know one day I'm going to haveto watch HEREDITARY and I'm
terrified because I don't likescary movies.
Tricia (35:15):
But you'll do it for her?
Michael (35:15):
I would, I would do that for her because I'm sure,
I'm sure she's fricking amazingin it.
Tricia (35:22):
And she'll get you through the film.
Michael (35:24):
She'll get me through the film and then I will never
sleep again.
Jonathan (35:27):
Like we, we, we might have to reach like a, at this
point I'm, I'm almost willing to, uh, to, to throw this out
there as a, as a possibility.
If we reach a number offollowers or a certain number of
likes we will do a scary movie.
Michael (35:45):
Sure! Wait, we'll wait.
Here's the question, do we getto pick the scary movie?
Tricia (35:49):
Yeah.
Jonathan (35:50):
Uh, Ooh.
Or, uh, we, we could possible–.
Tricia (35:53):
'Cause there are a lot of movies out there.
Jonathan (35:54):
We could make an a fan– We could make an Imbibe fan
thing.
Michael (35:58):
Yeah, right.
But they might be total dicksand make us watch, you know, a
really terrifying movie'cause Iwill watch that movie with my
eyes closed.
Tricia (36:07):
Because we're terrible at that.
Jonathan (36:10):
Tricia is terrified by terror.
Tricia (36:11):
No.
One year I saw, um, it was aBLAIR WITCH PROJECT, I saw FINAL
DESTINATION, and I saw a DEEPBLUE SEA and FINAL DESTINATION
was last on this, appropriately.
So, uh, and yeah, so I saw BLAIRWITCH and I was like, I've never
going camping.
This isn't scary.
I'm not going to go into thewoods.
(36:32):
I need plumbing.
And–.
Jonathan (36:35):
Her idea of camping is a Motel 6.
Tricia (36:37):
Yeah.
Michael (36:38):
In her defense, that is camping.
[laughter].
Tricia (36:43):
And then the second, uh, with DEEP BLUE SEA, and I'm
like, I'm never going to bearound intelligent sharks.
Jonathan (36:47):
Or the water.
[laughter]
Tricia (36:50):
This is silly.
It was, it was very, very welldone.
That one is very funny.
Jonathan (36:57):
Oh yeah!
Tricia (36:57):
Um, but uh, moving past that, I, uh, I was like, yeah,
I'm not scared of that.
And then FINAL DESTINATION, Iwas like, appliances that kill?
Appliances are everywhere.
[laughter] Oh, God! I'm afraidof my blender!
Jonathan (37:09):
See I, I'm, I'm not, I'm not one who's squeamish
about terror, but I do, I doknow that both of you are not
necessarily huge fans.
So I do think if we, if we couldmake this at like a GoFundMe or
a crowdsourcing thing where weget so many, yeah, a game.
If we get so many followers, wewill, uh, willing please subject
ourselves to a horror film.
(37:30):
[laughter] I will state the,this, this particular drink is
very good.
Tricia (37:34):
Yes, now, the, um, the acting, we were getting back to
like how we have these reallyimpressive, um,
Jonathan (37:39):
Performances.
Tricia (37:39):
Yeah, heavy hitters in the film, like, Blythe Danner
and Ted Danson and Toni Colletteand, uh, Nick Offerman, but the
young talent, uh, Sasha Lane andum,
Jonathan (37:50):
Kiersey Clemons.
Tricia (37:51):
Yes.
Oh my God!
Jonathan (37:53):
Yeah.
Tricia (37:54):
So good.
Jonathan (37:55):
Yeah.
Tricia (37:55):
And the fact that like, you can instantly look at them
and you're like,"oh my God, haveI seen you in something?
They just seems so familiar,you–.
Jonathan (38:01):
Especially Sasha.
Tricia (38:04):
–and there were there are points, uh, uh, that just
made you feel like you knew themand they're such natural
performances, such beautifulperformances, uh, really, really
amazing casting.
Jonathan (38:16):
Yeah.
Tricia (38:16):
Just very, very well done.
And I like the parallel, youknow, you have somebody who is
just starting off in life anduh, you know, they have this
romance that goes on before theygo–.
Jonathan (38:30):
College is just starting off in life.
Tricia (38:33):
Okay.
Jonathan (38:34):
That's...
Tricia (38:35):
Jon's having his own moment.
Uh, and then you have somebodywho's, uh, their kids leaving
the nest.
And so it's a new stage in lifefor them and it's redefining who
they are and their, uh, kind ofrelationship with, uh, this
woman in her, his life and howthat, you know, goes on.
It, it just, both of them are ata point where they're finding
(38:57):
themselves again.
Right?
She's discovering who she isbecause she's going away to
college.
He's discovering who he iswithout being a dad.
And, uh, it being his primarything like, and being a record
store owner, he has to reinventhimself and she's reinventing
herself and yet to be there foreach other in that moment.
And that's one of the reasonsthe film is so touching is
(39:19):
because it's something thateverybody can kind of relate to.
Jonathan (39:21):
Yeah, yeah.
No, I was specifically justcommenting on the idea of just
starting off in life, beingcollege as opposed to just
starting off in life.
I mean it's just starting off inadulting.
Definitely.
Michael (39:37):
So you're like a 20 year old adult now cause I'm
like right around there.
Jonathan (39:43):
Yeah.
Michael (39:43):
I'm an, I'm a 16 year old right now.
I'm a 16 year old adult.
Jonathan (39:47):
If you just started off in life–
Michael (39:49):
If you're born at 18.
Jonathan (39:50):
Exactly.
But it was exactly what I'm likejust starting off in life?
Tricia (39:54):
I'm just going to go back in my day...
Jonathan (39:56):
[Old Man Voice]"Back in my day."
Michael (40:00):
[Old Man Voice]"Back in my day."
Jonathan (40:00):
[laughter] And now we're back into the 90 year old
Hamlet.
Um...
[laughter]
Michael (40:04):
Yorick![laughter]
Tricia (40:04):
"I can't see a thing! Yorick, where are you?" So we're
just waiting for Shatner to doHamlet again and then they'll
come full circle.
Michael (40:14):
Yeah.
How old was he when he didHamlet?
Wait, wrong episode.
Nevermind.
Alright, so I'm going to read afew, um, fantastic, uh, rotten
reviews for this movie.
I will say it took a long timefor me to find rotten reviews
because this movie is actuallyvery well liked.
Jonathan (40:32):
Oh yeah, no, I was going to comment on–.
Michael (40:34):
By critics and average viewers.
Jonathan (40:36):
Yeah.
Comments on the fact that likethis had, uh, 11 nominations,
three of those were, wereactually wins.
Um, and of those independentnominations, uh, four of those
were like audience favorites.
Michael (40:51):
Right.
I'm not surprised at all.
Jonathan (40:52):
And then five of them were, you know, about the music.
So, but this is, this is–.
Tricia (40:58):
It hit on so many levels.
Talk about well-rounded, amazingperformances from everybody on
screen.
You know, a great story.
Uh, the fact that the music isjust perfectly interlaced in and
tells the story and it takes itto a new level.
It's just well done, beginningto end.
How can you not like it?
And that said, who didn't likethis movie?
Jonathan (41:17):
Yeah, bring it!
Michael (41:19):
All right.
Well, Daniel Barnes of theSacramento News and Review says,
"Offerman is likable as ever,but it's asking a lot for him to
carry a film, especially onewithout an ounce of urgency in
the narrative." Discuss.
Tricia (41:37):
You know, sometimes I think film critics who have to
watch movies for a living, um,have days where they just have a
rough day or an off day andcan't be like receptive to every
film.
And so, I give them a pass onoccasion in that way.
Michael (41:52):
So Tricia's general response to these people is,"I
give you a pass."
Tricia (41:57):
So, you had a bad day, obviously.
Michael (42:00):
[singing]"You had a bad day.
[inaudible]"
Jonathan (42:04):
"...bad day.
It didn't work out." Wow.
Wow.
No.
So I, again, because I've beenspending a lot of time on the
Netflix, the Hulu is in theindependent worlds.
I've been watching THE CHEF SHOW, um,
Michael (42:16):
So fun.
Jonathan (42:17):
Yeah.
Jon Favreau, uh, you know, andone of the episodes is
specifically around, um, this,uh, um, this food critic.
Uh, and, and he's recentlypassed away.
And so there's a couple of, uh,of chefs who are coming to like,
essentially pay homage to them.
The thing that I foundfascinating about this
(42:37):
particular episode and why, uh,you know, these, so many people
are ready to pay homage to this,this particular gentleman is, if
he would go to a restaurant andhe didn't like it, he didn't
critique it.
His, what he felt his job was asa critic was not to just crap
on, on people's lifeblood.
(43:00):
The thing that people are doing,you know, to be out of a
passion.
OK.
Like, like an independent filmor, or, or a dish that they have
spent, you know, their, their,their lifeblood, trying to
perfect.
What he would do is he wouldspecifically go to restaurants
that he felt were not gettingthe attention that they
(43:20):
deserved.
And if he found a restaurantthat he found, uh, to be
magnificent, he would write acritique to essentially bring
people to that restaurant–.
Tricia (43:31):
Oh, we need more people like that in this world.
Jonathan (43:31):
Exactly! I feel–.
Tricia (43:34):
There's so much negative trolling in the world.
Why can't you talk about–.
Jonathan (43:37):
Hot damnit, I think that's Imbibe Cinema.
Michael (43:39):
It is.
If there's a movie that wedon't, we don't care for even
just one of us, I feel if wedon't, we're not into it, we're
not gonna we're not gonna talkabout it.
Jonathan (43:48):
No.
Michael (43:48):
Because, in my opinion, it comes down to, you know, the
age old saying,"if he can't sayanything nice, just don't say
anything at all."
Tricia (43:55):
And that is how Mom raised us.
Thanks, Mom!
Jonathan (43:57):
Yup.
Tricia (43:58):
Let me drink over it.
Jonathan (44:00):
We, we do, but no, so that's, that's the thing is, is
while I, I do see what they'rediscussing about the idea that
there's not a whole lot ofurgency, but it's an independent
film dude.
I'm like backup, it doesn't haveto have–
Michael (44:17):
Does it have to have urgency?
Tricia (44:17):
No, no, no, yes, it does.
There's a timeline in whichshe's going away to school.
He's trying to keep her fromleaving.
He's trying to get her to join aband because this is his last
desperate attempt to keep hisbaby from leaving.
Jonathan (44:29):
And also to reconnect to the thing he loves most.
Tricia (44:32):
Right, exactly.
Jonathan (44:32):
Well, he loves most other than his child.
Tricia (44:34):
Yeah.
There's, there's, there's thatand, and the urgency of young
love of how intense it is, uh,and uh, this new relationship
and–.
Jonathan (44:44):
There's urgency to her relationship because it
potentially is ending as soon asshe goes to school.
Tricia (44:49):
There's the urgency.
Michael (44:50):
All right.
Chicago Reader again.
Jonathan (44:52):
What, what is up with Chicago Reader and hatin'?
Tricia (44:55):
They just want to be in the show.
Michael (44:59):
"I just want to be in the show!'.
Jon does it better.
Jonathan (45:00):
"I just want to be in the show!"
Michael (45:02):
"Writer/director Brett Haley coaxes a few week laughs
from the daddy-daughter rolereversal and stale mushy drama
from the cycling death of agirl's mother more than a decade
earlier."
Tricia (45:16):
Okay.
I really want to know who thisperson is, and what–.
Jonathan (45:18):
Is it the same person?
Michael (45:20):
No, different person.
Tricia (45:21):
I just wanted to know what they consider a good movie.
Jonathan (45:23):
I don't understand necessarily what is exactly, uh,
so upsetting to the ChicagoReader.
Uh, but obviously they, they,they hire a very specific group
of people.
Yes, we kind of previouslydiscussed there were no, there
was one guttural laugh, uh, thatwe had with specifically our,
around when, when they came upwith what the band name was,
(45:45):
which is,"Dad, we're not aband!""That's a good name."
There is a reason, um, that thiswas an audience award or
nominee.
Um, yeah.
Tricia (45:56):
It's different when you watch it by yourself, people.
Jonathan (45:58):
Yeah.
Michael (45:58):
Our final, um, our final one, saved the best for
last.
Um...
Jonathan (46:03):
Is this another financial, uh, newspaper?
Michael (46:06):
Well, this one is called–.
Tricia (46:07):
It's Horse and Hound.
[laughter].
Jonathan (46:08):
Of course it is.
Well, we're going to hit onevery episode.
Michael (46:13):
Until we hit horses.
Um, this is The Stranger fromSeattle, Washington.
Tricia (46:22):
It sounds very intense.
Michael (46:24):
All right, so I'm going to read, I'm going to read this.
Um, and it's gonna, it's gonnajust ooze professionalism.
So,
Tricia (46:34):
Ooh...
Michael (46:35):
"It's cute.
It's'quirky'(ugh) and it'sboring as hell with hollow
dialogue and a plot thatshuffles along like an old tired
dog."
Jonathan (46:51):
Yeah.
This is–.
Tricia (46:52):
It not clear– Go ahead.
Jonathan (46:52):
No, no, you– Ladies first...
Tricia (46:52):
It seems like this person who's dying to do reviews
in emojis.
Jonathan (47:02):
Smiley face poop emoji![laughter] Um, so, so no,
but okay, so this is, andgranted, you know, we're, we're
doing a podcast so nobody reallygets to see us in person, but,
but at the same time, and again,this is–.
Tricia (47:19):
You're welcome.
Jonathan (47:19):
Ouch.
Um, this is again, one of thosethings about like our current
socio, whatever you want to callit, but I wonder if this person
would, in an audience, say thatout loud.
Tricia (47:37):
Maybe just don't say anything at all?
Jonathan (47:38):
Yeah, yeah, yeah.
In fact, I'm not going to lie.
When, when Imbibe gets our firsttroll, I will officially believe
that we have made it.
[laughter]
Michael (47:47):
"It's going to be legend..."
Tricia (47:48):
"Wait for it..."
Jonathan (47:49):
"I hope you're not lactose intolerant because the
next word is dairy!"
Tricia (47:54):
That's a good show.
Jonathan (47:55):
Yeah, it was.
Once again, ladies and gentlemen, we greatly appreciate all of
our listeners and especially thepatience, uh, for our tangents
and our digressions, uh, forchoosing this podcast and, uh,
you know, especially forsupporting independent films.
Keep an ear out for our nextepisode when we'll be discussing
(48:17):
Steven Knight's LOCKE, which isstarring Tom Hardy, uh, to check
out our show notes or to justdrop us a note.
Uh, please visit us atimbibecinema.com.
Once again, I am Jonathan C.
Legat and thanks again forimbibing with us.
Cheers.
[clinking glasses]
BandCalledCatch (48:46):
♫My mamma didn't let them make change on
me.
Put change on me.
Yeah, whoa is me, woe is me.
This is the product of A.D.D.
Apothecary, not for me, I dreamnaturally.
Yeah, woe is me.
Woe is me.
They have seen what I've seen.
♫
♫Whoa is me, woe is me.
They have seen what I've seen.
Yes.
My mamma didn't let them makechange on me.
Put change on me.
Yeah, whoa is me, woe is me.
This is the product of A.D.D.
Apothecary, not for me, I dreamnaturally.
Yeah, woe is me.
Woe is me.
They have seen what I've seen.
♫
Jonathan (00:25):
Greetings and or salutations.
Welcome to Imbibe Cinema.
I'm your host Jonathan C.
Legat and I'm along with...
Michael (00:31):
...Michael Noens...
Tricia (00:32):
...and Tricia Legat.
Jonathan (00:34):
In this episode we're going to be discussing HEARTS
BEAT LOUD, which is currentlyavailable on digital download
and rental as well as also onHulu; while imbibing the scarlet
heart, uh, which you will beable to find on our webpage.
Although I will state that, uh,maybe it was the bourbon we used
or, or the the maraschinoliqueur, but this isn't very
"scarlet." It's delicious! Imean, it's got, do you know
(00:56):
Costco bourbon and chocolate andwine.
So, hello! It's a very sweetdrink.
Um, but yeah, it's not red, so Iapologize.
Michael (01:04):
How dare you.
I know I have failed you all.
Tricia (01:07):
It doesn't look like a very healthy heart.
Jonathan (01:10):
It's got some clogged arteries and shit.
Like a three pack a day smoker.
[Laughter] The Imbibe Cinemapodcast is brought to you by the
Blue Whiskey Independent FilmFestival, otherwise known as
BWiFF.
Our festival seeks independentcharacter-driven films of all
lengths, genres, and styles.
To learn more, please visit usat BWiFF.com, once again, that
(01:32):
is B.
W.I.F.F.
dot com.
You know, um, so HEARTS BEATLOUD.
I really enjoy this independentfilm and I know that it was on
the top of Michael's list.
So, um, now I know that this isa father-daughter,"Not A Band"
band film.
Uh, so I think that it's onlylogical that we kind of discuss,
uh, the music and the score aswell as the story to really
(01:55):
start off this.
Uh, this was a, a Brett Haley,uh, film who had, uh, a worked
with Nick Offerman previously on, um, THE HERO.
He seems to be somebody who's,who's kind of, uh, coming to the
foreground here are theindependent scene, you know,
making these films and gettingsome, some really good names
with Nick Offerman coming backfor a second helping.
(02:19):
He must be, you know, prettynice to work with here.
Michael (02:22):
I mean, I haven't seen a ton of, uh, Nick Offerman
films or TV shows I should say.
Jonathan (02:28):
Okay.
Michael (02:28):
When I think of Nick Offerman as an actor, I think,
you know, dry comedy and I don'tthink drama at all.
And to me, I mean, yes, sure,this is a hilarious movie(at
least in my opinion), but thedrama behind it was fantastic
and I thought his performancewas fantastic.
(02:49):
So much, so much is done in thisfilm that is without words
through music obviously.
But, um, there, you mean thereare some beautiful with this
synth score?
Jonathan (03:01):
Yes.
Michael (03:01):
That, uh, that Keegan did, I thought was beautiful.
It was like, it said more than,than any lines that could've,
could have been said in thatmoment.
Jonathan (03:10):
It is amazing how much of the film was, was driven, uh,
through not the silence per se,but without actual dialogue, um,
what Keegan was able to do, uh,through the music, not only in
the, in the, the original songsthat, uh, both Nick Offerman and
Kiersey Clemons sing together.
Uh, is that father daughter,"We're Not A Band" band.
(03:34):
Um, but just everything.
Michael (03:35):
What a great name.
Love it.
Jonathan (03:35):
Yeah, this is a perfect line.
Yeah.
It's like the uh, the uh, Bannedfrom TV and it's, it's a pun on
the fact that they are a bandand everybody on that band was
from TV;'cause HOUSE, HughLaurie, was the piano player.
Michael (03:50):
Oh!
Tricia (03:51):
Oh cool.
So–.
Michael (03:53):
That was like a standard,"Oh cool.
Whatever.
I'm going to go ahead and saywhatever I want to say."
[laughter].
Tricia (03:58):
Hey, hey, I go back to drinking.
It's fine.
You guys talk.
I'll drink.
Michael (04:01):
What do you mean go back to drinking?
Jonathan (04:03):
I don't think any of us have stopped.
Tricia (04:04):
Well anyways, let me get back to dismissing you.
[laughter]
Jonathan (04:10):
At least she's honest.
Tricia (04:12):
No, one of the things that I find really impressive
and kind of terrifying aboutfilms like these where they rely
so heavily on the music, like,um, ONCE...
Michael (04:24):
Oh, yeah, ONCE.
Tricia (04:25):
Where so much of the story is about the love of music
and is told through that andthat you have to, like, have
songs that not only help tellthe story on a new layer, all
right, but in addition to that,they have to be like, songs that
you're like,"oh yeah, that's agood song." That's a lot of
pressure.
Michael (04:43):
Yeah.
Tricia (04:44):
Right.
It's like a bridge between afilm and a musical in a way that
is just very hard to get right.
And uh, yeah, that soundsterrifying to even try to do.
And they did such an amazingjob.
Jonathan (04:57):
Identical too.
I mean, you might as well countit as a musical in the sense
that just like a musical, you doneed to have a catchy song that,
that, you know, still grabsthe–.
Tricia (05:06):
And the voice talent! Oh my God.
Yeah.
Michael (05:10):
Fantastic.
Jonathan (05:11):
Yeah.
Kiersey Clemons has a set ofpipes.
And actually, I have seen anumber of things for Nick
Offerman.
Um, I have, I've seen him begoofy.
Uh, but still you're, you'reright.
I'm the goofy dry, but I know heis an accomplished, uh,
craftsman.
Uh, he's got an entire show, uh,you know, where he, he, you
(05:31):
know, builds things with his ownhands.
Tricia (05:33):
If you look him up anywhere online, upon, like his
job titles, actor, whatever andthis and that.
And, but carpenter very, likethis is something that's very
important.
Jonathan (05:43):
Yeah.
Tricia (05:43):
He's a carpenter.
Jonathan (05:44):
Though he is also apparently an accomplished
musician because he was playingdrums and guitar.
Tricia (05:50):
And they did play live during takes like they did with
LES MISERABLES did live.
Michael (05:55):
Right.
Tricia (05:56):
Yeah.
So that kind of thing, uh, Ithink does make a difference on
what you see on screen whenthey're actually singing.
And then you wonder how didpeople like just lipstick.
That's kind of weird.
The thing that we would alwaysbeen done the other way.
Jonathan (06:10):
But yeah, it depends on what all is going on.
Cause I can only imagine ifyou're–.
Tricia (06:14):
There's a dance number.
It's probably–.
Jonathan (06:16):
Really difficult to keep, you know, your air.
Tricia (06:18):
Luckily no dance numbers.
Michael (06:20):
Your comment about, you know, music driving the story
and how terrifying that must bewith like a musical, people that
don't like musicals...
Like, one of the commoncomplaints I hear from people, I
talk to are like,"oh, I didn'tsee that cause it's a musical
and I hate musicals." And then Iask why.
And they say,"well, it's like,you know, there's a story and
then all of a sudden we gottastop and sing about a particular
(06:40):
moment for five minutes and Iwant to take a nap and then move
on." And I'm like,"oh, okay.
That's your opinion, but–."
Jonathan (06:49):
You could say you're watching the wrong musicals.
Michael (06:50):
Perhaps, but with this it was, it was interesting
because, I mean, I don't want torush right to the end, but this
whole movie builds up to a showand you watch that show almost
in real time.
I don't know if you'd call thatthe actual climax, but to me
that was the, the big moment tome as I was watching, I was
(07:11):
like, oh, are we going to justkinda like show the, the, the
highlights of the show?
Jonathan (07:16):
Them starting their show and then–.
Michael (07:18):
No, it's like the show, it's like, it's like the concert
is the payoff of the movie and,and there's so much about what
is going on with theminternally.
Um, and their relationship andtheir family and Frank Fisher
(07:39):
and his, uh, his store.
Uh, so much of that is themusic, you know, it's like that
the emotion is buried in thatmusic.
And this is how, I mean, it'slike a way of communicating.
Jonathan (07:53):
Yeah.
And that's actually what makesit so beautiful is even as
they're writing these, you know,I do especially like that as a,
uh, you know, a band, each ofthem kind of is writing their
own songs.
There's, there's not like, youknow, one person who's, who's
kind of taking the lead on thatand, and it, it shows that the
(08:13):
relationship that, you know, heand his daughter have where they
do these jam sessions wherethey, they just kind of, you
know, pull out a couple ofinstruments and play together
to, to really, you know, bond asa family.
Tricia (08:25):
Right, it is a special language that they have that jam
time is their, their time to beable to talk to each other,
artists to artists and, uh, orhuman being human being instead
of, uh, the father daughterrelationship, which then reminds
me of how I have been talkingabout this movie MOTHER earlier
where Albert Brooks at the endof the film is like,"we can talk
to each other like writers likeone bitter and, and, uh, uh,
(08:50):
oppressed in one..." And I don'tremember the line, but it's just
like really negative stuff.
But, but we can bond, right?
Yeah.
And his mother's like,"whateveryou need dear."
Michael (09:00):
Oh, oh, Debbie Reynolds.
Tricia (09:03):
But the fact that you can communicate on that line and
it gives you a special bondoutside of your connection, this
family.
Jonathan (09:09):
Yeah.
And I mean, you, you can seevery early on that, that he
knows that his daughter has anamazing amount of talent and
that, you know, he's, he'salways just been trying to show
her, uh, you know, let, let herbelieve in herself for the
talent that she's got.
Now, I know he's, he's got someselfish and nefarious purposes,
(09:31):
you know, of his own, uh, causehe just, he's not happy with
everything that's going on inhis life and he wants to start a
band like he originally hadwanted to do before he fell in
love and had a kid and had to,you know, own a shop.
And his mother started, youknow, going off the wall and
shoplifting and getting arrestedand his, his daughter's about to
(09:52):
go off to college.
Um, so he, you know, his, hislife is kind of falling apart
around him and so he's got thischild like glee, uh, to, to, to
bring this band to, to light.
Um, and he's literally doing,he's giving himself, all of
himself into this to have ithappen.
Um, but it is amazing how wellthe music really helps drive all
(10:16):
those emotional silence moments,um, when really keep the plot
moving.
The, the writing of the script.
Um, so it was, it was BrettHaley, uh, who is also the
director and, and Mark Bash.
And, uh, what's interesting is,uh, all, uh, four scripts that
Mark Bash has on IMDb were alsoco-written by Brett Haley.
(10:39):
So they obviously have found, uh, you know, this, this really
cohesive relationship betweenthe two of them where the,
they're either getting soundingboards or whatever, but, um, you
know, I mean, you look at, uh,what, what's going on for IMDb
with, with Brett and, uh,obviously Mark has really been
helping move that along for him.
Michael (10:57):
Well, and to add another layer onto that; I was
reading an interview with, um,with Keegan, how he has this
relationship already with Brettas well.
And so the background of wherethis all came from, that the,
the, the title song,"Hearts BeatLoud." That was a song that
(11:19):
Keegan had already written as asinger songwriter and uh, Brett
had heard it.
And, uh, out of that song iswhat, where this movie kind of
came from.
Tricia (11:33):
Oh, that's beautiful.
Jonathan (11:35):
That's beautiful.
[laughter].
Michael (11:35):
And, uh, and I think that's why I would assume that's
why the the movie is, is afterthat song rather than, you know,
you almost feel like, you know,the other song,"Everything Must
Go" is almost like, oh, wellthat would be a like an obvious
title for this.
Um, however, it's already amovie starting Will Ferrell,
(11:56):
which we should have on our listby the way.
Jonathan (11:58):
Oh.
Tricia (11:58):
Ooo!
Michael (11:58):
Um, it's a drama starring Will Ferrell.
Tricia (12:00):
Well then I'm very interested.
Michael (12:02):
But there are two songs , um, that I believe, I believe
these were the only two songsthat were written for the movie.
Uh, the song"Blink" and"Everything Must Go." Those two
songs were for the movie.
Everything else–.
Jonathan (12:14):
Already existed.
Tricia (12:14):
Listening to the radio, uh, like you do, in the car.
Uh, there are some songs thatare so good about giving you
like an instant visual of like,you see the whole story of what
the song is about and then lateryou find out that's not at all
what the everybody else– But Ionly know, no, that's what the
songs about in your head, thatyou have this whole story that
goes with it.
(12:35):
And that somebody listened to asong and was like, I have a
whole movie for this song.
That's pretty impressive andit's awesome.
Michael (12:42):
I wanted to talk a little bit about the, the very
first scene of the movie.
Uh, and I think I've done thisactually with the last two
podcasts unintentionally, but,um, I'm starting to figure out,
like, things that I really careabout in movies that I didn't
realize that matters so much tome.
And it's the hook.
It's the initial hook.
And for me with this movie, whatI loved so much about the first
(13:04):
60 seconds of this movie is itsets up so much.
Jonathan (13:09):
Oh.
[laughter].
Michael (13:10):
And it's so, it does it with humor, very dry,
fantastic–.
Jonathan (13:15):
Nick Offerman humor.
Michael (13:16):
But I love, he's, you know, he's got the headset on
and you just hear that, youknow, somebody's talking to him
and he's just like, whatever.
You just lit up a cigarette,takes the headphones off, and
he's like,"you can't smoke inhere." And at this point as a
viewer, it's like we don't know,is this his store?
Is he just an employee here?
So is he, you know, was he aboutto get in trouble?
(13:37):
And his response I think issomething to the effect of like
a buy something and I'll put itout.
Jonathan (13:41):
Yeah, exactly.
Michael (13:41):
The guy leaves and then comes back and says,"Hey, I just
bought what I would've boughthere on Amazon for much
cheaper." And I don't know if hehas any response, but he's just
like, yeah, whatever.
Tricia (13:52):
The response is he points to the head ones, like, I
can't hear you.
Michael (13:56):
That was it.
And that sets up this whole ideathat, oh, this little boutique,
I don't know that's not theright word, but this, this um,
you know, record shop, which arevery rare to come by.
Jonathan (14:10):
Yes, they are.
Michael (14:11):
He's in trouble.
Jonathan (14:12):
Yeah.
Michael (14:12):
That's what it's setting up–.
Jonathan (14:13):
He was his only customer and yeah...
Michael (14:16):
And that 60 seconds.
Jonathan (14:18):
Yep.
Michael (14:18):
You know, and I was like, well, first of all funny
and the store is in trouble, Ican see this.
Is he the owner yet?
I don't know, but I'll find out.
I'm I, that was the hook for me.
Jonathan (14:28):
It is a very convenient, I would say that
actually the, our, our lastthree technically I first three,
um, podcasts have all had a, youknow, a very solid, uh...
Michael (14:39):
Hook.
Jonathan (14:40):
Hook right off the bat.
We, we tend to be, you know,film lovers, we're not film
critics per se.
I would say we're more reviewers, uh, than else.
Michael (14:52):
Well, and nowadays–.
Tricia (14:54):
Nerds.
Michael (14:55):
Neeeeerds...
Jonathan (14:55):
Nerds!
Michael (14:56):
They always say when you're pitching a story, that,
you know, like the 30-secondpitch and you got to grab their
attention beyond just as ascreenwriter cause as an average
moviegoer you don't think aboutthat.
If you've bought a ticket for amovie and you go see it,
you're–.
Jonathan (15:13):
You've already got that person.
Michael (15:13):
Exactly, you're going to stay unless it's that
terrible apparently.
And then you walk out, whichI've only done once.
Tricia (15:20):
Me too!
Michael (15:21):
Yeah.
Well I want to know what movie,but uh, but in a streaming
world, now in a streaming world,I feel the viewer is actually
much more conscious of that.
Jonathan (15:32):
Oh yeah, and in control.
Michael (15:33):
Yeah, they go, you know, all right.
You know, whatever their timelimit is, 30 seconds, a minute,
five minutes.
Give me a reason to continuewatching.
Jonathan (15:41):
Yeah.
Yeah.
If you're not butt in the seat,it's a, it's a completely
different.
Tricia (15:45):
And that's interesting because you look at all the
shows, they're out therestreaming and they'd have like a
very slow first season whereyou're like, how did this even
get past this point?
Like I know that you had said aBREAKING BAD was one of those
kinds of shows.
Jonathan (15:59):
Season one was very difficult to get into and
through, but as soon as you werethrough season one, um, strap
in, because you're in for aride.
Michael (16:10):
Like GAME OF THRONES for me.
Jonathan (16:11):
Yeah.
Tricia (16:11):
Not the film...
Let's not deviate from the filmwe're talking about, but yeah–.
Michael (16:16):
No, I, I'm sorry.
I think HEARTS BEAT LOUD is alot like GAME OF THRONES.
[laughter]
Tricia (16:22):
There is all that violence...
Michael (16:25):
All the dragons! [laughter]
Jonathan (16:26):
New York dragons.
Tricia (16:33):
True.
Jonathan (16:33):
We're talking primarily about film, but when
it does come to like thesestreaming shows specifically,
like almost every show has suchan immense cliffhanger at the
end of the episode, just tocause you to need to click next,
rather than be like, okay, I canwait another couple of days to
(16:55):
see the next episode.
Tricia (16:56):
I think a testament to how brilliantly that can be done
is, um, what's the British, uh,television show that–.
Michael (17:03):
DOWNTON ABBEY?
Tricia (17:04):
Yes.
Jonathan (17:04):
Oh dear.
Michael (17:05):
Wow.
She, all she had to say wasBritish television show–.
Jonathan (17:10):
Tea and crumpets, DOWNTON ABBEY!
Tricia (17:10):
Guys, they make other television shows.
Pigeonholed them in–.
Jonathan (17:14):
All into DOWNTON ABBEY?
Tricia (17:15):
Yeah.
Jonathan (17:15):
I could've said SHERLOCK, but–.
Tricia (17:17):
You could have.
You could have said–.
Jonathan (17:19):
Or DOCTOR WHO, yeah...
Tricia (17:20):
But you knew instinctively how do you make a
giant cliffhanger, intense dramaout of like biscuits and do it.
And you're like, damn, I need tosee this next episode because
what if the dinner party doesn'tgo right?
[laughter]
Michael (17:36):
As far as music goes, I got the soundtrack and I'm, I
listened to it and I love thescore bits other than the actual
songs.
Um, and I love how they're, theycompliment one another.
They're all part of like thesame family if you will.
And so you could hear a clip, Ifeel of the score and go, oh
that sounds a lot like this songfrom the movie.
(17:59):
And...
Anyway, so I loved that.
Jonathan (18:03):
Is that specifically the chord progression or is it
snippets where they just arepulling snippets out of
something, like, if you thinkabout STAR WARS, and I know what
were surprised that it took usthree podcasts to start getting
into like STAR WARS and GAME OFTHRONES apparently, um, but uh–
Tricia (18:19):
John Williams, in general,
Jonathan (18:21):
John Williams in general.
But again, you look at even justthe more recent films and it's
got it's own music because it'sgot the Ray theme and you know,
the Finn theme.
But periodically they'll throwin like the Leia theme or the
Luke theme where the Hantheme...
You you hear it, and immediatelythere's that sense of warmth
almost to it because you, yourecognize that theme.
(18:43):
Even, even, even if they justput that like just the three
chords in there, you know,immediately what it's trying to
convey out of it.
Whether it's the chordprogression or there's just a
snippet of HEARTS BEAT LOUD thatis being brought into another
song.
You know, it can bring up thatresponse from you.
Tricia (19:00):
That was a question, right?
You were asking...
Jonathan (19:02):
Yes.
Tricia (19:04):
Michael?
Jonathan (19:04):
Do you know?
Michael (19:05):
Yes or sure.
Jonathan (19:07):
Sure.
Positively, maybe.
Tricia (19:12):
Same thing, same thing.
When we watched MARY POPPINSRETURNS, they did the score,
they did such a great job ofputting the original in it and
so many places that you've gotthat,"Oh!"
Jonathan (19:23):
Yup.
Tricia (19:24):
So yeah, no, now I want to listen to the score of the
film.
Jonathan (19:28):
Yeah!
Michael (19:28):
Yeah, it's great.
Jonathan (19:29):
Spotify that.
Michael (19:30):
How did you feel about when he took the song and
uploaded it to Spotify withouttalking to her?
Did you feel that that was likea betrayal in any sense?
Jonathan (19:43):
I guess you could say that given that it was her
intellectual property, uh, to adegree that, I mean that was her
poem that she wrote into athing, but uh...
Michael (19:56):
But they did create it together.
I mean, he was a part of thatprocess.
Jonathan (19:59):
He was, he was a full part of it.
It was a jam session.
And, and I think he was so proudof it.
And like I said, I mean to adegree, uh, up until pretty much
the very end of the film, hemakes his intentions very clear
that he's, he, there is a lot ofgreediness to, you know, a self
interest in, in his actions.
(20:20):
Uh, he is trying to reconnectto, you know, his happiness
because he's not happy right nowand, and it's, it's incredibly
sad to watch this entire filmwhere he, he's chasing a dream
that he can't, he can'tphysically cannot chase that
(20:41):
dream anymore is there's way toomany people who depend on him.
He realizes he's being selfishwith it, but–.
Michael (20:50):
And financially, like the investment he makes in all
this recording stuff that hecan't afford.
Jonathan (20:55):
No, exactly.
He's being very selfish.
Tricia (20:57):
One of the things I love about the, uh, the arc of the
film is she's the grownup, he'sthe kid.
From the beginning.
And then that climax, you talkabout the concert in the store,
basically the very little, uh,show in the store.
Uh, at the very end of it, she'sthe kid and he has to be the
adult.
And if you noticed in thatmoment, like is he going to step
(21:18):
up to the bat?
The moment she becomes a kid, ishe going to be the adult?
And he, he is in that moment andit's, it's beautiful.
I mean, to me that's, that's theclimax is when he has to be an
adult.
In the entire film he's been thekid, she spend the adult in
here's– And he was just waitingfor her to be, I think become a
kid again and then he would bethe adult.
But he didn't wanna.
Jonathan (21:39):
See, I actually, I don't see anything about him
wanting that.
I just see him realizing in thatmoment that he can't continue to
be selfish.
Tricia (21:50):
Or the kid in the relationship.
She was the responsible one andhe was the child.
Jonathan (21:54):
Uh, we're going to take a few moments here to fill
our glasses, but uh, get readyto Imbibe more after this.
Michael (21:59):
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Jonathan (22:30):
You're listening to Imbibe Cinema.
I'm Jonathan C.
Legat and uh, I am here onceagain with...
Michael (22:35):
Michael Noens...
Tricia (22:37):
...and Tricia Legat.
Jonathan (22:38):
And we have been discussing, uh, the independent
film HEARTS BEAT LOUD.
Uh, do you like this episode?
Please subscribe or follow us onall your favorite podcast
providers to get the newepisodes as soon as they become
available.
Write and leave us a review tohelp us show the arc–.
Michael (22:57):
Take that one again?
Jonathan (22:58):
Yeah.
I'm gonna...
Five, seven, nine...
Rate and leave us a review tohelp, uh, our show reach, uh,
all of your friends, uh, or yourenemies.
Uh, you can also follow ImbibeCinema on Facebook and the
Twitters.
Uh, you know, so we, we weretalking primarily about the
score and the music and, uh,story and then I know while I
was filling up my glass it didsound like we had a couple of
(23:21):
story ideas that we reallywanted to get back to.
Um, so, uh, let's hit thatbefore we get into the cast and
crew'cause I think it'll move–.
Tricia (23:29):
So, quick recap of what we were talking about when we
weren't recording–.
Jonathan (23:32):
Last time on Imbibe Cinema...
Michael (23:34):
Or during the break...
[laughter]
Tricia (23:38):
We were talking about how, you know, there are a lot
of, uh, stories where, uh, youhave a going off to college or
an, uh, a parent-childrelationship that's older where
you show a sequence offlashbacks where you see them
having these bonding moments asthe child is little and getting
(23:58):
older to where they are now.
And this film does not have thatand it did not need that at all.
In fact, there was so little, Imean, first of all, their
chemistry, their bond on screen,uh, the father-daughter
connection is beautiful.
It's so fascinating to watch.
Jonathan (24:16):
Natural.
Tricia (24:16):
Really...
Yeah.
It brings you in and you werejust hooked.
Now, the history of their familyand where Mom is is not stated
right away.
We talk about how it's like,wow...
How long was it in the filmwhere we still didn't know what
happened?
Like did she leave, did she die?
What happened to Mom?
We don't talk about it.
And as a viewer you're justtrying to figure like what,
(24:38):
what's going on?
And they let it, how it is like30 minutes in, how long before
we figured it out.
Michael (24:44):
I don't remember.
It's–
Jonathan (24:46):
Probably even longer than that.
Michael (24:46):
Yeah, it's well into the movie.
And then earlier when I wastalking about how they convey so
much without words, what I loveis this, the scene where he's
walking along the street and hewalks up alongside this, this
white bicycle and he looks down.
(25:07):
Then we see–.
Jonathan (25:09):
Her name.
Michael (25:09):
Danielle–
Jonathan (25:10):
And a date.
Michael (25:10):
–Fisher and a date and you go, oh, and, and then he
pulls, he's got like the, Ithink...
Jonathan (25:17):
His notebook.
Michael (25:18):
In his pants and he pulls that out and then sits
down on the curb and it's justlike, I'm just, you know, I'm
going to sit here, you know, gothrough some music and sit here
with my wife.
It's beautiful and sad at thesame time.
Tricia (25:31):
Heartbreaking.
Jonathan (25:33):
Specifically, you know, what we were discussing
about, they don't need to show,uh, their relationship.
They don't need to showflashbacks.
So many times in films I think,I think most people who are
watching films are just smarterthan needing to be spoon fed all
(25:54):
of the information.
Like we, we, we like to solve alittle bit of a puzzle or, or,
or, or see a glimpse ofsomething and go,"oh my gosh,"
that's what this has alwaysbeen.
I think that, that a lot offilmmakers, you know, and I'm
very happy that Brett, uh,managed to pull this off, is
he's not spoonfeeding us all ofthis exposition.
(26:15):
He's letting it come outnaturally as, as the film
progresses and letting us, youknow, kind of share these
moments with these people aswe're also understanding and
realizing things.
That's nice.
Michael (26:27):
Yeah.
And it's that constantlythroughout the film questioning
whether or not you missedsomething, um, because they,
they refer to something that youdon't know and you're like, wait
a minute, what?
Did I miss something?
And, and no, no.
You're going to find out aboutit.
And that curiosity is what keepsyou engaged.
Tricia (26:45):
In the approach to the Meet/Cute.
Um, one of the, one of the great, uh, uh, moments in the film
that I, uh, I really appreciatedwas when Clemons goes to the art
gallery or whatnot.
She's just walking around andSam and Rose meet.
There's just this like kind ofsmile exchange and then she just
(27:05):
starts laughing and that's,that's it.
This is adorable reaction.
And I just thought of likeAudrey Hepburn and I don't know
why, but that reaction that shehas where she just giggles.
It just struck me as somethingthat's very Audrey Hepburn and I
was like, Oh, I love thischaracter even more now.
Jonathan (27:23):
Oh, I find it funny that, uh, you know, throughout
all these items that we've kindof been discussing, we, we
haven't even hit on, um, BlytheDanner or Tony Collette...
Tricia (27:33):
Or Ted Danson!
Michael (27:34):
Or Ted Danson!
Jonathan (27:35):
Yeah! We, we like three, three, three key
characters to this.
Tricia (27:39):
Can we have a Ted Talk, please?
Jonathan (27:39):
A Ted Danson"Ted Talk?" I'd be perfectly fine
with that.
Um, yeah, we've got threeabsolutely amazing actors, um,
who, who, who while they're insupporting-esque roles are...
Bring so much to this story and,and everything that's going on.
Uh, Blythe of course being, uh,uh, Marianna Fisher, uh, which
(28:01):
is Frank's mom.
Uh, the one who's suffering fromsome sort of dementia or, um,
Alzheimer's, uh, and is, youknow, starting to make his life
a little bit more difficult.
Uh, the fact that, you know,he's got a post bail and doesn't
have the money for that.
Um, you know, he's trying todecide whether or not he needs
to be putting her into a home,but he knows he can't do that to
(28:22):
her.
Toni Collette playing thelandlord.
Um, and, and what an interesting, uh, character and character
arc, uh, Toni and, and NickOfferman have together because
there's this whole like, arethey in love?
Aren't they in love?
(28:43):
Does she actually like him?
'Cause it looks like Nick likesher, but is so confused by the
whole relationship that even herealizes that this, this is, or
this isn't going anywhere.
I, I can't tell.
Tricia (28:54):
Well, and you know, we had that we had that opposite
reaction because when I first,when we were watching the movie
together and uh, we see theirfirst few interactions to me
it's like she's so waiting forhim to ask her out and he never
does.
And she's like, okay, nevermind.
Like when he's like, oh, whenyou have some time to talk about
a few things.
He's like–.
Jonathan (29:11):
I'm free now.
Tricia (29:13):
And she's like looking at him and you can see like this
anticipation like is he goingto?
No it's not, oh...
Jonathan (29:17):
"I'm not going to renew my lease." Oh! That's not
where I thought thisconversation was going to go.
Tricia (29:22):
Right.
Jonathan (29:23):
It is very interesting when they do go out on the date.
Michael (29:26):
Yeah.
The date that's not a date–.
Jonathan (29:29):
It's a date that's not a date'cause they started making
out and then she sees someyounger gentleman.
I don't even remember whatexactly was going on there.
Michael (29:40):
This is my friend...
Jonathan (29:41):
This is my friend, Frank.
Yeah.
It's like, oh we were literallyjust playing tonsil hockey and
now you're going to call me thefriend.
Ouch.
Tricia (29:48):
No, that was like one kiss and then she apologized for
it and he was like, no, that'sfine.
And they didn't go any furtherwith it.
So I, yeah, I think she waslooking for like, the thought
that this might go further.
I don't think he would ever goanywhere further.
Michael (30:04):
See, and I felt like, especially when he kinda like
loses it on her.
Jonathan (30:07):
Oh yeah.
Tricia (30:08):
Oh yeah.
Michael (30:09):
I feel that that was a, you know, obviously more to
your, your comment about howhe's the kid the entire time and
he has his very immaturereaction to all of it and ends
up like snapping at her, um...
Jonathan (30:28):
Going to her house and rang her doorbell in middle of
the night, drunk.
Tricia (30:33):
But then you think, you know, I wonder how, like, if, if
this is the, the, the characterbackstory that you go with,
like, here is this guy is a bigkid that, that's how we see him
and, uh, Offerman does thisamazing job of being like super
giddy, like"red wagon, Christmasmorning," super, super excited,
like little kid happy.
And then like, I, I'm like–.
Michael (30:54):
Trying to contain it.
Tricia (30:55):
Yeah.
Jonathan (30:55):
Yeah.
Tricia (30:55):
Yeah.
Hi, I'm, I'm cool.
I'm cool.
Cool, cool.
Uh, but–.
Michael (31:00):
"Cool.
Cool, cool, cool, cool."[laughter] STORKS.
Tricia (31:02):
But, uh, super excited! And uh, yeah.
So yeah, he has this likechildish glee that comes out in
this, and maybe it could stemfrom the fact that like, hey,
after you lose somebody, likethey lost, uh, his wife and her
mother.
Maybe people treat you with kidgloves for a very long time and
(31:22):
everybody, um, is walking oneggshells for so long that you
can act any way you want.
And so you can be an impetulantchild for as long as you want
because nobody,"oh, you're awidower, we don't want to,"you
know, so maybe that's a–.
Michael (31:35):
I never really thought about that.
That's a good point.
Jonathan (31:37):
Yeah.
I, uh, I also think that, uh, ifthere's one thing I'm gleaning
from, from, you know, just wherehe is as a person, uh, he
doesn't seem like the kind ofguy who is out dating after his
wife passed.
And so like, literally, he'sbeen off the market for the last
15 or something odd years.
(31:58):
I mean, it has to have beenabout 15 years in the sense that
they never taught their daughterhow to ride a bike.
She, she never learned how toride a bicycle, uh, because her,
her mother died obviously on abicycle.
But again, she's about to go offto college.
So she's at least 18 circa 19,or is she going into medical
(32:20):
school?
Tricia (32:21):
She's going for premed.
Jonathan (32:22):
She's going for premed.
Tricia (32:22):
I don't know...
College was so long ago.
I don't remember.
[laughter]
Jonathan (32:25):
I mean, could, could she have finished a four year
college and now she's going intomed.
Tricia (32:32):
I don't know.
Michael?
Michael (32:36):
Let's call Brett up.
Jonathan (32:37):
Hey Brett!
Michael (32:38):
Hey Brett!
Jonathan (32:38):
Brett!
Michael (32:39):
Answer us this!
Jonathan (32:39):
"Riddle me this..."
Tricia (32:39):
Oh, speaking of fun facts...
Fun Fact about this film.
Here's a fun film fact! TedDanson in this film is a
bartender.
So, uh, like a stretch reallyfor him as an actor.
Jonathan (32:53):
Well, he's a high bartender and Sam was never
high.
Tricia (32:57):
It's true.
Michael (32:58):
Well, I mean, define a high because you did fall off
the wagon at one point in thatshow.
Jonathan (33:03):
But that was a, it was that pain meds or was that a,
was that just alcohol?
Michael (33:07):
It was because Shelley Long left him.
Jonathan (33:10):
Oh.
Michael (33:10):
And then he went off the wagon.
Yeah, because I rememberimportant details from CHEERS...
[laughter]
Tricia (33:17):
So, um, bartending and uh, uh, Ted, so there is uh, his
character is evidently, um, wasan actor on Broadway where he
had one Broadway show and theBroadway show, uh, playbill is,
uh, hanging above the bar and itturns out that uh, the show that
is referenced, uh, Ted Dansonwas really in that show on
(33:40):
Broadway.
Oh yes.
And it was one before.
In 1973 in which he played abartender.
Jonathan (33:49):
Oh that's...
Michael (33:51):
Meta.
Jonathan (33:51):
Wow.
That's super meta.
Tricia (33:53):
It's like, you know, it almost seems like the world just
wants Ted Danson to tend bar.
Jonathan (33:59):
I'd, I'd want him to tend my bar.
Tricia (34:02):
That sounds...
Jonathan (34:04):
That did really sound a little like a little euphemism
there, but no, like, like Iwould, I would love to sidle up
to like a bar and like just talkto Ted Danson'cause he seems
like the kind of guy who wouldbe like the bartender of your,
of your dreams, the kind of guywho'd be listening, you know,
aptly you and, and distillingthat beautiful advice while,
(34:24):
like, you know, popping anotherbeer and, you know, pouring
another shot.
Tricia (34:27):
Take your time is what he says in this film.
"Take your time, enjoy it." Andthen he just does it shot real
quick while saying that.
Jonathan (34:34):
Shouldn't we have shot glasses for this?
No.
Michael (34:35):
See and that's the thing is I, we don't really ever
find out what that drink is.
Jonathan (34:41):
No.
Michael (34:42):
And I'm really curious–.
Jonathan (34:43):
It's the good stuff.
Michael (34:44):
Because part of me–.
Tricia (34:46):
It was Tequila, I thought...
Michael (34:46):
Okay, well'cause part of me was like–.
Jonathan (34:48):
It really does look like Tequila.
Michael (34:48):
Is it just water?
Jonathan (34:50):
The acting obviously was, was fantastic.
It's very, uh, robust, uh, castof characters.
Michael (34:58):
Well, and I, I love Toni Collette and absolutely
everything.
I think she's just anincredible, incredible actor.
Yeah.
I know one day I'm going to haveto watch HEREDITARY and I'm
terrified because I don't likescary movies.
Tricia (35:15):
But you'll do it for her?
Michael (35:15):
I would, I would do that for her because I'm sure,
I'm sure she's fricking amazingin it.
Tricia (35:22):
And she'll get you through the film.
Michael (35:24):
She'll get me through the film and then I will never
sleep again.
Jonathan (35:27):
Like we, we, we might have to reach like a, at this
point I'm, I'm almost willing to, uh, to, to throw this out
there as a, as a possibility.
If we reach a number offollowers or a certain number of
likes we will do a scary movie.
Michael (35:45):
Sure! Wait, we'll wait.
Here's the question, do we getto pick the scary movie?
Tricia (35:49):
Yeah.
Jonathan (35:50):
Uh, Ooh.
Or, uh, we, we could possible–.
Tricia (35:53):
'Cause there are a lot of movies out there.
Jonathan (35:54):
We could make an a fan– We could make an Imbibe fan
thing.
Michael (35:58):
Yeah, right.
But they might be total dicksand make us watch, you know, a
really terrifying movie'cause Iwill watch that movie with my
eyes closed.
Tricia (36:07):
Because we're terrible at that.
Jonathan (36:10):
Tricia is terrified by terror.
Tricia (36:11):
No.
One year I saw, um, it was aBLAIR WITCH PROJECT, I saw FINAL
DESTINATION, and I saw a DEEPBLUE SEA and FINAL DESTINATION
was last on this, appropriately.
So, uh, and yeah, so I saw BLAIRWITCH and I was like, I've never
going camping.
This isn't scary.
I'm not going to go into thewoods.
(36:32):
I need plumbing.
And–.
Jonathan (36:35):
Her idea of camping is a Motel 6.
Tricia (36:37):
Yeah.
Michael (36:38):
In her defense, that is camping.
[laughter].
Tricia (36:43):
And then the second, uh, with DEEP BLUE SEA, and I'm
like, I'm never going to bearound intelligent sharks.
Jonathan (36:47):
Or the water.
[laughter]
Tricia (36:50):
This is silly.
It was, it was very, very welldone.
That one is very funny.
Jonathan (36:57):
Oh yeah!
Tricia (36:57):
Um, but uh, moving past that, I, uh, I was like, yeah,
I'm not scared of that.
And then FINAL DESTINATION, Iwas like, appliances that kill?
Appliances are everywhere.
[laughter] Oh, God! I'm afraidof my blender!
Jonathan (37:09):
See I, I'm, I'm not, I'm not one who's squeamish
about terror, but I do, I doknow that both of you are not
necessarily huge fans.
So I do think if we, if we couldmake this at like a GoFundMe or
a crowdsourcing thing where weget so many, yeah, a game.
If we get so many followers, wewill, uh, willing please subject
ourselves to a horror film.
(37:30):
[laughter] I will state the,this, this particular drink is
very good.
Tricia (37:34):
Yes, now, the, um, the acting, we were getting back to
like how we have these reallyimpressive, um,
Jonathan (37:39):
Performances.
Tricia (37:39):
Yeah, heavy hitters in the film, like, Blythe Danner
and Ted Danson and Toni Colletteand, uh, Nick Offerman, but the
young talent, uh, Sasha Lane andum,
Jonathan (37:50):
Kiersey Clemons.
Tricia (37:51):
Yes.
Oh my God!
Jonathan (37:53):
Yeah.
Tricia (37:54):
So good.
Jonathan (37:55):
Yeah.
Tricia (37:55):
And the fact that like, you can instantly look at them
and you're like,"oh my God, haveI seen you in something?
They just seems so familiar,you–.
Jonathan (38:01):
Especially Sasha.
Tricia (38:04):
–and there were there are points, uh, uh, that just
made you feel like you knew themand they're such natural
performances, such beautifulperformances, uh, really, really
amazing casting.
Jonathan (38:16):
Yeah.
Tricia (38:16):
Just very, very well done.
And I like the parallel, youknow, you have somebody who is
just starting off in life anduh, you know, they have this
romance that goes on before theygo–.
Jonathan (38:30):
College is just starting off in life.
Tricia (38:33):
Okay.
Jonathan (38:34):
That's...
Tricia (38:35):
Jon's having his own moment.
Uh, and then you have somebodywho's, uh, their kids leaving
the nest.
And so it's a new stage in lifefor them and it's redefining who
they are and their, uh, kind ofrelationship with, uh, this
woman in her, his life and howthat, you know, goes on.
It, it just, both of them are ata point where they're finding
(38:57):
themselves again.
Right?
She's discovering who she isbecause she's going away to
college.
He's discovering who he iswithout being a dad.
And, uh, it being his primarything like, and being a record
store owner, he has to reinventhimself and she's reinventing
herself and yet to be there foreach other in that moment.
And that's one of the reasonsthe film is so touching is
(39:19):
because it's something thateverybody can kind of relate to.
Jonathan (39:21):
Yeah, yeah.
No, I was specifically justcommenting on the idea of just
starting off in life, beingcollege as opposed to just
starting off in life.
I mean it's just starting off inadulting.
Definitely.
Michael (39:37):
So you're like a 20 year old adult now cause I'm
like right around there.
Jonathan (39:43):
Yeah.
Michael (39:43):
I'm an, I'm a 16 year old right now.
I'm a 16 year old adult.
Jonathan (39:47):
If you just started off in life–
Michael (39:49):
If you're born at 18.
Jonathan (39:50):
Exactly.
But it was exactly what I'm likejust starting off in life?
Tricia (39:54):
I'm just going to go back in my day...
Jonathan (39:56):
[Old Man Voice]"Back in my day."
Michael (40:00):
[Old Man Voice]"Back in my day."
Jonathan (40:00):
[laughter] And now we're back into the 90 year old
Hamlet.
Um...
[laughter]
Michael (40:04):
Yorick![laughter]
Tricia (40:04):
"I can't see a thing! Yorick, where are you?" So we're
just waiting for Shatner to doHamlet again and then they'll
come full circle.
Michael (40:14):
Yeah.
How old was he when he didHamlet?
Wait, wrong episode.
Nevermind.
Alright, so I'm going to read afew, um, fantastic, uh, rotten
reviews for this movie.
I will say it took a long timefor me to find rotten reviews
because this movie is actuallyvery well liked.
Jonathan (40:32):
Oh yeah, no, I was going to comment on–.
Michael (40:34):
By critics and average viewers.
Jonathan (40:36):
Yeah.
Comments on the fact that likethis had, uh, 11 nominations,
three of those were, wereactually wins.
Um, and of those independentnominations, uh, four of those
were like audience favorites.
Michael (40:51):
Right.
I'm not surprised at all.
Jonathan (40:52):
And then five of them were, you know, about the music.
So, but this is, this is–.
Tricia (40:58):
It hit on so many levels.
Talk about well-rounded, amazingperformances from everybody on
screen.
You know, a great story.
Uh, the fact that the music isjust perfectly interlaced in and
tells the story and it takes itto a new level.
It's just well done, beginningto end.
How can you not like it?
And that said, who didn't likethis movie?
Jonathan (41:17):
Yeah, bring it!
Michael (41:19):
All right.
Well, Daniel Barnes of theSacramento News and Review says,
"Offerman is likable as ever,but it's asking a lot for him to
carry a film, especially onewithout an ounce of urgency in
the narrative." Discuss.
Tricia (41:37):
You know, sometimes I think film critics who have to
watch movies for a living, um,have days where they just have a
rough day or an off day andcan't be like receptive to every
film.
And so, I give them a pass onoccasion in that way.
Michael (41:52):
So Tricia's general response to these people is,"I
give you a pass."
Tricia (41:57):
So, you had a bad day, obviously.
Michael (42:00):
[singing]"You had a bad day.
[inaudible]"
Jonathan (42:04):
"...bad day.
It didn't work out." Wow.
Wow.
No.
So I, again, because I've beenspending a lot of time on the
Netflix, the Hulu is in theindependent worlds.
I've been watching THE CHEF SHOW, um,
Michael (42:16):
So fun.
Jonathan (42:17):
Yeah.
Jon Favreau, uh, you know, andone of the episodes is
specifically around, um, this,uh, um, this food critic.
Uh, and, and he's recentlypassed away.
And so there's a couple of, uh,of chefs who are coming to like,
essentially pay homage to them.
The thing that I foundfascinating about this
(42:37):
particular episode and why, uh,you know, these, so many people
are ready to pay homage to this,this particular gentleman is, if
he would go to a restaurant andhe didn't like it, he didn't
critique it.
His, what he felt his job was asa critic was not to just crap
on, on people's lifeblood.
(43:00):
The thing that people are doing,you know, to be out of a
passion.
OK.
Like, like an independent filmor, or, or a dish that they have
spent, you know, their, their,their lifeblood, trying to
perfect.
What he would do is he wouldspecifically go to restaurants
that he felt were not gettingthe attention that they
(43:20):
deserved.
And if he found a restaurantthat he found, uh, to be
magnificent, he would write acritique to essentially bring
people to that restaurant–.
Tricia (43:31):
Oh, we need more people like that in this world.
Jonathan (43:31):
Exactly! I feel–.
Tricia (43:34):
There's so much negative trolling in the world.
Why can't you talk about–.
Jonathan (43:37):
Hot damnit, I think that's Imbibe Cinema.
Michael (43:39):
It is.
If there's a movie that wedon't, we don't care for even
just one of us, I feel if wedon't, we're not into it, we're
not gonna we're not gonna talkabout it.
Jonathan (43:48):
No.
Michael (43:48):
Because, in my opinion, it comes down to, you know, the
age old saying,"if he can't sayanything nice, just don't say
anything at all."
Tricia (43:55):
And that is how Mom raised us.
Thanks, Mom!
Jonathan (43:57):
Yup.
Tricia (43:58):
Let me drink over it.
Jonathan (44:00):
We, we do, but no, so that's, that's the thing is, is
while I, I do see what they'rediscussing about the idea that
there's not a whole lot ofurgency, but it's an independent
film dude.
I'm like backup, it doesn't haveto have–
Michael (44:17):
Does it have to have urgency?
Tricia (44:17):
No, no, no, yes, it does.
There's a timeline in whichshe's going away to school.
He's trying to keep her fromleaving.
He's trying to get her to join aband because this is his last
desperate attempt to keep hisbaby from leaving.
Jonathan (44:29):
And also to reconnect to the thing he loves most.
Tricia (44:32):
Right, exactly.
Jonathan (44:32):
Well, he loves most other than his child.
Tricia (44:34):
Yeah.
There's, there's, there's thatand, and the urgency of young
love of how intense it is, uh,and uh, this new relationship
and–.
Jonathan (44:44):
There's urgency to her relationship because it
potentially is ending as soon asshe goes to school.
Tricia (44:49):
There's the urgency.
Michael (44:50):
All right.
Chicago Reader again.
Jonathan (44:52):
What, what is up with Chicago Reader and hatin'?
Tricia (44:55):
They just want to be in the show.
Michael (44:59):
"I just want to be in the show!'.
Jon does it better.
Jonathan (45:00):
"I just want to be in the show!"
Michael (45:02):
"Writer/director Brett Haley coaxes a few week laughs
from the daddy-daughter rolereversal and stale mushy drama
from the cycling death of agirl's mother more than a decade
earlier."
Tricia (45:16):
Okay.
I really want to know who thisperson is, and what–.
Jonathan (45:18):
Is it the same person?
Michael (45:20):
No, different person.
Tricia (45:21):
I just wanted to know what they consider a good movie.
Jonathan (45:23):
I don't understand necessarily what is exactly, uh,
so upsetting to the ChicagoReader.
Uh, but obviously they, they,they hire a very specific group
of people.
Yes, we kind of previouslydiscussed there were no, there
was one guttural laugh, uh, thatwe had with specifically our,
around when, when they came upwith what the band name was,
(45:45):
which is,"Dad, we're not aband!""That's a good name."
There is a reason, um, that thiswas an audience award or
nominee.
Um, yeah.
Tricia (45:56):
It's different when you watch it by yourself, people.
Jonathan (45:58):
Yeah.
Michael (45:58):
Our final, um, our final one, saved the best for
last.
Um...
Jonathan (46:03):
Is this another financial, uh, newspaper?
Michael (46:06):
Well, this one is called–.
Tricia (46:07):
It's Horse and Hound.
[laughter].
Jonathan (46:08):
Of course it is.
Well, we're going to hit onevery episode.
Michael (46:13):
Until we hit horses.
Um, this is The Stranger fromSeattle, Washington.
Tricia (46:22):
It sounds very intense.
Michael (46:24):
All right, so I'm going to read, I'm going to read this.
Um, and it's gonna, it's gonnajust ooze professionalism.
So,
Tricia (46:34):
Ooh...
Michael (46:35):
"It's cute.
It's'quirky'(ugh) and it'sboring as hell with hollow
dialogue and a plot thatshuffles along like an old tired
dog."
Jonathan (46:51):
Yeah.
This is–.
Tricia (46:52):
It not clear– Go ahead.
Jonathan (46:52):
No, no, you– Ladies first...
Tricia (46:52):
It seems like this person who's dying to do reviews
in emojis.
Jonathan (47:02):
Smiley face poop emoji![laughter] Um, so, so no,
but okay, so this is, andgranted, you know, we're, we're
doing a podcast so nobody reallygets to see us in person, but,
but at the same time, and again,this is–.
Tricia (47:19):
You're welcome.
Jonathan (47:19):
Ouch.
Um, this is again, one of thosethings about like our current
socio, whatever you want to callit, but I wonder if this person
would, in an audience, say thatout loud.
Tricia (47:37):
Maybe just don't say anything at all?
Jonathan (47:38):
Yeah, yeah, yeah.
In fact, I'm not going to lie.
When, when Imbibe gets our firsttroll, I will officially believe
that we have made it.
[laughter]
Michael (47:47):
"It's going to be legend..."
Tricia (47:48):
"Wait for it..."
Jonathan (47:49):
"I hope you're not lactose intolerant because the
next word is dairy!"
Tricia (47:54):
That's a good show.
Jonathan (47:55):
Yeah, it was.
Once again, ladies and gentlemen, we greatly appreciate all of
our listeners and especially thepatience, uh, for our tangents
and our digressions, uh, forchoosing this podcast and, uh,
you know, especially forsupporting independent films.
Keep an ear out for our nextepisode when we'll be discussing
(48:17):
Steven Knight's LOCKE, which isstarring Tom Hardy, uh, to check
out our show notes or to justdrop us a note.
Uh, please visit us atimbibecinema.com.
Once again, I am Jonathan C.
Legat and thanks again forimbibing with us.
Cheers.
[clinking glasses]
BandCalledCatch (48:46):
♫My mamma didn't let them make change on
me.
Put change on me.
Yeah, whoa is me, woe is me.
This is the product of A.D.D.
Apothecary, not for me, I dreamnaturally.
Yeah, woe is me.
Woe is me.
They have seen what I've seen.
♫
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