November 1, 2023 • 49 mins
Watch this episode on YouTube!
Are you ready to embark on a journey into the mind of an artist inspired by the intricacies of Wes Anderson's films, notably The Life Aquatic with Steve Zissou? Our guest, Patrick Shanahan, owner of the Ark Royal—a tiki bar that pays homage to the movie—shares how the film’s influence permeates his establishment. From the décor to the drinks, like the frozen Belafonte and Rum Cannonball, you will see how this film has not only shaped his business but his perspective on life.
Patrick's journey as an artist began with a simple drawing of two ducks in elementary school, which transformed his life. Join us as we delve into the profound impact of art on storytelling, an influence that can be seen in his bar and his life. We'll invite you to explore the increasing accessibility of art and the ambition to achieve recognition beyond fame. Patrick's story is a testament to the intertwining of art and life, made possible by the immersive world of The Life Aquatic.
Wes Anderson's filmography has a unique way of creating parallel realities within the minds of its viewers. The Life Aquatic with Steve Zissou is not exempt from this. We'll explore the deeper meanings of the film, including the metaphor of the Jaguar shark and the motivations of the main character, Steve Zissou. Our guest, Patrick, provides his personal experiences and reflections on this theme, and we consider how the film has helped him process his own life experiences. So, prepare to set sail into a world where art meets life, reality intertwines with fiction, and rum flows like the sea. Let's embark on this journey together.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hey there, dear listener, I have a very special
episode for you today.
So, before we dive in, if youwant to get the fullest
experience, I recommend headingover to our YouTube channel.
You can still enjoy the audioon your preferred podcast
platform, but we're doingsomething unique with this
episode that you might enjoy infull living color.
(00:21):
Okay, on with the show.
I want you on Team Zissou.
I don't think I can do that,why not?
Well, it's not my field.
I don't have the background forit, no one here does.
Speaker 2 (00:36):
Klaus used to be a bus driver.
Well, Edarski was a high schoolsubstitute teacher.
Speaker 1 (00:41):
We're a pack of strays, don't you get it?
See, I'm not even that strong aswimmer.
The answer is yes.
Well, it's got to be.
Speaker 2 (00:51):
I'll order you a red cap and a speedo when he finally
goes after something.
It's not even real.
You know it's like in trying tomake this movie.
How real is that as opposed tohaving a relationship with your
actual son in making this thingto be famous, to be known or
something?
So that's what I'm saying whenI'm getting at this idea of
reality.
And what is the most importantthing, is it the things that we
(01:12):
make that we'll be remembered by, or is it just our friendship?
Is it us recording thisconversation or is it us having
this conversation over coffee?
Speaker 1 (01:23):
Hi, I'm Taylor and welcome back to the Film Nuts
podcast, a show about why welove what we watch.
If you're a longtime fan of theshow, you understand that our
favorite movies and favorite TVshows have a way of inserting
themselves into our everydaylives.
We quote our favorite movies toour friends in normal
(01:44):
conversation.
We wear clothes we thoughtlooked good on a specific
character from our favorite TVshow and we even maybe watch
stuff on our phones to keep uscompany during our daily train
commute.
There are even occasions whensomeone is so inspired by a film
they bring elements of it tolife in the form of a tiki bar.
(02:04):
The Ark Royal, located here inRaleigh, north Carolina, is a
tiki bar infused with homages toWes Anderson's the Life Aquatic
with Steve Zsu.
The decor, the cocktails, evena portrait of Bill Murray
hanging behind the bar remindthose familiar with the film of
its impact on the founder ofthis establishment.
(02:30):
That founder is Patrick Shanahan, an artist, filmmaker,
restaurateur and now friend ofthe show.
Patrick was gracious enough toinvite me and my camera crew
down to see how he and the ArkRoyal were inspired by the Life
Aquatic with Steve Zsu.
Speaker 2 (02:46):
I love that movie more than just a western film.
Wes Anderson's films have a wayof becoming a part of your
daily life, where you're quotingit wearing a red beanie and
you're handing out clocks.
But, seriously, it's becomesuch a big part of my life that
I feel like Zsu has had aninfluence on the way that I
(03:10):
actually speak to people andtreat people and don't take
myself too seriously.
It's a movie about makingmovies and we're going to make
fun of movies at the same time.
Filmmaker, I like that.
Now that I'm making less moviesthan I used to, I find it even
funnier.
So, even moving into barcreation, it was like okay, yes,
it's a tiki bar, yes, it's acocktail bar, but I don't want
(03:32):
to take it too seriously.
So let's take the spirit ofthat movie and the
ridiculousness of Bill Murray'scharacter and let's put that in
the bar, so it's not like youwalk in and everything's blue,
yellow, touch of red, becausethat's, our tenders aren't
wearing the red beanies?
No, but they should be, honestly, this winter we might bring the
red beanies in.
You know, you have the sharkson the wall for the Jaguar shark
(03:54):
, yeah, you have like these liketribal elements, which is like
a nod to like Pescha, SpottaIsland, and these like
adventures that I'm assuming Zsuwent on, the first thing we
ever did before we ever started,like building anything.
Was named the main three drinks, which are Jaguar shark, the
Belafonte and the rum cannonball, because all three are
mentioned in the movie.
Speaker 1 (04:14):
Has anybody noticed that the life of aquatic is in
this bar?
Speaker 2 (04:17):
Yes, many, many, many people.
Do they the cocktails?
Speaker 1 (04:21):
The name of the cocktail.
Speaker 2 (04:22):
They're like, oh yeah , they're like Jaguar, shark,
Belafonte.
Like what do you watch Zsu?
And I'm like, yeah, yeah, I'veseen it.
It's not called Zsu, it'scalled the life of aquatic.
What are we drinking?
These are actually based off oflife aquatic.
This is our frozen drink.
It's called the Belafonte,which was the ship I knew.
(04:42):
Our flagship drink had to be afrozen drink.
You know, it's like the onething you come in you're like,
oh, it's got to be a shittydrink.
But you try and you're like,damn, that's good.
I mean that's a good drink, itis good, it is good.
People love it.
They talk about it.
It's no, you know, I meanthat's like a great drink, it's
a great flagship.
And then I knew, because it's ateaguar, rum was our focus.
(05:02):
You know, rum is so uniquePeople talk about bourbons and
whiskeys being so different andunique.
Rum's have complexities thatthe world has forgotten or has
been washed over by the idea ofspice rum, which is ridiculous
because this is a rum cannonballwhich is a throwaway line in
life aquatic.
We love it and it's all I drinkwhen I come in here.
What's in there?
Today we're drinking withClamont select barrel rum which
(05:26):
is from Martinique, and all rumsare specific to the island
which they come from, whichcomes from, like an agricultural
history of, unfortunately,colonialism, A lot of these
islands.
You can trace back the way theymake their rums to not only
that island specifically butalso their colonizers.
So you've got Spanishinfluences, British influences,
(05:49):
French influences and thenusually, when you use like a
sweetener for an old passion,you would just throw in some
simple syrup sugar as you will.
But if you're making like amezcal old passion, maybe
someone throws in some agave tokeep it in the spirit of like
the culture.
And then here we're actuallyusing phalarna, which is a clove
based spice which you'll see inthe Tiki world a lot Polarna
(06:12):
and orjot and maybe you'll seelike a passion fruit sweetener
from time to time, but those arethe sweeteners you'll see in
Tiki.
So Tiki really is a wholedifferent palette.
It's very sweet.
So you've got this like spicyclove coming through from the
phalarna.
You've got Tiki bitters insteadof like an Angostora.
(06:32):
And then you've got thatMartinique rum which is like
kind of sweet but also has apunch, not as much as like a
high proof bourbon, which iswhat a lot of old fashioned
drinkers like.
They like high proof so thatlike that ice melts and the
sweetness like builds by thelast drink.
It's like sipping candy, butfrom the first sip this one's
kind of like candy.
Speaker 1 (06:53):
You don't have to be knowledgeable about Tiki or
other cocktail cultures toappreciate this place.
It's fun, vibrant and thedrinks are well delicious.
But the things that stand outto me are the connections
between Tiki, the life aquaticand Patrick's creative
philosophy.
So after a few drinks and alovely tour of the place, we sat
(07:14):
down to chat about hospitality,the fabrication of reality and
not taking ourselves tooseriously.
So here's Patrick Shanahantalking about the life aquatic
with Steve Zissou on the FilmNuts podcast.
Speaker 2 (07:32):
Tiki itself is its own cocktail culture.
Right, it's its own thing andI've been to so many amazing
Tiki bars that would just blowyou away, ones with like active
volcanoes in them and stuff youknow the grass skirts incredible
.
There's just so many amazingbars and these people are, like
I said, it's a serious culture.
When I approach Tiki, there'sone throwaway line in life
(07:53):
aquatic.
You know, there's one throwawayline that made me say, okay,
that's enough for us to make itlike that theme here.
You know, what was?
It.
Speaker 1 (08:04):
What a shame they had a bartender here.
Kino made the best roomcannibal I've ever tasted.
Speaker 2 (08:10):
It's not a real cocktail.
I just thought that was reallyinteresting, you know, and I was
like I want to follow that intothe bar and show people how
much I love life aquatic.
Because if people wanted to say, oh, what's the Belfante, what
is the Jaguar, what's the pointof all this stuff?
Yeah, if you notice the littlepieces around, people would say
maybe it has something to dowith life aquatic.
And if you know, you know,because I feel like Wes Anderson
(08:31):
himself is kind of that way.
If you know his films, you know, and if you don't, well, we
don't have much to talk about.
So why do you love this?
Speaker 1 (08:38):
movie You've just talked about.
It's inspiring and Tiki Bar.
But why do you love this movieso?
Speaker 2 (08:42):
much.
Well, I mean, I know this is aconversation, but I got to start
with like the shortest.
I'll make this story reallyshort, you don't have to, I'm
going to make it short.
I know it's more of aconversation, but this is a
short story, okay, and a truestory.
When I was in my I think it wasmy junior high school, I was
dating this girl.
She's an amazing, wonderfulgirl, beautiful girl.
Haven't seen her in years, butshe was great Emily, and she
lived out in Chapel Hill and Ilived in Raleigh, so Durham was
(09:03):
between us, so that the closestAMC movie theater or whatever
was Durham.
Right, oh yeah, south Point,south.
Speaker 1 (09:08):
Point yeah.
Speaker 2 (09:08):
So I drove out and picked her up and she's like
let's go see a movie.
I said, all right, let's seesomething funny.
It's all.
Bill Murray had a movie comingout.
And I said all right, I loveBill Murray, I love, you know,
ghostbusters and Caddy Shack.
It's fun stuff, you know.
And so we go see this movie.
And as soon as it started, Iwas like this is not funny.
It was like this is weird.
Speaker 1 (09:27):
Well, that was only part one.
It's a cliffhanger.
Speaker 2 (09:31):
Now I'm going to go hunt down that shark or whatever
it is and hopefully kill it Idon't know how yet, maybe
dynamite and we sat there andwatched and I was like so
confused because I'd never seenfilmmaking quite like that.
And at the end of the movie,when it stopped, I looked at it
and was like what did you thinkabout that?
This is the worst movie I'veever seen.
Wow, and I said I think you maybe right, like I think you're
(09:54):
right.
That was really bad, that wasweird.
So I go drop her off in ChapelHill.
I'm driving back and all I canthink about is this movie.
I'm like so weirded out by it.
And I was really into film atthe time.
You know I was seeing a lot oflike a kill bill would come out
kind of that same time and I waslike obsessed with that stuff,
early 2000s, yeah, like.
So I'm driving home and thelate show was coming, so I
stopped back at the AMC theaterand went by myself.
(10:15):
You went and saw it again.
I went and saw it again thesame night, same night, wow.
And when I left that movie Irealized that I realized I
needed to talk to her the nextday.
And I did and I said you and Iare completely different.
People will never make itbecause that's the best movie
I've ever seen in my life.
And you're wrong and I was like, I'm sorry, like great girl
love her to death.
Speaker 1 (10:35):
She's doing well wherever she is.
Speaker 2 (10:36):
But I knew that.
I knew that we werefundamentally different people
because she was wrong.
I was just so taken by the filmbecause you're hit by so much
visual in a Wes Anderson film.
Was this your?
Speaker 1 (10:47):
first Wes Anderson movie.
Speaker 2 (10:48):
No, you know, you remember like your parents would
take you to Blackbuster whenyou're younger, right and like
let you pick out one Right.
Speaker 1 (10:53):
Did that happen with you?
Speaker 2 (10:54):
Yeah, okay.
So I picked out Rushmore a longtime ago once again because I
saw Bill Murray and I thoughtlike, okay, bill Murray, this is
gonna be funny.
And I remember watching it andI watched it so many times that
weekend.
I still never understood likewhy Rushmore was speaking to me.
No, it wasn't my first WesAnderson film.
I'd never seen Bottle Rocket,but I had seen Rushmore and I
had seen World of Tandem Bombs,because Tandem Bombs is where he
(11:15):
kind of came out and peopleother than film people started
paying attention because I thinkit got up for an Academy Award
for some probably bestscreenplay, honestly, and
everyone kept calling it a darkcomedy and everyone was like, oh
, it's a dark comedy.
And I was like, oh, it must bebad, it's a dark comedy.
I didn't even know what itmeant, I just remember.
Yeah, I didn't know.
I didn't know.
But now then I knew, because in2000, whatever I think it must
(11:36):
have been three when I saw thatmovie I was like, oh, this is
something different, this is apiece of art and that's what I
want to do, you know.
So I think that that's where itbegan for me.
And then after that, I the lovegrows right.
The first time you see it, itdoesn't make a lot of sense.
The second time you see it, youunderstand.
The staccato rhythm of West islike West, like.
(11:57):
I know this guy, his writingstyle is like this weird rhythm
to it, where once you buy intothe rhythm and you start to get
the rhythm, you're like, okay,I'm beyond that now.
And now I'm in this world, andnow this is the world he's
painting, he wants me to see,and now I'm in this moving
painting.
It's very different, I thinkhe's very different than any
other filmmaker that exists.
So when you're like, oh, I love, I remember this producer once
(12:18):
said like I don't make andproduce West Anderson films
because I know I'm going to makemoney.
I do it because I'm collectingart and I feel like that was the
first time me being a painter.
I was a visual artist at thetime like just figuring out
painting, and bought my firstlittle Canon, made some short
films in high school.
It was like, oh shit, film isan art form.
Now I get it and that's why Ilove this movie.
And it grows, it just grows onyou, you know, it just grows on
(12:41):
you yeah, yeah, no, I'm the sameway I actually grows on you.
Speaker 1 (12:44):
I actually liked this movie the first time I saw it.
Wow, I guess.
I guess I was alreadyunderstanding the humor because
I saw Royal Tenenbombs andthat's like.
That's like it's obviously acomedy, is like you said, it's
kind of dark comedy but Iunderstood like the awkward
comedy of it.
I was like into it and thenknowing that it's life aquatic
would be similar to that, andwatching it and also having like
(13:06):
there was more of an emotionalcomponent and then also like I'm
just like a big, like likeocean wildlife nerd and so I was
so fast and so taking with thefact that they were like
inventing new species of thingsTotally, and just how
beautifully they illustratedthem with stop motion.
I thought that was great, Didyou know much about Jacuzzo.
Speaker 2 (13:24):
Yes, the first toy I remember playing with was like a
Jacuzzo bathtub toy.
Okay, maybe I don't know if itwas a bathtub toy I played with
it in the bath tub.
He was like diving in the tuband he had little flippers and
like a whole thing and I forgotabout Gusto, except for maybe a
throwaway line in an Ace Venturamovie or something.
You know, I don't remember Ididn't like keep up with him.
But you know, what I love aboutthe film is I don't know if I
(13:49):
don't know this for sure,because I've just off the top of
my head.
I mean, I feel like realitytelevision had become a thing.
I don't remember when thewriter strike was, but right,
reality television was.
I feel like it was betweenReality television was around
the turn of the century.
Speaker 1 (14:00):
I think it was between Rushmore and.
Speaker 2 (14:05):
Life Aquatic.
Speaker 1 (14:06):
What was Rushmore?
I don't remember.
Yeah, they have in betweenright.
So the Royal Tamoms, I feel youshould know this, because I
know you're a massive survivorfan.
I and that came on and thatcame on around like 2000 and 99.
Speaker 2 (14:17):
I want to say yes, I mean I loved it in the beginning
and then I would get soattached to these people that
got voted off that, like I juststopped.
I didn't get back into survivoruntil recently.
But there's a lot of Tiki in.
If you watch survivor it's allTiki, it's Tiki culture.
You're winning Tiki idols andgods and stuff, depending on
where they are.
Speaker 1 (14:33):
They've slowed that down.
Speaker 2 (14:34):
They have slowed the Tiki down because you know
there's a whole thing aboutcultural appropriation.
But I think we should touch onthat at some point.
But let's go back to realityfor a second.
Documentaries are reality, it'sreality.
It's to a degree like this isreal Same vein.
Yeah, so in the film sorry, billMurray is a documentarian
making Ter誘, making reality film, and he's creating these
(15:01):
narratives throughout the movie,like with his son, with Esteban
, with everybody he's like.
But you know, there's greatscenes where it's like a
touching scene.
He's like staring at his sonand he goes how you shooting
this, vikram?
Speaker 1 (15:12):
One, two, three Attaboy, attaboy, here he is,
here he is, come on you, okay,man you okay, alright, give him
some room.
Speaker 2 (15:22):
He's okay, he just drank a little too much water.
Speaker 1 (15:30):
How you shooting this Vikram wide open.
Speaker 2 (15:32):
Alright, Mike, Five, six.
He's so out of the reality,he's just so interested in how
it's coming off on the camera.
So this idea that yes, it'sreal but none of it's real and
the reason I bring this up isbecause you were talking about
the fake wildlife it's like hewanted to show that the reality
he's creating is so unreal thatI have to make up these fake
animals.
You know these sea animals,these creatures.
Speaker 1 (15:55):
Well, I mean I defeated this idea.
I didn't take it as that.
I took it as, like the worldwe're witnessing is just like a
mystical world where we're goingto have these animals that
aren't real animals because,like he gets gifted the crayon
ponyfish from Klaus's son orgrandson or nephew of Everest.
Speaker 2 (16:15):
Steve, this is my little nephew of Erna.
He wanted to meet you.
Speaker 1 (16:20):
How you doing, warner .
He brought your present Acrayon ponyfish.
Wow, interesting specimen.
Speaker 2 (16:35):
Thanks, Bill, You're welcome.
I do love the idea of filmsinside films.
I always have Films aboutfilmmakers.
There's a lot of this movie, Ithink, is lost on people that
don't know about film.
How you shooting this figureWide open.
You know it's like, hey, get atwo shot, Get a cutaway of this
miracle.
You know it's like the way thathe speaks about it.
(16:55):
I laugh now, but it's reallynot that funny.
I think when most people watchit they're like this is not
funny.
This man is in despair.
He's lost his father figure,Esteban, and he's meeting this
son that he's never had and he'sbecoming a father figure.
But he doesn't want to be.
And it's not that funny.
It's dark, but that movie getsfunnier and funnier and funnier.
He doesn't want you to be thatattached to reality.
Speaker 1 (17:16):
So the more I thought about it over the years seeing
it maybe 500 times To me, thefact that Bill Murray is playing
a documentarian and the factthat Owen Wilson plays his maybe
, maybe not son, or not quitesure.
To me, this film deals a lotwith legacy, I guess, Like both
(17:36):
the struggle for what to leavebehind and possibly the
definition of it.
So with all this, I mean,you're a filmmaker, you're a
photographer, you're ascreenwriter, you are a
restaurant tour with all thestuff that you're going on what
is?
Is there some kind of legacythat you're striving toward?
Speaker 2 (17:54):
Yeah, you know what I found about.
I was just talking to ourbartender, braden, who's here
with us today.
He's making our drinks.
Cheers, braden.
Speaker 1 (18:00):
Shout out.
Speaker 2 (18:03):
I was just talking to him about what do you want?
He said I don't want to own myown bar someday and I said okay,
I remember when I was 22 and Iwant to own my own bar someday.
My legacy has become abouthospitality.
Okay, let's start this back alittle further.
When I was in college is when Isaw Life Aquatic in high school
, got back to it in college.
I'm going to answer thisquestion.
I promise it's just theroundabout way of getting back
(18:24):
to it.
You can talk as much as youwant to we're coming back.
Speaker 1 (18:25):
I'll just hold you to it, we're coming back to this
because this is important.
Speaker 2 (18:30):
I think about this a lot In college.
If you came to my house, youwere going.
There was a lot of parties outthere, there was a lot of frat
parties and all this stuff.
There were so many things to doin college.
But I was painting at the timeand I wanted to sell my
paintings.
But I also wanted to go toparties, but I was so anxious, I
had so much social anxiety andI didn't want to leave my house.
(18:51):
I just had these art partiesand people started coming and
they bought my paintings.
But we would party all nightlong and these were wild fun
times where I was painting allover the place and bands would
play and this went on from 19 to23,.
I lived in that house Four yearsof this, all the time,
constantly.
People knew about it.
It became a thing.
We would have this tiny littlehouse, 1,500 square feet, full
(19:13):
of 400 people.
It was just a wild time.
If you came to that houseduring that time, life Aquatic
was on.
It never came off.
That TV never turned off and itplayed Life Aquatic from the.
It was always on.
I never stopped.
It just kept going on.
Speaker 1 (19:26):
Repeat that criterion collection yes that's the exact
one I have.
Speaker 2 (19:29):
Yes, just kept on and kept on and kept on, and kept
on and kept on.
So if you were in that house,you saw some bit of Life Aquatic
going, and so Life Aquaticbecame a really important part.
But then when I went to NewYork to film school and started
drinking differently, it wasn'tlike oh, Jack and Cokes.
It wasn't like.
You know, I drank some absinthein college and thought I was
(19:50):
cool.
And then I went to New York andwas like, oh, there's a
different way of drinking.
You don't have to drink inexcess, you can drink one or two
and have a really great nightand really enjoy what you're
learning about the story andwhere it comes from.
And that's what I love aboutTiki and Kraft cocktails, like I
do, is there's a great storythat goes way beyond my
involvement of really talentedpeople, like really exploring a
(20:11):
craft, and so I find the art incocktails that I started to
respect.
So when I came back and alwayshad this idea for Watts and Ward
, my first bar, it became abouthospitality.
Right, it became about I wantpeople to have a great
experience here and my approachto barmaking was like my
approach to filmmaking, whichI'm still working at that.
But you know, I always say thatif you have a really good cast,
(20:32):
like approach bars, like Iapproach film so if you have a
good cast, that's like yourbartenders, your barbacks, you
know, your door guys, likeeverybody, is so important.
What is the story?
From the moment you walk intomy bar to the moment you leave,
the first person.
The last person is the doorman,door guy, door girl, whatever
door they.
That is the most importantperson.
I treat them and let them knowyou are important, you are
(20:55):
everything.
You're not just the personsitting at the door, you are.
Hey, how's it going?
How are you doing tonight.
You were the first impressionand you're the last impression.
Hospitality has to be about howyou treat somebody and I've
always strove like when I metsomebody, I always want to
listen to them and talk to themabout what are your interests,
what are you into?
You know, I feel like the artof caring was really I mean, I
(21:18):
think it's kind of back now.
It must be hip to be caring,but I feel like it was done.
Isn't that shitty?
I know it's so freaking weird,but I felt like it was really
important to get to know people,even and I love this to
strangers like today that I meet.
I still do this, just notbecause I'm thinking about it,
because I'm interested.
I am.
I love talking to strangersabout strange things, what
they're interested in, what arethey doing, how's their day
going, whatever.
(21:38):
But hospitality, I think, isthe legacy I'd like to leave
behind.
I always felt like when I waswith Patrick you know talking to
myself about myself and thethird person here when I was
with Patrick, he felt like Ifelt like I was heard and
listened to and seen.
And I feel like when peoplecome to Watson Ward, you're seen
and you're felt and you'reheard and we want to be there
for you.
And if you come to the ArkRoyal, where we are now, my
(22:00):
second venture it was alwayswho's the cast, what's the
lighting, what's the story?
And so, if I can continue tocreate these moments like I see
this, like we're sitting in as acontinuation of my art from
college, as a continuation ofstorytelling, screenwriting,
filmmaking, when you go into aspace that I've designed, do you
feel a certain way?
(22:21):
I can control the way you feelfrom the moment you walk in the
door, and then your experienceis your own.
So, like the first time, I satback in one of my bars and I
watched people, man dude, I washooked.
I was hooked.
It's cool to like sit in amovie theater and watch people
like oh, ha, ha, ha, whensomething you wrote and they're
laughing about it like oh itlanded.
But imagine getting to see thatmovie like 500 times in one
(22:44):
night and people areexperiencing the room.
We're sitting in the taboo room, People like fighting to get in
, People freaking having sexback here and getting thrown out
.
You know, I mean whatever itmight be, not that we condone
that, but that's why you kickedthem out.
Speaker 1 (22:56):
Yeah, we had to throw them out.
Speaker 2 (22:58):
They didn't get that far, but I'm just saying what
happens in the taboo room stayshere.
But I think that if that's whatfilmmaking is and art is is
trying to allow someone to seewhat you want, and then how does
it affect them and what doesthat play between in the mind is
a very complex thing, but it'salso very simple and it's and I
was telling Bray in thebartender if you want to make
your own bar, find the rightcast, Make sure the lighting is
(23:21):
exactly what you want it to be,and what is your story?
There's a lot of bars that comeand go and people are like oh
you know, opening a restaurant,a bar, is really tough.
Well, the ones that make ithave great stories.
Where does this chef come from?
Where did this bartender comefrom?
What makes this spaceinteresting?
What makes that interesting?
What?
What makes this different?
Right, it's all in story.
Whether it's a painting,whether it's a screenplay, a
(23:42):
film or this bar, it all beginswith story.
So if, hopefully, I find thatthe older I get that my art will
be forgotten, I have to say Imean, I'm not the best artist.
Right, my art will be forgotten.
It doesn't matter.
I mean, how many paintings canyou name off the top?
You had probably some VanGogh's, a few Monet's.
You go to the MoMA or whatever.
You see this collection ofgreat art, right.
(24:03):
But think about the Egyptians,Like they were putting out some
serious art that has all beenstolen and taken around the
world to different museums andstuff.
I don't think they werethinking about like, oh, someday
I'm going to be famous, right.
But now everyone wants to be anartist because they think they
can, they can skip having to geta job.
Everyone's a photographer,Everyone's a filmmaker,
Everyone's an artist whatever.
Do you think?
Sorry, I'm just rambling.
Speaker 1 (24:22):
No, no, no, no, no.
The rambling is welcome.
Do you think that people,everybody wants to be an artist,
or does everybody wantrecognition for something?
I mean, I don't want to saydoes everybody want to be famous
, but like, hmm, not to be allget off my lawn about it, but I
do feel like that there is acertain age group coming up that
(24:44):
, um, including our owngeneration sometimes about like
just wanting to be known.
Speaker 2 (24:50):
That's a good way of putting it.
Speaker 1 (24:51):
Um, or be seen, even even if it's coming from a place
, if I just want to be seen andthat gets construed as to
wanting to be known or something.
Speaker 2 (25:00):
No, I love what your thoughts are.
I mean, I think these arethings that we're dealing with
every day and thinking about allthe time, as artists like and
separating ourselves becauseit's so accessible to be an
artist and to be seen.
Right now you can do whateveryou want to be seen.
Yeah, I mean we see this interrible ways People that aren't
seen and aren't heard, aren'tunderstood, that are I don't
want to get dark, but you knowshootings and shit that we see
(25:22):
every day it's horrible.
But when you see these peoplethat are like, marginalized and
they have no other way to beseen, and then you have people
that can flaunt differenttalents or attributes to be seen
, you know, I mean there'salways a really good things that
people are doing.
People are standing up to say,like, I want to be an individual
and stand up for theenvironment or for rights or
whatever, whatever they want todo.
I think there's more platformsnow to be seen and heard, but
(25:44):
it's not always a good thing.
It can be dangerous and itcould be good.
So I mean I think that, yes,people want to find.
I think people don't want tofeel so alone, you know, but
when I was, when I was paintingearlier in life.
I remember in college and highschool no, no, no, no, let's go
backpack, backpack, backpack.
When I was a kid, I really lovedStar Wars.
I watched a lot of Star Wars.
(26:05):
I really loved that nerdy worldof like oh, this is fantasy,
right, I was kind of the nerdykid that wanted to draw right,
but then someone saw a drawingof mine in second grade of these
two ducks.
Hate these ducks.
They're still in, they.
They haunt my life.
They changed my entiretrajectory of everything I ever
did.
Oh man, these better be greatducks.
They all send you a pic.
I mean I'll get you one.
I mean they're out there.
(26:25):
My mom copied them.
Speaker 1 (26:27):
So she has the original like three, two grand
for.
Speaker 2 (26:30):
Yeah, I know I'll get you, I'll get you.
Oh, but yeah.
So these ducks, they were likeI guess they were just better
than the rest of the kids andthey're like this kid's got a
little bit of artistic talent.
And finally, I wasn't justanother kid in school which I
didn't really care.
I was in second grade when thishappened.
Right, I became.
I was never the fastest I'vereally finished the mile.
Remember you had to run themile.
I was like a three laugh guyand it was four laugh.
Speaker 1 (26:49):
I'll be like I did my mile.
Speaker 2 (26:50):
They're like no dude, patrick you did three laughs.
You better keep going.
Oh, and I was like I just I tapout, just give me a 10 minute,
whatever I'm out.
I wasn't fast, I wasn'tathletic, I wasn't any of these
things, but I could draw and itgot a lot of recognition.
I was really noticed, you know,in school I like really noticed
, and then I started singing inplays and gave me more
recognition.
I was like oh, I'm like knownas the one artsy kid at this
(27:13):
small school.
That's cool.
That was my thing, you know.
So I think getting recognizedfor something is important, do
you think that is?
But I don't think that's alasting legacy.
Is what I'm getting at?
That's all right.
I don't need to cut you out, no,no no, no, I have found that
I've been surrounded by suchtalented people in my life that
I've tapped out of art because Isaw someone Sean Richards
painted a painting once and Iwas like if I could be his best,
(27:34):
if I could be the best I wouldever get and I know you know to
know your limitations, I thinkis important.
I will never get better thanthat and that's what I want to
do.
And he's doing it better thanI'll ever do it.
So why keep going on?
So I said, ok, let me retain.
What can I do?
Where can I go?
What is really calling to me?
And I seem to have gone.
I still enjoy screen, Iliterally love writing, but I do
(27:55):
find that the idea of legacy,living to live beyond, to be
remembered or cared about yearsfrom now Is the most vain,
arbitrary thing that anyone cango down.
So I really try to find out howcan I be remembered from this
moment, to maybe affect you, toaffect what I've taken from this
(28:16):
, and move forward in the restof my day and the rest of my
week and the rest of my month tobe a better, to be a better
version of myself.
I'm interested in my legacywhile I'm alive and I think that
if you live that way, thenmaybe the one or two generations
that will remember any of usafter this will care about that.
You know, I think we have to.
We have to continuously pusheach other towards like
something to get better we.
(28:38):
I don't think I can make theworld better by one thing I'm
going to do, but if more of uskeep being more something, more
together, more like open, morewelcoming, maybe that makes a
longer lasting thing thananything I could make.
Does that make sense?
Speaker 1 (28:53):
Yeah, no, I so understand.
Speaker 2 (28:55):
I think that's a healthy way, that's a healthy
way of thinking, and I thinkyeah, to bring it back to bars,
even though it's around drinkingand we're selling poison.
Don't let me kid you, I'm adrug dealer at this point.
I think that I've seen peopleget married and engaged, break
up fight.
I've seen people punch eachother in bars, you know.
I've seen them, like, make outin bars.
(29:16):
I've seen them literally getengaged, like start their lives
together in my bars, and it'scool to like create the set but
not write the movie, and thenyou get to watch it right itself
every night.
Speaker 1 (29:26):
So I think so that's my legacy, I think that's a good
.
So that's the the inverse, theantithesis of Steve Ziefsu's
motivations when it comes tostuff like that.
I think that brought it backOne of the things that really
hits me with the movie, becausewe both agree it's funny.
It might not be understood byother people, but we both think
(29:47):
it's funny.
But when they do, finally getup to the Jaguar shark, it's one
of the like emotional, bigemotional beats of the movie.
Are we safe in here?
(30:08):
I doubt it.
You still want to blow it up.
Speaker 2 (30:16):
No, we're out of dynamite anyway.
It is beautiful, Steve.
Speaker 1 (30:27):
Yeah, it's pretty good, it's not.
I wonder if it remembers me.
What to you does the Jaguarshark?
What is it a metaphor for, doyou think, if anything?
Speaker 2 (30:46):
The Jaguar shark.
Like I was saying about realityIn making anything, let's say
in Steve Ziefsu making adocumentary about this.
Speaker 1 (30:58):
What's his?
Speaker 2 (30:58):
motivation Revenge.
Yeah, she's amazing, it's sogood, it's like great start.
Speaker 1 (31:05):
I know it's incredible.
I'm going to interrupt you witha quick contact.
So that the film festivalscenes was filmed in an opera
house, the oldest opera house inItaly, in Naples.
I've been there and I had noidea.
I was listening to director'scommentary and they told me
where it was.
I was like I've seen MadameButterfly in that opera house.
Speaker 2 (31:29):
I'm rarely jealous.
You've got me on that one Damn.
Speaker 1 (31:33):
It was very hot because there's no AC in that
entire place.
Speaker 2 (31:36):
Those scenes they're all sweating in the scene Very
authentic.
That intro, by the way, is soodd.
It's so great though that loses90% of the people that don't
understand it.
It happens in the first 10minutes.
Well, I just don't think theygot it.
It's like what's with thisrhythm?
Why is this bird lady speaking?
So weird?
It's just bizarre.
That whole intro just throws me.
(31:57):
And he loves doing that.
Throw a 4-3 ratio in there.
He did it with the velvetcurtain.
Speaker 1 (32:01):
It's like a 4-3 documentary, you know.
Speaker 2 (32:03):
Yeah, because I guess they're shooting on 16mm at the
time.
But what I'll say about realityis he's chasing this idea that
this imaginary creature killedhis father figure or best friend
, whatever you want to say.
Steve Zisu has nothing.
Steve Zisu is a joke, right?
He's got no family, his wifedoesn't like him, his crew
(32:26):
doesn't take him seriously,except for Klaus.
He's kind of a man on his ownand all he has left is to try to
save his career, is to createthis false reality, to search
for this shark, and he's goingto blow it up with dynamite.
Speaker 1 (32:39):
I think that if everybody's doubting, they're
like they don't think the sharkis real.
Yeah, yeah, that's right.
Speaker 2 (32:43):
Of course, I think that it's the grasp, a desperate
man's grasp, last grasp forsomething real.
But we know the Jaguar shark isnot real.
He made it up, wes Andersonmade it up.
So we are all chasing somethingto feel something real.
Well, that's outside of it,though.
Speaker 1 (33:03):
That's outside of it, though, because all the
creatures in the movie are madeup Like they are fictional
Totally, but within the reality,the Jaguar shark is real.
Speaker 2 (33:11):
No, I agree, but I'm saying I think that Wes Anderson
is taking a deeper step to sayall this stuff is not real.
Speaker 1 (33:20):
Okay.
The reality is not real, sothere's a deeper meaning behind
the fact that he's created 100%.
I understand what you're sayingand I don't know if people talk
about that.
Speaker 2 (33:29):
I thought about this not that long ago because
someone asked me about one ofour cocktails, which is named
the Jaguar shark.
It's a mezcal drink.
It's delicious, but someone wastalking about it and I was like
you know, it's not even reallyjust made all that stuff up,
Like the cramponi fish, theJaguar shark, the red snapper
you know what it is like,Fluorescent snapper, the
fluorescent snapper.
Thank you, the fluorescentsnapper.
(33:50):
Well, you say about.
Any movie, though, is made up.
Well, no, because in notnecessarily.
Let's talk about Jurassic Park.
There's actually a T-Rex.
In real life, there was a T-Rex.
Speaker 1 (34:04):
No, that's right, but I'm saying the if we're talking
about individual organisms,like, yeah, there is a
difference, but I think the whatdo you think?
Because Wes Anderson and NoahMbombach went into a deeper
level of making up a worldwithin a world that they're
commenting on, the fact that aworld, that world is made up,
(34:25):
rather realities are made up100%.
Speaker 2 (34:28):
Okay, I understand, I understand.
I think these men are extremelyintelligent.
Oh yeah, a lot of times in filmschool they'd be like the
filmmaker did this because hewas, he was trying to do this
and I was like no way.
Speaker 1 (34:40):
My answer to that would be I was like how do you
fucking?
Speaker 2 (34:42):
know You're not wrong .
Wes Anderson is one of thosepeople that is just so,
unfortunately, intelligentIntelligence plus money to make
a movie is a disaster forincredible.
You know what I mean.
Give me some money, I'd love togo make a film, it's time.
But I do think that Wes Andersonhas been allowed to create a
palette beyond any otherfilmmaker out there and I think
(35:04):
that's why his work is so unique.
Like you can say like, oh, Ilove let's just go with the most
obvious Tarantino, I love OneSpon at Time in Hollywood, but
it's very.
There's similarities but it'svery visually different from.
The visual differences betweenthat and any of his other work
are so different.
Even though you can say, oh, hedoes the two shot in the car,
oh, he does these tracking shots, he does this and that and this
(35:24):
and that.
Sure, we can go all day long.
Wes Anderson's films look sodifferent, but it's the same
damn film.
It's like the same shots.
You know, like, over and over,like his tropes are beyond any.
You have so many Wes Andersontropes, so I just think that
he's all of his worlds are solike, play, like, and there's
plays.
Even Rushmore has a play withinthe play.
(35:46):
You know what I'm talking aboutthe where he's like.
I've seen Rushmore.
Speaker 1 (35:50):
What Rushmore's?
Speaker 2 (35:51):
great, the kid puts on a play.
That's pretty much like a ripof apocalypse now.
Speaker 1 (35:55):
Oh, it brings in a helicopter, it's ridiculous.
Speaker 2 (35:58):
You gotta see that movie.
But Wes Anderson's alwaysdealing with that, and also in
Tannenbombs.
You've seen Tannenbombs.
She's putting on plays.
Speaker 1 (36:05):
Where he's like.
What is this?
A bunch of characters.
Speaker 2 (36:08):
What characters?
It's just a bunch of kids incostumes, like one of the best
lines of all time.
He's always interested increating false realities within
realities and I think that metais a thing now.
But I mean, I think he wasahead of his time and ahead of
his game and people won't, Idon't think, even though there's
like a hipster culture thatrespects Wes Anderson now I
(36:28):
don't think he'll really get hisdue until he's gone.
Speaker 1 (36:32):
So what's your favorite moment or scene from
this film?
Speaker 2 (36:36):
You know, just the one that jumps off my head,
because I haven't given thismuch thought, is the one where
he comes up and he goes.
I forget exactly what he says,but he's like hey, steve Zeezu,
it's Owen Wilson comes up to himon the code yeah.
I don't know if it's true ornot.
By the way, Do you?
Speaker 1 (36:53):
No, I don't.
Speaker 2 (36:56):
I haven't heard from her in 30 years.
Speaker 1 (37:00):
I guess it's too late now she never contacted me, you
know.
Yes, I see, I don't know,you're supposed to be my son,
right?
I don't know, but I did want tomeet you, just in case.
Speaker 2 (37:24):
I appreciate that I'll be right back.
Speaker 1 (37:34):
Don't go away.
Speaker 2 (37:35):
And Life on Mars, but it's played by Sue George.
Speaker 1 (37:38):
Yeah.
Speaker 2 (37:39):
And he walks to the front and he goes up and lights
a joint, smokes it and as he'scoming down it slows down, ramp
down in time, which I don't knowif Anderson's ever done that in
any other film.
That's a choice, a very strangechoice.
I've always thought I don'tknow if him and Yeoman got into
it over that or if that was justplanned.
I have no idea, but I thinkit's weird that they ramp the
speed there to draw the.
(38:01):
Is that like, oh, I'm high now,so I'm getting slow?
I don't know.
That's weird.
That's not something he usuallydoes, that's a weird visual
choice and he's like, oh, sorryabout that, he cut me with one
foot off the merry-go-round.
I just think it's such aridiculous moment.
Instead of dealing with themoment, he escapes, and that's
what he's been doing his wholelife.
I believe it's like escapingthe realities that are there and
(38:23):
then, when he finally goesafter something, it's not even
real.
It's like in trying to makethis movie how real is that, as
opposed to having a relationshipwith your actual son, in making
this thing to be famous, to beknown or something.
So that's what I'm saying whenI'm getting at this idea of
reality and what is the mostimportant things?
Is it the things that we makethat we'll be remembered by, or
(38:43):
is it just our friendship?
Is it us recording thisconversation, or is it us having
this conversation over coffee?
Which is more important?
I don't know.
I'm finding in life that I amless upset about the paintings I
don't paint and less upsetabout the movies I don't make,
and more interested in therelationships I have every day.
That's good.
Speaker 1 (39:01):
No, that's really good, I think.
If you had to describe thismovie to someone who had not
seen it to try and get them towatch it, what would you say?
Speaker 2 (39:12):
Man, I have done this so many times.
You know, what's your pitch?
Oh, you know, it's like thewhole film.
So you just tell them the wholemovie.
Speaker 1 (39:21):
No, you know.
Speaker 2 (39:21):
I pretty much say have you seen Live Quatic?
No, oh my God, man.
This is an amazing film whereBill Murray is this like
oceanographer-documentarian andhe's just so just full of
despair and like self-loathingand like at the end of his rope
and he just no one likes him andhe's so down and beaten down
and like trodden on and then youknow, on the eve of like this
(39:44):
failed premiere, is a strangeson that he didn't know even had
approaches and says you're myfather and I think from there,
what you see is just unreal.
You see Owen Wilson and BillMurray really delivering such an
amazing performance, supportedby an incredible ensemble cast.
It's just the most ridiculousthing that I can't even explain,
(40:08):
because it's hard to explainthe complexities of this film.
It's just not like anythingelse.
Even today I was on a Zoom callwith some guys from LA's theater
screenwriter guy and thisproducer, and they've made some
pretty big films, pretty goodfilms.
And he said I said I was goingon this podcast, talked about my
favorite movies, so what's that?
(40:28):
And I said life aquatic.
He goes oh man, I don't know ifwe can be friends anymore, you
know, and I'm the writer oftheir movie and it's like, okay,
well, we didn't get into it.
In the moment, I really do likethis guy.
We have very different stylesbut we're kind of.
He's coming on to work on thescript with me a little bit and
it's hard to get people tounderstand.
(40:48):
If you don't, you don't, andI've honestly talked about it so
many times that if you don'tget it, I'm not going to explain
it to you and I don't reallywant to talk about it.
It's tiring, sometimes it'sexhausting.
It's exhausting.
And also my girlfriend of fiveyears.
She's never gotten through it.
Wow, which is funny because thestory of how we began.
I have a girl that I walkedaway from, but at this point,
(41:09):
that's how different I am as ahuman being.
It's like if this doesn't speakto you, I don't need my
entertainment to appease you.
Speaker 1 (41:17):
My partner fell asleep watching it and woke up
after Owen Wilson died and shegoes wait what happened to Owen
Wilson?
Speaker 2 (41:26):
Oh my God, you know it's funny.
I don't think.
I don't.
I hate saying this.
I don't think Owen Wilson hadto die for that film to have an
impact.
Yeah, I thought that was aweird decision.
Speaker 1 (41:38):
Yeah, it was interesting, but though I
rewatching it, I was like, oh, Iactually love the scene that he
died, in which he dies.
Speaker 2 (41:48):
It's amazing.
Speaker 1 (41:48):
I think it's so incredible.
Are you okay?
Hey, I'm okay.
Speaker 2 (41:58):
What happened?
Did we get something?
Speaker 1 (42:02):
Looks like we're not.
Speaker 2 (42:06):
That may be the push-rout fail.
I'm sorry.
Speaker 1 (42:10):
Ned, I should have scrapped this chopper 10 years
ago.
Speaker 2 (42:14):
You know, maybe I should have auto-rotated and
performed a high bank draw inthe scent, you might have
crashed a little soft as thecamera is hovering right at the
waterline.
Speaker 1 (42:24):
every time the water fluctuates right in front of the
lens, it gets redder and redderand redder, and it's just like.
It's like sad and gorgeous atthe same time.
Speaker 2 (42:33):
I feel like I really connect with that guy, the look
that Bill Murray gives you inhis eyes.
I felt that way at age 17 inthat theater, watching it.
I felt that old and sad andtired about being a painter,
being an artist, being a humanbeing.
I was exhausted in high schoolI felt so misunderstood and even
(42:57):
through college even now to adegree I've given up on caring
what people think.
But there was a time where Iwas so exhausted by other
people's approval and being sodifferent than what my family
wanted me to be.
And I think that life andquality, that scene where he
died I felt like him.
I felt so connected to him thesecond time I saw him.
The first time I was just likewhat the fuck is going on.
And the second time I saw him Iwas like man, I feel like I am
(43:20):
Bill Murray in this movie.
When Ned dies, I was like thisis devastating and I wanted it
for him.
I wanted him to win.
I wanted him to win and it'sweird that they like okay.
So if we think about it for asecond, werner, what's the
future of this?
I always think about that.
What's the future of moviesafter?
Does anyone else.
Think about that.
(43:41):
What's going on?
Some movies get me so excited.
I'm like I want to watch moreof these characters.
Do this thing.
I want to watch more ofLifequatic.
Does Werner become thesurrogate son?
Is that why he exists in thisfilm?
Because there is youth thatdoes like him and does care
about him, even though it's nothis son.
It's too late for him to havethe real relationship with his
own son.
(44:01):
But then also the girl, kayBlanchett's character, jane
Covey, it's like is her songoing to look up to Zisu?
What were they doing, throwingin all these babies and fathers
and sons?
It's like there's a lothappening.
Speaker 1 (44:18):
Right now.
If you had to come up withanother drink for the Ark Royal
based off of Lifequatic, whatwould it be?
Cranponyfish.
Speaker 2 (44:25):
Ooh, what is it?
I don't have it yet and I'mgoing to be honest with you.
Man, come on, I know I'm goingto be honest with you.
This is why I don't have it.
Obviously, we know where theRam-Rum Cannonball came from,
but my idea was calling it theRam Cannonball.
Number one, two, three.
Every time we change it, Inever want that drink name to go
away.
So we just changed the number.
I think we're on number four orfive now.
And then this is the Belafonte,still number one.
(44:45):
I just assumed it would changebecause I just kept the number,
because I never wanted those toleave.
And then the third one was theJaguar shark, which I knew I
wanted a mezcal drink, becauseI'm just a mezcal fiend and I
was like no, we'll do somethingwith mezcal.
And the fourth one was alwaysthe Cranponyfish.
But I like the Belafonte and Ilike the Jaguar shark and I like
the Ram Cannonball.
But I knew that when we figuredout the Cranponyfish I better
(45:08):
fucking love it Soon.
No one I've ever met.
I'm not the cocktail geniuses,right?
I'm the guy that can drinksomething and tell you if I like
it.
Can I create it?
No, not yet.
I'm not trying to be that guy.
Speaker 1 (45:22):
I think, when you do come up with the idea, though,
it should come in a plastic bag.
Speaker 2 (45:27):
What the fuck?
A thousand percent, oh my God.
What a great idea.
I'm with that.
A hundred percent Awesome.
But we have to make itextraordinarily expensive so
that no one really orders it, orelse we have to put it in a
goldfish bag and that's how itshould be.
Garnished is with like a littlesomething in the bag, you know,
(45:47):
and you have to pop a hole init and drink it, that's fun, but
I love that idea.
But I think that the mostimportant thing is that when I
watch Life Aquatic, I have funOnce you get past the darkness
of it and you realize that thesadness is the funny part like
how sad Sisu is becomes so funnybecause he's so ridiculous.
Tiki is fun.
Tiki culture is just.
(46:09):
It was the antithesis ofcocktails.
Cocktails became so pretentiouson their comeback in like the
2000s, like coming out of NewYork and LA and wherever they
were being rebirthed the craftcocktail oh, you don't know what
bourbon you're drinking it waslike some bullshit.
Tiki is fun.
It is a revolution of cocktails.
It's been going on since the30s.
(46:29):
People are into it.
It's fun.
There's I just had a pineapplefall out of my drink.
Speaker 1 (46:35):
You know what I mean.
It's like where are you goingto?
Speaker 2 (46:37):
find that in Tiki Like enjoy your life, have fun,
watch good movies, drink gooddrinks, have good loves, have
good friends.
Who cares about the rest?
Legacy doesn't matter.
Speaker 1 (46:47):
I think that's the perfect point.
Speaker 2 (46:49):
I wish to add this has been great man, yeah,
fantastic.
Speaker 1 (46:51):
I can't thank you enough for having us over here.
Speaker 2 (46:52):
It's been awesome.
It's been great man In thetaboo room.
Speaker 1 (46:55):
I know.
It's fantastic, we'll keep itsafe in here.
I'm not going to.
Well, I'll have a little bitlefty.
Cheers with them.
I appreciate that.
Thanks, man, this has beenawesome.
I'm a big fan of the lifeaquatic with Steve Zizou.
I also really like visiting theArk Royal, and Patrick and I
have known each other for over adecade.
(47:15):
But my greatest joy fromrecording this very special
episode was that I got to makesomething cool with people I
care about.
Finding ways to combinecommunity with creation and care
is something I'm valuing moreand more lately.
I can be inspired to write ashort film or produce a
documentary or make a veryspecial episode of a podcast,
(47:37):
but I cannot do it alone.
So the biggest of shout outs toeveryone who has made this
episode happen my crew, keatonLusk, chris Newman, kishin
Kanatra, roland DeLaurier andKira Moreira.
Our bartenders at the Ark Royal, correll and Braden Patrick, of
course, for being so graciouswith his space and time.
(47:57):
Our patrons for inspiring me tobe adventurous and creative,
and all of the watchers andlisteners across six continents
for supporting the show just byhitting play.
If you enjoyed what you heardtoday and I sincerely hope you
did please go ahead andsubscribe on your favorite
podcast platform of choice tostay up to date on all episodes
(48:18):
of the Film Nuts Podcast, if youhappen to be listening on Apple
Podcasts, go ahead and leave arating and review.
That helps us get noticed bymore awesome people just like
yourself.
If you want to support the FilmNuts Podcast on Patreon, check
out the show notes for that linkor visit patreoncom.
Our theme this season isbrought to us by the Deep End.
Our artwork is designed byMadungwa Sipahudi and all
(48:41):
episodes of the Film NutsPodcast are produced and edited
by me, taylor D Adams.
If you want to get in touch, youcan email filmnutspodcastcom or
follow us on Instagram, tiktokand Twitter at Film Nuts Podcast
.
And don't forget to join theNuthouse Discord community
absolutely free by checking outthe link in the show notes.
Thank you all so much forlistening to and hopefully
watching our mid-season finaleof the Film Nuts Podcast.
(49:04):
We really hope you enjoyed it.
We're taking a few months off,but we'll be back before you
know it and until then, please,please, please, take care,
because life is an adventure.
Hey there, dear listener, I have a very special
episode for you today.
So, before we dive in, if youwant to get the fullest
experience, I recommend headingover to our YouTube channel.
You can still enjoy the audioon your preferred podcast
platform, but we're doingsomething unique with this
episode that you might enjoy infull living color.
(00:21):
Okay, on with the show.
I want you on Team Zissou.
I don't think I can do that,why not?
Well, it's not my field.
I don't have the background forit, no one here does.
Speaker 2 (00:36):
Klaus used to be a bus driver.
Well, Edarski was a high schoolsubstitute teacher.
Speaker 1 (00:41):
We're a pack of strays, don't you get it?
See, I'm not even that strong aswimmer.
The answer is yes.
Well, it's got to be.
Speaker 2 (00:51):
I'll order you a red cap and a speedo when he finally
goes after something.
It's not even real.
You know it's like in trying tomake this movie.
How real is that as opposed tohaving a relationship with your
actual son in making this thingto be famous, to be known or
something?
So that's what I'm saying whenI'm getting at this idea of
reality.
And what is the most importantthing, is it the things that we
(01:12):
make that we'll be remembered by, or is it just our friendship?
Is it us recording thisconversation or is it us having
this conversation over coffee?
Speaker 1 (01:23):
Hi, I'm Taylor and welcome back to the Film Nuts
podcast, a show about why welove what we watch.
If you're a longtime fan of theshow, you understand that our
favorite movies and favorite TVshows have a way of inserting
themselves into our everydaylives.
We quote our favorite movies toour friends in normal
(01:44):
conversation.
We wear clothes we thoughtlooked good on a specific
character from our favorite TVshow and we even maybe watch
stuff on our phones to keep uscompany during our daily train
commute.
There are even occasions whensomeone is so inspired by a film
they bring elements of it tolife in the form of a tiki bar.
(02:04):
The Ark Royal, located here inRaleigh, north Carolina, is a
tiki bar infused with homages toWes Anderson's the Life Aquatic
with Steve Zsu.
The decor, the cocktails, evena portrait of Bill Murray
hanging behind the bar remindthose familiar with the film of
its impact on the founder ofthis establishment.
(02:30):
That founder is Patrick Shanahan, an artist, filmmaker,
restaurateur and now friend ofthe show.
Patrick was gracious enough toinvite me and my camera crew
down to see how he and the ArkRoyal were inspired by the Life
Aquatic with Steve Zsu.
Speaker 2 (02:46):
I love that movie more than just a western film.
Wes Anderson's films have a wayof becoming a part of your
daily life, where you're quotingit wearing a red beanie and
you're handing out clocks.
But, seriously, it's becomesuch a big part of my life that
I feel like Zsu has had aninfluence on the way that I
(03:10):
actually speak to people andtreat people and don't take
myself too seriously.
It's a movie about makingmovies and we're going to make
fun of movies at the same time.
Filmmaker, I like that.
Now that I'm making less moviesthan I used to, I find it even
funnier.
So, even moving into barcreation, it was like okay, yes,
it's a tiki bar, yes, it's acocktail bar, but I don't want
(03:32):
to take it too seriously.
So let's take the spirit ofthat movie and the
ridiculousness of Bill Murray'scharacter and let's put that in
the bar, so it's not like youwalk in and everything's blue,
yellow, touch of red, becausethat's, our tenders aren't
wearing the red beanies?
No, but they should be, honestly, this winter we might bring the
red beanies in.
You know, you have the sharkson the wall for the Jaguar shark
(03:54):
, yeah, you have like these liketribal elements, which is like
a nod to like Pescha, SpottaIsland, and these like
adventures that I'm assuming Zsuwent on, the first thing we
ever did before we ever started,like building anything.
Was named the main three drinks, which are Jaguar shark, the
Belafonte and the rum cannonball, because all three are
mentioned in the movie.
Speaker 1 (04:14):
Has anybody noticed that the life of aquatic is in
this bar?
Speaker 2 (04:17):
Yes, many, many, many people.
Do they the cocktails?
Speaker 1 (04:21):
The name of the cocktail.
Speaker 2 (04:22):
They're like, oh yeah , they're like Jaguar, shark,
Belafonte.
Like what do you watch Zsu?
And I'm like, yeah, yeah, I'veseen it.
It's not called Zsu, it'scalled the life of aquatic.
What are we drinking?
These are actually based off oflife aquatic.
This is our frozen drink.
It's called the Belafonte,which was the ship I knew.
(04:42):
Our flagship drink had to be afrozen drink.
You know, it's like the onething you come in you're like,
oh, it's got to be a shittydrink.
But you try and you're like,damn, that's good.
I mean that's a good drink, itis good, it is good.
People love it.
They talk about it.
It's no, you know, I meanthat's like a great drink, it's
a great flagship.
And then I knew, because it's ateaguar, rum was our focus.
(05:02):
You know, rum is so uniquePeople talk about bourbons and
whiskeys being so different andunique.
Rum's have complexities thatthe world has forgotten or has
been washed over by the idea ofspice rum, which is ridiculous
because this is a rum cannonballwhich is a throwaway line in
life aquatic.
We love it and it's all I drinkwhen I come in here.
What's in there?
Today we're drinking withClamont select barrel rum which
(05:26):
is from Martinique, and all rumsare specific to the island
which they come from, whichcomes from, like an agricultural
history of, unfortunately,colonialism, A lot of these
islands.
You can trace back the way theymake their rums to not only
that island specifically butalso their colonizers.
So you've got Spanishinfluences, British influences,
(05:49):
French influences and thenusually, when you use like a
sweetener for an old passion,you would just throw in some
simple syrup sugar as you will.
But if you're making like amezcal old passion, maybe
someone throws in some agave tokeep it in the spirit of like
the culture.
And then here we're actuallyusing phalarna, which is a clove
based spice which you'll see inthe Tiki world a lot Polarna
(06:12):
and orjot and maybe you'll seelike a passion fruit sweetener
from time to time, but those arethe sweeteners you'll see in
Tiki.
So Tiki really is a wholedifferent palette.
It's very sweet.
So you've got this like spicyclove coming through from the
phalarna.
You've got Tiki bitters insteadof like an Angostora.
(06:32):
And then you've got thatMartinique rum which is like
kind of sweet but also has apunch, not as much as like a
high proof bourbon, which iswhat a lot of old fashioned
drinkers like.
They like high proof so thatlike that ice melts and the
sweetness like builds by thelast drink.
It's like sipping candy, butfrom the first sip this one's
kind of like candy.
Speaker 1 (06:53):
You don't have to be knowledgeable about Tiki or
other cocktail cultures toappreciate this place.
It's fun, vibrant and thedrinks are well delicious.
But the things that stand outto me are the connections
between Tiki, the life aquaticand Patrick's creative
philosophy.
So after a few drinks and alovely tour of the place, we sat
(07:14):
down to chat about hospitality,the fabrication of reality and
not taking ourselves tooseriously.
So here's Patrick Shanahantalking about the life aquatic
with Steve Zissou on the FilmNuts podcast.
Speaker 2 (07:32):
Tiki itself is its own cocktail culture.
Right, it's its own thing andI've been to so many amazing
Tiki bars that would just blowyou away, ones with like active
volcanoes in them and stuff youknow the grass skirts incredible
.
There's just so many amazingbars and these people are, like
I said, it's a serious culture.
When I approach Tiki, there'sone throwaway line in life
(07:53):
aquatic.
You know, there's one throwawayline that made me say, okay,
that's enough for us to make itlike that theme here.
You know, what was?
It.
Speaker 1 (08:04):
What a shame they had a bartender here.
Kino made the best roomcannibal I've ever tasted.
Speaker 2 (08:10):
It's not a real cocktail.
I just thought that was reallyinteresting, you know, and I was
like I want to follow that intothe bar and show people how
much I love life aquatic.
Because if people wanted to say, oh, what's the Belfante, what
is the Jaguar, what's the pointof all this stuff?
Yeah, if you notice the littlepieces around, people would say
maybe it has something to dowith life aquatic.
And if you know, you know,because I feel like Wes Anderson
(08:31):
himself is kind of that way.
If you know his films, you know, and if you don't, well, we
don't have much to talk about.
So why do you love this?
Speaker 1 (08:38):
movie You've just talked about.
It's inspiring and Tiki Bar.
But why do you love this movieso?
Speaker 2 (08:42):
much.
Well, I mean, I know this is aconversation, but I got to start
with like the shortest.
I'll make this story reallyshort, you don't have to, I'm
going to make it short.
I know it's more of aconversation, but this is a
short story, okay, and a truestory.
When I was in my I think it wasmy junior high school, I was
dating this girl.
She's an amazing, wonderfulgirl, beautiful girl.
Haven't seen her in years, butshe was great Emily, and she
lived out in Chapel Hill and Ilived in Raleigh, so Durham was
(09:03):
between us, so that the closestAMC movie theater or whatever
was Durham.
Right, oh yeah, south Point,south.
Speaker 1 (09:08):
Point yeah.
Speaker 2 (09:08):
So I drove out and picked her up and she's like
let's go see a movie.
I said, all right, let's seesomething funny.
It's all.
Bill Murray had a movie comingout.
And I said all right, I loveBill Murray, I love, you know,
ghostbusters and Caddy Shack.
It's fun stuff, you know.
And so we go see this movie.
And as soon as it started, Iwas like this is not funny.
It was like this is weird.
Speaker 1 (09:27):
Well, that was only part one.
It's a cliffhanger.
Speaker 2 (09:31):
Now I'm going to go hunt down that shark or whatever
it is and hopefully kill it Idon't know how yet, maybe
dynamite and we sat there andwatched and I was like so
confused because I'd never seenfilmmaking quite like that.
And at the end of the movie,when it stopped, I looked at it
and was like what did you thinkabout that?
This is the worst movie I'veever seen.
Wow, and I said I think you maybe right, like I think you're
(09:54):
right.
That was really bad, that wasweird.
So I go drop her off in ChapelHill.
I'm driving back and all I canthink about is this movie.
I'm like so weirded out by it.
And I was really into film atthe time.
You know I was seeing a lot oflike a kill bill would come out
kind of that same time and I waslike obsessed with that stuff,
early 2000s, yeah, like.
So I'm driving home and thelate show was coming, so I
stopped back at the AMC theaterand went by myself.
(10:15):
You went and saw it again.
I went and saw it again thesame night, same night, wow.
And when I left that movie Irealized that I realized I
needed to talk to her the nextday.
And I did and I said you and Iare completely different.
People will never make itbecause that's the best movie
I've ever seen in my life.
And you're wrong and I was like, I'm sorry, like great girl
love her to death.
Speaker 1 (10:35):
She's doing well wherever she is.
Speaker 2 (10:36):
But I knew that.
I knew that we werefundamentally different people
because she was wrong.
I was just so taken by the filmbecause you're hit by so much
visual in a Wes Anderson film.
Was this your?
Speaker 1 (10:47):
first Wes Anderson movie.
Speaker 2 (10:48):
No, you know, you remember like your parents would
take you to Blackbuster whenyou're younger, right and like
let you pick out one Right.
Speaker 1 (10:53):
Did that happen with you?
Speaker 2 (10:54):
Yeah, okay.
So I picked out Rushmore a longtime ago once again because I
saw Bill Murray and I thoughtlike, okay, bill Murray, this is
gonna be funny.
And I remember watching it andI watched it so many times that
weekend.
I still never understood likewhy Rushmore was speaking to me.
No, it wasn't my first WesAnderson film.
I'd never seen Bottle Rocket,but I had seen Rushmore and I
had seen World of Tandem Bombs,because Tandem Bombs is where he
(11:15):
kind of came out and peopleother than film people started
paying attention because I thinkit got up for an Academy Award
for some probably bestscreenplay, honestly, and
everyone kept calling it a darkcomedy and everyone was like, oh
, it's a dark comedy.
And I was like, oh, it must bebad, it's a dark comedy.
I didn't even know what itmeant, I just remember.
Yeah, I didn't know.
I didn't know.
But now then I knew, because in2000, whatever I think it must
(11:36):
have been three when I saw thatmovie I was like, oh, this is
something different, this is apiece of art and that's what I
want to do, you know.
So I think that that's where itbegan for me.
And then after that, I the lovegrows right.
The first time you see it, itdoesn't make a lot of sense.
The second time you see it, youunderstand.
The staccato rhythm of West islike West, like.
(11:57):
I know this guy, his writingstyle is like this weird rhythm
to it, where once you buy intothe rhythm and you start to get
the rhythm, you're like, okay,I'm beyond that now.
And now I'm in this world, andnow this is the world he's
painting, he wants me to see,and now I'm in this moving
painting.
It's very different, I thinkhe's very different than any
other filmmaker that exists.
So when you're like, oh, I love, I remember this producer once
(12:18):
said like I don't make andproduce West Anderson films
because I know I'm going to makemoney.
I do it because I'm collectingart and I feel like that was the
first time me being a painter.
I was a visual artist at thetime like just figuring out
painting, and bought my firstlittle Canon, made some short
films in high school.
It was like, oh shit, film isan art form.
Now I get it and that's why Ilove this movie.
And it grows, it just grows onyou, you know, it just grows on
(12:41):
you yeah, yeah, no, I'm the sameway I actually grows on you.
Speaker 1 (12:44):
I actually liked this movie the first time I saw it.
Wow, I guess.
I guess I was alreadyunderstanding the humor because
I saw Royal Tenenbombs andthat's like.
That's like it's obviously acomedy, is like you said, it's
kind of dark comedy but Iunderstood like the awkward
comedy of it.
I was like into it and thenknowing that it's life aquatic
would be similar to that, andwatching it and also having like
(13:06):
there was more of an emotionalcomponent and then also like I'm
just like a big, like likeocean wildlife nerd and so I was
so fast and so taking with thefact that they were like
inventing new species of thingsTotally, and just how
beautifully they illustratedthem with stop motion.
I thought that was great, Didyou know much about Jacuzzo.
Speaker 2 (13:24):
Yes, the first toy I remember playing with was like a
Jacuzzo bathtub toy.
Okay, maybe I don't know if itwas a bathtub toy I played with
it in the bath tub.
He was like diving in the tuband he had little flippers and
like a whole thing and I forgotabout Gusto, except for maybe a
throwaway line in an Ace Venturamovie or something.
You know, I don't remember Ididn't like keep up with him.
But you know, what I love aboutthe film is I don't know if I
(13:49):
don't know this for sure,because I've just off the top of
my head.
I mean, I feel like realitytelevision had become a thing.
I don't remember when thewriter strike was, but right,
reality television was.
I feel like it was betweenReality television was around
the turn of the century.
Speaker 1 (14:00):
I think it was between Rushmore and.
Speaker 2 (14:05):
Life Aquatic.
Speaker 1 (14:06):
What was Rushmore?
I don't remember.
Yeah, they have in betweenright.
So the Royal Tamoms, I feel youshould know this, because I
know you're a massive survivorfan.
I and that came on and thatcame on around like 2000 and 99.
Speaker 2 (14:17):
I want to say yes, I mean I loved it in the beginning
and then I would get soattached to these people that
got voted off that, like I juststopped.
I didn't get back into survivoruntil recently.
But there's a lot of Tiki in.
If you watch survivor it's allTiki, it's Tiki culture.
You're winning Tiki idols andgods and stuff, depending on
where they are.
Speaker 1 (14:33):
They've slowed that down.
Speaker 2 (14:34):
They have slowed the Tiki down because you know
there's a whole thing aboutcultural appropriation.
But I think we should touch onthat at some point.
But let's go back to realityfor a second.
Documentaries are reality, it'sreality.
It's to a degree like this isreal Same vein.
Yeah, so in the film sorry, billMurray is a documentarian
making Ter誘, making reality film, and he's creating these
(15:01):
narratives throughout the movie,like with his son, with Esteban
, with everybody he's like.
But you know, there's greatscenes where it's like a
touching scene.
He's like staring at his sonand he goes how you shooting
this, vikram?
Speaker 1 (15:12):
One, two, three Attaboy, attaboy, here he is,
here he is, come on you, okay,man you okay, alright, give him
some room.
Speaker 2 (15:22):
He's okay, he just drank a little too much water.
Speaker 1 (15:30):
How you shooting this Vikram wide open.
Speaker 2 (15:32):
Alright, Mike, Five, six.
He's so out of the reality,he's just so interested in how
it's coming off on the camera.
So this idea that yes, it'sreal but none of it's real and
the reason I bring this up isbecause you were talking about
the fake wildlife it's like hewanted to show that the reality
he's creating is so unreal thatI have to make up these fake
animals.
You know these sea animals,these creatures.
Speaker 1 (15:55):
Well, I mean I defeated this idea.
I didn't take it as that.
I took it as, like the worldwe're witnessing is just like a
mystical world where we're goingto have these animals that
aren't real animals because,like he gets gifted the crayon
ponyfish from Klaus's son orgrandson or nephew of Everest.
Speaker 2 (16:15):
Steve, this is my little nephew of Erna.
He wanted to meet you.
Speaker 1 (16:20):
How you doing, warner .
He brought your present Acrayon ponyfish.
Wow, interesting specimen.
Speaker 2 (16:35):
Thanks, Bill, You're welcome.
I do love the idea of filmsinside films.
I always have Films aboutfilmmakers.
There's a lot of this movie, Ithink, is lost on people that
don't know about film.
How you shooting this figureWide open.
You know it's like, hey, get atwo shot, Get a cutaway of this
miracle.
You know it's like the way thathe speaks about it.
(16:55):
I laugh now, but it's reallynot that funny.
I think when most people watchit they're like this is not
funny.
This man is in despair.
He's lost his father figure,Esteban, and he's meeting this
son that he's never had and he'sbecoming a father figure.
But he doesn't want to be.
And it's not that funny.
It's dark, but that movie getsfunnier and funnier and funnier.
He doesn't want you to be thatattached to reality.
Speaker 1 (17:16):
So the more I thought about it over the years seeing
it maybe 500 times To me, thefact that Bill Murray is playing
a documentarian and the factthat Owen Wilson plays his maybe
, maybe not son, or not quitesure.
To me, this film deals a lotwith legacy, I guess, Like both
(17:36):
the struggle for what to leavebehind and possibly the
definition of it.
So with all this, I mean,you're a filmmaker, you're a
photographer, you're ascreenwriter, you are a
restaurant tour with all thestuff that you're going on what
is?
Is there some kind of legacythat you're striving toward?
Speaker 2 (17:54):
Yeah, you know what I found about.
I was just talking to ourbartender, braden, who's here
with us today.
He's making our drinks.
Cheers, braden.
Speaker 1 (18:00):
Shout out.
Speaker 2 (18:03):
I was just talking to him about what do you want?
He said I don't want to own myown bar someday and I said okay,
I remember when I was 22 and Iwant to own my own bar someday.
My legacy has become abouthospitality.
Okay, let's start this back alittle further.
When I was in college is when Isaw Life Aquatic in high school
, got back to it in college.
I'm going to answer thisquestion.
I promise it's just theroundabout way of getting back
(18:24):
to it.
You can talk as much as youwant to we're coming back.
Speaker 1 (18:25):
I'll just hold you to it, we're coming back to this
because this is important.
Speaker 2 (18:30):
I think about this a lot In college.
If you came to my house, youwere going.
There was a lot of parties outthere, there was a lot of frat
parties and all this stuff.
There were so many things to doin college.
But I was painting at the timeand I wanted to sell my
paintings.
But I also wanted to go toparties, but I was so anxious, I
had so much social anxiety andI didn't want to leave my house.
(18:51):
I just had these art partiesand people started coming and
they bought my paintings.
But we would party all nightlong and these were wild fun
times where I was painting allover the place and bands would
play and this went on from 19 to23,.
I lived in that house Four yearsof this, all the time,
constantly.
People knew about it.
It became a thing.
We would have this tiny littlehouse, 1,500 square feet, full
(19:13):
of 400 people.
It was just a wild time.
If you came to that houseduring that time, life Aquatic
was on.
It never came off.
That TV never turned off and itplayed Life Aquatic from the.
It was always on.
I never stopped.
It just kept going on.
Speaker 1 (19:26):
Repeat that criterion collection yes that's the exact
one I have.
Speaker 2 (19:29):
Yes, just kept on and kept on and kept on, and kept
on and kept on.
So if you were in that house,you saw some bit of Life Aquatic
going, and so Life Aquaticbecame a really important part.
But then when I went to NewYork to film school and started
drinking differently, it wasn'tlike oh, Jack and Cokes.
It wasn't like.
You know, I drank some absinthein college and thought I was
(19:50):
cool.
And then I went to New York andwas like, oh, there's a
different way of drinking.
You don't have to drink inexcess, you can drink one or two
and have a really great nightand really enjoy what you're
learning about the story andwhere it comes from.
And that's what I love aboutTiki and Kraft cocktails, like I
do, is there's a great storythat goes way beyond my
involvement of really talentedpeople, like really exploring a
(20:11):
craft, and so I find the art incocktails that I started to
respect.
So when I came back and alwayshad this idea for Watts and Ward
, my first bar, it became abouthospitality.
Right, it became about I wantpeople to have a great
experience here and my approachto barmaking was like my
approach to filmmaking, whichI'm still working at that.
But you know, I always say thatif you have a really good cast,
(20:32):
like approach bars, like Iapproach film so if you have a
good cast, that's like yourbartenders, your barbacks, you
know, your door guys, likeeverybody, is so important.
What is the story?
From the moment you walk intomy bar to the moment you leave,
the first person.
The last person is the doorman,door guy, door girl, whatever
door they.
That is the most importantperson.
I treat them and let them knowyou are important, you are
(20:55):
everything.
You're not just the personsitting at the door, you are.
Hey, how's it going?
How are you doing tonight.
You were the first impressionand you're the last impression.
Hospitality has to be about howyou treat somebody and I've
always strove like when I metsomebody, I always want to
listen to them and talk to themabout what are your interests,
what are you into?
You know, I feel like the artof caring was really I mean, I
(21:18):
think it's kind of back now.
It must be hip to be caring,but I feel like it was done.
Isn't that shitty?
I know it's so freaking weird,but I felt like it was really
important to get to know people,even and I love this to
strangers like today that I meet.
I still do this, just notbecause I'm thinking about it,
because I'm interested.
I am.
I love talking to strangersabout strange things, what
they're interested in, what arethey doing, how's their day
going, whatever.
(21:38):
But hospitality, I think, isthe legacy I'd like to leave
behind.
I always felt like when I waswith Patrick you know talking to
myself about myself and thethird person here when I was
with Patrick, he felt like Ifelt like I was heard and
listened to and seen.
And I feel like when peoplecome to Watson Ward, you're seen
and you're felt and you'reheard and we want to be there
for you.
And if you come to the ArkRoyal, where we are now, my
(22:00):
second venture it was alwayswho's the cast, what's the
lighting, what's the story?
And so, if I can continue tocreate these moments like I see
this, like we're sitting in as acontinuation of my art from
college, as a continuation ofstorytelling, screenwriting,
filmmaking, when you go into aspace that I've designed, do you
feel a certain way?
(22:21):
I can control the way you feelfrom the moment you walk in the
door, and then your experienceis your own.
So, like the first time, I satback in one of my bars and I
watched people, man dude, I washooked.
I was hooked.
It's cool to like sit in amovie theater and watch people
like oh, ha, ha, ha, whensomething you wrote and they're
laughing about it like oh itlanded.
But imagine getting to see thatmovie like 500 times in one
(22:44):
night and people areexperiencing the room.
We're sitting in the taboo room, People like fighting to get in
, People freaking having sexback here and getting thrown out
.
You know, I mean whatever itmight be, not that we condone
that, but that's why you kickedthem out.
Speaker 1 (22:56):
Yeah, we had to throw them out.
Speaker 2 (22:58):
They didn't get that far, but I'm just saying what
happens in the taboo room stayshere.
But I think that if that's whatfilmmaking is and art is is
trying to allow someone to seewhat you want, and then how does
it affect them and what doesthat play between in the mind is
a very complex thing, but it'salso very simple and it's and I
was telling Bray in thebartender if you want to make
your own bar, find the rightcast, Make sure the lighting is
(23:21):
exactly what you want it to be,and what is your story?
There's a lot of bars that comeand go and people are like oh
you know, opening a restaurant,a bar, is really tough.
Well, the ones that make ithave great stories.
Where does this chef come from?
Where did this bartender comefrom?
What makes this spaceinteresting?
What makes that interesting?
What?
What makes this different?
Right, it's all in story.
Whether it's a painting,whether it's a screenplay, a
(23:42):
film or this bar, it all beginswith story.
So if, hopefully, I find thatthe older I get that my art will
be forgotten, I have to say Imean, I'm not the best artist.
Right, my art will be forgotten.
It doesn't matter.
I mean, how many paintings canyou name off the top?
You had probably some VanGogh's, a few Monet's.
You go to the MoMA or whatever.
You see this collection ofgreat art, right.
(24:03):
But think about the Egyptians,Like they were putting out some
serious art that has all beenstolen and taken around the
world to different museums andstuff.
I don't think they werethinking about like, oh, someday
I'm going to be famous, right.
But now everyone wants to be anartist because they think they
can, they can skip having to geta job.
Everyone's a photographer,Everyone's a filmmaker,
Everyone's an artist whatever.
Do you think?
Sorry, I'm just rambling.
Speaker 1 (24:22):
No, no, no, no, no.
The rambling is welcome.
Do you think that people,everybody wants to be an artist,
or does everybody wantrecognition for something?
I mean, I don't want to saydoes everybody want to be famous
, but like, hmm, not to be allget off my lawn about it, but I
do feel like that there is acertain age group coming up that
(24:44):
, um, including our owngeneration sometimes about like
just wanting to be known.
Speaker 2 (24:50):
That's a good way of putting it.
Speaker 1 (24:51):
Um, or be seen, even even if it's coming from a place
, if I just want to be seen andthat gets construed as to
wanting to be known or something.
Speaker 2 (25:00):
No, I love what your thoughts are.
I mean, I think these arethings that we're dealing with
every day and thinking about allthe time, as artists like and
separating ourselves becauseit's so accessible to be an
artist and to be seen.
Right now you can do whateveryou want to be seen.
Yeah, I mean we see this interrible ways People that aren't
seen and aren't heard, aren'tunderstood, that are I don't
want to get dark, but you knowshootings and shit that we see
(25:22):
every day it's horrible.
But when you see these peoplethat are like, marginalized and
they have no other way to beseen, and then you have people
that can flaunt differenttalents or attributes to be seen
, you know, I mean there'salways a really good things that
people are doing.
People are standing up to say,like, I want to be an individual
and stand up for theenvironment or for rights or
whatever, whatever they want todo.
I think there's more platformsnow to be seen and heard, but
(25:44):
it's not always a good thing.
It can be dangerous and itcould be good.
So I mean I think that, yes,people want to find.
I think people don't want tofeel so alone, you know, but
when I was, when I was paintingearlier in life.
I remember in college and highschool no, no, no, no, let's go
backpack, backpack, backpack.
When I was a kid, I really lovedStar Wars.
I watched a lot of Star Wars.
(26:05):
I really loved that nerdy worldof like oh, this is fantasy,
right, I was kind of the nerdykid that wanted to draw right,
but then someone saw a drawingof mine in second grade of these
two ducks.
Hate these ducks.
They're still in, they.
They haunt my life.
They changed my entiretrajectory of everything I ever
did.
Oh man, these better be greatducks.
They all send you a pic.
I mean I'll get you one.
I mean they're out there.
(26:25):
My mom copied them.
Speaker 1 (26:27):
So she has the original like three, two grand
for.
Speaker 2 (26:30):
Yeah, I know I'll get you, I'll get you.
Oh, but yeah.
So these ducks, they were likeI guess they were just better
than the rest of the kids andthey're like this kid's got a
little bit of artistic talent.
And finally, I wasn't justanother kid in school which I
didn't really care.
I was in second grade when thishappened.
Right, I became.
I was never the fastest I'vereally finished the mile.
Remember you had to run themile.
I was like a three laugh guyand it was four laugh.
Speaker 1 (26:49):
I'll be like I did my mile.
Speaker 2 (26:50):
They're like no dude, patrick you did three laughs.
You better keep going.
Oh, and I was like I just I tapout, just give me a 10 minute,
whatever I'm out.
I wasn't fast, I wasn'tathletic, I wasn't any of these
things, but I could draw and itgot a lot of recognition.
I was really noticed, you know,in school I like really noticed
, and then I started singing inplays and gave me more
recognition.
I was like oh, I'm like knownas the one artsy kid at this
(27:13):
small school.
That's cool.
That was my thing, you know.
So I think getting recognizedfor something is important, do
you think that is?
But I don't think that's alasting legacy.
Is what I'm getting at?
That's all right.
I don't need to cut you out, no,no no, no, I have found that
I've been surrounded by suchtalented people in my life that
I've tapped out of art because Isaw someone Sean Richards
painted a painting once and Iwas like if I could be his best,
(27:34):
if I could be the best I wouldever get and I know you know to
know your limitations, I thinkis important.
I will never get better thanthat and that's what I want to
do.
And he's doing it better thanI'll ever do it.
So why keep going on?
So I said, ok, let me retain.
What can I do?
Where can I go?
What is really calling to me?
And I seem to have gone.
I still enjoy screen, Iliterally love writing, but I do
(27:55):
find that the idea of legacy,living to live beyond, to be
remembered or cared about yearsfrom now Is the most vain,
arbitrary thing that anyone cango down.
So I really try to find out howcan I be remembered from this
moment, to maybe affect you, toaffect what I've taken from this
(28:16):
, and move forward in the restof my day and the rest of my
week and the rest of my month tobe a better, to be a better
version of myself.
I'm interested in my legacywhile I'm alive and I think that
if you live that way, thenmaybe the one or two generations
that will remember any of usafter this will care about that.
You know, I think we have to.
We have to continuously pusheach other towards like
something to get better we.
(28:38):
I don't think I can make theworld better by one thing I'm
going to do, but if more of uskeep being more something, more
together, more like open, morewelcoming, maybe that makes a
longer lasting thing thananything I could make.
Does that make sense?
Speaker 1 (28:53):
Yeah, no, I so understand.
Speaker 2 (28:55):
I think that's a healthy way, that's a healthy
way of thinking, and I thinkyeah, to bring it back to bars,
even though it's around drinkingand we're selling poison.
Don't let me kid you, I'm adrug dealer at this point.
I think that I've seen peopleget married and engaged, break
up fight.
I've seen people punch eachother in bars, you know.
I've seen them, like, make outin bars.
(29:16):
I've seen them literally getengaged, like start their lives
together in my bars, and it'scool to like create the set but
not write the movie, and thenyou get to watch it right itself
every night.
Speaker 1 (29:26):
So I think so that's my legacy, I think that's a good
.
So that's the the inverse, theantithesis of Steve Ziefsu's
motivations when it comes tostuff like that.
I think that brought it backOne of the things that really
hits me with the movie, becausewe both agree it's funny.
It might not be understood byother people, but we both think
(29:47):
it's funny.
But when they do, finally getup to the Jaguar shark, it's one
of the like emotional, bigemotional beats of the movie.
Are we safe in here?
(30:08):
I doubt it.
You still want to blow it up.
Speaker 2 (30:16):
No, we're out of dynamite anyway.
It is beautiful, Steve.
Speaker 1 (30:27):
Yeah, it's pretty good, it's not.
I wonder if it remembers me.
What to you does the Jaguarshark?
What is it a metaphor for, doyou think, if anything?
Speaker 2 (30:46):
The Jaguar shark.
Like I was saying about realityIn making anything, let's say
in Steve Ziefsu making adocumentary about this.
Speaker 1 (30:58):
What's his?
Speaker 2 (30:58):
motivation Revenge.
Yeah, she's amazing, it's sogood, it's like great start.
Speaker 1 (31:05):
I know it's incredible.
I'm going to interrupt you witha quick contact.
So that the film festivalscenes was filmed in an opera
house, the oldest opera house inItaly, in Naples.
I've been there and I had noidea.
I was listening to director'scommentary and they told me
where it was.
I was like I've seen MadameButterfly in that opera house.
Speaker 2 (31:29):
I'm rarely jealous.
You've got me on that one Damn.
Speaker 1 (31:33):
It was very hot because there's no AC in that
entire place.
Speaker 2 (31:36):
Those scenes they're all sweating in the scene Very
authentic.
That intro, by the way, is soodd.
It's so great though that loses90% of the people that don't
understand it.
It happens in the first 10minutes.
Well, I just don't think theygot it.
It's like what's with thisrhythm?
Why is this bird lady speaking?
So weird?
It's just bizarre.
That whole intro just throws me.
(31:57):
And he loves doing that.
Throw a 4-3 ratio in there.
He did it with the velvetcurtain.
Speaker 1 (32:01):
It's like a 4-3 documentary, you know.
Speaker 2 (32:03):
Yeah, because I guess they're shooting on 16mm at the
time.
But what I'll say about realityis he's chasing this idea that
this imaginary creature killedhis father figure or best friend
, whatever you want to say.
Steve Zisu has nothing.
Steve Zisu is a joke, right?
He's got no family, his wifedoesn't like him, his crew
(32:26):
doesn't take him seriously,except for Klaus.
He's kind of a man on his ownand all he has left is to try to
save his career, is to createthis false reality, to search
for this shark, and he's goingto blow it up with dynamite.
Speaker 1 (32:39):
I think that if everybody's doubting, they're
like they don't think the sharkis real.
Yeah, yeah, that's right.
Speaker 2 (32:43):
Of course, I think that it's the grasp, a desperate
man's grasp, last grasp forsomething real.
But we know the Jaguar shark isnot real.
He made it up, wes Andersonmade it up.
So we are all chasing somethingto feel something real.
Well, that's outside of it,though.
Speaker 1 (33:03):
That's outside of it, though, because all the
creatures in the movie are madeup Like they are fictional
Totally, but within the reality,the Jaguar shark is real.
Speaker 2 (33:11):
No, I agree, but I'm saying I think that Wes Anderson
is taking a deeper step to sayall this stuff is not real.
Speaker 1 (33:20):
Okay.
The reality is not real, sothere's a deeper meaning behind
the fact that he's created 100%.
I understand what you're sayingand I don't know if people talk
about that.
Speaker 2 (33:29):
I thought about this not that long ago because
someone asked me about one ofour cocktails, which is named
the Jaguar shark.
It's a mezcal drink.
It's delicious, but someone wastalking about it and I was like
you know, it's not even reallyjust made all that stuff up,
Like the cramponi fish, theJaguar shark, the red snapper
you know what it is like,Fluorescent snapper, the
fluorescent snapper.
Thank you, the fluorescentsnapper.
(33:50):
Well, you say about.
Any movie, though, is made up.
Well, no, because in notnecessarily.
Let's talk about Jurassic Park.
There's actually a T-Rex.
In real life, there was a T-Rex.
Speaker 1 (34:04):
No, that's right, but I'm saying the if we're talking
about individual organisms,like, yeah, there is a
difference, but I think the whatdo you think?
Because Wes Anderson and NoahMbombach went into a deeper
level of making up a worldwithin a world that they're
commenting on, the fact that aworld, that world is made up,
(34:25):
rather realities are made up100%.
Speaker 2 (34:28):
Okay, I understand, I understand.
I think these men are extremelyintelligent.
Oh yeah, a lot of times in filmschool they'd be like the
filmmaker did this because hewas, he was trying to do this
and I was like no way.
Speaker 1 (34:40):
My answer to that would be I was like how do you
fucking?
Speaker 2 (34:42):
know You're not wrong .
Wes Anderson is one of thosepeople that is just so,
unfortunately, intelligentIntelligence plus money to make
a movie is a disaster forincredible.
You know what I mean.
Give me some money, I'd love togo make a film, it's time.
But I do think that Wes Andersonhas been allowed to create a
palette beyond any otherfilmmaker out there and I think
(35:04):
that's why his work is so unique.
Like you can say like, oh, Ilove let's just go with the most
obvious Tarantino, I love OneSpon at Time in Hollywood, but
it's very.
There's similarities but it'svery visually different from.
The visual differences betweenthat and any of his other work
are so different.
Even though you can say, oh, hedoes the two shot in the car,
oh, he does these tracking shots, he does this and that and this
(35:24):
and that.
Sure, we can go all day long.
Wes Anderson's films look sodifferent, but it's the same
damn film.
It's like the same shots.
You know, like, over and over,like his tropes are beyond any.
You have so many Wes Andersontropes, so I just think that
he's all of his worlds are solike, play, like, and there's
plays.
Even Rushmore has a play withinthe play.
(35:46):
You know what I'm talking aboutthe where he's like.
I've seen Rushmore.
Speaker 1 (35:50):
What Rushmore's?
Speaker 2 (35:51):
great, the kid puts on a play.
That's pretty much like a ripof apocalypse now.
Speaker 1 (35:55):
Oh, it brings in a helicopter, it's ridiculous.
Speaker 2 (35:58):
You gotta see that movie.
But Wes Anderson's alwaysdealing with that, and also in
Tannenbombs.
You've seen Tannenbombs.
She's putting on plays.
Speaker 1 (36:05):
Where he's like.
What is this?
A bunch of characters.
Speaker 2 (36:08):
What characters?
It's just a bunch of kids incostumes, like one of the best
lines of all time.
He's always interested increating false realities within
realities and I think that metais a thing now.
But I mean, I think he wasahead of his time and ahead of
his game and people won't, Idon't think, even though there's
like a hipster culture thatrespects Wes Anderson now I
(36:28):
don't think he'll really get hisdue until he's gone.
Speaker 1 (36:32):
So what's your favorite moment or scene from
this film?
Speaker 2 (36:36):
You know, just the one that jumps off my head,
because I haven't given thismuch thought, is the one where
he comes up and he goes.
I forget exactly what he says,but he's like hey, steve Zeezu,
it's Owen Wilson comes up to himon the code yeah.
I don't know if it's true ornot.
By the way, Do you?
Speaker 1 (36:53):
No, I don't.
Speaker 2 (36:56):
I haven't heard from her in 30 years.
Speaker 1 (37:00):
I guess it's too late now she never contacted me, you
know.
Yes, I see, I don't know,you're supposed to be my son,
right?
I don't know, but I did want tomeet you, just in case.
Speaker 2 (37:24):
I appreciate that I'll be right back.
Speaker 1 (37:34):
Don't go away.
Speaker 2 (37:35):
And Life on Mars, but it's played by Sue George.
Speaker 1 (37:38):
Yeah.
Speaker 2 (37:39):
And he walks to the front and he goes up and lights
a joint, smokes it and as he'scoming down it slows down, ramp
down in time, which I don't knowif Anderson's ever done that in
any other film.
That's a choice, a very strangechoice.
I've always thought I don'tknow if him and Yeoman got into
it over that or if that was justplanned.
I have no idea, but I thinkit's weird that they ramp the
speed there to draw the.
(38:01):
Is that like, oh, I'm high now,so I'm getting slow?
I don't know.
That's weird.
That's not something he usuallydoes, that's a weird visual
choice and he's like, oh, sorryabout that, he cut me with one
foot off the merry-go-round.
I just think it's such aridiculous moment.
Instead of dealing with themoment, he escapes, and that's
what he's been doing his wholelife.
I believe it's like escapingthe realities that are there and
(38:23):
then, when he finally goesafter something, it's not even
real.
It's like in trying to makethis movie how real is that, as
opposed to having a relationshipwith your actual son, in making
this thing to be famous, to beknown or something.
So that's what I'm saying whenI'm getting at this idea of
reality and what is the mostimportant things?
Is it the things that we makethat we'll be remembered by, or
(38:43):
is it just our friendship?
Is it us recording thisconversation, or is it us having
this conversation over coffee?
Which is more important?
I don't know.
I'm finding in life that I amless upset about the paintings I
don't paint and less upsetabout the movies I don't make,
and more interested in therelationships I have every day.
That's good.
Speaker 1 (39:01):
No, that's really good, I think.
If you had to describe thismovie to someone who had not
seen it to try and get them towatch it, what would you say?
Speaker 2 (39:12):
Man, I have done this so many times.
You know, what's your pitch?
Oh, you know, it's like thewhole film.
So you just tell them the wholemovie.
Speaker 1 (39:21):
No, you know.
Speaker 2 (39:21):
I pretty much say have you seen Live Quatic?
No, oh my God, man.
This is an amazing film whereBill Murray is this like
oceanographer-documentarian andhe's just so just full of
despair and like self-loathingand like at the end of his rope
and he just no one likes him andhe's so down and beaten down
and like trodden on and then youknow, on the eve of like this
(39:44):
failed premiere, is a strangeson that he didn't know even had
approaches and says you're myfather and I think from there,
what you see is just unreal.
You see Owen Wilson and BillMurray really delivering such an
amazing performance, supportedby an incredible ensemble cast.
It's just the most ridiculousthing that I can't even explain,
(40:08):
because it's hard to explainthe complexities of this film.
It's just not like anythingelse.
Even today I was on a Zoom callwith some guys from LA's theater
screenwriter guy and thisproducer, and they've made some
pretty big films, pretty goodfilms.
And he said I said I was goingon this podcast, talked about my
favorite movies, so what's that?
(40:28):
And I said life aquatic.
He goes oh man, I don't know ifwe can be friends anymore, you
know, and I'm the writer oftheir movie and it's like, okay,
well, we didn't get into it.
In the moment, I really do likethis guy.
We have very different stylesbut we're kind of.
He's coming on to work on thescript with me a little bit and
it's hard to get people tounderstand.
(40:48):
If you don't, you don't, andI've honestly talked about it so
many times that if you don'tget it, I'm not going to explain
it to you and I don't reallywant to talk about it.
It's tiring, sometimes it'sexhausting.
It's exhausting.
And also my girlfriend of fiveyears.
She's never gotten through it.
Wow, which is funny because thestory of how we began.
I have a girl that I walkedaway from, but at this point,
(41:09):
that's how different I am as ahuman being.
It's like if this doesn't speakto you, I don't need my
entertainment to appease you.
Speaker 1 (41:17):
My partner fell asleep watching it and woke up
after Owen Wilson died and shegoes wait what happened to Owen
Wilson?
Speaker 2 (41:26):
Oh my God, you know it's funny.
I don't think.
I don't.
I hate saying this.
I don't think Owen Wilson hadto die for that film to have an
impact.
Yeah, I thought that was aweird decision.
Speaker 1 (41:38):
Yeah, it was interesting, but though I
rewatching it, I was like, oh, Iactually love the scene that he
died, in which he dies.
Speaker 2 (41:48):
It's amazing.
Speaker 1 (41:48):
I think it's so incredible.
Are you okay?
Hey, I'm okay.
Speaker 2 (41:58):
What happened?
Did we get something?
Speaker 1 (42:02):
Looks like we're not.
Speaker 2 (42:06):
That may be the push-rout fail.
I'm sorry.
Speaker 1 (42:10):
Ned, I should have scrapped this chopper 10 years
ago.
Speaker 2 (42:14):
You know, maybe I should have auto-rotated and
performed a high bank draw inthe scent, you might have
crashed a little soft as thecamera is hovering right at the
waterline.
Speaker 1 (42:24):
every time the water fluctuates right in front of the
lens, it gets redder and redderand redder, and it's just like.
It's like sad and gorgeous atthe same time.
Speaker 2 (42:33):
I feel like I really connect with that guy, the look
that Bill Murray gives you inhis eyes.
I felt that way at age 17 inthat theater, watching it.
I felt that old and sad andtired about being a painter,
being an artist, being a humanbeing.
I was exhausted in high schoolI felt so misunderstood and even
(42:57):
through college even now to adegree I've given up on caring
what people think.
But there was a time where Iwas so exhausted by other
people's approval and being sodifferent than what my family
wanted me to be.
And I think that life andquality, that scene where he
died I felt like him.
I felt so connected to him thesecond time I saw him.
The first time I was just likewhat the fuck is going on.
And the second time I saw him Iwas like man, I feel like I am
(43:20):
Bill Murray in this movie.
When Ned dies, I was like thisis devastating and I wanted it
for him.
I wanted him to win.
I wanted him to win and it'sweird that they like okay.
So if we think about it for asecond, werner, what's the
future of this?
I always think about that.
What's the future of moviesafter?
Does anyone else.
Think about that.
(43:41):
What's going on?
Some movies get me so excited.
I'm like I want to watch moreof these characters.
Do this thing.
I want to watch more ofLifequatic.
Does Werner become thesurrogate son?
Is that why he exists in thisfilm?
Because there is youth thatdoes like him and does care
about him, even though it's nothis son.
It's too late for him to havethe real relationship with his
own son.
(44:01):
But then also the girl, kayBlanchett's character, jane
Covey, it's like is her songoing to look up to Zisu?
What were they doing, throwingin all these babies and fathers
and sons?
It's like there's a lothappening.
Speaker 1 (44:18):
Right now.
If you had to come up withanother drink for the Ark Royal
based off of Lifequatic, whatwould it be?
Cranponyfish.
Speaker 2 (44:25):
Ooh, what is it?
I don't have it yet and I'mgoing to be honest with you.
Man, come on, I know I'm goingto be honest with you.
This is why I don't have it.
Obviously, we know where theRam-Rum Cannonball came from,
but my idea was calling it theRam Cannonball.
Number one, two, three.
Every time we change it, Inever want that drink name to go
away.
So we just changed the number.
I think we're on number four orfive now.
And then this is the Belafonte,still number one.
(44:45):
I just assumed it would changebecause I just kept the number,
because I never wanted those toleave.
And then the third one was theJaguar shark, which I knew I
wanted a mezcal drink, becauseI'm just a mezcal fiend and I
was like no, we'll do somethingwith mezcal.
And the fourth one was alwaysthe Cranponyfish.
But I like the Belafonte and Ilike the Jaguar shark and I like
the Ram Cannonball.
But I knew that when we figuredout the Cranponyfish I better
(45:08):
fucking love it Soon.
No one I've ever met.
I'm not the cocktail geniuses,right?
I'm the guy that can drinksomething and tell you if I like
it.
Can I create it?
No, not yet.
I'm not trying to be that guy.
Speaker 1 (45:22):
I think, when you do come up with the idea, though,
it should come in a plastic bag.
Speaker 2 (45:27):
What the fuck?
A thousand percent, oh my God.
What a great idea.
I'm with that.
A hundred percent Awesome.
But we have to make itextraordinarily expensive so
that no one really orders it, orelse we have to put it in a
goldfish bag and that's how itshould be.
Garnished is with like a littlesomething in the bag, you know,
(45:47):
and you have to pop a hole init and drink it, that's fun, but
I love that idea.
But I think that the mostimportant thing is that when I
watch Life Aquatic, I have funOnce you get past the darkness
of it and you realize that thesadness is the funny part like
how sad Sisu is becomes so funnybecause he's so ridiculous.
Tiki is fun.
Tiki culture is just.
(46:09):
It was the antithesis ofcocktails.
Cocktails became so pretentiouson their comeback in like the
2000s, like coming out of NewYork and LA and wherever they
were being rebirthed the craftcocktail oh, you don't know what
bourbon you're drinking it waslike some bullshit.
Tiki is fun.
It is a revolution of cocktails.
It's been going on since the30s.
(46:29):
People are into it.
It's fun.
There's I just had a pineapplefall out of my drink.
Speaker 1 (46:35):
You know what I mean.
It's like where are you goingto?
Speaker 2 (46:37):
find that in Tiki Like enjoy your life, have fun,
watch good movies, drink gooddrinks, have good loves, have
good friends.
Who cares about the rest?
Legacy doesn't matter.
Speaker 1 (46:47):
I think that's the perfect point.
Speaker 2 (46:49):
I wish to add this has been great man, yeah,
fantastic.
Speaker 1 (46:51):
I can't thank you enough for having us over here.
Speaker 2 (46:52):
It's been awesome.
It's been great man In thetaboo room.
Speaker 1 (46:55):
I know.
It's fantastic, we'll keep itsafe in here.
I'm not going to.
Well, I'll have a little bitlefty.
Cheers with them.
I appreciate that.
Thanks, man, this has beenawesome.
I'm a big fan of the lifeaquatic with Steve Zizou.
I also really like visiting theArk Royal, and Patrick and I
have known each other for over adecade.
(47:15):
But my greatest joy fromrecording this very special
episode was that I got to makesomething cool with people I
care about.
Finding ways to combinecommunity with creation and care
is something I'm valuing moreand more lately.
I can be inspired to write ashort film or produce a
documentary or make a veryspecial episode of a podcast,
(47:37):
but I cannot do it alone.
So the biggest of shout outs toeveryone who has made this
episode happen my crew, keatonLusk, chris Newman, kishin
Kanatra, roland DeLaurier andKira Moreira.
Our bartenders at the Ark Royal, correll and Braden Patrick, of
course, for being so graciouswith his space and time.
(47:57):
Our patrons for inspiring me tobe adventurous and creative,
and all of the watchers andlisteners across six continents
for supporting the show just byhitting play.
If you enjoyed what you heardtoday and I sincerely hope you
did please go ahead andsubscribe on your favorite
podcast platform of choice tostay up to date on all episodes
(48:18):
of the Film Nuts Podcast, if youhappen to be listening on Apple
Podcasts, go ahead and leave arating and review.
That helps us get noticed bymore awesome people just like
yourself.
If you want to support the FilmNuts Podcast on Patreon, check
out the show notes for that linkor visit patreoncom.
Our theme this season isbrought to us by the Deep End.
Our artwork is designed byMadungwa Sipahudi and all
(48:41):
episodes of the Film NutsPodcast are produced and edited
by me, taylor D Adams.
If you want to get in touch, youcan email filmnutspodcastcom or
follow us on Instagram, tiktokand Twitter at Film Nuts Podcast
.
And don't forget to join theNuthouse Discord community
absolutely free by checking outthe link in the show notes.
Thank you all so much forlistening to and hopefully
watching our mid-season finaleof the Film Nuts Podcast.
(49:04):
We really hope you enjoyed it.
We're taking a few months off,but we'll be back before you
know it and until then, please,please, please, take care,
because life is an adventure.
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