Movie Mike talks to director Rod Lurie about his new movie “The Outpost” starring Orlando Bloom and Scott Eastwood. The movie is about 53 U.S. soldiers that battle against hundreds of Taliban fighters in Afghanistan in 2009. Rod talks about how he went about capturing realistic action in the battle scenes, what it was like directing Orlando Bloom and how much Scott Eastwood reminded him of his dad Clint Eastwood on set. Mike also gives his full review of the movie.
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Episode Transcript
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Speaker 1 (00:00):
Hello, and welcome back to movie Mike's Movie Podcast. I
a movie Mike on Twitter and Instagram at Mike destro
and I'm really excited about this week's episode because I
am talking to my first ever director. So there's a
new movie out now called The Outpost starring Orlando bloom
In Scott Eastwood, and I get to talk to Rod Lury,
who made this movie, which is based on a real
(00:21):
battle that took place in two thousand nine in Afghanistan.
So we talked about how he made the movie, what
it was like directing Orlando bloom and Scott Eastwood, who
was the son of Clint Eastwood. We also talk about
some of our favorite war movies and what it was
like for him to be on set during such an
intense movie. So if you've ever wondered how a movie
gets made or what it's like to direct a big
(00:42):
Hollywood star, we'll get into all that. So I think
you'll enjoy this interview, and then right after it, I'll
get into my full honest review of the movie and
also talk about my top five favorite war films of
the last ten years. Just the heads up, he does
drop a couple of f bombs in this, but I
just thought responses were so genuine and so kind of
real that it kept him in there. And I figure,
(01:04):
if you're gonna end up watching this movie after this review,
they curse in that thing anyway, so there's no real difference.
So thanks for checking out this episode this week. I
think it really enjoy it. And if you don't mind,
if you're over there listening on Apple Podcast before you leave,
before you click out of this thing, hit that five
star rating right, a quick little review, because it helps
me beat out all those other movie podcasts in the category.
(01:24):
I'm trying to get up there at the very top.
So if you would do that and mean a lot,
or if you're listening on I Heart Radio or anywhere else,
just hit that follow, hit that subscribe button. I know
some people have asked how you rate and review it
on other platforms. It's only Apple Podcast you can do
it for some reason, So just make sure you're subscribed
anywhere else you're listening to because that really helps too.
All right, With all that said, excited to share this
(01:46):
episode with you guys, So let's get started. In a
world where everyone and their mother has a podcast, one
man stands to infiltrate the ears of listeners like never
before in a movie podcast. A man with so much
movie knowledge, he's basically like a walking a MDB with glasses.
(02:06):
From the Nashville Podcast Networks Movie Movie Podcast. All right
on the phone now with Rod Larry, the director of
The Outpost. How's it going, man, Hey, it's going very well.
Beautiful studio city, California. Our things in Nashville, it's going
pretty good here. We got some rain, but my clothing
down a little bit. You know, I'll tell you from
(02:28):
me some of the best filming experiences of my life
or Nashville, because I shot a movie called The Last
Castle Bear and it was just fantastic. It was one
of the best times I've ever had. Yeah, Nashville was
a cool spot. Yeah, it certainly is. Certainly. My my
cast two young men really in towards that city. So
I just watched your movie and I gotta say, it's like,
(02:49):
not only one of the best movies I've seen this year,
but I think one of the best war movies I've
ever seen. So I just want to say congrats on that. Well,
thank you very much. I mean, look, it's you know,
making a war war film it's a it's a tough
bit of business, and I'm glad we succeeded in in
your mind. You know, I'm a massive, massive war film fan,
(03:09):
and a few years ago I want to see that
movie called Dunkirk that Chris Nolan felt and it was
it was just so amazingly creative and and uh and
energetic and just so full of cinematic life that you know,
it really did. It really inspired me. I mean, we
don't shoot in that style at all, but it just
inspired me to, you know, have high aspirations on it.
(03:31):
Making a bar film talking about like dun Kirk and
having like that feeling of being in the action. Is
that kind of where you drew some of that inspiration
for this, Like the fight sequences, I mean, the idea
inside trying to accomplish a much different way than that
Dunkirk did dun Kirk, I think it was a little
bit more objective than on film is This film is
(03:53):
is very subjective. It's very much when the men on
the ground. You know, for the battle sequence, I used
a single cam or I just followed soldiers throughout the
course of the battle. You know, we never shot away,
we never caught away. And so we really were intending
to put the audience into a four massive um experience
in this you know, in this vattel, which was probably
(04:15):
the most heroic battle of the of the Afghanistan War.
How exactly do you do that? Because I know, like
nineteen seventeen they did that where the whole movie was
in one shot. So what is that process of like
is it all in editing? Are you really doing it
all in one shot? Well? Okay, so you know, you
just you just said something really interesting there because on
the one hand, you just said that they Dunkirk is
(04:37):
I'm sorry that the macnews seventeen, which by the way
is a masterpiece, a fantastic movie, one of my favorites, um,
is all done in one shot. But in fact, the greatness,
the cinematic technical achievement of Macneis seventeen is that I
gave the appearance of being in one shot. I don't
know how many cuts I counted as a pro and
(04:58):
the something that I missed, I'm sure, but you know
there are dozens and does are cuts in that film
and in our film, those lengthy sequences, there's very little
what we call stitching, you know, cutting together two two
shots seamlessly. To make it appear as one, we really
had to rehearse because we just didn't have the budget
to do that. So you know, we actually have to
(05:20):
shoot these things in waters and it was no easy defeat.
So you have this movie. It's you know, very big
and cinematic, and I found it a little weird watching
it like on my laptop now because of what's going
on movie theaters. How does that feel for you, like
having this movie coming out and knowing that people won't
get that full cinematic experience. Well, I mean they're they're
(05:41):
they're they're variations on that. Like, if I'm being perfectly
honest with you, it's sort of basically hard to see
that anybody watches it on the laptop. And one person
told me they watched it on the phone, which is
like completely severs severs my heart because you know, I
shot this for the big screen. I made it for
the big screen. It's you know, especially as sound work
(06:01):
is made for the big screen. Um. But you know, look,
life is what it is right now and and um,
and I fully expect that it's going to stay this
way pretty much forever. I think that anytime anybody makes
the film that is not a Captain you know, Marvel
film or Star Wars of James Bond, that you know,
they should anticipate that it's primarily going to be seeing
(06:21):
on people's home system. So you know all that. All
that I'd ask is that you know, when you do
see the film, you know, was try to see it
in the best experience possible, the biggest screen, you've got,
the sound, because I'm sure worked our active you know,
to get to you know, to try and accomplish that,
you know, like I know that, um, you know, I'm
(06:42):
in the Most Picture Academy. So when Chris is going
back to Dunkirk, when when we got our DVD box
for Dunkirk, UM, I opened it up and there was
a note from christ and saying, come on, man, let's
see this in the theater. And and that's really what
I was what I hope before. Well, speaking of Christopher Nolan,
I saw a story recently that he says he doesn't
(07:05):
allow chairs on set because if you're sitting, you're not working.
Is there any kind of rule like that you have
on set? That's a that's an instant I do. The
reverse thing is that, um, I don't allow myself to sit.
You know, I literally don't have a chair on set.
You know. Look, look I when I when I was
a cadet at West Point, UM, there is a rule
(07:26):
that the cadets don't sit throughout the game. You stand
with the team. You know, while they're on their feet,
you're on your feet, you're the twelve mat. And so
I've I've done this throughout my entire career, and especially
on a movie like this where I'm asking the actors,
I'm asking the crew to be so physically fit and
so physically involved in the film, um that you know,
(07:48):
as long as they're on their feet, I'm going to
be on my feet. But I do let the actors sit,
especially when when there is so much running and gunning
and exhausted involved in making a film. I mean, like
this thing was a motherfucker man, there was he was unbelievable.
You know what these actors had to go through. Speaking
of that, we're working with the actors, what's it like
(08:10):
to direct a guy like Orlando Bloom, such a veteran
actor and you're having to you direct him in a
very intense way. Well, you know, here's the thing that
I learned after I made my first film, which is
that there is no there's no one system fits all
for directing actors. Everybody, everybody is different and everyone needs
(08:32):
to be directed differently. Some actors come with a very
specific mindset of how they want to play a ball
and others are craving direction and others want to, you know,
want to completely completely mix it up. You know. Uh
with with Orlando, Orlando is a vet, he does you know,
he did spend time with the father of the guy
he's portraying. Um, the guy's portraying portraying is it was
(08:55):
a guy named Ben Keating, one of certainly a war hero,
and um, he got to you know, he got to
know him as best as best he could. You know
that he's not alive anymore, but um, but he did
look to me and he looked at the military advisors
for how to behave militarily. Although he has he's certainly
you remember he did black Hawk Down, so he has
(09:17):
um some some experience with it. But you're right, he's
he's a vet, and you know he needs a little
less direction than most. So did you have everybody do
like specific training for this movie before they got on? Yeah?
You go, yeah, you bet your ast. How intense was that? Like,
what do they have to do coming into this? Oh man,
we put the I put those little fuckers through the wringer,
you know, they you know. And here's the thing, though,
(09:39):
I had some of the actors. I insist on having
actual people who have served in the military as actors
in the film. Um and professional actress, but you know,
like Adam Driver used to be an actor and obviously
used to be a marine and in this movie had
gotten like Jack Kessie used to be a marine guy
in name like Kwamie Patterson who plays Captain Broward and
the film, he from the army. And then we had
(10:01):
a few guys like that. But I had a lot
of guys that were just these Juwillard sort of guys,
guys from you know, the you know, trained in British theater.
We had some somebody from Carnegie Melon and during basic training,
you know, I just threw them into I threw them
into this pit with this with an Army ranger and
a Navy seal who who tore their asses up during
(10:23):
uh you know, for like a long time, and sometimes
at lunch when I would show up on set, they
would come to me and literally be in tears. You know,
they just weren't used to this at all. And I
gave him all the option of quitting if they wanted,
and none of them did, and they nobody quit. They
(10:43):
all really appreciate now you know what I put me through.
There's like a scene that just kind of got me
in an unexpected way, and it's when all the soldiers
are calling home and they're on the satellite phones, and
it just felt like such a human moment that I
hadn't experienced in the movie before. What was kind of
a direction on that point, Well, that was something that
(11:05):
was not an imaginal screenplay, and that and that we
you know, like I have I doing a lot of
my films, we came up with on the spot and
and I just, you know, I just felt that a
it did create that humanism that you're talking about. But
there's something else with a movie like this, Mike, which
is really important, is that it's very difficult to keep
track of characters because they're either wearing helmets and their
(11:28):
heads are shaved. You know, they're they are made to
look uniform as the as the world implies. And so
I thought by having the scene right before the big
battle when they're all calling home. That gives them each
a little bit of individualism that can separate them from
from one another. So I thought that was really important.
But I think that the emotional impact that you're feeling
(11:51):
comes from the score by Larry Groupe. It's just it's
a perfectly beautiful, evocative UM score and I think serves
very well for that scene. Yeah, I love that scene.
And also thinking about the other actors in this, Scott Eastwood,
Milo Gibson. When you're directing those guys, do you ever
see like a glimpse of their dad, Like when you're
(12:11):
directing Oh my god, are you kidding me? You see
you see? Oh it's incredible. And sometimes he sounds that
he sounds like him. And I'll tell you one thing.
You know, you say that to other actors whose parents, um,
you know, were actors, and you say that they their
femers are really hurt. But Scott is so proud of
(12:32):
his bad twins. He's so proud of him and would
love nothing more than to be comparative. And sometimes when
we're talking about a scene, he said, you know, I
know how my dad would do this, and this is
what he would say. And as if to suggest me
that this is how the scene should should be played.
So you know, he's not he's definitely not trying to
(12:53):
replicate his father, and he very much wants to be
his own actor, and he absolutely is, and I think
it's easily his best performance. But yeah, I definitely saw
some some Clint, some Clint. There's some sometimes um and
and and also with Milo it's um you know, Myleo Gibson.
You do see some some of his dad in there,
(13:14):
but that just comes from you almost from genetics, from
the way he walks, from the way he moves his hands.
You know, he does have a certain like Mel does
a certain business with his with his arms and his hands.
But you know, there were several other um kids and
grandkids of superstars in this movie. There's plenty of them.
Who else is in there, like, well, um, I'll tell
(13:36):
you um, Richard Attenborough's grandson plays Faukner. Um. He's a
guy who is having drugs the beginning of the Soul.
And then you've got Scott all the Coffee playing um
uh playing Scuza And that's Alan Alda's grandson. He also
happens to have been until now my my dog sitter.
(14:00):
And but but the most amazing one was was this Mike.
We're in the middle of it filming. I decided that
we need to put another real character in the movie,
um to continue to you know, humanize these guys. It's
the character of Jones and I and I put out
I went to Britain, which was close word of shooting,
and put out a massive casting call and I picked
(14:22):
this dude. You know, I didn't even realize what his
last name was when I when I hired him that
he was the best guy for the job. And shows
up on set and his name was James Dragger. It's
Mick Dragger's son. Yeah, and and and and so that
was really that was the most fun guy to talk
to about his dad because you know, I'm used to
(14:44):
you know, all this movie royalty, but you know who's
who's more royalty in lock and Roll than Mick Jagger. Here.
Oh it was great and so and what you'll see
when you get the DVD of the movie, and they
have these extras um and I think you can get
some extra as you get us on d O D
on like iTunes. I'm I'm not sure, but you'll see, Uh,
(15:05):
you know James singing the song that I wrote in
the film. It's not in the actual movie, but it
is in the extras. I got one final question for you.
If there's a young filmmaker out there, what one piece
of advice would you give them. I'd say, don't even try.
Don't even try. They don't even try, because you know why, dude,
I don't need the fucking competition. You know, I've I've
(15:27):
about had it, you know. You know it's hard enough
for me to make it. I don't need these new
guys coming in. Actually, well, look, yeah, I hang it up.
It's it's there's there's no chance. Here's here's what I
would say. Um, and I mean this from the bottom art.
It is easy, or much easier than it was when
I was starting to make short films. There should never
(15:49):
be a moment when you're not making a movie, or
not in the process of making a movie, not in
the process of writing it. To not never be a
moment when you're not filming, you know, and you make
you keep making these short films. You can add them
together much easier than before. You can almost do it
on an iPhone. Sometimes you can do an iPhone and
enter them at the festivals and just don't stop. You
(16:10):
cannot stop creating. And you know, most people who I
know are persistent. They don't necessarily succeed, Mike, but they
get a shot. They get a shot. Nice. So basically,
or just go start a YouTube and don't even focus
on movies and no confidation. Yeah, yeah, yeah, I don't
(16:31):
need it, man. You know, it's like it's really it's
it's tough enough for old geezers like me to get
to work, you know, I don't need the young bucks
coming in and showing how creative there. All right, it's
been good talking to you. I love the movie. Everybody
can go check it out now. Yeah it's on, Yeah,
it's it's on. It's on v O D and playing
in some theaters and um, you know, and uh, you know,
(16:51):
we're damn proud of it and very emotional movie for me.
And I'm really happy I've talked to you about it. Mike. Hello, man,
have a good day. Thanks. True I hope you guys
enjoyed that conversation with Rod Lury. I really like just
how open and honest he was about the fact that
this movie he spent so much time working on is
(17:12):
now not being able to see it in its full
potential because he had no idea when he started flming
this movie two years ago that it wasn't gonna end
up on the big screen. Like there's no way of
knowing that when you're out there filming this movie that
anything like this would be happening to where theaters are
just basically shut down everywhere. And I kind of like
how he said, you know, it sucks, like the fact
that people like me ended up watching in the laptop.
(17:35):
People will be watching it sometimes even on their phones
now because the video wanted to man or you know,
I think he feels a little bit better the fact
that people have, you know, big screens and nice sound
systems at home. But when I watched this movie, I
was even thinking, like, I'm watching this on my laptop,
but there's so much like gunfire going off and so
(17:55):
much big things on the screen that I felt like
I needed to be back in the theater to watch it.
So I didn't what he was gonna say when I
asked him that question, But I'm glad he was just
straight up and me and like, you know what, it
does suck, But the fact of the matter is it's
going to probably be like this for a while now,
maybe forever. So I think even he is kind of
thinking that, even when things do go back to normal
a little bit more, that this video on demand is
(18:18):
really going to be more of a thing, because he's thinking, like, Okay,
people are always gonna end up watching things on their
phones or on their laptops, on their tablets, even when
they do get shown in theaters more often, whenever you know,
people just rent something, they're watching it on the screen
that it's not intended for. So it's just kind of
interesting to think how different that is for somebody who
makes the movie and creates this content for people to
(18:41):
take in, and then we take it in in all
different kinds of ways, which we tend to lean to
things that are more convenient for us and what we
feel more comfortable with. I like the feeling at home
watching a movie on my TV. I've actually before this
whole thing started, right at the very beginning of Quarantine,
I was like, I'm gonna have to invest in a
good TV because I love going to the movies mainly
(19:03):
for the sound, mainly for the big experience. And I'm like,
if I'm gonna start watching more things at home, especially
all these movies that gonna be coming out, I'm gonna
at least need a better home system. So I did that.
I think a bunch of other people probably did. But
the fact of the matter is people are gonna watch
up under the laptops. They're gonna watch that wherever they
can easily download it and easily find it. So I
(19:23):
think it's kind of interesting to see how he's already
thinking a step ahead and the next movie he's gonna
be making down the line of Okay, like, maybe people
will watch this on a smaller screen, But I think
it works getting something so big and making it as
big and cinematic as you possibly can, and then letting
people take it, you know, where they're gonna watch it.
(19:43):
If it gets scaled down a little bit, I think
the fact that that big cinematic quality is still there
will never go away. But anyway, I hope you guys
enjoyed that. Um. I want to get into now my
full review of the movie, The Outpost, which I watched
before I did the interview with Rod. So actually, the
way this all the way down is I wasn't usually
going to get to talk to Scott Eastwood which I
was pretty excited about because I watched this movie and
(20:04):
they were like, hey, yeah, you can talk to Scott
Eastwood interview about the movie. And then it turned out
that that didn't work out, and there you can still
talk to Rod, the director of the movie. I was like, Okay,
I'll take him. That'd be cool too, And it ended
up being really enjoyable for me and probably really insightful,
and I thought it was really cool to be able
to talk to him just about movies, me coming just
as a big movie fan and him just having all
(20:26):
this other director knowledge. So with that said, I'm gonna
get my straight up, full honest opinion of this movie review.
I had already pretty much set even before I talked
to him, So before I get into that, here's just
a little bit of the outpost. We need to retake
this game. We don't have any air support, the manpower,
our men are trapped down there. Our MTE was forty
(20:49):
yards away, and there's everything we need to stay in
this fine. Let me done this. So what the movie
is about. It's based on a real story that took
place in two thousand nine back in Afghanistan. The movie
is actually based on a book written by Jake Tapper.
But the story is fifty three U. S. Soldiers were
stationed at this outpost at the bottom of these three mountains,
(21:11):
and they were there to kind of make this deal
with the locals and kind of be assistance to them,
helping them out in their community, to build a relationship
with them. And essentially what happened was they ended up
closing the outpost and they got word that the U. S.
Soldiers were going to leave, and they still hadn't been
paid some of the money they had been promised, and
they're thinking, well, if they're gonna leave, then we're not
(21:32):
gonna get paid. So hundreds of Taliban soldiers scheduled this
attack and just went in on this outpost where these
fifty three soldiers essentially had to fight their way out
of it, and I'll kind of end it there. That's
basically what sets up the entire movie. And I know
it's kind of weird to review movies and spoiled movies
that are actually based on real stories, but I felt
(21:53):
with this one. As much as I've heard and read
about the Afghanistan War and even the movies I've seen,
this was a story I wasn't familiar with and even
in the book title of references that it is kind
of an untold story, So I felt like it was
kind of learning a little bit for me too. So
aside from it just being a movie and being kind
of entertaining, which is kind of weird to say about
(22:14):
such a crazy, intense battle and piece of history, I
also did learn a little bit while being entertained by
this movie at the same time. So what I liked
about this movie is that it is very intense and
um kind of talking about what Rod said in the
interview is that he was right there in it, and
he made sure that they were kind of prepared for
(22:36):
this and that they were trained so much so that
it felt real and authentic. And watching this movie, it
feels like you're kind of in there. And what I
liked about it was it reminded me of nineteen seventeen,
which we referenced in the interview, that you felt like
you were in the action. Like the camera movements are
like right there with the actors going right up into
(22:56):
their faces, and then when all the gunfire and shooting
is going off, it feels like you're essentially a part
of the team to moving through all the action and
it's not like you're just watching with the over kind
of scope of the whole thing. It feels like you're
in there. And not only does it feel like you're
in there, but the movie is pretty intense and just
you know, violent, and you're thinking of it as a movie,
(23:18):
but it's like this really happened. It makes it feel
like man war is really hell Like. It's very kind
of eye opening to what these soldiers have to go
through and what they had to go through during this
Afghanistan war and still go through today. So I think
that kind of put into perspective too, and also kind
of learning about these soldier stories and to see how
(23:39):
young they were, it's just really crazy to see and feel.
I thought Orlando Bloom was a really cool actor that
they got for this, and also Scott east Wood. I
haven't seen a whole lot of stuff with him in it,
but I was really kind of like, Okay, I see
you Scott Eastwood, Like it's feels almost like you are
watching a younger version of Clint Eastwood. Would maybe why
(24:00):
I enjoyed a little bit more. He's probably a little
bit better looking than Clint Easwood was back in the day.
I think so. My girlfriend tends to think so, and
I thought he was a pretty good actor. Like, I
didn't feel at any point in this movie like it
was cheesy in anyway, or like I was watching people
kind of act. Like sometimes in war movies, I feel
they're a little bit over dramatic in the way that
(24:21):
they portrayed the people they're playing, But I felt this
one was pretty straight on and just kind of raw.
Another thing I kind of took into account is that
this movie did have a lower budget than some other big,
high budget war movies. So a movie like nineteen seventeen,
where it's you know, they have a lot more money
to put into it filming, and they spend a lot
more time out on set, and they can do a
lot more in post production. I felt this one did
(24:44):
have a lower budget, and I think they kind of
accounted for that in the way that the cuts were
made in the editing, and the way they just made
everything super raw. I feel like it was one take,
and I think that was mainly because they didn't have
the money to do all these other crazy post production stuff.
So it does feel raw, and it does feel like
a battle when you're watching it, and I think that
(25:05):
adds a lot more character to this movie, and I
wasn't expecting to find in this movie was the little
piece of humanity it kind of added and kind of
telling the stories of these soldiers, And it's just that
one scene I mentioned earlier in the interview where it's
the soldiers on the satellite phone calling home to their parents,
and you kind of get a different feeling of what
each person is going through and what war is to
(25:27):
each of these people, because some people, you know, their
conversations are a little sad, and some that's kind of happy,
and then some it's just kind of totally different. And
it just these different people and their different stories all
kind of come together as one. And that little scene
just kind of makes you think of, like, man, these
kids are so young, like they're twenty five two years old,
(25:47):
and they're at war like this and this is their
everyday life like we see it in a movie, and
thinking of like, oh, yeah, this is how a movie
goes down, but this is what they actually experienced, and
it's crazy to see. So overall, I give it four
out of five and Shells. I think it's one of
the greatest war movies I've seen, and probably the last
ten years, because it was able to move me in
a way that I wasn't expecting, told me about a
(26:09):
story I didn't know about, and then it was just
really kind of interesting to watch, even hard and stressful
to watch it sometimes because you didn't know really what
was going to happen next or when this was all
going to kind of go awry. And I say it's
one of my favorite war movies in the last ten
years because I think this type of war movie where
it feels a little more greedier, has kind of really
(26:31):
had success over the last ten years, and where I
would kind of rank it, I'd probably put it in
my top five of the last ten years, So I
would put this movie right there at number five. Um.
We also talked about dun Kirk, which I thought was
a really good movie, and that one I also felt
like I had no idea about that story, and I
really I think people were one way or the other
(26:52):
on that one because it is kind of there's not
a whole lot of dialogue and Dunkirk gets a lot
of just action and being right there in there with them.
But I think visually that movie just looked so good
and was just so interesting, and I thought it was
so well done that I really like that. I really
like Christopher Nolan doing that. Zero Dark thirty was another
really good one that I remember seeing in theaters and
(27:13):
just being like, Oh, I can't wait to see what
happens next in this one. And that was a story
I was more familiar with, but you really didn't know
how some of the details went down of the taking
down of Osama bin Ladin, And that's probably my favorite
Jessica chest In movie too. And then I really like
nineteen seventeen last year. The whole one shot thing was
really kind of interesting for me to just kind of
(27:33):
grasp and see how they did that whole thing. And
then not only that it's a great story, it follows
it perfectly in the action and all other things in
that movie is just really good to be I haven't
seen that one. That's another really great one too. And
then my favorite war movie of the last ten years
would have to be American Sniper. I remember going to
see that in a pack theater on opening night and
(27:54):
being completely moved at the way Bradley Cooper portrayed Chris Kyle,
who had such an intense, crazy story and in that one.
It was just the effects that you've got to see
of how a soldier goes from being in war and
being in these super high, stressful, intense moments that nobody
like you or I would probably experience, but then having
(28:16):
to do all that and come back home and you know,
have a family and do everyday things and you have
to go back to being normal and going back and
forth between those two, Like the effects that has on
your brain and your mentality, in your overall just mental
state and well being. It's really intense, and I think
that movie just kind of opened a bunch of people's
(28:36):
eyes to WHOA, this is insane. So those are my
favorite war movies in the last ten years. But out
of all of those, I really recommend going to check
out the Outpost now. I think you'll really enjoy it.
You can rent it right now wherever you stream movies.
All Right, And that's the episode for this week. But
before I get out of here, I got to get
my Instagram shout out to at Rebecca Montana ninety two
on Instagram, who tagged me in her Instagram story that
(28:59):
she was listening to Fast week's episode all about the
best road trip movies, and she posted a picture of
her car dash with the episode hard that she was
listening to that episode. Like I said, that's my favorite
thing to see. So if you guys tag me in
a picture like that, for sure, you'll probably get a
shout out in the next week's episode. But that's all
you gotta do is just tag me in your Instagram story,
tag me on your main post that you're listening to
(29:19):
the episode, whether it be a picture of your car
dash or a screenshot, I'll be listening to it. That's
how you get an Instagram shout out on this show.
I hope you guys enjoyed the interview this week. Let
me know what you thought about it, and then if
you end up checking out that movie, let me know
what you think too. I will talk to you guys
next Monday. Here, have a good week. Later
Hello, and welcome back to movie Mike's Movie Podcast. I
a movie Mike on Twitter and Instagram at Mike destro
and I'm really excited about this week's episode because I
am talking to my first ever director. So there's a
new movie out now called The Outpost starring Orlando bloom
In Scott Eastwood, and I get to talk to Rod Lury,
who made this movie, which is based on a real
(00:21):
battle that took place in two thousand nine in Afghanistan.
So we talked about how he made the movie, what
it was like directing Orlando bloom and Scott Eastwood, who
was the son of Clint Eastwood. We also talk about
some of our favorite war movies and what it was
like for him to be on set during such an
intense movie. So if you've ever wondered how a movie
gets made or what it's like to direct a big
(00:42):
Hollywood star, we'll get into all that. So I think
you'll enjoy this interview, and then right after it, I'll
get into my full honest review of the movie and
also talk about my top five favorite war films of
the last ten years. Just the heads up, he does
drop a couple of f bombs in this, but I
just thought responses were so genuine and so kind of
real that it kept him in there. And I figure,
(01:04):
if you're gonna end up watching this movie after this review,
they curse in that thing anyway, so there's no real difference.
So thanks for checking out this episode this week. I
think it really enjoy it. And if you don't mind,
if you're over there listening on Apple Podcast before you leave,
before you click out of this thing, hit that five
star rating right, a quick little review, because it helps
me beat out all those other movie podcasts in the category.
(01:24):
I'm trying to get up there at the very top.
So if you would do that and mean a lot,
or if you're listening on I Heart Radio or anywhere else,
just hit that follow, hit that subscribe button. I know
some people have asked how you rate and review it
on other platforms. It's only Apple Podcast you can do
it for some reason, So just make sure you're subscribed
anywhere else you're listening to because that really helps too.
All right, With all that said, excited to share this
(01:46):
episode with you guys, So let's get started. In a
world where everyone and their mother has a podcast, one
man stands to infiltrate the ears of listeners like never
before in a movie podcast. A man with so much
movie knowledge, he's basically like a walking a MDB with glasses.
(02:06):
From the Nashville Podcast Networks Movie Movie Podcast. All right
on the phone now with Rod Larry, the director of
The Outpost. How's it going, man, Hey, it's going very well.
Beautiful studio city, California. Our things in Nashville, it's going
pretty good here. We got some rain, but my clothing
down a little bit. You know, I'll tell you from
(02:28):
me some of the best filming experiences of my life
or Nashville, because I shot a movie called The Last
Castle Bear and it was just fantastic. It was one
of the best times I've ever had. Yeah, Nashville was
a cool spot. Yeah, it certainly is. Certainly. My my
cast two young men really in towards that city. So
I just watched your movie and I gotta say, it's like,
(02:49):
not only one of the best movies I've seen this year,
but I think one of the best war movies I've
ever seen. So I just want to say congrats on that. Well,
thank you very much. I mean, look, it's you know,
making a war war film it's a it's a tough
bit of business, and I'm glad we succeeded in in
your mind. You know, I'm a massive, massive war film fan,
(03:09):
and a few years ago I want to see that
movie called Dunkirk that Chris Nolan felt and it was
it was just so amazingly creative and and uh and
energetic and just so full of cinematic life that you know,
it really did. It really inspired me. I mean, we
don't shoot in that style at all, but it just
inspired me to, you know, have high aspirations on it.
(03:31):
Making a bar film talking about like dun Kirk and
having like that feeling of being in the action. Is
that kind of where you drew some of that inspiration
for this, Like the fight sequences, I mean, the idea
inside trying to accomplish a much different way than that
Dunkirk did dun Kirk, I think it was a little
bit more objective than on film is This film is
(03:53):
is very subjective. It's very much when the men on
the ground. You know, for the battle sequence, I used
a single cam or I just followed soldiers throughout the
course of the battle. You know, we never shot away,
we never caught away. And so we really were intending
to put the audience into a four massive um experience
in this you know, in this vattel, which was probably
(04:15):
the most heroic battle of the of the Afghanistan War.
How exactly do you do that? Because I know, like
nineteen seventeen they did that where the whole movie was
in one shot. So what is that process of like
is it all in editing? Are you really doing it
all in one shot? Well? Okay, so you know, you
just you just said something really interesting there because on
the one hand, you just said that they Dunkirk is
(04:37):
I'm sorry that the macnews seventeen, which by the way
is a masterpiece, a fantastic movie, one of my favorites, um,
is all done in one shot. But in fact, the greatness,
the cinematic technical achievement of Macneis seventeen is that I
gave the appearance of being in one shot. I don't
know how many cuts I counted as a pro and
(04:58):
the something that I missed, I'm sure, but you know
there are dozens and does are cuts in that film
and in our film, those lengthy sequences, there's very little
what we call stitching, you know, cutting together two two
shots seamlessly. To make it appear as one, we really
had to rehearse because we just didn't have the budget
to do that. So you know, we actually have to
(05:20):
shoot these things in waters and it was no easy defeat.
So you have this movie. It's you know, very big
and cinematic, and I found it a little weird watching
it like on my laptop now because of what's going
on movie theaters. How does that feel for you, like
having this movie coming out and knowing that people won't
get that full cinematic experience. Well, I mean they're they're
(05:41):
they're they're variations on that. Like, if I'm being perfectly
honest with you, it's sort of basically hard to see
that anybody watches it on the laptop. And one person
told me they watched it on the phone, which is
like completely severs severs my heart because you know, I
shot this for the big screen. I made it for
the big screen. It's you know, especially as sound work
(06:01):
is made for the big screen. Um. But you know, look,
life is what it is right now and and um,
and I fully expect that it's going to stay this
way pretty much forever. I think that anytime anybody makes
the film that is not a Captain you know, Marvel
film or Star Wars of James Bond, that you know,
they should anticipate that it's primarily going to be seeing
(06:21):
on people's home system. So you know all that. All
that I'd ask is that you know, when you do
see the film, you know, was try to see it
in the best experience possible, the biggest screen, you've got,
the sound, because I'm sure worked our active you know,
to get to you know, to try and accomplish that,
you know, like I know that, um, you know, I'm
(06:42):
in the Most Picture Academy. So when Chris is going
back to Dunkirk, when when we got our DVD box
for Dunkirk, UM, I opened it up and there was
a note from christ and saying, come on, man, let's
see this in the theater. And and that's really what
I was what I hope before. Well, speaking of Christopher Nolan,
I saw a story recently that he says he doesn't
(07:05):
allow chairs on set because if you're sitting, you're not working.
Is there any kind of rule like that you have
on set? That's a that's an instant I do. The
reverse thing is that, um, I don't allow myself to sit.
You know, I literally don't have a chair on set.
You know. Look, look I when I when I was
a cadet at West Point, UM, there is a rule
(07:26):
that the cadets don't sit throughout the game. You stand
with the team. You know, while they're on their feet,
you're on your feet, you're the twelve mat. And so
I've I've done this throughout my entire career, and especially
on a movie like this where I'm asking the actors,
I'm asking the crew to be so physically fit and
so physically involved in the film, um that you know,
(07:48):
as long as they're on their feet, I'm going to
be on my feet. But I do let the actors sit,
especially when when there is so much running and gunning
and exhausted involved in making a film. I mean, like
this thing was a motherfucker man, there was he was unbelievable.
You know what these actors had to go through. Speaking
of that, we're working with the actors, what's it like
(08:10):
to direct a guy like Orlando Bloom, such a veteran
actor and you're having to you direct him in a
very intense way. Well, you know, here's the thing that
I learned after I made my first film, which is
that there is no there's no one system fits all
for directing actors. Everybody, everybody is different and everyone needs
(08:32):
to be directed differently. Some actors come with a very
specific mindset of how they want to play a ball
and others are craving direction and others want to, you know,
want to completely completely mix it up. You know. Uh
with with Orlando, Orlando is a vet, he does you know,
he did spend time with the father of the guy
he's portraying. Um, the guy's portraying portraying is it was
(08:55):
a guy named Ben Keating, one of certainly a war hero,
and um, he got to you know, he got to
know him as best as best he could. You know
that he's not alive anymore, but um, but he did
look to me and he looked at the military advisors
for how to behave militarily. Although he has he's certainly
you remember he did black Hawk Down, so he has
(09:17):
um some some experience with it. But you're right, he's
he's a vet, and you know he needs a little
less direction than most. So did you have everybody do
like specific training for this movie before they got on? Yeah?
You go, yeah, you bet your ast. How intense was that? Like,
what do they have to do coming into this? Oh man,
we put the I put those little fuckers through the wringer,
you know, they you know. And here's the thing, though,
(09:39):
I had some of the actors. I insist on having
actual people who have served in the military as actors
in the film. Um and professional actress, but you know,
like Adam Driver used to be an actor and obviously
used to be a marine and in this movie had
gotten like Jack Kessie used to be a marine guy
in name like Kwamie Patterson who plays Captain Broward and
the film, he from the army. And then we had
(10:01):
a few guys like that. But I had a lot
of guys that were just these Juwillard sort of guys,
guys from you know, the you know, trained in British theater.
We had some somebody from Carnegie Melon and during basic training,
you know, I just threw them into I threw them
into this pit with this with an Army ranger and
a Navy seal who who tore their asses up during
(10:23):
uh you know, for like a long time, and sometimes
at lunch when I would show up on set, they
would come to me and literally be in tears. You know,
they just weren't used to this at all. And I
gave him all the option of quitting if they wanted,
and none of them did, and they nobody quit. They
(10:43):
all really appreciate now you know what I put me through.
There's like a scene that just kind of got me
in an unexpected way, and it's when all the soldiers
are calling home and they're on the satellite phones, and
it just felt like such a human moment that I
hadn't experienced in the movie before. What was kind of
a direction on that point, Well, that was something that
(11:05):
was not an imaginal screenplay, and that and that we
you know, like I have I doing a lot of
my films, we came up with on the spot and
and I just, you know, I just felt that a
it did create that humanism that you're talking about. But
there's something else with a movie like this, Mike, which
is really important, is that it's very difficult to keep
track of characters because they're either wearing helmets and their
(11:28):
heads are shaved. You know, they're they are made to
look uniform as the as the world implies. And so
I thought by having the scene right before the big
battle when they're all calling home. That gives them each
a little bit of individualism that can separate them from
from one another. So I thought that was really important.
But I think that the emotional impact that you're feeling
(11:51):
comes from the score by Larry Groupe. It's just it's
a perfectly beautiful, evocative UM score and I think serves
very well for that scene. Yeah, I love that scene.
And also thinking about the other actors in this, Scott Eastwood,
Milo Gibson. When you're directing those guys, do you ever
see like a glimpse of their dad, Like when you're
(12:11):
directing Oh my god, are you kidding me? You see
you see? Oh it's incredible. And sometimes he sounds that
he sounds like him. And I'll tell you one thing.
You know, you say that to other actors whose parents, um,
you know, were actors, and you say that they their
femers are really hurt. But Scott is so proud of
(12:32):
his bad twins. He's so proud of him and would
love nothing more than to be comparative. And sometimes when
we're talking about a scene, he said, you know, I
know how my dad would do this, and this is
what he would say. And as if to suggest me
that this is how the scene should should be played.
So you know, he's not he's definitely not trying to
(12:53):
replicate his father, and he very much wants to be
his own actor, and he absolutely is, and I think
it's easily his best performance. But yeah, I definitely saw
some some Clint, some Clint. There's some sometimes um and
and and also with Milo it's um you know, Myleo Gibson.
You do see some some of his dad in there,
(13:14):
but that just comes from you almost from genetics, from
the way he walks, from the way he moves his hands.
You know, he does have a certain like Mel does
a certain business with his with his arms and his hands.
But you know, there were several other um kids and
grandkids of superstars in this movie. There's plenty of them.
Who else is in there, like, well, um, I'll tell
(13:36):
you um, Richard Attenborough's grandson plays Faukner. Um. He's a
guy who is having drugs the beginning of the Soul.
And then you've got Scott all the Coffee playing um
uh playing Scuza And that's Alan Alda's grandson. He also
happens to have been until now my my dog sitter.
(14:00):
And but but the most amazing one was was this Mike.
We're in the middle of it filming. I decided that
we need to put another real character in the movie,
um to continue to you know, humanize these guys. It's
the character of Jones and I and I put out
I went to Britain, which was close word of shooting,
and put out a massive casting call and I picked
(14:22):
this dude. You know, I didn't even realize what his
last name was when I when I hired him that
he was the best guy for the job. And shows
up on set and his name was James Dragger. It's
Mick Dragger's son. Yeah, and and and and so that
was really that was the most fun guy to talk
to about his dad because you know, I'm used to
(14:44):
you know, all this movie royalty, but you know who's
who's more royalty in lock and Roll than Mick Jagger. Here.
Oh it was great and so and what you'll see
when you get the DVD of the movie, and they
have these extras um and I think you can get
some extra as you get us on d O D
on like iTunes. I'm I'm not sure, but you'll see, Uh,
(15:05):
you know James singing the song that I wrote in
the film. It's not in the actual movie, but it
is in the extras. I got one final question for you.
If there's a young filmmaker out there, what one piece
of advice would you give them. I'd say, don't even try.
Don't even try. They don't even try, because you know why, dude,
I don't need the fucking competition. You know, I've I've
(15:27):
about had it, you know. You know it's hard enough
for me to make it. I don't need these new
guys coming in. Actually, well, look, yeah, I hang it up.
It's it's there's there's no chance. Here's here's what I
would say. Um, and I mean this from the bottom art.
It is easy, or much easier than it was when
I was starting to make short films. There should never
(15:49):
be a moment when you're not making a movie, or
not in the process of making a movie, not in
the process of writing it. To not never be a
moment when you're not filming, you know, and you make
you keep making these short films. You can add them
together much easier than before. You can almost do it
on an iPhone. Sometimes you can do an iPhone and
enter them at the festivals and just don't stop. You
(16:10):
cannot stop creating. And you know, most people who I
know are persistent. They don't necessarily succeed, Mike, but they
get a shot. They get a shot. Nice. So basically,
or just go start a YouTube and don't even focus
on movies and no confidation. Yeah, yeah, yeah, I don't
(16:31):
need it, man. You know, it's like it's really it's
it's tough enough for old geezers like me to get
to work, you know, I don't need the young bucks
coming in and showing how creative there. All right, it's
been good talking to you. I love the movie. Everybody
can go check it out now. Yeah it's on, Yeah,
it's it's on. It's on v O D and playing
in some theaters and um, you know, and uh, you know,
(16:51):
we're damn proud of it and very emotional movie for me.
And I'm really happy I've talked to you about it. Mike. Hello, man,
have a good day. Thanks. True I hope you guys
enjoyed that conversation with Rod Lury. I really like just
how open and honest he was about the fact that
this movie he spent so much time working on is
(17:12):
now not being able to see it in its full
potential because he had no idea when he started flming
this movie two years ago that it wasn't gonna end
up on the big screen. Like there's no way of
knowing that when you're out there filming this movie that
anything like this would be happening to where theaters are
just basically shut down everywhere. And I kind of like
how he said, you know, it sucks, like the fact
that people like me ended up watching in the laptop.
(17:35):
People will be watching it sometimes even on their phones
now because the video wanted to man or you know,
I think he feels a little bit better the fact
that people have, you know, big screens and nice sound
systems at home. But when I watched this movie, I
was even thinking, like, I'm watching this on my laptop,
but there's so much like gunfire going off and so
(17:55):
much big things on the screen that I felt like
I needed to be back in the theater to watch it.
So I didn't what he was gonna say when I
asked him that question, But I'm glad he was just
straight up and me and like, you know what, it
does suck, But the fact of the matter is it's
going to probably be like this for a while now,
maybe forever. So I think even he is kind of
thinking that, even when things do go back to normal
a little bit more, that this video on demand is
(18:18):
really going to be more of a thing, because he's thinking, like, Okay,
people are always gonna end up watching things on their
phones or on their laptops, on their tablets, even when
they do get shown in theaters more often, whenever you know,
people just rent something, they're watching it on the screen
that it's not intended for. So it's just kind of
interesting to think how different that is for somebody who
makes the movie and creates this content for people to
(18:41):
take in, and then we take it in in all
different kinds of ways, which we tend to lean to
things that are more convenient for us and what we
feel more comfortable with. I like the feeling at home
watching a movie on my TV. I've actually before this
whole thing started, right at the very beginning of Quarantine,
I was like, I'm gonna have to invest in a
good TV because I love going to the movies mainly
(19:03):
for the sound, mainly for the big experience. And I'm like,
if I'm gonna start watching more things at home, especially
all these movies that gonna be coming out, I'm gonna
at least need a better home system. So I did that.
I think a bunch of other people probably did. But
the fact of the matter is people are gonna watch
up under the laptops. They're gonna watch that wherever they
can easily download it and easily find it. So I
(19:23):
think it's kind of interesting to see how he's already
thinking a step ahead and the next movie he's gonna
be making down the line of Okay, like, maybe people
will watch this on a smaller screen, But I think
it works getting something so big and making it as
big and cinematic as you possibly can, and then letting
people take it, you know, where they're gonna watch it.
(19:43):
If it gets scaled down a little bit, I think
the fact that that big cinematic quality is still there
will never go away. But anyway, I hope you guys
enjoyed that. Um. I want to get into now my
full review of the movie, The Outpost, which I watched
before I did the interview with Rod. So actually, the
way this all the way down is I wasn't usually
going to get to talk to Scott Eastwood which I
was pretty excited about because I watched this movie and
(20:04):
they were like, hey, yeah, you can talk to Scott
Eastwood interview about the movie. And then it turned out
that that didn't work out, and there you can still
talk to Rod, the director of the movie. I was like, Okay,
I'll take him. That'd be cool too, And it ended
up being really enjoyable for me and probably really insightful,
and I thought it was really cool to be able
to talk to him just about movies, me coming just
as a big movie fan and him just having all
(20:26):
this other director knowledge. So with that said, I'm gonna
get my straight up, full honest opinion of this movie review.
I had already pretty much set even before I talked
to him, So before I get into that, here's just
a little bit of the outpost. We need to retake
this game. We don't have any air support, the manpower,
our men are trapped down there. Our MTE was forty
(20:49):
yards away, and there's everything we need to stay in
this fine. Let me done this. So what the movie
is about. It's based on a real story that took
place in two thousand nine back in Afghanistan. The movie
is actually based on a book written by Jake Tapper.
But the story is fifty three U. S. Soldiers were
stationed at this outpost at the bottom of these three mountains,
(21:11):
and they were there to kind of make this deal
with the locals and kind of be assistance to them,
helping them out in their community, to build a relationship
with them. And essentially what happened was they ended up
closing the outpost and they got word that the U. S.
Soldiers were going to leave, and they still hadn't been
paid some of the money they had been promised, and
they're thinking, well, if they're gonna leave, then we're not
(21:32):
gonna get paid. So hundreds of Taliban soldiers scheduled this
attack and just went in on this outpost where these
fifty three soldiers essentially had to fight their way out
of it, and I'll kind of end it there. That's
basically what sets up the entire movie. And I know
it's kind of weird to review movies and spoiled movies
that are actually based on real stories, but I felt
(21:53):
with this one. As much as I've heard and read
about the Afghanistan War and even the movies I've seen,
this was a story I wasn't familiar with and even
in the book title of references that it is kind
of an untold story, So I felt like it was
kind of learning a little bit for me too. So
aside from it just being a movie and being kind
of entertaining, which is kind of weird to say about
(22:14):
such a crazy, intense battle and piece of history, I
also did learn a little bit while being entertained by
this movie at the same time. So what I liked
about this movie is that it is very intense and
um kind of talking about what Rod said in the
interview is that he was right there in it, and
he made sure that they were kind of prepared for
(22:36):
this and that they were trained so much so that
it felt real and authentic. And watching this movie, it
feels like you're kind of in there. And what I
liked about it was it reminded me of nineteen seventeen,
which we referenced in the interview, that you felt like
you were in the action. Like the camera movements are
like right there with the actors going right up into
(22:56):
their faces, and then when all the gunfire and shooting
is going off, it feels like you're essentially a part
of the team to moving through all the action and
it's not like you're just watching with the over kind
of scope of the whole thing. It feels like you're
in there. And not only does it feel like you're
in there, but the movie is pretty intense and just
you know, violent, and you're thinking of it as a movie,
(23:18):
but it's like this really happened. It makes it feel
like man war is really hell Like. It's very kind
of eye opening to what these soldiers have to go
through and what they had to go through during this
Afghanistan war and still go through today. So I think
that kind of put into perspective too, and also kind
of learning about these soldier stories and to see how
(23:39):
young they were, it's just really crazy to see and feel.
I thought Orlando Bloom was a really cool actor that
they got for this, and also Scott east Wood. I
haven't seen a whole lot of stuff with him in it,
but I was really kind of like, Okay, I see
you Scott Eastwood, Like it's feels almost like you are
watching a younger version of Clint Eastwood. Would maybe why
(24:00):
I enjoyed a little bit more. He's probably a little
bit better looking than Clint Easwood was back in the day.
I think so. My girlfriend tends to think so, and
I thought he was a pretty good actor. Like, I
didn't feel at any point in this movie like it
was cheesy in anyway, or like I was watching people
kind of act. Like sometimes in war movies, I feel
they're a little bit over dramatic in the way that
(24:21):
they portrayed the people they're playing, But I felt this
one was pretty straight on and just kind of raw.
Another thing I kind of took into account is that
this movie did have a lower budget than some other big,
high budget war movies. So a movie like nineteen seventeen,
where it's you know, they have a lot more money
to put into it filming, and they spend a lot
more time out on set, and they can do a
lot more in post production. I felt this one did
(24:44):
have a lower budget, and I think they kind of
accounted for that in the way that the cuts were
made in the editing, and the way they just made
everything super raw. I feel like it was one take,
and I think that was mainly because they didn't have
the money to do all these other crazy post production stuff.
So it does feel raw, and it does feel like
a battle when you're watching it, and I think that
(25:05):
adds a lot more character to this movie, and I
wasn't expecting to find in this movie was the little
piece of humanity it kind of added and kind of
telling the stories of these soldiers, And it's just that
one scene I mentioned earlier in the interview where it's
the soldiers on the satellite phone calling home to their parents,
and you kind of get a different feeling of what
each person is going through and what war is to
(25:27):
each of these people, because some people, you know, their
conversations are a little sad, and some that's kind of happy,
and then some it's just kind of totally different. And
it just these different people and their different stories all
kind of come together as one. And that little scene
just kind of makes you think of, like, man, these
kids are so young, like they're twenty five two years old,
(25:47):
and they're at war like this and this is their
everyday life like we see it in a movie, and
thinking of like, oh, yeah, this is how a movie
goes down, but this is what they actually experienced, and
it's crazy to see. So overall, I give it four
out of five and Shells. I think it's one of
the greatest war movies I've seen, and probably the last
ten years, because it was able to move me in
a way that I wasn't expecting, told me about a
(26:09):
story I didn't know about, and then it was just
really kind of interesting to watch, even hard and stressful
to watch it sometimes because you didn't know really what
was going to happen next or when this was all
going to kind of go awry. And I say it's
one of my favorite war movies in the last ten
years because I think this type of war movie where
it feels a little more greedier, has kind of really
(26:31):
had success over the last ten years, and where I
would kind of rank it, I'd probably put it in
my top five of the last ten years, So I
would put this movie right there at number five. Um.
We also talked about dun Kirk, which I thought was
a really good movie, and that one I also felt
like I had no idea about that story, and I
really I think people were one way or the other
(26:52):
on that one because it is kind of there's not
a whole lot of dialogue and Dunkirk gets a lot
of just action and being right there in there with them.
But I think visually that movie just looked so good
and was just so interesting, and I thought it was
so well done that I really like that. I really
like Christopher Nolan doing that. Zero Dark thirty was another
really good one that I remember seeing in theaters and
(27:13):
just being like, Oh, I can't wait to see what
happens next in this one. And that was a story
I was more familiar with, but you really didn't know
how some of the details went down of the taking
down of Osama bin Ladin, And that's probably my favorite
Jessica chest In movie too. And then I really like
nineteen seventeen last year. The whole one shot thing was
really kind of interesting for me to just kind of
(27:33):
grasp and see how they did that whole thing. And
then not only that it's a great story, it follows
it perfectly in the action and all other things in
that movie is just really good to be I haven't
seen that one. That's another really great one too. And
then my favorite war movie of the last ten years
would have to be American Sniper. I remember going to
see that in a pack theater on opening night and
(27:54):
being completely moved at the way Bradley Cooper portrayed Chris Kyle,
who had such an intense, crazy story and in that one.
It was just the effects that you've got to see
of how a soldier goes from being in war and
being in these super high, stressful, intense moments that nobody
like you or I would probably experience, but then having
(28:16):
to do all that and come back home and you know,
have a family and do everyday things and you have
to go back to being normal and going back and
forth between those two, Like the effects that has on
your brain and your mentality, in your overall just mental
state and well being. It's really intense, and I think
that movie just kind of opened a bunch of people's
(28:36):
eyes to WHOA, this is insane. So those are my
favorite war movies in the last ten years. But out
of all of those, I really recommend going to check
out the Outpost now. I think you'll really enjoy it.
You can rent it right now wherever you stream movies.
All Right, And that's the episode for this week. But
before I get out of here, I got to get
my Instagram shout out to at Rebecca Montana ninety two
on Instagram, who tagged me in her Instagram story that
(28:59):
she was listening to Fast week's episode all about the
best road trip movies, and she posted a picture of
her car dash with the episode hard that she was
listening to that episode. Like I said, that's my favorite
thing to see. So if you guys tag me in
a picture like that, for sure, you'll probably get a
shout out in the next week's episode. But that's all
you gotta do is just tag me in your Instagram story,
tag me on your main post that you're listening to
(29:19):
the episode, whether it be a picture of your car
dash or a screenshot, I'll be listening to it. That's
how you get an Instagram shout out on this show.
I hope you guys enjoyed the interview this week. Let
me know what you thought about it, and then if
you end up checking out that movie, let me know
what you think too. I will talk to you guys
next Monday. Here, have a good week. Later
Host
Mike D
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