April 2, 2025 • 69 mins
Christopher Nolan's space epic Interstellar reveals itself as a profound meditation on parenthood when viewed through the lens of fatherhood, with the film's spectacular visuals and complex time concepts serving as backdrop to a deeply human story about legacy and love.
• Pat Junior and Lxnny return to discuss their shared love for Interstellar from new perspectives
• Seeing the film as a father changes everything – it's less about space and more about affecting your child's future
• "Once you're a parent, you're the ghost of your children's future" emerges as a central theme
• Christopher Nolan as a "visual poet" who carefully crafts his surrealistic imagery
• Hans Zimmer's score creates perfect emotional resonance through percussion and vintage organ sounds
• The theory of relativity and time as major fascinations for both the filmmakers and guests
• Tom versus Murph represent different ways of dealing with the past – being consumed by dust versus learning from it
• Growth is not linear – in filmmaking, parenting, or creative pursuits
• What we leave behind when we're "dust" matters more than global recognition
Pat Junior's music
Lxnny's music
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Taylor D. Adams (00:00):
We're just here to be memories for our kids.
I think I now understand whatyou meant.
Lxnny (00:16):
Once you're a parent you're the ghost of your
children's future.
Pat Junior (00:20):
Nolan is a visual poet, the way he portrays or
paints his surrealness and justkind of gently guides you
through his poetry line by line.
Lxnny (00:34):
I thought about it as like a space movie, but now I'm
like this is a movie about likea single dad just trying to like
affect this kid's future, Noteven really thinking about
anybody else's feelings.
Literally just like their momis gone.
I have to make sure that evenif I'm gone, like they're going
to be good.
Taylor D. Adams (00:51):
Hi there and welcome to season five of the
Film Nuts podcast.
I'm your host, taylor D Adams,a filmmaker and storyteller who
loves to talk to folks about whywe love what we watch.
I'm so excited for y'all tojoin us this season, as we'll be
doing some new, fun anddifferent things to keep our
fifth year fresh and interesting.
(01:11):
I am someone who is constantlylooking for different ways to do
things.
Whenever I feel stuck orstagnant in my work or life, I
try to approach things fromanother angle.
I think it's a great way togrow, to flex a creative muscle
I was neglecting, or to practicegratitude for what I have.
(01:33):
It's also a way to betterexpress myself, either through
art or through conversation.
When we take the road lesstraveled, the destination might
surprise us.
So what is a different way totell a story about being a
father?
Christopher Nolan's space epicInterstellar is an expansive
(01:53):
celestial saga, grown from theseed, of being a parent.
Within the fantastic visuals, asoaring score and complex
space-time formula stuff,there's a heart to this movie
filled with love.
For many reasons, it is afavorite film of both of my
guests today and if you've beenwith us for a while now, you'll
(02:14):
recognize our friends, pat Jrand Lenny, both individual
hip-hop artists who I havepreviously had on our show.
Both of them have unique andcomplimentary things they
appreciate about Interstellar,including the music of Hans
Zimmer, the film's illustrationof time and how nuts space can
be.
We chat about all of this, pluswhat will happen when we all
(02:36):
eventually turn to dust.
So our countdown starts now.
Here's Pat Jr and Lenny talkingabout Interstellar on the film.
Nuts podcast feels good to sayagain, it's great to have both
you guys, uh, back on the show.
I've had individual episodeswith each of you.
(02:57):
What was the episode we did?
I can't remember.
We did stranger than fiction,did we?
Yeah, yeah yeah, yeah.
Back in 2020.
And then, lenny, we had you onfor the Bear, yeah, not that
long ago.
Love that show.
Lxnny (03:11):
Shout out to cousin.
Taylor D. Adams (03:12):
So what's been new with?
Lxnny (03:13):
you guys since 2020?
Taylor D. Adams (03:16):
And I don't know since last year, two years
ago, since 2020?
Pat Junior (03:19):
Yeah, tell me about something new you guys got going
on.
I just started getting into I'mslowly tiptoeing into street
wear and fashion aestheticFascinating.
I started working with anembroidery shop 919 Embroidery.
They've been around for yearsand so I'm working with them to
(03:48):
help kind of build the businessmore.
Yeah, these guys are are verymuch so, in my opinion, like
best kept embroidery secret innorth carolina.
Okay, um, they are truly likemaster craftsmen with you know
what they do embroidery wise anddigitizing and what they can
actually embroider on.
(04:10):
Um, hence, you know, they'vedone my hat, you know, yeah,
yeah, man, um, I owe you a hattoo.
That's coming soon.
That's actually being worked on, but yeah, um, but yeah, so
I've been working with them andand just getting into more like
fashion, aesthetic, streetwear.
It's kind of like what I'mcreeping, kind of tiptoeing in
slowly, but yeah, that outsideof music, that's kind of been.
(04:35):
That is a thing that I'm reallyinto low key, but now I'm going
to be more forthcoming with it,if you will.
Awesome, yeah.
Taylor D. Adams (04:45):
Lonnie, what's good with you yeah.
Lxnny (04:46):
So, uh, for me, man, I feel like, uh, I've been like
secretly, just like working onmusic, if you will, for a while,
to where, um, now I'm just likegetting geared and prepared to
come out with a new project, um,outside of the one I just
released.
It's just like some things thatI've been constantly working on
and stuff that I've had, um, butright now I'm just trying to
(05:06):
get like my foundation right, ifyou will, um, really just
focused on like making sure I'msetting a good foundation to
where I want, you know, thingsto go for my future, if you will
like trying to create like arealistic stream of income from
the art, um, because I feel likethe music that I have in the
tuck is just like some of thebest stuff that I made to date.
(05:27):
I feel like I'm in like a reallygreat flow, creatively,
confidently as well, to whereit's like I'm just ready to
showcase that and kind of getout of my little cave, if you
will, and just like kind ofstretch and just actually like
be amongst the people and stopjust like wiltering away.
Just actually like be amongstthe people and stop just like
wiltering away, if you will.
(05:47):
So, yeah, and that's likecreating a world, you know,
trying to step into actuallyevents to have like discussion
around my music so people cankind of get to know, like my
thought process, getting backinto you know the clothes,
getting some good designs andcreating a foundation in that
space to allow for, you know,the possibility to where
(06:07):
somebody you know one day canwalk down the street and they
can be wearing, you know, a fullfit of all my stuff, bumping my
stuff in the car and it's likeI've created a whole lifestyle.
So, yeah, that's where myhead's at right now.
That's very cool.
This is this is good.
Taylor D. Adams (06:23):
I like this a lot, talking about this, similar
things, and I think it's reallygreat.
Lenny, you're like one of thefirst people to reach back out
to me after they've been a guestand have specifically said I
would love to come back and talkabout X.
Lxnny (06:36):
Oh, for real Okay.
Pat Junior (06:38):
Not like, hey, I'd love to come back.
Taylor D. Adams (06:40):
It's just like no, I just Interstellar back.
Yeah, it's just like no, I Ijust interstellar.
I want to talk aboutinterstellar.
Pat Junior (06:47):
Yeah, and I immediately thought of pac,
because I know it's one of pat'sfavorite movies, and so I was
like this might be a really coolum episode to give both you
guys talking about this kind ofseminal christopher nolan work,
yeah, um, so lenny for you what?
Taylor D. Adams (07:02):
why did you reach back out to me about
Interstellar?
Lxnny (07:04):
Yeah, so I'm newly a father, so I just I got a 10
month old.
Pat Junior (07:09):
Thank you, appreciate it.
Lxnny (07:10):
Yeah, thank you.
Thank you very much.
So I had like again when Irandomly watched it, I watched
it from now that lens as a dadand it.
It brought like a just adifferent perspective to the
entire movie and everything thatkind of like tugged at the
heartstrings even more.
Um, and then outside of that,like really just from a
(07:31):
strategic thing for you as well,like it was, uh, in the news,
you know, with the re-releaseand stuff like that and I was
like this might be somethinggood for him to be able to talk
about too.
So I was just thinking aboutfrom that aspect.
But you know I'm a big fan ofnolan, so anytime it's like his,
his movies are in conversationagain, it kind of just brings
the idea of like, hey, let me gowatch that for the 30th time.
Taylor D. Adams (07:51):
Yeah, just get back that feeling, yeah so what
about watching this movie nowthat you are a father?
What, what, what?
How did your view change?
Lxnny (08:00):
yeah, watching this movie because now, like I literally
look at it, I thought about itas like a space movie.
But now I'm like this is amovie about like a single dad
just trying to like trying toaffect his kid's future.
It's like he's not, like he'snot even really thinking about
anybody else's feelings.
It's literally just like theirmom is gone and like I have to
(08:21):
make sure that, even if I'm gone, like they're going to be good.
So watching it with that likeunderlying, you know, like note
to it if you will like, justchange the whole perspective and
like you see like the will andlike the grit that he has in it.
Taylor D. Adams (08:37):
So it's cool One for you, one for me, when
I'm up there in hyper sleep ortraveling near the speed of
light, or near a black hole.
Time's going to change.
For me, time's going to runmore slowly Now, when we get
(08:57):
back we're going to compare,time will run differently for us
.
Lxnny (09:03):
Yeah, maybe by the time I get back.
Taylor D. Adams (09:06):
We might even be the same age, pat.
What about you?
I mean, I'm aware that this isone of your favorite movies
since a couple years ago, butwhat is your reasoning behind
why you love this movie?
Pat Junior (09:17):
I think more so.
For me, it's the idea.
I'm just a huge fan of moviesthat deal with the theory of
relativity, Just time travel,and that just fascinates me.
You know, back to the Future,the Edge of Tomorrow, deja Vu.
I think Deja Vu is probablylike one of my top tier
(09:40):
favorites.
I never imagined Denzel beingin a time travel movie, which is
pretty cool, and just theapproach of it as far as the
actual time travel is a littledifferent.
It's kind of unexpected to adegree.
I also feel like Nolan.
Just he's one of my favoritewriters, one of my favorite
(10:02):
directors, and I think there'sthis stream across all of his
movies that deal with some ideaof the theory of relativity.
So, he seems to be veryfascinated with time and without
jumping too far ahead, I think,watching this movie my dad
(10:26):
wasn't in my life growing up.
You know what I mean and youknow I hope to be a father one
day, but I also it reminded meof my granddad, without jumping
too far ahead, thinking abouthim being he passed away some
years back.
Far ahead, thinking about himbeing he passed away some years
(10:49):
back, but him being the ghost ofmy future.
You know, um, as I continue togrow as a man, you know,
thinking back on just the thingshe taught me as a kid and
understanding them now as I getolder, why he was so hard on me,
why there were certain, youknow, nuggets of wisdom
instilled in me as a kid.
It's almost as if he's stillhere through me.
(11:11):
You know, especially I see thatin as I'm having these
conversations with guys that Imentor, either here or somewhere
else, them looking up to me aslike a big brother, you know,
and I don't even for me shoutout, shout out to those guys,
(11:31):
but I never approached arelationship.
I'm a big brother, dude, it'sjust.
My mom is always, and I thinkthat's just the nature of my
family, my mom and my uncles,them being so, their parents
raising them to be such ahead oftheir time like wisdom, wise.
(11:53):
That's just how I've been, youknow, grown into and I'm sharing
with these.
You know guys and I sound oldshit the things that I'm sharing
(12:14):
with these younger guys.
Just, you know about life.
You know about how men, inparticular.
You know how to express youremotions.
You know mature, wise.
You know maturely if you willhandle how to, how to handle
your business.
You know removing emotion fromfrom business, yeah, you know.
(12:36):
And so being able to teachyounger guys about how to
navigate especially thiscreative industry, it kind of
reminds me of my grandfather, mycurrent mentor.
Now I feel like I've alwaysbeen the guy who lends an ear,
gives wisdom.
But you are exactly where I waswhen I was that age and God
(12:58):
kind of nudging me to be likeyeah, this is your assignment,
bro.
Like you, he needs yourguidance.
(13:18):
You know he needs what you haveto offer.
So that's what you know.
I would say.
This film holds that specialplace in my heart, just off the
thought of parents or guardiansbeing the ghost of a child's
future.
Taylor D. Adams (13:39):
It's not a ghost, it's gravity.
Don't you get it yet?
Tars, I brought myself here.
We're here to communicate withthe three-dimensional world.
Lxnny (13:54):
We're the bridge.
I thought they chose me.
Taylor D. Adams (14:09):
They didn't choose me, they chose her.
For what, cooper?
To save the world.
Yeah, I think this film isreally interesting in the way
that it kind of does that.
There's this idea of you know,time not necessarily being like
(14:29):
a linear thing, like theexistence of people, the
existence of thoughts kind oflike, can all happen
simultaneously, depending on howthings are handed down like
that.
Yeah, um pat, do you rememberthat?
Do you remember the first timeyou saw this movie?
Pat Junior (14:44):
Yeah, yes, I do.
I was four years married.
It was me and my wife.
We went to go see the movie.
She knows I've always been abig Nolan fan.
Yeah, I remember seeing it.
I was just blown away.
I'm sorry I'm jumping ahead.
Taylor D. Adams (15:03):
Was that the question?
Was that the end of thequestion?
I mean you can answer.
I'm jumping ahead.
Was that the question?
Was that the end of thequestion?
I mean you can keep answering.
Theoretically, I'd be like doyou remember?
And you'd be like, yeah, yeah.
Pat Junior (15:14):
I mean, I was blown away.
I thought it was.
You know, I actually watched itagain last night just to be
Because I've seen it.
I think this is maybe my fourthor fifth time watching it.
I tend not to watch movies likethat multiple times you gotta
let it simmer, you gotta letthat.
I never like.
(15:34):
Is it because of its intense orthe length?
Just how intense.
it is okay.
You know I I'm not the one torewatch those kind of movies
over and over and over again.
It's an experience.
You got to watch it, you got tosit with it for a while.
You may watch it again, you maynot, maybe a year later or two,
(15:55):
or you may not, but a yearlater or two you see different
things, you learn differentthings, things.
But yeah, I just remember thefirst experience, uh experience
being very, um, just wow.
I mean that's the only way Ican really put it yeah, just wow
.
You know, uh, I feel like Nolan.
(16:18):
Nolan is a visual poet.
That's the best way that Icould, you know, describe him.
He's a visual poet.
He, he, obviously, he has anincredible imagination the way
he portrays or paints hissurrealness and and just kind of
(16:41):
gently guide you through hispoetry line by line.
You know, visually unpackingthings and like for me, as
someone who I read poetry, Ilove poetry, I love unpacking
poetry and deciphering.
(17:01):
You know poets, or whatevertheir work, I mean just as a
musician and aing.
You know poets, or whatevertheir work, I mean just as a
musician and a rapper, evensomeone who enjoys like music,
that's just without any lyrics.
You know, there's a visualconversation going on throughout
the whole movie.
Beyond the actual words, thereare callbacks, very subtle
(17:24):
callbacks.
There's a lot of Easter eggs,very intentional Easter eggs
that he plants throughout moviesthat are very subtle.
It's not forced, but if you payattention you'll see little
things throughout the movie.
Even when you look at Murph'sroom and the titles of the books
(17:44):
that are shown in certainscenes it's like, oh shoot, this
motherfucker really tapped in.
Like you know, literature-wise,and it also goes to show to me,
or also shows me, the reflectionyou know, or just something to
(18:05):
learn from as an artist, or thereflection of what it looks like
to be inspired by severaldifferent genres to create your
genre.
Yeah Right, like he I'm surethere are other directors and
writers or whatever that he'sinspired by, but you know, like
I can almost imagine he'sinspired by, you know, music.
(18:26):
He's inspired by literature,like obviously he is, because we
see certain titles in, you know, on that bookshelf or in, you
know, in the movie or what haveyou.
So I didn't catch a lot ofthose things.
When I first saw it, it wasdefinitely, uh, reminiscent of
uhyssey 2001.
Um, very reminiscent of that,because I've seen that movie
(18:48):
when I was, when I was younger.
So there's a lot of, there's alot of callbacks to that, to
that movie, which is in itself,it was obviously ahead of its
time, but I like that was.
But after I watched it my wifeknows when I'm in the car and I
(19:08):
don't talk about the movie I'mlike wow.
I don't have any like I just gotto sit with it.
I just have to sit in it becausethere's the theory of
relativity layer.
There's the theory ofrelativity layer, there is all
the metaphors and meanings thathe has throughout the film, even
(19:47):
specific names that I'mcatching on to, like Matt
Damon's character man, his lastname, and then even just the
very upfront obvious, like Lennywas talking about.
It's a movie about a fathertrying to look out for his kid
and he also struggles with thefact that he's a father doing
the right thing.
You know the quote-unquoteright thing.
Right, like he's trying tofigure it out.
It's very obvious he's tryingto figure it out.
(20:09):
Um, and, and I love that becausenot only is there there's a,
there's a mirror or a parallelbetween time not being linear,
but also for me, because I'm I'mvery much so like advocate for
therapy, mental health, like allthat good stuff one of the
(20:30):
things that I've been sittingwith is growth is not linear.
Like maturity, emotional growthis not linear.
Sometimes it's.
You know, you go to therapy,you talk about your traumas and
you unpack all these things.
You learn about your triggersand how to respond to different.
You know experiences, butsometimes growth is taking five
(20:53):
steps forward and four stepsbackwards.
You know, no matter howexperienced you are.
And so we even see throughoutthe movie Cooper making some
mistakes, if you will.
When, as I'm watching it,rewatching it and understanding
more of the dynamic, like Iwouldn't have gone to man's
(21:18):
planet first, you know I havevery much, so throughout my life
been a more logical person, ifyou will.
So the first time watching it,I'm like, oh yeah, now that
makes sense.
Like Cooper is doing the rightthing.
Like stop thinking, what's youremotion, brand?
Like we going to mansplain itfirst, you know.
(21:40):
And it's like, looking back, Iwould have listened to Brandon
and follow love, if you will to.
Okay, now I understandcompletely what you're saying,
why you're being pulled in thisdirection, because I am more
tapped into who I am emotionallyas a man.
Yeah, I agree with you, wedon't go this direction.
(22:01):
So the first, the first watchof it was wow.
But as I continued to watch it,just I began to see a lot more
than he's a visual poet andpoetry.
If it's good poetry, if it'sdeath there, then there's so
much more to unpack over timeyeah, yeah, thanks.
Taylor D. Adams (22:20):
Well, let me go to bachin.
What was it?
Lxnny (22:21):
you were the first time you saw this yeah, I don't, I
don't remember like uh, I don'tremember if I really I'm pretty
sure I went to the theaterbecause I'm a super huge like
Nolan fan, but I do remember.
For me it was the the.
It shifted the way I thinkabout time, just watching the
movie because, like I wasn'tnecessarily like researching,
(22:42):
you know, I'm saying like thetheory of relativity and all
those types of things, but it'ssomething I've always been like
interested in.
So when I went to see the movie, I was just interested in just
a like nerd science, travelrealm of things like oh, nolan's
going down this direction,let's see where he goes.
And just like the concept oflike not only trying to figure
(23:04):
out how to like save humanity,if you will, and like going on
to like find these differentplanets and things like that to
have the right habitat thingthat can happen in this one
place can cause this extensiveripple effect because of all
(23:25):
these like different changes.
And just like again likeenvironments, if you will,
because if you think about time,like that's a part of the
environment, like you know, ifit's 24 hours here and 64 hours
here in a day, like thoseenvironments are different.
So the fact that even that smoke, like you know, going back to
watch it, talking about small,small details, like seeing stuff
on Twitter.
They were saying, like everytime it's ticking, like that was
(23:47):
like a day or like a year orsomething passing on that planet
.
So it's like and they're justtrying to figure out how to get
off, and it's like a some simplehappens, yeah, and it's like
all of a sudden you come backand like your son thinks you
(24:08):
forgot about him and it's like,not even because, like, and it's
like as a dad, you got to sitwith that like and continue to
go throughout this mission.
And it's like my kid thinks I'mout here literally like risking
my existence, but because ofthis mishap, like, my kid thinks
that like I just don't careabout him and stuff.
Oh dear, oh say bye, byegrandpa, bye bye grandpa.
Taylor D. Adams (24:22):
Bye, bye, grandpa, it's okay.
Sorry, it's been a while.
It's uh, just oh, it's Jesseand all.
Lxnny (24:38):
Uh oh, grandpa died last week.
We buried him out in the back40 next to mom and Jesse, which
is where we would have buriedyou if you'd ever come back.
So it was interesting likewatching it from that
(24:58):
perspective and then now likegoing back, like I said, as a
dad, and kind of understandingthat.
But, like you said, it was justlike Nolan and the way he
paints pictures is just like,like everything just makes sense
, like it feels like when you'rewatching the movie, like it's
like every scene is, it'simportant and it's pivotal, even
if you don't understand it atthe time, like as you go back
and watch it, it's like it just,it all just like, coincides
(25:20):
with each other to be this likebeautiful, like long, just like
dance, as far as the combinationof like always pairing, like
you know, the music and havingHans Zimmer like have this
beautiful like soundscapeamongst like these intense like
scenes.
The camera work is different.
You know, like we he tries likedifferent things, like I know
(25:45):
he uses CGI, but trying tolessen certain scenarios, just
try to create like the rawestlike feeling and visual possible
.
So it's just like to be able tocombine all that stuff that he
naturally does with like abatman, if you will.
And it's now we're taking it tolike let's kind of like just
nerd out real quick, like we'regoing to space.
We got tars, you know what Imean.
This like weird wonky guy likewe're taking him space.
We got tars, you know what Imean?
This like weird wonky guy, likewe're taking him and we're
gonna go on like a differentadventure.
Taylor D. Adams (26:06):
So yeah, um, yeah, man, shout out to no yeah,
I mean, you're the phrase youguys have for uh, for no one
warrants it for sure.
And also, he co-wrote thismovie with his brother, um
jonathan, and they do a reallygreat job of conveying just
something so complex visuallyinto, kind of um, into one
(26:28):
cohesive story.
Uh, as artists is there, isthere a certain process that you
guys need to go through whenyou think of like a complex idea
or topic and try to condense itor distill it or at least
convey it into, you know, a songor a lyric or a beat or
something like that, yeah, Imean, I know for me, like I've
(26:50):
realized just, uh, as a person,like in life, like when I over
I'm an overthinker, likenaturally, and for me it's kind
of like my gift and curse.
Lxnny (27:00):
Um, it allows me to like think about things like very
analytically and like reallythink about the details and like
break it down to like anunnecessary level and like focus
on it.
But sometimes that can be tothe detriment of like moving
forward, if you will, and, um,like doubting, causing doubt.
So for me I like to really justgo through like a fluid, like
(27:22):
kind of free form, like process,like I think I like to think of
creating like as jazz, becauseI used I used to be in the jazz
band and like really just like asolo, like you make sure you
have like the certain kind oflike techniques and things that
you need, like a Kyrie Irvingwhen it comes to the
fundamentals, but like when youget on the court it's like let's
just kind of see what happens.
So when I have an idea, like Iknow I have like the principles
(27:45):
that I want to stick with, likeI know, like sonically, what I
would always want to have, likeit needs to just always sound
lush and that's just from.
Like you know my upbringingwith music like no matter what,
like I just need the music tojust sound lush in some sort of
way and the drums to like hithard.
And then I'm just like a visualperson.
So it's like for me to eventhink about the idea like being
(28:07):
heard to somebody else, like ithas to take me somewhere
visually, just even as alistener of my own stuff, I have
to be able to paint maybe ascene that Nola would do with
this, like would this go wellwith the scene?
So that's kind of like mythought process, like I would
obviously like to talk aboutthese luxurious things and like,
um, kind of like wanting mystuff to be the, the thing that
(28:29):
you play while you're onvacation, the thing that you're
playing while you're making yourvision board, the thing that
you're playing while you're justreflecting and relaxing.
So it's like it needs to matchlike the beautiful landscape of
greenery, ocean, ocean views,cars.
Like I want it to.
No matter what that looks liketo you and whatever you put
together for that, I want you tobe able to play this and it fit
(28:52):
that picture.
So that's like all the and fromthere it's just kind of like
hey, let's put it together,let's see what it sounds like, I
can walk away, go back, changeit, go back, kind of think about
what I can do better next time,kind of try it out, listen to
it, see what happens.
And then at some point you kindof stand back and look at the
painting and be like OK, I thinkwe did it, let's move on to the
(29:13):
next canvas.
Taylor D. Adams (29:13):
Yeah, I like that.
I like that a lot, Pat.
Do you find it?
Do you have like a similarapproach when it comes to making
your own?
Pat Junior (29:27):
comes to making your own.
I mean, for me it's just whereI am in life.
You know, I think that I I domy best to, and I'm really
appreciative of my mom growingup, you know, really pushing me
to articulate my emotions andexpress how I feel.
She let me cry as a kid, butnot a whole lot, and she would
(29:51):
just.
No, I need you to explain whyyou're upset, like why are you
crying?
Like it wasn't a rhetoricalquestion, like no, you need to
explain why you're upset, youknow.
And so for me, being that kidand having a mom that pushed me
in that way, who exposed me toevery genre of music growing up
(30:13):
uh, from gospel to jazz, toclassical, to hip-hop, obviously
, to r&b like exposed me toevery genre of music, and who
used to, when I hadpresentations in school, like
speaking presentations for aproject or a book report or
(30:33):
whatever would make me practicein front of her and say talk,
like you're not reading thepaper.
And I'm like, what do you mean?
Like I'm reading the paper no Ineed you to.
I need you to speak it like likeyou're not reading the paper,
and I'm like what do you mean?
Like I'm reading the paper?
No, I need you to speak it likeyou're not reading from the
paper, and so I like.
Taylor D. Adams (30:49):
I feel like a lot of adults need to practice
that too.
No facts, absolutely,absolutely.
Pat Junior (30:54):
And I'm super, super grateful for all of those
things because, you know, I evenhaving conversations with
artists where it's like theyhave to memorize their verses
before they record, because it'slike, man, when I, when I
memorize and I go rap it, it's,it's more emotion in it and I'm
(31:15):
like, and my mom, I'm like, am Iweird?
It's like, well, I don't haveto do that I do not do that at
all.
Lxnny (31:21):
I don't have to do that.
I do not do that at all.
Pat Junior (31:22):
I don't have to do that because my mom actually
taught, pushed me all of mychildhood to read, like I'm not
reading from the paper, and Ilike.
As far as the music isconcerned, it's just where I am
in life, my, my music is veryreflective, reflective of life
and where I am.
There might be a gritty era,like we saw with the Grill Talk
(31:45):
mixtape, which I think reallyestablished a lot of it, really,
I would say, established mybrand as an artist even more,
and forced it, I should say.
But you know, this newer erathat I'm in, it's a little bit
more light-hearted, you know, orit's or actually I would say
(32:07):
it's a juxtaposition of the two,where it's light-hearted and
pinging between light-hearted,laid-back and that more gritty,
you know, more edgier, if youwill sound like and, and that's
where I am now as as a humanbeing.
I'm like I said, growth is notlinear.
You know, um, emotional growthis not linear.
(32:30):
I I have a synesthesia I thinkthat's how you say it where when
I see images or I hear music, Isee colors and images and vice
versa.
So if the colors feel right, if, if the palette works that I'm
seeing, um, and it matches howI'm feeling.
That's when I know that I havewhat I need.
(32:51):
Yeah, um, because I am a personor I, I would say I used to be
a person that would overthink,you know, even some of my
writing.
Um, because I, I know peoplehave the notion that rap is a
sport, it's competitive or whathave you and I'm like I guess,
(33:14):
but it's also an avenue forcreativity yeah, and just pure
and I think friendly competitionis good amongst you know, peers
, that you know.
But it's also my form ofexpression and my expression is
sacred and I don't necessarilyhave to compete with your form
(33:37):
of expression, because I am, I'malready competing within myself
, because I'm already competingwithin myself, I'm already
competing within my heart, I'malready competing spiritually
against myself and you know, forme it's a form of expression in
hopes that it will resonatewith somebody, wherever they are
(33:58):
in life.
When I hear things like youwrite stuff or rap things that I
only think in my head and I Idon't have the nuts to say out
loud or I don't have the gall tosay it out loud, that's when I
know, okay, I'm right, where I'msupposed to be, um, and so
that's, that's where I amcreatively, where it's like
(34:21):
don't get get me wrong Like Iwatched battle rap, I'm a I'm a
battle rap fan, like I love thatkind of rap.
You know, I think there's atime and place for that.
But when it comes to purely myexpression, um, I'm, I'm
creating and making where I,where I am in life, and if that
has me, go back and tell a storyto bring somebody up to speed
(34:43):
or to, I guess, show the growthor express where I am now, or
just to tell about myself andthe music to make, I guess, to
make a point or drive homesomething that's on my heart.
Yeah, you know, I'll live inthe past for a bit, if you will.
And then sometimes I speak fromother perspectives, which I'm
(35:04):
tapping into more now, speakingas someone else, or speaking as
somebody who's living in thefuture, where I want to see
myself, where I want to see mypeers, where I want to see
relationships, etc.
Etc.
So, yeah, the tango is hard todescribe unless you know how to
(35:30):
tango.
It's just all of these differentemotions and colors and genres
of art coming together to makeup my music, especially because
I'm a lover of poetry and wordsare very important to me.
How they're, how they're said,um, the words you actually use,
(35:54):
um, good, negative, whatever,like.
Words are very important andI'm still learning the depth and
power of words.
I'm forever learning that andso you know I.
Now my approach is like if itfeels a little complex, then I
don't care.
This is what.
(36:15):
This is how I'm feeling rightnow.
You know I'm like I'm not.
I'm not.
I do keep in mind when I'mwriting is like I'm writing to
be understood, but also I'm apoet and sometimes there's some
deeper meanings and deeperlayers that you won't understand
.
The first, second or third time, but maybe the fourth time,
(36:39):
after watching a certain movieand playing a certain video game
, you'll be like, oh shoot yeahyeah, so that's.
Taylor D. Adams (36:48):
That's where I am with creativity right now
okay, yeah, that makes a lot ofsense, I mean, from the way you
guys are talking about creatingart and the way that we kind of
already talked about howbasically no one is inspired by
a bunch of different thingsevery artist is inspired by an
artist that like came beforethem.
And so it becomes kind ofalready talked about how
basically no one is inspired bya bunch of different things.
Every artist is inspired by anartist that like came before
them.
Absolutely, it becomes kind ofthis pattern, this part of like
(37:09):
creative flow, and I mean youknow Hans Zimmer's great.
Pat Junior (37:16):
Like this is like.
This is not a hot take.
We know he's very good at whathe does.
Taylor D. Adams (37:19):
This score from him really stands out to me,
yes, and I really enjoyed it.
I think I recently readsomething, or heard an interview
where he Nolan reached out tohim.
He's like hey, you know, I needyou, I need you, I need you to
make some music for me.
Dynamic duo right.
Yeah, it was a great dynamic duo.
(37:40):
And basically what washappening was he told, you know,
he told, uh, no one told zimmerthe concept of, of interstellar
the story.
And then you know, um, zimmercame up with a really like
simple, just kind of piano,melody, melody, um, about, uh,
about being a parent, yeah,basically.
And it was when no one heardjust that piano for the first
(38:04):
time that no one then realizedwhat the heart of his space
opera was.
Lxnny (38:09):
Absolutely.
Taylor D. Adams (38:11):
Which I think is really cool about how music
can provide a whole other layerto anything Absolutely so like.
Is there something specificabout this score that stands out
to either of you?
Pat Junior (38:26):
Yeah, there's a lot of percussion, either with drums
or the piano being percussive,and there's like which it keeps
the momentum of the film, butalso there's like this, this
(38:50):
stumbling, if you will, oftrying to figure it out, like
changing on the whim.
Oh, this didn't work, you know,especially when you I feel like
I first realized it when there,by the way, young Timothy,
(39:10):
Facts I noticed that on therewatch too.
I'm like yo who is this guythat's crazy, didn't even didn't
, even, yeah, that's crazy, butit's just cool to see him where
he is now and then see him as akid, yeah.
But when they're driving in thetruck and I think they're
(39:36):
headed to a parent teacherconference, or he's headed to a
parent teacher conference,cooper is and then all of a
sudden the drone comes out ofnowhere.
Indian Air Force drone solarcells can power an entire farm
(39:59):
go, go go get that aim right atit Faster, Tom.
Taylor D. Adams (40:13):
I'm losing it Right at it.
Stay on it.
Here we go here we go.
Pat Junior (40:22):
So there's always to me this shift in momentum or
this stumbling of like going offcourse for a little bit and
then coming back on course, andthen going off course for a
little bit and then coming backon course with you know, time is
(40:46):
not linear, but that emotionalum, like unlinear, like behavior
where it's like you know you'regoing off course to get back on
course, and I feel like thebiggest boomerang is the whole
time.
The biggest boomerang is the,the whole concept of the bulk
beings, right, where you thinkthat these beings are celestial
(41:11):
or they're aliens or what haveyou, when in actuality it's the
evolved human beings who reachedback in time.
Like we didn't get it right.
Let's go backwards a little bit, right, taking so many steps
forward and then taking hundredsof steps back to be like let's
(41:31):
do this over sort of speak andand and I still, I'm still
trying to figure that outwhether it's like are they from
another timeline?
Or like what?
But whatever, um, but just um.
I really love the percussiveelements where, if it's not
drums because there weren'treally a lot of drums used at
all in this score, if I recallit's more so the melodic
(41:56):
elements, mainly the piano beingvery percussive in a way, in a,
if you will, where it's astumbling of being on course,
going off course, coming back.
There's always momentum, andthen I really love the fact that
they used that uh, that hanszimmer used the uh, there's a
(42:17):
lot of.
This is one mint, um, vintagesynth that he's using.
I can't remember the name of it, but it feels like an organ,
it's a synth organ.
So it's a vintage synth organbeing blended with like modern.
To me.
I love when the juxtapositionof using old and new together to
(42:39):
create this thing.
That's not.
It's like polished but textured, yeah, like it's very fresh.
It sounds familiar, but it'sdifferent.
It's very fresh in its own wayand that's what I admire.
Sound-wise, as I'm watching itagain, it's just like that
percussive movement iseverything.
(43:00):
It's very reminiscent of likenow, where in rap you have the
more the newer thing now to do,which it's.
It's become a trend now becauseit's gotten super popular, but
it was already a thing whererappers are rapping on you know
beats, if you will, with nodrums.
(43:21):
It's just it's just a sample orit's not a sample.
It's something that somebodycreated.
But if you have a good internalclock, you can hear the pockets
, the different pockets you canhear as a rapper and become the
percussive element on on on thesong.
So that's what it reminded meof yeah, yeah yeah and um, yeah,
(43:43):
I I agree with that.
Lxnny (43:44):
Like the the big thing for me when I watch uh like
movies and when it's things fromlike hans zimmer even, um, it's
I'm just lost on me what hisname is right now but uh, the
guy who does star wars, but um,john williams yeah um, it's
really like the feeling that itevokes for me.
Yeah, um, that's kind of like myuh, like north star, if you
(44:07):
will.
Um, for like anythingcreatively and like what really
like hits home.
I remember being in the jazzband in high school and like
hearing this dude do a solo formoonlight serenade and it's like
the way he specifically playedon that soprano sax like I
remember looking it up onyoutube and stuff and it's like
the people who originally likethey like the feeling that he
(44:28):
put into that, like created it,like just I don't know, it was
absolutely insane, yeah, andever since that moment, that's
kind of it's created that as anorth star and it's like that
feeling of like they did a goodjob of, like like once you start
thinking and it's like the roomjust lifts and starts to spin
and now you just get lost inyour thoughts of like huh, but
what if we did this?
What if it's like that's whatall of the, the music, even the
(44:52):
scene where he's talking aboutwhat they?
They go off the courseliterally with the truck and
just drive into the cornfieldtruck's got a flat tire.
Like everything that's happeningin this moment is chaos, like
they're supposed to be going toschool.
We're already late for schoolbecause of the flat tire.
Now we're probably not going toschool because we're chasing
this truck.
We're not on the road anymore.
We're driving in this but itfeels right.
(45:13):
But it feels right, but 15 yearolds driving shouldn't be
driving, like everything aboutit is chaotic but you're in the
moment of like whoa, but what isthat like?
We're all curious, like let'sfigure this out.
So he did a good job of paintingthat and creating that dance,
like with the instruments, towhere it's like the violin is
like he said, with the staccatoand being like percussive, and
(45:34):
then you have the piano thatmight have like some lush parts
to where it feels like whoever'splaying, it is just kind of it
feels like this, this, you likethis concoction of music that
again feels chaotic, but thereis this common thread that's
keeping it together, and Ialways say it all the time I run
(45:55):
into the ground, but I justfeel like that's why everything
is jazz.
It's just this expression ofjust pure feeling.
Feeling, if you will and um.
Pat Junior (46:05):
That's a dope album.
Title everything is jazz yeahyou better credit me.
Lxnny (46:10):
Actually I got you, but yeah, so that's uh.
That's that's what I love likeabout watching it, because it's
like, as soon as, like thedialogue is great and as
something does happen and clickwithin the dialogue, that you
naturally your brain is likewait a minute, where is this
about to go?
Like the music like lifts youand takes you on that journey
with like the whole movie oflike whoa, oh crap, like this is
(46:32):
oh crap.
You feel like, like, even whenhe's in the um, like when he's
falling in the uh, the fourthdimension, it's like.
You feel like.
It's like, oh my gosh, you feellike you're going through this
black hole with them andeverything.
Like it's just this yeah it'sbeautiful and the moments of
silence Like I think that'salways like important too.
Pat Junior (46:51):
Yeah, those space silent moments were intense,
yeah.
And I think the more.
I'm sorry to jump in, but Ifeel like moments are the
moments of silence.
But there there's, like when Inoticed that even when they go
(47:12):
off course to go to, they chasethe drone, or when, uh, cooper,
is when man tries to steal the,the spacecraft to go back to
earth or go home or whatever thecase is and Cooper is having to
manually dock the ship to thespace station.
(47:33):
The music it didn't feel veryscary.
It felt adventurous, but it alsothere was this sense of safety,
even though there's this wowlike moment going on and I think
he's about to do this shit.
What are you doing?
Knocking?
Taylor D. Adams (47:57):
Endurance rotation is 67, 68 RPM.
Get ready to match our spinwith the retro thrusters.
It's not possible.
Lxnny (48:04):
No, it's necessary with the retro thrusters.
Pat Junior (48:07):
It's not possible, no, it's necessary.
You see this pattern of himbeing a father beyond just his
kids, because in that scene Branpasses out while he's trying to
dock the ship, and then shewakes back up.
And it reminds me of when I'm akid and my mom is driving
somewhere and I fall asleep inthe car, but I wake up at my
destination and I'm a kid and mymom is driving somewhere and I
(48:28):
fall asleep in the car, but Iwake up at my destination and
I'm OK.
And so that, just him beingbehind the wheel, like it's,
like no matter what I'm- not,he's got it.
Yeah, he's got it Like there'slike the reflection is in the
music as well, you know.
So, yeah, like just the threadof the music.
(48:48):
Like I said, Dang, that's gotchills.
Like Hans and Nolan are thedynamic duo, that scene was nuts
.
Taylor D. Adams (49:00):
I'm now wondering like how many G's were
inflicted upon you when yourmom was driving?
Lxnny (49:06):
Right, right, I'm like upon you when your mom was
driving.
I'm like dang that scene wascrazy.
Taylor D. Adams (49:14):
I think it's really interesting, pat, when
you brought up just thedifferent instrumentations that
Zimmer uses, combining old andnew, because that basically is
this movie.
We're seeing this kind ofcyclical time nature.
It could potentially be a timeloop kind of movie.
We're not quite sure.
But, at this point I don'tquestion time, travel movies,
(49:36):
it's just like yeah, just doyour thing, man, that's it,
that's all you can do.
No one's going to have theanswers to this problem.
So do you guys have a favoritemoment or scene from this film?
Lxnny (49:50):
I mean for me, like again .
The thing that made me hit youup was like at the end, when he
finally gets to see her again,you told him I like farming.
I mean, it was me, Murph.
How was your ghost?
Taylor D. Adams (50:13):
I know people didn't believe me.
They thought that I was doingit all myself, but I knew who it
was.
Lxnny (50:32):
nobody believed me, but I knew he'd come back and like
not only is he able to, you know, see, like, oh, wow, like they
figured it out.
You know what I mean.
And not only it's like wait, oh, my daughter did it.
Oh, word, they figured it out.
You know what I mean.
And not only it's like wait, oh, my daughter did it.
Oh, word, okay, dang, that'sthat's.
You know, that's my baby girl.
And then it's like oh, wait,she's still alive.
(50:54):
Like, oh, like, okay.
And then like the moment towhere it's like one like that
combination of like he's sayinglike the last time he saw her
she's like nine.
Now she's like 109, you know.
She's like done all these greatthings and like here they.
The last time they spoke shewas mad at him, so, like he
didn't even like it's like younever, they never got that.
(51:16):
Like closure, if you will, um,and then, like they're coming
together, she's pretty much likeyo, like you helped me figure
it out.
Like he, he don't even knowlike what type of time she's
gonna be on.
When he sees her, like shecould just be like ah, you're
like she's 100 or not, she couldbe seen.
I'll be like yeah, just get outof here.
That could have been the wholescene where she's like throwing
like medicine at him and thenhe's just like I did all this
(51:37):
for nothing, like, but it wasn'tthat.
It was like hey, I figured outthe things.
Like I took everything that youtaught me within the nine years
that we even had together andit allowed me to do this for the
world.
And then it's like I understandwhy you did it like you and
here's another mission for you.
You know what I mean.
(51:57):
Like I, it's like he got thislike solace of, like forgiveness
, like a level of like beingproud, because it's like dang,
like I, I did it like you know,like you know, my wife would be
proud, like she was the one likeso and she like did what we
felt like she could have done.
And then you get there becausein the back of your mind you're
(52:18):
like dang, like so and so,stranded out there, like ah,
like should I, yeah, but thenit's like I feel like I should
just go back because this wholeworld is different.
And then you get thatconfirmation from your daughter,
like hey, yo, I know all thisis fine and dandy, but we still
kind of need to figure out thatplanet.
All that data is good, like, goout there and go get her.
You know what I mean.
You don't even need to see medie.
(52:39):
You don't Like I got my familyhere.
We had this moment.
You continue to go do what yougotta do and it's like that you
leave, just like like ah, likejust throw in a chair, like just
am one, like I am gonna go findher, like I'm gonna, if I have
to bring her back here, likestrapped to my back, like on a
rocket, if I have to, likethat's the type of energy his
(53:01):
daughter like gave him and youcan see it at the end of the
movie to where he's like I'm sohappy she told me that, because
I don't even want to be herejust like.
It's not even in his natureanyway.
So it's like he literally stolea ship.
You know what I mean.
It's like the whole, the way itends.
It's like, yep, I'm out of here, let me get this bag.
Come on, let's get out of here.
Yeah, I'm going to get her likeso this that that scene right
(53:22):
there of just chef's kiss so itwas more of like like so.
Taylor D. Adams (53:26):
So as a, as a dad, and you're thinking about
kind of like that scene, how itfeels almost like the child is
like forgiving the parent orgiving them permission to do
something like is that, is thatsomething that, for whatever
reason you, you gravitate towardbecause of those feelings?
Lxnny (53:49):
yeah, because like it's you could tell, like when he
first made the decision to evenleave that a part of him, like
it hurt him, because like she,like that was his, like, like
obviously he had a son right andyou know, obviously you know
with your kids, especially asmales, you think that the son is
going to be whatever, whatever.
But in reality, like, whicheverkid just like happens to.
(54:11):
It's like I always tell peopleit's like Jeannie Buss and Jerry
Buss, like he had all thosesons but like Jeannie was the
one Like from if you watchWinning Time, like you could
tell Like you're trying to makeall these other people stick,
(54:32):
but she's the one like Murph wasthe one for him.
So it's like your road dog.
The person that you really feellike is the image of you is
pretty much like mad at you,like doesn't understand, like
that what you're about to go dois like genuinely, really solely
so she can just see another day.
Like you know she doesn't knowthat the dude just told you in
the corner that like corn isabout to go extinct in a week.
You know what I mean.
Like she doesn't know that thedude just told you in the corner
that like corn is about to goextinct in a week.
You know what I mean.
Like she doesn't know thatshe's nine, but you just heard
that as a dad, so immediatelyyou're thinking, like you know,
(54:53):
you're looking at her, like intwo years you might not be able
to just eat a decent meal period, so like I might not ever see
you again.
But like if it means having togo out here and do this, like
I'll do it, so like being ableto come back still having those
feelings.
You see the thing of your sonpretty much like giving up on
you.
And you see the video of yourdaughter pretty much like giving
(55:14):
up on you.
And they stopped sending videos.
So like your only knowledge isthat they might hate me.
Still, yeah, like, but I justknow I'm back.
So to get that closure is likeman, man.
It makes you feel like you madethe right decision as a parent,
which you thought was the rightdecision.
But like hearing your kidspretty much like give you a
(55:34):
diatribe of like everything youdid was right, like you might
have been, like you said,feeling uneasy as a father and
like not really knowing andfiguring.
You're trying to just figure itout.
Like dad, you figured it outout.
Continue to go do what you'redoing, yeah so, yeah, it was, it
was beautiful.
Taylor D. Adams (55:48):
Yeah, no, I get that, pat.
What about you?
What would be your favoritemoment from?
Pat Junior (55:51):
this.
Um, I well, I'll say on that II feel like this is just my
opinion.
I feel like they found closurewhen he was in the tesseract,
when he finally told her how tocreate that, like how to harness
gravity to get all of theremaining humans off of Earth
into that space station.
That's true, that's just myperspective, yeah that's true.
(56:15):
Because when he came in, youknow, and saw her, they were all
smiles and because they knewall of this happened because
they were communicating witheach other while he was in the
Tesseract.
And it's crazy how they had somuch so they had their own
(56:36):
language.
They communicated through Morsecode, something he taught her
as a kid to be able to use whenthey were older, so they had
their own language that theycommunicated.
So I feel like that's wherethey found their clothing.
Lxnny (56:49):
Yeah, I feel that that's true.
Pat Junior (56:51):
Just from my perspective, but I would say my
favorite scene is with Romilly,when he was struggling in the
beginning in the ship when theywere in space.
This gets to me, cooper, thisthis.
Lxnny (57:10):
Millimeters of aluminum, that's it, and then nothing Out
there for millions of mileswon't kill us in seconds.
Taylor D. Adams (57:19):
You know that some of the finest solo
yachtsmen in the world don'tknow how to swim.
They don't know how they gooverboard and they're done.
We're explorers.
Right, this is our boat.
Pat Junior (57:36):
And then he took the headphones off and you listen
to it and it sounds like rainand you hear the wind.
It feels like you're back homeand I feel like that was
metaphor.
Metaphor for like no, this isyour environment.
You, you train to be here and I, so the.
The closure of that scene iswhen they go to miller's planet.
(57:58):
They're there for a couple ofhours, but it's really 23 years
yeah, and they come back andromley is just like he's super
chill.
Yeah, he's just like you know,in the beginning he was like I
struggled, like I was gonna tryto dream those years away, but
he was like I couldn't do thatand he's just this completely
you can, you can tell he's now.
(58:20):
He's just this completelydifferent person and I feel like
he grasped.
He probably rest, he probablywrestled with it a little bit,
but I feel like he grasped whatcooper was explaining to him and
like no, I do belong here yeahand I I feel the sense of that
is like he cooper, is, um, youkind of feel that in that parent
(58:42):
teacher conference where he'slike I know my kid has farmer
scores.
But he's more than that andunfortunately I feel like his
son's character just stuck with.
I'm going to be a farmer andthat's okay.
Lxnny (58:58):
I say unfortunately because I feel like he had way
more potential.
Pat Junior (59:02):
Murph was like she was already like no, I'm not not
doing it, I'm not doing that,yeah, and so she went, you know,
above and beyond to to do whatshe did, but he always had I
feel like Hooper was a guy tocarry that sense of like
confidence, which I felt like,to a degree, uh, this movie
(59:25):
helped him come up, come out ofhis imposter syndrome to a
degree, because in the beginninghe's having those nightmares
about those flight tests orwhatever that he was doing and
settled to be a farmer.
But he's like no, this is myopportunity to do what I've been
training to do, nice and Ithink, as an artist too, it
(59:46):
speaks to you.
Do this for a certain amount oftime and you're like man, I
wish I could be able to do allof these different things
touring and traveling and all ofthe things that an artist would
do.
But I feel like if you reallystay the course, as he did, you
(01:00:11):
end up getting to thosepositions and you're able to
perform.
You know S tier, you knowwhether, whatever it is, you're
doing as an artist, because whenthey, when they were trying to
stop man and they finally gotback, like he was built for that
moment, all the years ofexperience and he, I think in.
(01:00:32):
Like I said, I feel like thisjourney or this event, adventure
, shed him of his impostersyndrome because he was built
for that moment.
You know what I mean.
Taylor D. Adams (01:00:42):
So yeah, yeah, yeah, yeah, the way I've.
I had only seen this movietwice.
I saw it when it first came out.
I saw this movie when it firstcame out and then, yeah, I saw
it earlier this week to prep forour chat, and one thing that
kind of really stood out to mewas this idea of dust and the
(01:01:03):
fact that dust is what's leftbehind, it's us.
And when you, when you weretalking about um tom, who kind
of uh, becomes the farmer, uh,right, takes over the family
business, like, and youjuxtapose that with murph, I
kind of look at it in the way oftom is kind of stuck and almost
(01:01:24):
consumed by this dust, thispast that's here and there.
Meanwhile, murph is learningfrom it, is using it to kind of
move forward.
And so when I think about kindof that idea for you guys, how
do you hope you're remembered,when all you are is dust For you
(01:01:45):
guys, how do you hope you'reremembered when all you are is
dust.
Lxnny (01:01:47):
Honestly, like for me it's like taking the thought
process of a Murph, because likeone thing that's in that movie
is like Tom, like his way ofthinking.
It shows, like in a very directway, like how dangerous that
can actually be.
Because if you think about,like how consumed he was with
like yo, we got doctors comingto the house telling you that
(01:02:10):
like pretty much like you'regonna die in like a year and a
half if you stay in this house,your son's xyz.
You're doing this, you're doingthat.
It's so.
It shows the difference betweenlike he like his dad went to a
whole different planet for theidea of like trying to save his
kids.
It's like bro, they're justasking you to go to a different
town, to a motel, like, andyou're so stuck and like
(01:02:33):
stubborn on what you thinkshould be happening and what you
think reality should be, thatlike you can't even see that
like one of your sons alreadydied and like somebody's coming
in here telling you that yourother son might die and your
wife is looking at you, likewe're also sick and like you
can't, you're so blinded by yourlike, doubt, fear anger yeah
(01:02:57):
yeah, it's like we're gonna stayhere and just keep like
shoveling dust and like eatingthis, pretty much like so it's
like.
It's like that way of thinkingcan, if you want to feel like
you're that piece of dust, likeyou'll just end up staying there
and being that piece of dust,like I'm gonna be on the ship
gone and I don't and I'm sorrythat like I don't have it's
(01:03:21):
cynical to say in my, in my way,but like I just don't want any
person like that to like stopthat trajectory, because like
there just don't want any personlike that to stop that
trajectory, because there arepeople that are in the world
that are thinking like Murph,that you can surround yourself
with, that have that thoughtprocess of even if it's not the
same dream we're all trying togo attain that dream.
You can stay stuck in that dirtif you want to, or you can
(01:03:44):
figure out ways to continue tostay out of it.
You just have to like put onefoot in front of the other.
Like you said, like everybody'stiming is different, if you
just stay the course.
It's about staying the courselike marathon, like you got to
keep it going in this realm.
So for me, like that's the wayI think about it.
Like you can be two differenttypes of dust.
I'm going to be the dust that'son the pod, that's in the plant
(01:04:06):
, that's like, ah, we got tomake sure to keep this to take
it to the next planet.
Like, I'm going to be that dust.
If I'm going to be a, piece ofdust.
Taylor D. Adams (01:04:15):
So after you're long gone, you kind of want to
be known as someone who keptgoing.
Lxnny (01:04:28):
Even if it's not to like the realm of, like everybody in
the world, I just want it to besome sort of like paper trail to
say, like he left something forhis family and for people
behind him, to where, like, youdon't have to know about it, but
the people that's directlyunder him, they understand the
web and the trees.
To where it's like I'm settingyou up and leaving you with
something.
To where, like, whatever youdecide to do, I don't care where
.
It's like I'm setting you upand leaving you with something.
So we're like, whatever youdecide to do, I don't care if
(01:04:49):
it's you want to take this, youknow, money from this account
and become a physicist and go tocollege, that's what we going
to do.
If you want to take this moneyfrom this account and, like, you
have a great business plan anda great business proposal, yeah,
we could take some of it andtry to to see it and actually
(01:05:12):
like, see what's up with that,like, but I want it to be
something laid out on paper,because in this world, if it's
not written down, notary onpaper that says, like this is
what you got as far as thatlegacy yeah, I think that.
Taylor D. Adams (01:05:18):
I think that's a really interesting difference
too.
That I've been thinking aboutfor the past couple years too is
like there is a differencebetween the world and your world
yeah, exactly, and thinkingabout that personal effect.
I think that's.
I like that a lot, pat.
What about you?
What do you when you're dustman?
What are they gonna say aboutPat Jr?
Pat Junior (01:05:35):
it's twofold, one, two.
I guess quote myself RIP ain'treally peace if you still got
potential, like I don't want todie empty everything that I
could do, imagine, dream of.
I don't want to be a dreamer ina graveyard.
I think that's number one.
(01:05:56):
And then simply put number twoI want to be truly in the most
epitome, or I guess in theepitome of, or in the most
truest form I can be, areflection of God's love.
Whatever that looks like.
(01:06:23):
That's just what I want to.
I want people to remember memost, for he was truly a
reflection of god's love thankyou guys, so much for coming
back on and talk about this man.
Lxnny (01:06:34):
You had a blast yeah, man , yeah, my interstellar is it's
a great movie, like it's uh,especially I don't know.
It's crazy when you talk abouttime.
It's like that with dunkirk aswell, like that's a another
movie.
That's interesting.
Pat Junior (01:06:46):
And Interstellar is more than 10 years.
That like I'm getting old bro.
Lxnny (01:06:51):
Facts, ah, facts.
Pat Junior (01:06:53):
That is a super fact and it just goes to show how
ahead of its time it was,because when I watch it it's
like this came out 10 years ago,yeah.
So yeah man, so yeah man.
Shout out Chris Manolis again.
Taylor D. Adams (01:07:12):
Thanks.
Whether our goal is to leavebehind a foundation for the next
generation or to exit thismortal coil spent of all of our
creative energy, finding whatwe're living or dying for is a
simple but not necessarily easyrealization to come by.
Some folks spend most of theirlife trying to figure out what's
most important to them.
(01:07:33):
Others figure it out beforethey even turn 18.
And some of us are almostafraid to admit what we truly
care about, fearing that wewon't be able to manifest it
into our lives.
But I think all we can reallydo is try our best, and that's
got to be worth something.
(01:07:53):
A huge thanks to Pat and Lennyfor chatting with me today, and
an intergalactic size thank youto you for tagging along for the
ride.
Before you go, please check outmusic by both Lenny and Pat
through the links in the shownotes below.
Pat actually dropped a new EPtoday called Broke it Evidence 2
, so go take a listen.
If you enjoyed the show today,please go ahead and subscribe on
(01:08:15):
your favorite podcast platformof choice, and if you happen to
be listening to this on ApplePodcasts, please leave a rating
and review.
It gets us noticed by moreawesome people like yourself If
you want to help our show growand maybe get some access to
cool perks in the process,please consider backing us on
Patreon.
For more info, you can checkout the show notes or visit
patreoncom.
(01:08:36):
Slash film nuts Our theme thisseason, is brought to us by J
Mac, our artwork is designed byModongwa Subuhudi, and all
episodes of Film Nuts podcastare produced and edited by me,
taylor D Adams.
If you want to get in touch,you can email filmnutspodcast at
gmailcom or follow us onInstagram and TikTok at
filmnutspodcast.
And don't forget to join theNuthouse Discord community
(01:08:58):
absolutely free by checking outthe link in the show notes as
well.
Thank you all again.
So much for joining us today,and until next time I hope all
your ghosts teach you well.
Thank you all again.
So much for joining us today,and until next time I hope all
your ghosts teach you well.
Take care.
We're just here to be memories for our kids.
I think I now understand whatyou meant.
Lxnny (00:16):
Once you're a parent you're the ghost of your
children's future.
Pat Junior (00:20):
Nolan is a visual poet, the way he portrays or
paints his surrealness and justkind of gently guides you
through his poetry line by line.
Lxnny (00:34):
I thought about it as like a space movie, but now I'm
like this is a movie about likea single dad just trying to like
affect this kid's future, Noteven really thinking about
anybody else's feelings.
Literally just like their momis gone.
I have to make sure that evenif I'm gone, like they're going
to be good.
Taylor D. Adams (00:51):
Hi there and welcome to season five of the
Film Nuts podcast.
I'm your host, taylor D Adams,a filmmaker and storyteller who
loves to talk to folks about whywe love what we watch.
I'm so excited for y'all tojoin us this season, as we'll be
doing some new, fun anddifferent things to keep our
fifth year fresh and interesting.
(01:11):
I am someone who is constantlylooking for different ways to do
things.
Whenever I feel stuck orstagnant in my work or life, I
try to approach things fromanother angle.
I think it's a great way togrow, to flex a creative muscle
I was neglecting, or to practicegratitude for what I have.
(01:33):
It's also a way to betterexpress myself, either through
art or through conversation.
When we take the road lesstraveled, the destination might
surprise us.
So what is a different way totell a story about being a
father?
Christopher Nolan's space epicInterstellar is an expansive
(01:53):
celestial saga, grown from theseed, of being a parent.
Within the fantastic visuals, asoaring score and complex
space-time formula stuff,there's a heart to this movie
filled with love.
For many reasons, it is afavorite film of both of my
guests today and if you've beenwith us for a while now, you'll
(02:14):
recognize our friends, pat Jrand Lenny, both individual
hip-hop artists who I havepreviously had on our show.
Both of them have unique andcomplimentary things they
appreciate about Interstellar,including the music of Hans
Zimmer, the film's illustrationof time and how nuts space can
be.
We chat about all of this, pluswhat will happen when we all
(02:36):
eventually turn to dust.
So our countdown starts now.
Here's Pat Jr and Lenny talkingabout Interstellar on the film.
Nuts podcast feels good to sayagain, it's great to have both
you guys, uh, back on the show.
I've had individual episodeswith each of you.
(02:57):
What was the episode we did?
I can't remember.
We did stranger than fiction,did we?
Yeah, yeah yeah, yeah.
Back in 2020.
And then, lenny, we had you onfor the Bear, yeah, not that
long ago.
Love that show.
Lxnny (03:11):
Shout out to cousin.
Taylor D. Adams (03:12):
So what's been new with?
Lxnny (03:13):
you guys since 2020?
Taylor D. Adams (03:16):
And I don't know since last year, two years
ago, since 2020?
Pat Junior (03:19):
Yeah, tell me about something new you guys got going
on.
I just started getting into I'mslowly tiptoeing into street
wear and fashion aestheticFascinating.
I started working with anembroidery shop 919 Embroidery.
They've been around for yearsand so I'm working with them to
(03:48):
help kind of build the businessmore.
Yeah, these guys are are verymuch so, in my opinion, like
best kept embroidery secret innorth carolina.
Okay, um, they are truly likemaster craftsmen with you know
what they do embroidery wise anddigitizing and what they can
actually embroider on.
(04:10):
Um, hence, you know, they'vedone my hat, you know, yeah,
yeah, man, um, I owe you a hattoo.
That's coming soon.
That's actually being worked on, but yeah, um, but yeah, so
I've been working with them andand just getting into more like
fashion, aesthetic, streetwear.
It's kind of like what I'mcreeping, kind of tiptoeing in
slowly, but yeah, that outsideof music, that's kind of been.
(04:35):
That is a thing that I'm reallyinto low key, but now I'm going
to be more forthcoming with it,if you will.
Awesome, yeah.
Taylor D. Adams (04:45):
Lonnie, what's good with you yeah.
Lxnny (04:46):
So, uh, for me, man, I feel like, uh, I've been like
secretly, just like working onmusic, if you will, for a while,
to where, um, now I'm just likegetting geared and prepared to
come out with a new project, um,outside of the one I just
released.
It's just like some things thatI've been constantly working on
and stuff that I've had, um, butright now I'm just trying to
(05:06):
get like my foundation right, ifyou will, um, really just
focused on like making sure I'msetting a good foundation to
where I want, you know, thingsto go for my future, if you will
like trying to create like arealistic stream of income from
the art, um, because I feel likethe music that I have in the
tuck is just like some of thebest stuff that I made to date.
(05:27):
I feel like I'm in like a reallygreat flow, creatively,
confidently as well, to whereit's like I'm just ready to
showcase that and kind of getout of my little cave, if you
will, and just like kind ofstretch and just actually like
be amongst the people and stopjust like wiltering away.
Just actually like be amongstthe people and stop just like
wiltering away, if you will.
(05:47):
So, yeah, and that's likecreating a world, you know,
trying to step into actuallyevents to have like discussion
around my music so people cankind of get to know, like my
thought process, getting backinto you know the clothes,
getting some good designs andcreating a foundation in that
space to allow for, you know,the possibility to where
(06:07):
somebody you know one day canwalk down the street and they
can be wearing, you know, a fullfit of all my stuff, bumping my
stuff in the car and it's likeI've created a whole lifestyle.
So, yeah, that's where myhead's at right now.
That's very cool.
This is this is good.
Taylor D. Adams (06:23):
I like this a lot, talking about this, similar
things, and I think it's reallygreat.
Lenny, you're like one of thefirst people to reach back out
to me after they've been a guestand have specifically said I
would love to come back and talkabout X.
Lxnny (06:36):
Oh, for real Okay.
Pat Junior (06:38):
Not like, hey, I'd love to come back.
Taylor D. Adams (06:40):
It's just like no, I just Interstellar back.
Yeah, it's just like no, I Ijust interstellar.
I want to talk aboutinterstellar.
Pat Junior (06:47):
Yeah, and I immediately thought of pac,
because I know it's one of pat'sfavorite movies, and so I was
like this might be a really coolum episode to give both you
guys talking about this kind ofseminal christopher nolan work,
yeah, um, so lenny for you what?
Taylor D. Adams (07:02):
why did you reach back out to me about
Interstellar?
Lxnny (07:04):
Yeah, so I'm newly a father, so I just I got a 10
month old.
Pat Junior (07:09):
Thank you, appreciate it.
Lxnny (07:10):
Yeah, thank you.
Thank you very much.
So I had like again when Irandomly watched it, I watched
it from now that lens as a dadand it.
It brought like a just adifferent perspective to the
entire movie and everything thatkind of like tugged at the
heartstrings even more.
Um, and then outside of that,like really just from a
(07:31):
strategic thing for you as well,like it was, uh, in the news,
you know, with the re-releaseand stuff like that and I was
like this might be somethinggood for him to be able to talk
about too.
So I was just thinking aboutfrom that aspect.
But you know I'm a big fan ofnolan, so anytime it's like his,
his movies are in conversationagain, it kind of just brings
the idea of like, hey, let me gowatch that for the 30th time.
Taylor D. Adams (07:51):
Yeah, just get back that feeling, yeah so what
about watching this movie nowthat you are a father?
What, what, what?
How did your view change?
Lxnny (08:00):
yeah, watching this movie because now, like I literally
look at it, I thought about itas like a space movie.
But now I'm like this is amovie about like a single dad
just trying to like trying toaffect his kid's future.
It's like he's not, like he'snot even really thinking about
anybody else's feelings.
It's literally just like theirmom is gone and like I have to
(08:21):
make sure that, even if I'm gone, like they're going to be good.
So watching it with that likeunderlying, you know, like note
to it if you will like, justchange the whole perspective and
like you see like the will andlike the grit that he has in it.
Taylor D. Adams (08:37):
So it's cool One for you, one for me, when
I'm up there in hyper sleep ortraveling near the speed of
light, or near a black hole.
Time's going to change.
For me, time's going to runmore slowly Now, when we get
(08:57):
back we're going to compare,time will run differently for us
.
Lxnny (09:03):
Yeah, maybe by the time I get back.
Taylor D. Adams (09:06):
We might even be the same age, pat.
What about you?
I mean, I'm aware that this isone of your favorite movies
since a couple years ago, butwhat is your reasoning behind
why you love this movie?
Pat Junior (09:17):
I think more so.
For me, it's the idea.
I'm just a huge fan of moviesthat deal with the theory of
relativity, Just time travel,and that just fascinates me.
You know, back to the Future,the Edge of Tomorrow, deja Vu.
I think Deja Vu is probablylike one of my top tier
(09:40):
favorites.
I never imagined Denzel beingin a time travel movie, which is
pretty cool, and just theapproach of it as far as the
actual time travel is a littledifferent.
It's kind of unexpected to adegree.
I also feel like Nolan.
Just he's one of my favoritewriters, one of my favorite
(10:02):
directors, and I think there'sthis stream across all of his
movies that deal with some ideaof the theory of relativity.
So, he seems to be veryfascinated with time and without
jumping too far ahead, I think,watching this movie my dad
(10:26):
wasn't in my life growing up.
You know what I mean and youknow I hope to be a father one
day, but I also it reminded meof my granddad, without jumping
too far ahead, thinking abouthim being he passed away some
years back.
Far ahead, thinking about himbeing he passed away some years
(10:49):
back, but him being the ghost ofmy future.
You know, um, as I continue togrow as a man, you know,
thinking back on just the thingshe taught me as a kid and
understanding them now as I getolder, why he was so hard on me,
why there were certain, youknow, nuggets of wisdom
instilled in me as a kid.
It's almost as if he's stillhere through me.
(11:11):
You know, especially I see thatin as I'm having these
conversations with guys that Imentor, either here or somewhere
else, them looking up to me aslike a big brother, you know,
and I don't even for me shoutout, shout out to those guys,
(11:31):
but I never approached arelationship.
I'm a big brother, dude, it'sjust.
My mom is always, and I thinkthat's just the nature of my
family, my mom and my uncles,them being so, their parents
raising them to be such ahead oftheir time like wisdom, wise.
(11:53):
That's just how I've been, youknow, grown into and I'm sharing
with these.
You know guys and I sound oldshit the things that I'm sharing
(12:14):
with these younger guys.
Just, you know about life.
You know about how men, inparticular.
You know how to express youremotions.
You know mature, wise.
You know maturely if you willhandle how to, how to handle
your business.
You know removing emotion fromfrom business, yeah, you know.
(12:36):
And so being able to teachyounger guys about how to
navigate especially thiscreative industry, it kind of
reminds me of my grandfather, mycurrent mentor.
Now I feel like I've alwaysbeen the guy who lends an ear,
gives wisdom.
But you are exactly where I waswhen I was that age and God
(12:58):
kind of nudging me to be likeyeah, this is your assignment,
bro.
Like you, he needs yourguidance.
(13:18):
You know he needs what you haveto offer.
So that's what you know.
I would say.
This film holds that specialplace in my heart, just off the
thought of parents or guardiansbeing the ghost of a child's
future.
Taylor D. Adams (13:39):
It's not a ghost, it's gravity.
Don't you get it yet?
Tars, I brought myself here.
We're here to communicate withthe three-dimensional world.
Lxnny (13:54):
We're the bridge.
I thought they chose me.
Taylor D. Adams (14:09):
They didn't choose me, they chose her.
For what, cooper?
To save the world.
Yeah, I think this film isreally interesting in the way
that it kind of does that.
There's this idea of you know,time not necessarily being like
(14:29):
a linear thing, like theexistence of people, the
existence of thoughts kind oflike, can all happen
simultaneously, depending on howthings are handed down like
that.
Yeah, um pat, do you rememberthat?
Do you remember the first timeyou saw this movie?
Pat Junior (14:44):
Yeah, yes, I do.
I was four years married.
It was me and my wife.
We went to go see the movie.
She knows I've always been abig Nolan fan.
Yeah, I remember seeing it.
I was just blown away.
I'm sorry I'm jumping ahead.
Taylor D. Adams (15:03):
Was that the question?
Was that the end of thequestion?
I mean you can answer.
I'm jumping ahead.
Was that the question?
Was that the end of thequestion?
I mean you can keep answering.
Theoretically, I'd be like doyou remember?
And you'd be like, yeah, yeah.
Pat Junior (15:14):
I mean, I was blown away.
I thought it was.
You know, I actually watched itagain last night just to be
Because I've seen it.
I think this is maybe my fourthor fifth time watching it.
I tend not to watch movies likethat multiple times you gotta
let it simmer, you gotta letthat.
I never like.
(15:34):
Is it because of its intense orthe length?
Just how intense.
it is okay.
You know I I'm not the one torewatch those kind of movies
over and over and over again.
It's an experience.
You got to watch it, you got tosit with it for a while.
You may watch it again, you maynot, maybe a year later or two,
(15:55):
or you may not, but a yearlater or two you see different
things, you learn differentthings, things.
But yeah, I just remember thefirst experience, uh experience
being very, um, just wow.
I mean that's the only way Ican really put it yeah, just wow
.
You know, uh, I feel like Nolan.
(16:18):
Nolan is a visual poet.
That's the best way that Icould, you know, describe him.
He's a visual poet.
He, he, obviously, he has anincredible imagination the way
he portrays or paints hissurrealness and and just kind of
(16:41):
gently guide you through hispoetry line by line.
You know, visually unpackingthings and like for me, as
someone who I read poetry, Ilove poetry, I love unpacking
poetry and deciphering.
(17:01):
You know poets, or whatevertheir work, I mean just as a
musician and aing.
You know poets, or whatevertheir work, I mean just as a
musician and a rapper, evensomeone who enjoys like music,
that's just without any lyrics.
You know, there's a visualconversation going on throughout
the whole movie.
Beyond the actual words, thereare callbacks, very subtle
(17:24):
callbacks.
There's a lot of Easter eggs,very intentional Easter eggs
that he plants throughout moviesthat are very subtle.
It's not forced, but if you payattention you'll see little
things throughout the movie.
Even when you look at Murph'sroom and the titles of the books
(17:44):
that are shown in certainscenes it's like, oh shoot, this
motherfucker really tapped in.
Like you know, literature-wise,and it also goes to show to me,
or also shows me, the reflectionyou know, or just something to
(18:05):
learn from as an artist, or thereflection of what it looks like
to be inspired by severaldifferent genres to create your
genre.
Yeah Right, like he I'm surethere are other directors and
writers or whatever that he'sinspired by, but you know, like
I can almost imagine he'sinspired by, you know, music.
(18:26):
He's inspired by literature,like obviously he is, because we
see certain titles in, you know, on that bookshelf or in, you
know, in the movie or what haveyou.
So I didn't catch a lot ofthose things.
When I first saw it, it wasdefinitely, uh, reminiscent of
uhyssey 2001.
Um, very reminiscent of that,because I've seen that movie
(18:48):
when I was, when I was younger.
So there's a lot of, there's alot of callbacks to that, to
that movie, which is in itself,it was obviously ahead of its
time, but I like that was.
But after I watched it my wifeknows when I'm in the car and I
(19:08):
don't talk about the movie I'mlike wow.
I don't have any like I just gotto sit with it.
I just have to sit in it becausethere's the theory of
relativity layer.
There's the theory ofrelativity layer, there is all
the metaphors and meanings thathe has throughout the film, even
(19:47):
specific names that I'mcatching on to, like Matt
Damon's character man, his lastname, and then even just the
very upfront obvious, like Lennywas talking about.
It's a movie about a fathertrying to look out for his kid
and he also struggles with thefact that he's a father doing
the right thing.
You know the quote-unquoteright thing.
Right, like he's trying tofigure it out.
It's very obvious he's tryingto figure it out.
(20:09):
Um, and, and I love that becausenot only is there there's a,
there's a mirror or a parallelbetween time not being linear,
but also for me, because I'm I'mvery much so like advocate for
therapy, mental health, like allthat good stuff one of the
(20:30):
things that I've been sittingwith is growth is not linear.
Like maturity, emotional growthis not linear.
Sometimes it's.
You know, you go to therapy,you talk about your traumas and
you unpack all these things.
You learn about your triggersand how to respond to different.
You know experiences, butsometimes growth is taking five
(20:53):
steps forward and four stepsbackwards.
You know, no matter howexperienced you are.
And so we even see throughoutthe movie Cooper making some
mistakes, if you will.
When, as I'm watching it,rewatching it and understanding
more of the dynamic, like Iwouldn't have gone to man's
(21:18):
planet first, you know I havevery much, so throughout my life
been a more logical person, ifyou will.
So the first time watching it,I'm like, oh yeah, now that
makes sense.
Like Cooper is doing the rightthing.
Like stop thinking, what's youremotion, brand?
Like we going to mansplain itfirst, you know.
(21:40):
And it's like, looking back, Iwould have listened to Brandon
and follow love, if you will to.
Okay, now I understandcompletely what you're saying,
why you're being pulled in thisdirection, because I am more
tapped into who I am emotionallyas a man.
Yeah, I agree with you, wedon't go this direction.
(22:01):
So the first, the first watchof it was wow.
But as I continued to watch it,just I began to see a lot more
than he's a visual poet andpoetry.
If it's good poetry, if it'sdeath there, then there's so
much more to unpack over timeyeah, yeah, thanks.
Taylor D. Adams (22:20):
Well, let me go to bachin.
What was it?
Lxnny (22:21):
you were the first time you saw this yeah, I don't, I
don't remember like uh, I don'tremember if I really I'm pretty
sure I went to the theaterbecause I'm a super huge like
Nolan fan, but I do remember.
For me it was the the.
It shifted the way I thinkabout time, just watching the
movie because, like I wasn'tnecessarily like researching,
(22:42):
you know, I'm saying like thetheory of relativity and all
those types of things, but it'ssomething I've always been like
interested in.
So when I went to see the movie, I was just interested in just
a like nerd science, travelrealm of things like oh, nolan's
going down this direction,let's see where he goes.
And just like the concept oflike not only trying to figure
(23:04):
out how to like save humanity,if you will, and like going on
to like find these differentplanets and things like that to
have the right habitat thingthat can happen in this one
place can cause this extensiveripple effect because of all
(23:25):
these like different changes.
And just like again likeenvironments, if you will,
because if you think about time,like that's a part of the
environment, like you know, ifit's 24 hours here and 64 hours
here in a day, like thoseenvironments are different.
So the fact that even that smoke, like you know, going back to
watch it, talking about small,small details, like seeing stuff
on Twitter.
They were saying, like everytime it's ticking, like that was
(23:47):
like a day or like a year orsomething passing on that planet
.
So it's like and they're justtrying to figure out how to get
off, and it's like a some simplehappens, yeah, and it's like
all of a sudden you come backand like your son thinks you
(24:08):
forgot about him and it's like,not even because, like, and it's
like as a dad, you got to sitwith that like and continue to
go throughout this mission.
And it's like my kid thinks I'mout here literally like risking
my existence, but because ofthis mishap, like, my kid thinks
that like I just don't careabout him and stuff.
Oh dear, oh say bye, byegrandpa, bye bye grandpa.
Taylor D. Adams (24:22):
Bye, bye, grandpa, it's okay.
Sorry, it's been a while.
It's uh, just oh, it's Jesseand all.
Lxnny (24:38):
Uh oh, grandpa died last week.
We buried him out in the back40 next to mom and Jesse, which
is where we would have buriedyou if you'd ever come back.
So it was interesting likewatching it from that
(24:58):
perspective and then now likegoing back, like I said, as a
dad, and kind of understandingthat.
But, like you said, it was justlike Nolan and the way he
paints pictures is just like,like everything just makes sense
, like it feels like when you'rewatching the movie, like it's
like every scene is, it'simportant and it's pivotal, even
if you don't understand it atthe time, like as you go back
and watch it, it's like it just,it all just like, coincides
(25:20):
with each other to be this likebeautiful, like long, just like
dance, as far as the combinationof like always pairing, like
you know, the music and havingHans Zimmer like have this
beautiful like soundscapeamongst like these intense like
scenes.
The camera work is different.
You know, like we he tries likedifferent things, like I know
(25:45):
he uses CGI, but trying tolessen certain scenarios, just
try to create like the rawestlike feeling and visual possible
.
So it's just like to be able tocombine all that stuff that he
naturally does with like abatman, if you will.
And it's now we're taking it tolike let's kind of like just
nerd out real quick, like we'regoing to space.
We got tars, you know what Imean.
This like weird wonky guy likewe're taking him space.
We got tars, you know what Imean?
This like weird wonky guy, likewe're taking him and we're
gonna go on like a differentadventure.
Taylor D. Adams (26:06):
So yeah, um, yeah, man, shout out to no yeah,
I mean, you're the phrase youguys have for uh, for no one
warrants it for sure.
And also, he co-wrote thismovie with his brother, um
jonathan, and they do a reallygreat job of conveying just
something so complex visuallyinto, kind of um, into one
(26:28):
cohesive story.
Uh, as artists is there, isthere a certain process that you
guys need to go through whenyou think of like a complex idea
or topic and try to condense itor distill it or at least
convey it into, you know, a songor a lyric or a beat or
something like that, yeah, Imean, I know for me, like I've
(26:50):
realized just, uh, as a person,like in life, like when I over
I'm an overthinker, likenaturally, and for me it's kind
of like my gift and curse.
Lxnny (27:00):
Um, it allows me to like think about things like very
analytically and like reallythink about the details and like
break it down to like anunnecessary level and like focus
on it.
But sometimes that can be tothe detriment of like moving
forward, if you will, and, um,like doubting, causing doubt.
So for me I like to really justgo through like a fluid, like
(27:22):
kind of free form, like process,like I think I like to think of
creating like as jazz, becauseI used I used to be in the jazz
band and like really just like asolo, like you make sure you
have like the certain kind oflike techniques and things that
you need, like a Kyrie Irvingwhen it comes to the
fundamentals, but like when youget on the court it's like let's
just kind of see what happens.
So when I have an idea, like Iknow I have like the principles
(27:45):
that I want to stick with, likeI know, like sonically, what I
would always want to have, likeit needs to just always sound
lush and that's just from.
Like you know my upbringingwith music like no matter what,
like I just need the music tojust sound lush in some sort of
way and the drums to like hithard.
And then I'm just like a visualperson.
So it's like for me to eventhink about the idea like being
(28:07):
heard to somebody else, like ithas to take me somewhere
visually, just even as alistener of my own stuff, I have
to be able to paint maybe ascene that Nola would do with
this, like would this go wellwith the scene?
So that's kind of like mythought process, like I would
obviously like to talk aboutthese luxurious things and like,
um, kind of like wanting mystuff to be the, the thing that
(28:29):
you play while you're onvacation, the thing that you're
playing while you're making yourvision board, the thing that
you're playing while you're justreflecting and relaxing.
So it's like it needs to matchlike the beautiful landscape of
greenery, ocean, ocean views,cars.
Like I want it to.
No matter what that looks liketo you and whatever you put
together for that, I want you tobe able to play this and it fit
(28:52):
that picture.
So that's like all the and fromthere it's just kind of like
hey, let's put it together,let's see what it sounds like, I
can walk away, go back, changeit, go back, kind of think about
what I can do better next time,kind of try it out, listen to
it, see what happens.
And then at some point you kindof stand back and look at the
painting and be like OK, I thinkwe did it, let's move on to the
(29:13):
next canvas.
Taylor D. Adams (29:13):
Yeah, I like that.
I like that a lot, Pat.
Do you find it?
Do you have like a similarapproach when it comes to making
your own?
Pat Junior (29:27):
comes to making your own.
I mean, for me it's just whereI am in life.
You know, I think that I I domy best to, and I'm really
appreciative of my mom growingup, you know, really pushing me
to articulate my emotions andexpress how I feel.
She let me cry as a kid, butnot a whole lot, and she would
(29:51):
just.
No, I need you to explain whyyou're upset, like why are you
crying?
Like it wasn't a rhetoricalquestion, like no, you need to
explain why you're upset, youknow.
And so for me, being that kidand having a mom that pushed me
in that way, who exposed me toevery genre of music growing up
(30:13):
uh, from gospel to jazz, toclassical, to hip-hop, obviously
, to r&b like exposed me toevery genre of music, and who
used to, when I hadpresentations in school, like
speaking presentations for aproject or a book report or
(30:33):
whatever would make me practicein front of her and say talk,
like you're not reading thepaper.
And I'm like, what do you mean?
Like I'm reading the paper no Ineed you to.
I need you to speak it like likeyou're not reading the paper,
and I'm like what do you mean?
Like I'm reading the paper?
No, I need you to speak it likeyou're not reading from the
paper, and so I like.
Taylor D. Adams (30:49):
I feel like a lot of adults need to practice
that too.
No facts, absolutely,absolutely.
Pat Junior (30:54):
And I'm super, super grateful for all of those
things because, you know, I evenhaving conversations with
artists where it's like theyhave to memorize their verses
before they record, because it'slike, man, when I, when I
memorize and I go rap it, it's,it's more emotion in it and I'm
(31:15):
like, and my mom, I'm like, am Iweird?
It's like, well, I don't haveto do that I do not do that at
all.
Lxnny (31:21):
I don't have to do that.
I do not do that at all.
Pat Junior (31:22):
I don't have to do that because my mom actually
taught, pushed me all of mychildhood to read, like I'm not
reading from the paper, and Ilike.
As far as the music isconcerned, it's just where I am
in life, my, my music is veryreflective, reflective of life
and where I am.
There might be a gritty era,like we saw with the Grill Talk
(31:45):
mixtape, which I think reallyestablished a lot of it, really,
I would say, established mybrand as an artist even more,
and forced it, I should say.
But you know, this newer erathat I'm in, it's a little bit
more light-hearted, you know, orit's or actually I would say
(32:07):
it's a juxtaposition of the two,where it's light-hearted and
pinging between light-hearted,laid-back and that more gritty,
you know, more edgier, if youwill sound like and, and that's
where I am now as as a humanbeing.
I'm like I said, growth is notlinear.
You know, um, emotional growthis not linear.
(32:30):
I I have a synesthesia I thinkthat's how you say it where when
I see images or I hear music, Isee colors and images and vice
versa.
So if the colors feel right, if, if the palette works that I'm
seeing, um, and it matches howI'm feeling.
That's when I know that I havewhat I need.
(32:51):
Yeah, um, because I am a personor I, I would say I used to be
a person that would overthink,you know, even some of my
writing.
Um, because I, I know peoplehave the notion that rap is a
sport, it's competitive or whathave you and I'm like I guess,
(33:14):
but it's also an avenue forcreativity yeah, and just pure
and I think friendly competitionis good amongst you know, peers
, that you know.
But it's also my form ofexpression and my expression is
sacred and I don't necessarilyhave to compete with your form
(33:37):
of expression, because I am, I'malready competing within myself
, because I'm already competingwithin myself, I'm already
competing within my heart, I'malready competing spiritually
against myself and you know, forme it's a form of expression in
hopes that it will resonatewith somebody, wherever they are
(33:58):
in life.
When I hear things like youwrite stuff or rap things that I
only think in my head and I Idon't have the nuts to say out
loud or I don't have the gall tosay it out loud, that's when I
know, okay, I'm right, where I'msupposed to be, um, and so
that's, that's where I amcreatively, where it's like
(34:21):
don't get get me wrong Like Iwatched battle rap, I'm a I'm a
battle rap fan, like I love thatkind of rap.
You know, I think there's atime and place for that.
But when it comes to purely myexpression, um, I'm, I'm
creating and making where I,where I am in life, and if that
has me, go back and tell a storyto bring somebody up to speed
(34:43):
or to, I guess, show the growthor express where I am now, or
just to tell about myself andthe music to make, I guess, to
make a point or drive homesomething that's on my heart.
Yeah, you know, I'll live inthe past for a bit, if you will.
And then sometimes I speak fromother perspectives, which I'm
(35:04):
tapping into more now, speakingas someone else, or speaking as
somebody who's living in thefuture, where I want to see
myself, where I want to see mypeers, where I want to see
relationships, etc.
Etc.
So, yeah, the tango is hard todescribe unless you know how to
(35:30):
tango.
It's just all of these differentemotions and colors and genres
of art coming together to makeup my music, especially because
I'm a lover of poetry and wordsare very important to me.
How they're, how they're said,um, the words you actually use,
(35:54):
um, good, negative, whatever,like.
Words are very important andI'm still learning the depth and
power of words.
I'm forever learning that andso you know I.
Now my approach is like if itfeels a little complex, then I
don't care.
This is what.
(36:15):
This is how I'm feeling rightnow.
You know I'm like I'm not.
I'm not.
I do keep in mind when I'mwriting is like I'm writing to
be understood, but also I'm apoet and sometimes there's some
deeper meanings and deeperlayers that you won't understand
.
The first, second or third time, but maybe the fourth time,
(36:39):
after watching a certain movieand playing a certain video game
, you'll be like, oh shoot yeahyeah, so that's.
Taylor D. Adams (36:48):
That's where I am with creativity right now
okay, yeah, that makes a lot ofsense, I mean, from the way you
guys are talking about creatingart and the way that we kind of
already talked about howbasically no one is inspired by
a bunch of different thingsevery artist is inspired by an
artist that like came beforethem.
And so it becomes kind ofalready talked about how
basically no one is inspired bya bunch of different things.
Every artist is inspired by anartist that like came before
them.
Absolutely, it becomes kind ofthis pattern, this part of like
(37:09):
creative flow, and I mean youknow Hans Zimmer's great.
Pat Junior (37:16):
Like this is like.
This is not a hot take.
We know he's very good at whathe does.
Taylor D. Adams (37:19):
This score from him really stands out to me,
yes, and I really enjoyed it.
I think I recently readsomething, or heard an interview
where he Nolan reached out tohim.
He's like hey, you know, I needyou, I need you, I need you to
make some music for me.
Dynamic duo right.
Yeah, it was a great dynamic duo.
(37:40):
And basically what washappening was he told, you know,
he told, uh, no one told zimmerthe concept of, of interstellar
the story.
And then you know, um, zimmercame up with a really like
simple, just kind of piano,melody, melody, um, about, uh,
about being a parent, yeah,basically.
And it was when no one heardjust that piano for the first
(38:04):
time that no one then realizedwhat the heart of his space
opera was.
Lxnny (38:09):
Absolutely.
Taylor D. Adams (38:11):
Which I think is really cool about how music
can provide a whole other layerto anything Absolutely so like.
Is there something specificabout this score that stands out
to either of you?
Pat Junior (38:26):
Yeah, there's a lot of percussion, either with drums
or the piano being percussive,and there's like which it keeps
the momentum of the film, butalso there's like this, this
(38:50):
stumbling, if you will, oftrying to figure it out, like
changing on the whim.
Oh, this didn't work, you know,especially when you I feel like
I first realized it when there,by the way, young Timothy,
(39:10):
Facts I noticed that on therewatch too.
I'm like yo who is this guythat's crazy, didn't even didn't
, even, yeah, that's crazy, butit's just cool to see him where
he is now and then see him as akid, yeah.
But when they're driving in thetruck and I think they're
(39:36):
headed to a parent teacherconference, or he's headed to a
parent teacher conference,cooper is and then all of a
sudden the drone comes out ofnowhere.
Indian Air Force drone solarcells can power an entire farm
(39:59):
go, go go get that aim right atit Faster, Tom.
Taylor D. Adams (40:13):
I'm losing it Right at it.
Stay on it.
Here we go here we go.
Pat Junior (40:22):
So there's always to me this shift in momentum or
this stumbling of like going offcourse for a little bit and
then coming back on course, andthen going off course for a
little bit and then coming backon course with you know, time is
(40:46):
not linear, but that emotionalum, like unlinear, like behavior
where it's like you know you'regoing off course to get back on
course, and I feel like thebiggest boomerang is the whole
time.
The biggest boomerang is the,the whole concept of the bulk
beings, right, where you thinkthat these beings are celestial
(41:11):
or they're aliens or what haveyou, when in actuality it's the
evolved human beings who reachedback in time.
Like we didn't get it right.
Let's go backwards a little bit, right, taking so many steps
forward and then taking hundredsof steps back to be like let's
(41:31):
do this over sort of speak andand and I still, I'm still
trying to figure that outwhether it's like are they from
another timeline?
Or like what?
But whatever, um, but just um.
I really love the percussiveelements where, if it's not
drums because there weren'treally a lot of drums used at
all in this score, if I recallit's more so the melodic
(41:56):
elements, mainly the piano beingvery percussive in a way, in a,
if you will, where it's astumbling of being on course,
going off course, coming back.
There's always momentum, andthen I really love the fact that
they used that uh, that hanszimmer used the uh, there's a
(42:17):
lot of.
This is one mint, um, vintagesynth that he's using.
I can't remember the name of it, but it feels like an organ,
it's a synth organ.
So it's a vintage synth organbeing blended with like modern.
To me.
I love when the juxtapositionof using old and new together to
(42:39):
create this thing.
That's not.
It's like polished but textured, yeah, like it's very fresh.
It sounds familiar, but it'sdifferent.
It's very fresh in its own wayand that's what I admire.
Sound-wise, as I'm watching itagain, it's just like that
percussive movement iseverything.
(43:00):
It's very reminiscent of likenow, where in rap you have the
more the newer thing now to do,which it's.
It's become a trend now becauseit's gotten super popular, but
it was already a thing whererappers are rapping on you know
beats, if you will, with nodrums.
(43:21):
It's just it's just a sample orit's not a sample.
It's something that somebodycreated.
But if you have a good internalclock, you can hear the pockets
, the different pockets you canhear as a rapper and become the
percussive element on on on thesong.
So that's what it reminded meof yeah, yeah yeah and um, yeah,
(43:43):
I I agree with that.
Lxnny (43:44):
Like the the big thing for me when I watch uh like
movies and when it's things fromlike hans zimmer even, um, it's
I'm just lost on me what hisname is right now but uh, the
guy who does star wars, but um,john williams yeah um, it's
really like the feeling that itevokes for me.
Yeah, um, that's kind of like myuh, like north star, if you
(44:07):
will.
Um, for like anythingcreatively and like what really
like hits home.
I remember being in the jazzband in high school and like
hearing this dude do a solo formoonlight serenade and it's like
the way he specifically playedon that soprano sax like I
remember looking it up onyoutube and stuff and it's like
the people who originally likethey like the feeling that he
(44:28):
put into that, like created it,like just I don't know, it was
absolutely insane, yeah, andever since that moment, that's
kind of it's created that as anorth star and it's like that
feeling of like they did a goodjob of, like like once you start
thinking and it's like the roomjust lifts and starts to spin
and now you just get lost inyour thoughts of like huh, but
what if we did this?
What if it's like that's whatall of the, the music, even the
(44:52):
scene where he's talking aboutwhat they?
They go off the courseliterally with the truck and
just drive into the cornfieldtruck's got a flat tire.
Like everything that's happeningin this moment is chaos, like
they're supposed to be going toschool.
We're already late for schoolbecause of the flat tire.
Now we're probably not going toschool because we're chasing
this truck.
We're not on the road anymore.
We're driving in this but itfeels right.
(45:13):
But it feels right, but 15 yearolds driving shouldn't be
driving, like everything aboutit is chaotic but you're in the
moment of like whoa, but what isthat like?
We're all curious, like let'sfigure this out.
So he did a good job of paintingthat and creating that dance,
like with the instruments, towhere it's like the violin is
like he said, with the staccatoand being like percussive, and
(45:34):
then you have the piano thatmight have like some lush parts
to where it feels like whoever'splaying, it is just kind of it
feels like this, this, you likethis concoction of music that
again feels chaotic, but thereis this common thread that's
keeping it together, and Ialways say it all the time I run
(45:55):
into the ground, but I justfeel like that's why everything
is jazz.
It's just this expression ofjust pure feeling.
Feeling, if you will and um.
Pat Junior (46:05):
That's a dope album.
Title everything is jazz yeahyou better credit me.
Lxnny (46:10):
Actually I got you, but yeah, so that's uh.
That's that's what I love likeabout watching it, because it's
like, as soon as, like thedialogue is great and as
something does happen and clickwithin the dialogue, that you
naturally your brain is likewait a minute, where is this
about to go?
Like the music like lifts youand takes you on that journey
with like the whole movie oflike whoa, oh crap, like this is
(46:32):
oh crap.
You feel like, like, even whenhe's in the um, like when he's
falling in the uh, the fourthdimension, it's like.
You feel like.
It's like, oh my gosh, you feellike you're going through this
black hole with them andeverything.
Like it's just this yeah it'sbeautiful and the moments of
silence Like I think that'salways like important too.
Pat Junior (46:51):
Yeah, those space silent moments were intense,
yeah.
And I think the more.
I'm sorry to jump in, but Ifeel like moments are the
moments of silence.
But there there's, like when Inoticed that even when they go
(47:12):
off course to go to, they chasethe drone, or when, uh, cooper,
is when man tries to steal the,the spacecraft to go back to
earth or go home or whatever thecase is and Cooper is having to
manually dock the ship to thespace station.
(47:33):
The music it didn't feel veryscary.
It felt adventurous, but it alsothere was this sense of safety,
even though there's this wowlike moment going on and I think
he's about to do this shit.
What are you doing?
Knocking?
Taylor D. Adams (47:57):
Endurance rotation is 67, 68 RPM.
Get ready to match our spinwith the retro thrusters.
It's not possible.
Lxnny (48:04):
No, it's necessary with the retro thrusters.
Pat Junior (48:07):
It's not possible, no, it's necessary.
You see this pattern of himbeing a father beyond just his
kids, because in that scene Branpasses out while he's trying to
dock the ship, and then shewakes back up.
And it reminds me of when I'm akid and my mom is driving
somewhere and I fall asleep inthe car, but I wake up at my
destination and I'm a kid and mymom is driving somewhere and I
(48:28):
fall asleep in the car, but Iwake up at my destination and
I'm OK.
And so that, just him beingbehind the wheel, like it's,
like no matter what I'm- not,he's got it.
Yeah, he's got it Like there'slike the reflection is in the
music as well, you know.
So, yeah, like just the threadof the music.
(48:48):
Like I said, Dang, that's gotchills.
Like Hans and Nolan are thedynamic duo, that scene was nuts
.
Taylor D. Adams (49:00):
I'm now wondering like how many G's were
inflicted upon you when yourmom was driving?
Lxnny (49:06):
Right, right, I'm like upon you when your mom was
driving.
I'm like dang that scene wascrazy.
Taylor D. Adams (49:14):
I think it's really interesting, pat, when
you brought up just thedifferent instrumentations that
Zimmer uses, combining old andnew, because that basically is
this movie.
We're seeing this kind ofcyclical time nature.
It could potentially be a timeloop kind of movie.
We're not quite sure.
But, at this point I don'tquestion time, travel movies,
(49:36):
it's just like yeah, just doyour thing, man, that's it,
that's all you can do.
No one's going to have theanswers to this problem.
So do you guys have a favoritemoment or scene from this film?
Lxnny (49:50):
I mean for me, like again .
The thing that made me hit youup was like at the end, when he
finally gets to see her again,you told him I like farming.
I mean, it was me, Murph.
How was your ghost?
Taylor D. Adams (50:13):
I know people didn't believe me.
They thought that I was doingit all myself, but I knew who it
was.
Lxnny (50:32):
nobody believed me, but I knew he'd come back and like
not only is he able to, you know, see, like, oh, wow, like they
figured it out.
You know what I mean.
And not only it's like wait, oh, my daughter did it.
Oh, word, they figured it out.
You know what I mean.
And not only it's like wait, oh, my daughter did it.
Oh, word, okay, dang, that'sthat's.
You know, that's my baby girl.
And then it's like oh, wait,she's still alive.
(50:54):
Like, oh, like, okay.
And then like the moment towhere it's like one like that
combination of like he's sayinglike the last time he saw her
she's like nine.
Now she's like 109, you know.
She's like done all these greatthings and like here they.
The last time they spoke shewas mad at him, so, like he
didn't even like it's like younever, they never got that.
(51:16):
Like closure, if you will, um,and then, like they're coming
together, she's pretty much likeyo, like you helped me figure
it out.
Like he, he don't even knowlike what type of time she's
gonna be on.
When he sees her, like shecould just be like ah, you're
like she's 100 or not, she couldbe seen.
I'll be like yeah, just get outof here.
That could have been the wholescene where she's like throwing
like medicine at him and thenhe's just like I did all this
(51:37):
for nothing, like, but it wasn'tthat.
It was like hey, I figured outthe things.
Like I took everything that youtaught me within the nine years
that we even had together andit allowed me to do this for the
world.
And then it's like I understandwhy you did it like you and
here's another mission for you.
You know what I mean.
(51:57):
Like I, it's like he got thislike solace of, like forgiveness
, like a level of like beingproud, because it's like dang,
like I, I did it like you know,like you know, my wife would be
proud, like she was the one likeso and she like did what we
felt like she could have done.
And then you get there becausein the back of your mind you're
(52:18):
like dang, like so and so,stranded out there, like ah,
like should I, yeah, but thenit's like I feel like I should
just go back because this wholeworld is different.
And then you get thatconfirmation from your daughter,
like hey, yo, I know all thisis fine and dandy, but we still
kind of need to figure out thatplanet.
All that data is good, like, goout there and go get her.
You know what I mean.
You don't even need to see medie.
(52:39):
You don't Like I got my familyhere.
We had this moment.
You continue to go do what yougotta do and it's like that you
leave, just like like ah, likejust throw in a chair, like just
am one, like I am gonna go findher, like I'm gonna, if I have
to bring her back here, likestrapped to my back, like on a
rocket, if I have to, likethat's the type of energy his
(53:01):
daughter like gave him and youcan see it at the end of the
movie to where he's like I'm sohappy she told me that, because
I don't even want to be herejust like.
It's not even in his natureanyway.
So it's like he literally stolea ship.
You know what I mean.
It's like the whole, the way itends.
It's like, yep, I'm out of here, let me get this bag.
Come on, let's get out of here.
Yeah, I'm going to get her likeso this that that scene right
(53:22):
there of just chef's kiss so itwas more of like like so.
Taylor D. Adams (53:26):
So as a, as a dad, and you're thinking about
kind of like that scene, how itfeels almost like the child is
like forgiving the parent orgiving them permission to do
something like is that, is thatsomething that, for whatever
reason you, you gravitate towardbecause of those feelings?
Lxnny (53:49):
yeah, because like it's you could tell, like when he
first made the decision to evenleave that a part of him, like
it hurt him, because like she,like that was his, like, like
obviously he had a son right andyou know, obviously you know
with your kids, especially asmales, you think that the son is
going to be whatever, whatever.
But in reality, like, whicheverkid just like happens to.
(54:11):
It's like I always tell peopleit's like Jeannie Buss and Jerry
Buss, like he had all thosesons but like Jeannie was the
one Like from if you watchWinning Time, like you could
tell Like you're trying to makeall these other people stick,
(54:32):
but she's the one like Murph wasthe one for him.
So it's like your road dog.
The person that you really feellike is the image of you is
pretty much like mad at you,like doesn't understand, like
that what you're about to go dois like genuinely, really solely
so she can just see another day.
Like you know she doesn't knowthat the dude just told you in
the corner that like corn isabout to go extinct in a week.
You know what I mean.
Like she doesn't know that thedude just told you in the corner
that like corn is about to goextinct in a week.
You know what I mean.
Like she doesn't know thatshe's nine, but you just heard
that as a dad, so immediatelyyou're thinking, like you know,
(54:53):
you're looking at her, like intwo years you might not be able
to just eat a decent meal period, so like I might not ever see
you again.
But like if it means having togo out here and do this, like
I'll do it, so like being ableto come back still having those
feelings.
You see the thing of your sonpretty much like giving up on
you.
And you see the video of yourdaughter pretty much like giving
(55:14):
up on you.
And they stopped sending videos.
So like your only knowledge isthat they might hate me.
Still, yeah, like, but I justknow I'm back.
So to get that closure is likeman, man.
It makes you feel like you madethe right decision as a parent,
which you thought was the rightdecision.
But like hearing your kidspretty much like give you a
(55:34):
diatribe of like everything youdid was right, like you might
have been, like you said,feeling uneasy as a father and
like not really knowing andfiguring.
You're trying to just figure itout.
Like dad, you figured it outout.
Continue to go do what you'redoing, yeah so, yeah, it was, it
was beautiful.
Taylor D. Adams (55:48):
Yeah, no, I get that, pat.
What about you?
What would be your favoritemoment from?
Pat Junior (55:51):
this.
Um, I well, I'll say on that II feel like this is just my
opinion.
I feel like they found closurewhen he was in the tesseract,
when he finally told her how tocreate that, like how to harness
gravity to get all of theremaining humans off of Earth
into that space station.
That's true, that's just myperspective, yeah that's true.
(56:15):
Because when he came in, youknow, and saw her, they were all
smiles and because they knewall of this happened because
they were communicating witheach other while he was in the
Tesseract.
And it's crazy how they had somuch so they had their own
(56:36):
language.
They communicated through Morsecode, something he taught her
as a kid to be able to use whenthey were older, so they had
their own language that theycommunicated.
So I feel like that's wherethey found their clothing.
Lxnny (56:49):
Yeah, I feel that that's true.
Pat Junior (56:51):
Just from my perspective, but I would say my
favorite scene is with Romilly,when he was struggling in the
beginning in the ship when theywere in space.
This gets to me, cooper, thisthis.
Lxnny (57:10):
Millimeters of aluminum, that's it, and then nothing Out
there for millions of mileswon't kill us in seconds.
Taylor D. Adams (57:19):
You know that some of the finest solo
yachtsmen in the world don'tknow how to swim.
They don't know how they gooverboard and they're done.
We're explorers.
Right, this is our boat.
Pat Junior (57:36):
And then he took the headphones off and you listen
to it and it sounds like rainand you hear the wind.
It feels like you're back homeand I feel like that was
metaphor.
Metaphor for like no, this isyour environment.
You, you train to be here and I, so the.
The closure of that scene iswhen they go to miller's planet.
(57:58):
They're there for a couple ofhours, but it's really 23 years
yeah, and they come back andromley is just like he's super
chill.
Yeah, he's just like you know,in the beginning he was like I
struggled, like I was gonna tryto dream those years away, but
he was like I couldn't do thatand he's just this completely
you can, you can tell he's now.
(58:20):
He's just this completelydifferent person and I feel like
he grasped.
He probably rest, he probablywrestled with it a little bit,
but I feel like he grasped whatcooper was explaining to him and
like no, I do belong here yeahand I I feel the sense of that
is like he cooper, is, um, youkind of feel that in that parent
(58:42):
teacher conference where he'slike I know my kid has farmer
scores.
But he's more than that andunfortunately I feel like his
son's character just stuck with.
I'm going to be a farmer andthat's okay.
Lxnny (58:58):
I say unfortunately because I feel like he had way
more potential.
Pat Junior (59:02):
Murph was like she was already like no, I'm not not
doing it, I'm not doing that,yeah, and so she went, you know,
above and beyond to to do whatshe did, but he always had I
feel like Hooper was a guy tocarry that sense of like
confidence, which I felt like,to a degree, uh, this movie
(59:25):
helped him come up, come out ofhis imposter syndrome to a
degree, because in the beginninghe's having those nightmares
about those flight tests orwhatever that he was doing and
settled to be a farmer.
But he's like no, this is myopportunity to do what I've been
training to do, nice and Ithink, as an artist too, it
(59:46):
speaks to you.
Do this for a certain amount oftime and you're like man, I
wish I could be able to do allof these different things
touring and traveling and all ofthe things that an artist would
do.
But I feel like if you reallystay the course, as he did, you
(01:00:11):
end up getting to thosepositions and you're able to
perform.
You know S tier, you knowwhether, whatever it is, you're
doing as an artist, because whenthey, when they were trying to
stop man and they finally gotback, like he was built for that
moment, all the years ofexperience and he, I think in.
(01:00:32):
Like I said, I feel like thisjourney or this event, adventure
, shed him of his impostersyndrome because he was built
for that moment.
You know what I mean.
Taylor D. Adams (01:00:42):
So yeah, yeah, yeah, yeah, the way I've.
I had only seen this movietwice.
I saw it when it first came out.
I saw this movie when it firstcame out and then, yeah, I saw
it earlier this week to prep forour chat, and one thing that
kind of really stood out to mewas this idea of dust and the
(01:01:03):
fact that dust is what's leftbehind, it's us.
And when you, when you weretalking about um tom, who kind
of uh, becomes the farmer, uh,right, takes over the family
business, like, and youjuxtapose that with murph, I
kind of look at it in the way oftom is kind of stuck and almost
(01:01:24):
consumed by this dust, thispast that's here and there.
Meanwhile, murph is learningfrom it, is using it to kind of
move forward.
And so when I think about kindof that idea for you guys, how
do you hope you're remembered,when all you are is dust For you
(01:01:45):
guys, how do you hope you'reremembered when all you are is
dust.
Lxnny (01:01:47):
Honestly, like for me it's like taking the thought
process of a Murph, because likeone thing that's in that movie
is like Tom, like his way ofthinking.
It shows, like in a very directway, like how dangerous that
can actually be.
Because if you think about,like how consumed he was with
like yo, we got doctors comingto the house telling you that
(01:02:10):
like pretty much like you'regonna die in like a year and a
half if you stay in this house,your son's xyz.
You're doing this, you're doingthat.
It's so.
It shows the difference betweenlike he like his dad went to a
whole different planet for theidea of like trying to save his
kids.
It's like bro, they're justasking you to go to a different
town, to a motel, like, andyou're so stuck and like
(01:02:33):
stubborn on what you thinkshould be happening and what you
think reality should be, thatlike you can't even see that
like one of your sons alreadydied and like somebody's coming
in here telling you that yourother son might die and your
wife is looking at you, likewe're also sick and like you
can't, you're so blinded by yourlike, doubt, fear anger yeah
(01:02:57):
yeah, it's like we're gonna stayhere and just keep like
shoveling dust and like eatingthis, pretty much like so it's
like.
It's like that way of thinkingcan, if you want to feel like
you're that piece of dust, likeyou'll just end up staying there
and being that piece of dust,like I'm gonna be on the ship
gone and I don't and I'm sorrythat like I don't have it's
(01:03:21):
cynical to say in my, in my way,but like I just don't want any
person like that to like stopthat trajectory, because like
there just don't want any personlike that to stop that
trajectory, because there arepeople that are in the world
that are thinking like Murph,that you can surround yourself
with, that have that thoughtprocess of even if it's not the
same dream we're all trying togo attain that dream.
You can stay stuck in that dirtif you want to, or you can
(01:03:44):
figure out ways to continue tostay out of it.
You just have to like put onefoot in front of the other.
Like you said, like everybody'stiming is different, if you
just stay the course.
It's about staying the courselike marathon, like you got to
keep it going in this realm.
So for me, like that's the wayI think about it.
Like you can be two differenttypes of dust.
I'm going to be the dust that'son the pod, that's in the plant
(01:04:06):
, that's like, ah, we got tomake sure to keep this to take
it to the next planet.
Like, I'm going to be that dust.
If I'm going to be a, piece ofdust.
Taylor D. Adams (01:04:15):
So after you're long gone, you kind of want to
be known as someone who keptgoing.
Lxnny (01:04:28):
Even if it's not to like the realm of, like everybody in
the world, I just want it to besome sort of like paper trail to
say, like he left something forhis family and for people
behind him, to where, like, youdon't have to know about it, but
the people that's directlyunder him, they understand the
web and the trees.
To where it's like I'm settingyou up and leaving you with
something.
To where, like, whatever youdecide to do, I don't care where
.
It's like I'm setting you upand leaving you with something.
So we're like, whatever youdecide to do, I don't care if
(01:04:49):
it's you want to take this, youknow, money from this account
and become a physicist and go tocollege, that's what we going
to do.
If you want to take this moneyfrom this account and, like, you
have a great business plan anda great business proposal, yeah,
we could take some of it andtry to to see it and actually
(01:05:12):
like, see what's up with that,like, but I want it to be
something laid out on paper,because in this world, if it's
not written down, notary onpaper that says, like this is
what you got as far as thatlegacy yeah, I think that.
Taylor D. Adams (01:05:18):
I think that's a really interesting difference
too.
That I've been thinking aboutfor the past couple years too is
like there is a differencebetween the world and your world
yeah, exactly, and thinkingabout that personal effect.
I think that's.
I like that a lot, pat.
What about you?
What do you when you're dustman?
What are they gonna say aboutPat Jr?
Pat Junior (01:05:35):
it's twofold, one, two.
I guess quote myself RIP ain'treally peace if you still got
potential, like I don't want todie empty everything that I
could do, imagine, dream of.
I don't want to be a dreamer ina graveyard.
I think that's number one.
(01:05:56):
And then simply put number twoI want to be truly in the most
epitome, or I guess in theepitome of, or in the most
truest form I can be, areflection of God's love.
Whatever that looks like.
(01:06:23):
That's just what I want to.
I want people to remember memost, for he was truly a
reflection of god's love thankyou guys, so much for coming
back on and talk about this man.
Lxnny (01:06:34):
You had a blast yeah, man , yeah, my interstellar is it's
a great movie, like it's uh,especially I don't know.
It's crazy when you talk abouttime.
It's like that with dunkirk aswell, like that's a another
movie.
That's interesting.
Pat Junior (01:06:46):
And Interstellar is more than 10 years.
That like I'm getting old bro.
Lxnny (01:06:51):
Facts, ah, facts.
Pat Junior (01:06:53):
That is a super fact and it just goes to show how
ahead of its time it was,because when I watch it it's
like this came out 10 years ago,yeah.
So yeah man, so yeah man.
Shout out Chris Manolis again.
Taylor D. Adams (01:07:12):
Thanks.
Whether our goal is to leavebehind a foundation for the next
generation or to exit thismortal coil spent of all of our
creative energy, finding whatwe're living or dying for is a
simple but not necessarily easyrealization to come by.
Some folks spend most of theirlife trying to figure out what's
most important to them.
(01:07:33):
Others figure it out beforethey even turn 18.
And some of us are almostafraid to admit what we truly
care about, fearing that wewon't be able to manifest it
into our lives.
But I think all we can reallydo is try our best, and that's
got to be worth something.
(01:07:53):
A huge thanks to Pat and Lennyfor chatting with me today, and
an intergalactic size thank youto you for tagging along for the
ride.
Before you go, please check outmusic by both Lenny and Pat
through the links in the shownotes below.
Pat actually dropped a new EPtoday called Broke it Evidence 2
, so go take a listen.
If you enjoyed the show today,please go ahead and subscribe on
(01:08:15):
your favorite podcast platformof choice, and if you happen to
be listening to this on ApplePodcasts, please leave a rating
and review.
It gets us noticed by moreawesome people like yourself If
you want to help our show growand maybe get some access to
cool perks in the process,please consider backing us on
Patreon.
For more info, you can checkout the show notes or visit
patreoncom.
(01:08:36):
Slash film nuts Our theme thisseason, is brought to us by J
Mac, our artwork is designed byModongwa Subuhudi, and all
episodes of Film Nuts podcastare produced and edited by me,
taylor D Adams.
If you want to get in touch,you can email filmnutspodcast at
gmailcom or follow us onInstagram and TikTok at
filmnutspodcast.
And don't forget to join theNuthouse Discord community
(01:08:58):
absolutely free by checking outthe link in the show notes as
well.
Thank you all again.
So much for joining us today,and until next time I hope all
your ghosts teach you well.
Thank you all again.
So much for joining us today,and until next time I hope all
your ghosts teach you well.
Take care.
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