70 mm Movies & The Hateful Eight (2015) featuring Brian Saur

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Casey O'Brien, how is it going, Millie to Jericho.

Speaker 2 (00:04):
I'm doing just dandy. How are things in hot Lanta?

Speaker 1 (00:11):
It's actually cold Lanta right now.

Speaker 2 (00:14):
So what's the temperature that it's colder here? Minneapolis?

Speaker 3 (00:20):
Uh?

Speaker 1 (00:21):
Yeah, no shit, dude, it was last night was like
twenty ish.

Speaker 2 (00:28):
Oh that is chili. That's chili.

Speaker 1 (00:31):
And it was windy, and so the windshill said it
was actually ten degrees.

Speaker 2 (00:36):
I see, that's yeah, that's quite cold. I'm sorry mock too,
it's like eight here. But this isn't a weather podcast, Millie.
What are we doing? We have so much to discuss today,
so much important stuff to get into, including but not
limited to our film diary, where we'll get into all
of the movies we talked saw this past week.

Speaker 1 (00:58):
We're also gonna dive into a subject. It's like to me,
it feels like a very interesting little pocket of maybe
film culture, sinophile culture that I feel like we need
to like flesh out a little bit, because sure it's
hotly debated between me and my friends, but I want

(01:19):
to talk about like seventy millimeter sixty five millimeter film,
like large formats imax. Yes, why somebody like me or
somebody like you would want to go and see Oppenheimer
in Imax totally and why my friend's typically grown when

(01:44):
I say things like that, because they just want to
go down the street and see it at the normal
movie theater.

Speaker 4 (01:49):
Right.

Speaker 2 (01:49):
Absolutely, And this podcast is all about making your friends
feel bad because they don't have a podcast, So that
is one of the missions of this podcast. In addition
to the seventy milimeters chat, we are going to be
talking about The Hateful Eight by Quentin Tarantino because that
movie was shot on seventy millimeter and that came out
in twenty fifteen, ten years ago, which is kind of

(02:12):
crazy to think about at this point that is ten
years old.

Speaker 1 (02:16):
Jesus, it feels like it was at least two days ago,
maybe three days ago.

Speaker 2 (02:22):
Also, we're bringing on a great guest today in our
segment My Area of Expertise, Brian Sour He's the co
host of the Pure Cinema podcast and the Just the
Discs podcast. He's awesome. He's coming on to talk about
his area of expertise in the segment My area of expertise,
and his area of expertise is movies where the characters

(02:47):
are playing a game within the movie, sometimes dangerous, sometimes
just for fun. But yeah, I can't wait to hear
him talk about all of that. And then to wrap
things up, we're going to be doing our film advice segment,
where we, you know, answer a question from a listener
and give out the best advice that we possibly can.

Speaker 1 (03:09):
Well listen, stay tuned. It's gonna be a good episode,
and this is your favorite podcast. Dear Movies, I love you,
and I've got to.

Speaker 3 (03:26):
Love me to check the box.

Speaker 5 (03:36):
Yo.

Speaker 1 (03:37):
Okay, welcome to Dear Movies, I Love you. My name
is Millie to Cherco.

Speaker 2 (03:44):
I'm Casey O'Brien.

Speaker 1 (03:45):
Yeah, and we're gonna host this thing for you today.
I actually am excited by pretty much everything about this episode.
I can't wait to get to Brian. I can't wait
to get to our chat. But I feel like we
should dig into I have like a like we always

(04:08):
do a film diary at the beginning of the episode,
right where we talked about film dairy and I just
have I watch something again, very contentious, very contentious, and
I feel like opinions of this movie have changed so
drastically over the years. I feel like my opinions have
changed so drastically anyway, I just I feel like it's

(04:30):
just gonna be a big convo. So I was wondering
if you wanted to kind of like jump into the
film diary.

Speaker 2 (04:37):
I'm here, let's jump in.

Speaker 3 (04:41):
Creek.

Speaker 1 (04:41):
That's me opening my old film diary that I bought
at the Scholastic book fair. Yes, in seventh grade.

Speaker 2 (04:49):
Crack it open.

Speaker 1 (04:51):
So let me put the easier ones at the top.
How about this? Okay, I had kind of a crazy
week of movies.

Speaker 2 (04:57):
Sure.

Speaker 1 (04:58):
First of all, I I wrote, I was writing an
article this week about the filmmaker Nancy Savoka. You know
Nancy Sivoka, No, not familiar. She is an incredible you know, filmmaker, producer, screenwriter.
She has done like a handful of films that are

(05:21):
typically they came out kind of in the late eighties, nineties,
and she's done several films, She's done a lot of TV.
She's still alive, obviously still working. She's married to a
film producer. But Nancy Savoka is a great director. And
I was writing an article for a website about them,

(05:42):
and so I was rewatching some of her films, and
so I rewatched True Love, which came out in nineteen
eighty nine, I think very cute film. Watched household Saints,
which I believe came out in nineteen eighty three, and
then maybe her most I would argue maybe her most
famous or most beloved is this movie called Dogfight from

(06:05):
nineteen ninety one starring Lily Taylor, who was also in
household Saints, but starring Lily Taylor. And then of course
the god River Phoenix. We've talked about many times on
this podcast. But this movie, Casey, I don't know if
you've seen it before. No, I think you would literally

(06:30):
drop dead from your love of this.

Speaker 2 (06:32):
Oh my god, I've heard of this movie. I have
heard of Dogfight but never seen and it's going right
to the top of my Q.

Speaker 4 (06:40):
Yeah.

Speaker 1 (06:41):
Just like recently released on Criterion Blue ray, like not
super long ago. The first time I ever saw this movie,
I like cried the entire time. Like I just was like,
this movie is so special, so tender, so like it's
so the story the story is it takes place in

(07:04):
like like the sixties in San Francisco, right, and like
River Phoenix's character is a marine. He's about to go
to the Vietnam War, and him and his like Marine
buddies decide they're out on the town they're about to
be shipped off. They're like, why don't we have a
contest between us to see like who could bring the

(07:27):
ugliest date to this party that we want to go to.
And you know, just typical like stupid guy shit. And
you know, Lily Taylor's character is this like woman who
gets kind of brought into the contest by the River

(07:47):
Phoenix character, you know, and at first, you know, she's
basically like shy but also like bold. She ends up,
you know, revealing that she's like wants to be a
folk musician, and she's just like, you know, he I
think the character, his character, River Phoenix character brings her
in this way that's sort of like, oh, yeah, wouldn't
it be funny? But then he ends up like actually

(08:09):
liking her, yeah, and they kind of have this like
wonderful evening in San Francisco together where they're just like
getting to know each other and she like completely surprises
him and then he sort of realizes like got him
a fucking moron for like participating in this like stupid contest,

(08:29):
and you know it's just, uh, it is so heartbreaking
and wonderful and it's like really well done, Like it's
not the typical like, oh, it has this like sensitivity
to it that it just really blows me away. And
like part of the article that I wrote was talking
about how River Phoenix and Nancy Sivoka like intentionally had

(08:51):
like a conversation about how they wanted to portray the
contest part of it because it's really cruel and shitty. Yeah,
but it never makes a viewer thinking. I mean, of
course the view things gott like what an asshole? Yeah,
but it's also like not about him being an asshole.
It's more about like the the bigger picture of it all.
I don't know, it's really special, amazing. Yeah, I'm so

(09:14):
glad I saw it again. I mean I was like
blown away again.

Speaker 2 (09:17):
I can't it looks incredible. I can't wait to watch it.

Speaker 1 (09:20):
Yeah. So there's that, and then I really so the
and then the other component so this week was that
I was watching the sort of winding down of TCM
Turtle Classic Movie is my former my former place of
employment has done this thirty one days of Oscar Festival
every year. They basically do it in February, like leading

(09:41):
up to the Oscars, which was a few days ago.
But you know, I put some a lot of stuff
on my DVR. And then so I watched The Red Shoes,
the Poem Pressburger, The Red Shoes, which is.

Speaker 2 (09:52):
Fabulous, fantastic and beautiful, beautiful film.

Speaker 1 (09:55):
Yeah. And then.

Speaker 2 (09:58):
And here's the controversial when you were waiting to reveal.

Speaker 1 (10:03):
So this wasn't on my DVR. This was like basically
like I turned like, you know how like when the
DVR continues to record sometimes hmm.

Speaker 2 (10:16):
I haven't had a DVR in a long time, but
I am familiar with this.

Speaker 1 (10:21):
Well, what happens is it kicks over so like sometimes
when you're recording in real time, it like kicks over
to the live feed after it's done recording. Sure, you know,
So I ended up sitting there and watching Annie Hall again.

Speaker 2 (10:38):
Interesting.

Speaker 1 (10:39):
Yeah, you know what I'm saying.

Speaker 2 (10:41):
I hear you. You know, the topic of canceled filmmakers
and canceled films is a delicate and sometimes painful conversation
to be had. And I think what makes Woody Allen's
movies so complicated is that he's in them yeah too,

(11:03):
and so he is so involved. His voice is so
penetrating from that movie, whereas like for me personally, it's
easier to watch Roman Polanski movies because he's I can
kind of separate it a little bit more, do you

(11:24):
know what I'm saying. He's like there, there he is,
you know, and there to me.

Speaker 1 (11:29):
Yeah, and they're like about him, And I think that's
kind of like what so I don't think I need
to tell you. Like when I was a budding cinophile
back in the day, when I was first getting into movies,
I loved Daddy Hall thought it was like of course,
I mean I think most people did, or still do.
I would argue that a lot of people still love
that movie regardless of how they feel about what he

(11:51):
allen as a person. Right, Yeah, absolutely, I will say
that I feel like so much time has passed between
that point and now, and I hadn't seen any in
a really long time, Like it had been a minute
since I sat actually sat in front of it and
watched it. And you know, of course there were moments
of charm, like there's very charming things about the movie,

(12:14):
but there was like this moment where I did think,
to your exact point, I'm like, this is too much
about him, This is too much about his Like, you know,
he's just like in the movie, it feels like he's
constantly just trying to like remind you of like how
weird he is this and I know that that's the point.
And that was actually pretty fresh for nineteen seventy seven.

(12:38):
I mean I feel like that first person, that first
person kind of character of like kind of being the
narrator of your own mind through a movie or something
was not that was pretty new. I mean now it's
like everything is so about the author that it's it's

(13:00):
like kind of played out in a way. I would say.

Speaker 2 (13:02):
But his movies, they are good, and I think I still,
you know, as a filmmaker and artist, I still take
derive inspiration from his movies. Yeah, you know, and what
he's doing was unique and interesting, and so that's what's

(13:24):
complicated about it. It's very easy. I feel like a
lot of times with people like Goodie Allen, people will
love to be like, well I always thought his movie sucked, ye,
And it's kind of like, but that's the easy route. Yeah,
you know. I think about a show like Louis c
K's show. Louis. I really loved that show and I
thought it was like kind of similar like Au Tourship.

(13:46):
It's like he wrote, directed, and edited every episode and
he's in it. And then it's like, I can't watch
that show anymore. I can't enjoy that show anymore. Yeah,
it's like and it's it's complicated, you know.

Speaker 1 (13:58):
No, it's like he just now you know, like how
the sausage is made in a way, and you're like, uh.

Speaker 2 (14:03):
Yeah, you're like oh that you're the things you were
doing in your life were so vile and that's what
inspired your art, yeah, you know. And it's like the
movie Manhattan with Witty Allen. It's like in that movie
he's like a forty year old dating a sixteen year
old no okay, and it's treated as normal. And I

(14:24):
feel like even his friends are like they're good together.
We like that they're together. Like it was like he like,
how can you look at that without absolute disgust?

Speaker 1 (14:35):
Well, and like yeah, and like you obviously, in that era,
I would argue that was sort of passable, but now
looking back on it, you're just like, oh, hell no.
And it's like you just know too much information, too
much time has passed, and I I was just like, yeah,

(14:56):
I don't think like I like, I had as that
if I had watched Danny Hall again that I would
feel differently about it than I did when I first
saw it, and I totally confirmed, Like I was just like,
oh yeah, I feel different, and I it's sad because
I just don't like it as much anymore. And I
feel like the whole the thing that I did think

(15:18):
was fresh and unique about the way that the movie
was being made, like about the kind of like time
movement and sort of like yeah, like the characters sort
of moving from like being you know, like inner monologues
to like real life and all that stuff. I felt
like in his case, like just listening to him kind
of go off about his isms and his you know,

(15:41):
ways of doing things and his thoughts, I was just
kind of like, God, this is so like Navel gazy bullshit.
And I feel like that's just my modern brain like that.
Like when I first saw it, when I was like whatever,
eighteen nineteen years old, of course, I was like this
is so cool. I like a movie like this, And
now I'm like, well, I don't know too much time

(16:02):
has passed, which is sad. But there again, like I
say that there were you know, of course, like little
charming moments that I just did you know, like Dane
Keaton is so charming.

Speaker 2 (16:15):
Yeah, yeah, But anyway, I'm just going to read Orson
Wells thoughts on. Uh, Woody, Allen, have you read these?
Have you? Do you know what I'm talking about? Uh?

Speaker 1 (16:24):
I believe I have, but I would always love to
hear them again.

Speaker 2 (16:28):
He goes, I can hardly talk to him. He has
the chaplain disease. That particular combination of arrogance and timidity
sets my teeth on edge. The interviewer then says, he's
not arrogant, he's shy. Orson Welles says, he is arrogant
like all people with timid personalities, his arrogance is unlimited.
Anybody who speaks quietly and shrivels up in company is
unbelievably arrogant. He acts shy, but he's not. He's scared.

(16:51):
He hates himself and he loves himself, a very tense situation.
It's people like me who have to carry on and
pretend to be modest. So that's uh ah king Orson.

Speaker 1 (17:01):
King grump fucking love it.

Speaker 2 (17:04):
And that quote is attributed to an interview that Orson
Wells did with his pal Henry Jaglam, and I believe
you can read that compiled in the book My Lunches
with Orson Conversations between Henry Jaglam and Orson Wells by
Peter Biskund. But yeah, that's our King Orson Wells.

Speaker 1 (17:24):
Fucking well.

Speaker 2 (17:26):
We could we could dedicate in a whole episode, two,
a whole season of our show to canceled canceled movies.
But is that all? Is that? Is that your film diary?

Speaker 1 (17:39):
That is it?

Speaker 2 (17:40):
Sir?

Speaker 1 (17:40):
So what about you?

Speaker 2 (17:41):
Okay? I saw one movie since we last recorded, which
Full Transparency was four days ago, so I've actually watched
the movie we're talking about today and this movie.

Speaker 1 (17:51):
How I watched like five movies and you've only watched one.

Speaker 2 (17:54):
I don't know. I have a baby that takes up
some of my time. H I saw a movie that
maybe would have skyrocketed into my top three favorite movies
of the year, and it's called Hundreds of Beavers. Have
you heard of this movie?

Speaker 1 (18:10):
Of course I have. I have never seen it, but
everyone I know is like, you would probably love this movie.

Speaker 2 (18:16):
Incredible diy filmmaking from the Midwest Wisconsin filmmakers. I think
it technically came out Or premiered in twenty twenty two,
but it's still in theaters. You can still see it,
so it's like out kind of like The People's Joker
last year. It's directed by this guy, Mike Cheslick. It's
very diy, you know, a lot of like cartoonish effects.

(18:39):
It's in black and white. It's a slapstick comedy. There's
no dialogue, but it's really really funny and imaginative. Uh
here's the uh log line. I guess in the nineteenth century,
a drunken Applejack salesman must go from zero to hero
and become North America's greatest fur trapping fur trapper by
defeating hundreds of beavers. And the b are like people

(19:01):
in like mascot outfits. It's not actual beavers. So it's
like very theatrical, very over the top, and it's like
very buster Keatney Charlie Chapliny and yeah, it is a whot.
It's so imaginative. It goes to places you're like, I
would have never imagined this. There's like he has to
break into this like great beaver fortress at the end.

(19:23):
It's kind of like Wizard of Oz. I mean, it's
incredible it's an incredible feat of filmmaking. It really is,
and it is so fun. You can watch it on
Prime right now, Amazon Prime and highly recommend it. I
think you would really like it. Really, it's really fun
and it's just like really inventive and imaginative. Yeah, now,
hundreds of beavers.

Speaker 1 (19:44):
Sounds good, that's great. Yeah. Well that's your only film
diarentser for.

Speaker 2 (19:48):
This, that's my only Yeah, but that's you know what.
That's okay. We don't judge people, and I certainly won't
be judged by my co host of my pot this podcastbsolutely.

Speaker 1 (20:00):
Not be judge never never.

Speaker 2 (20:03):
All Right, Well that's it. That's our film diary, baby boo. Okay,

(20:25):
this is our big main topic discussion. We're talking about
seventy millimeter movies and The Hateful Eight, which was shot
on seventy millimeter Millie you you're the one who came
up with this idea and you have you know, like
you said, this is to punish your friends this episode,

(20:46):
But why why else did you want to why do
you want to talk about this and large format films?
And maybe you can explain exactly what seventy millimeter is
to people who don't know what the hell we're talking about.

Speaker 1 (21:02):
I So, as a film person, as a film lover,
as a cinephile, whatever you want to call yourself, right,
you sometimes are presented with these like different kind of
I don't know what are we calling the nerdy conundrums.

Speaker 2 (21:19):
Or something nerdy conundrums, yes, I which say that's pretty good.

Speaker 1 (21:23):
Which are these like inherent to the passion situations?

Speaker 2 (21:30):
Right?

Speaker 1 (21:30):
So it's like, as as a film person, if you're
going to see movies in a movie theater, or even
if you're not, even if you're watching movies at home, right, Like,
you obviously want to see the best quality of things.
I mean, to be real, sometimes you don't. There are
people that I know that are like I kind of

(21:51):
like scratchy vhs once in a while, and I have
to agree it's a vibe.

Speaker 2 (21:55):
Yeah, I think, yeah, I think that's why, like film
nerds are like you have to go to see it
in the theaters, that it's the optimal way of seeing
a movie. And now with like people's home video setups
that are so magnificent and huge and crisp, it's hard
to be like like now it's like kind of seen
as a cinema sin to uh watch a movie on

(22:19):
like your laptop in bed, you know, like right.

Speaker 1 (22:23):
I think the general vibe is that you're on board
with the idea that you that the the director of
the film wants you to watch the movie that they've
intended to make. Right, So that's the that's like the
framework of film going is that you're like, Okay, this

(22:46):
director decided to make this movie in this very particular
way and wants you to see it in the best
way possible, and I will honor that request.

Speaker 2 (22:53):
Much like a chef at a fine restaurant. You don't
want to be making substitutions, you know, you don't want
to be fuddling with their rest way they intend you
to eat it.

Speaker 1 (23:02):
That is a perfect comparison. Thank Actually, this is sort
of the conundrum of being a film person, though, is
that sometimes you're presented with films that are made in
you know these, I mean most most films at this point,
I don't know you you know this probably more than
I do. A lot of films are being made digitally, right,

(23:24):
A handful of films are still being shot on actual film.

Speaker 2 (23:28):
Yes. Famously, Christopher Nolan of Oppenheimer and Inception fame only
shoots on film. Same with Quentin Tarantino who directed The
Hateful Eight.

Speaker 1 (23:40):
Right today, Paul Tom Sanderson, does he do something?

Speaker 2 (23:43):
Yeah, I think he does do I think he does
only on film? Right, But few and far between, I
would say.

Speaker 1 (23:50):
And of course, as you probably know from like a
standard knowledge of maybe photography or film, you know, the
norm of the standard negative is thirty five millimeter, right,
so you're you know, you're shooting things in thirty five millimeter.

Speaker 2 (24:05):
But then so basically I just want to explain that. Yeahah,
so like that means the exactly the size of the
film that the image is being captured on is thirty
five millimeters wide, right, which is small. You know, they're
just like how small it is. But then you project
through that little square, that little rectangle, the thirty five

(24:31):
millimeter onto a screen. And so the larger that little
square is, the more information can be in that space.
And so like, there's thirty five millimeter, but then just
think how much more information there is on a seventy
millimeter sized piece of film. Right, There's a lot more information,

(24:57):
and it's bigger, and it can be projected bigger and
still look as crisp as thirty five millimeter on a small,
smaller screen. Does that make sense? My explanation that it does.

Speaker 1 (25:12):
The choice to go to seventy millimeter right is largely
I would argue that that there's a reason behind wanting
to see something huge, right. A lot of times in
the past when things have been shot in sixty five
millimeter to seventy projected to seventy, right, it's because it's

(25:34):
usually something that needs to be shown big. Like a
lot of Westerns were shot in sixty five or seventy,
a lot of you know, big budget musicals, things that
show like a vast you know. I mean not to
say that you wouldn't want to shoot somebody taking a
bath in a bathtub and a dingy apartment in seventy
mil but it's like, you know, that's the thing is

(25:57):
that like think about the film's and the you know,
those size of it based on sort of like what
you want to show or what you want to represent, right,
And maybe this is all like really granular shit for people,
but I think it's fascinating. Like I I like the
idea that people shoot on film. I like the idea

(26:17):
that people choose to shoot things in bigger formats because
it is more of a spectacle. And I think that
that's what ultimately I mean about the notion of seeing
something in a seventy millimeter format is that it is
a spectacle and it feels like more of like a
thing to go see in a movie theater.

Speaker 2 (26:35):
Right, Yes, So that's kind of what we're talking about today.
We're not going to get into like the specifics, like
the differences of like what why seventy millimeter is better
or worse than thirty five milli ate. It's more that
like these big budget, these big forma added movies become
much more spectacular. They're like you have to go to

(26:59):
the theater. And I think the Hateful Eight, the reason
we're talking about that movie today is because when that
came out ten years ago, crazy, it was a big production.
There was like a whole party around that movie being
in the theater, and it's like you had to go
see it in the theater, you.

Speaker 1 (27:19):
Know, right, And like the thing that.

Speaker 2 (27:23):
You know.

Speaker 1 (27:25):
Is the thing about Tarantino, Quentin Tarantino, the director of
The Hate Late, is that he is a fan of
that kind of I don't know what to call it,
just like that kind of like the the filmmaking tradition,
like the bit like using sort of the old I
don't want to say old timey, but like sort of
the old techniques to bring them back. He obviously loves

(27:48):
like an old school vibe, and so you know, he
when he was making The Hateful Eight, you know, obviously
he had it's a Western. He was thinking, Oh, wouldn't
it be cool to do like a road show release
of this film in seventy milimeter. And that's what I mean.
A road show is more or less the event, the

(28:10):
event of seeing a seventy milimeter film. There's usually and
this used to happen back in the day in classic Hollywood,
where it would be it's like usually a longer film,
so there would be like an intermission in between in
between sections, sometimes an overture, you know, like so things
before the film, music before the film, music during the

(28:31):
intermission that kind of almost kind of like in a
theater vibe, like an old school theater vibe of like having,
you know, a movie, but then there's like stuff before,
in the middle and after, right. Yes, And when I
heard that this was happening, I was like, oh, this
is awesome, because it doesn't happen often because it's again

(28:52):
I think you could argue, is super expensive and super
you know, like it's it's a big undertaking, which is
why a lot of people don't don't really tackle it.
But that's the thing I think that gets people. Certainly
my friends that I'm like that are like, oh god,
you really want to go and do the whole shebang?

(29:12):
You want to go see Oppenheimer and Imax or where
you have to drive all the way to the actual
Imax theater that we have here, which we're lucky to
have here, which is like an hour away. Yeah, Like,
can't we just like go and see it at Regal
or whatever?

Speaker 2 (29:26):
And I'm like, can't we just watch it on our phones?
I don't know.

Speaker 1 (29:30):
But then you're like and it's you know, sometimes a
lot more expensive and you have to like fight, you know,
sometimes the screenings are not every hour on the hour.
In the case of Oppenheimer, they were selling out really quickly,
so we had to like be strategic about it. And
some of my friends were like, dude, what the fuck,
why are we doing this so dumb? Like, but when
you see it in Imax, gonna understand r.

Speaker 2 (29:54):
Yes, it was a big thing with Oppenheimer. It was
hard to see it, Like you were saying, I had
to go see it at like nine pm on a
Wednesday or something insane, and it's like a three hour
long movie and that was tough. But uh, yeah, it was.
It was hard. It was an event. It's what it was.
It was an event.

Speaker 1 (30:12):
It was an event, and I I love that stuff.
Like That's the thing is that I just I think
I like the pomp and circumstance. It's kind of like
it's kind of like a special edition box set or something.
It's like, yeah, you could buy the regular DVD of
it or the regular Blu ray, but if you're gonna

(30:32):
get like the booklet and the cool you.

Speaker 2 (30:35):
Want the little essay.

Speaker 1 (30:37):
Yes, you want the special features. You want the cool
design of the packaging that's different from the standard. So
I don't know. To me, I like a little pomp
and circumstance and.

Speaker 2 (30:48):
Totally let me just I just want to read some
seventy millimeter movies so people kind of get the sense
of what we're talking about, like the types of movie
that these are. Yes, please, Lawrence of Arabia, Patton, can
you imagine George C. Scott in front of the big
American flag. Oh Canna Heiney. That's seventy milimeter two thousand

(31:11):
and one Space Odyssey, the Sound of Music. So these
are big, big ass movies, right. You know.

Speaker 1 (31:18):
So if you're out there and you're with a group
of people that are suggesting that you see Ben hur
you know, crop like four x three pan and scan
on a black and white television in a nineteen seventies
wreck room, yeah, I would say, Okay, that's fine, but

(31:42):
try it in a try it in the better way,
the way that they intended to make it, you know
what I mean.

Speaker 2 (31:47):
I want to get into the hayfil eight a little
bit here, sure, So Halfil eight it is about a group.
This takes place post Civil War in Wyoming. It's a
group of bound hunters and strangers who find themselves stranded
in a blizzard at Minnie's Haberdasherie. And some people are
not who they say they are. Kurt Russell plays a

(32:09):
bounty hunter who has kidnapped Jennifer Jason Lee Daisy Dahmergue
who's wanted for murder, and he's gonna see her hanged.
And they but they have to stop at Miny's haberdasherie,
and he's trying to protect his you know, investment, to
get the money for the reward, and there might be
some people at Mini's haberdash tree that want to see

(32:29):
her set free. And yeah, so that's basically The Hateful
Eight came out in twenty fifteen, written and directed by
Quentin Tarantino. I guess my question for you, Millie. First off,
maybe this is an unfair question. Do you think this
movie needed to be shot in seventy milimeter?

Speaker 1 (32:48):
Yes, Okay, I want to say that because I actually
think it is like the snowy scenes, the big you know,
pickuresque mountains. Yes, I feel like fuck yeah, like go
for it, Like I don't know. To me, I love
a Western, big fan of a Western, and I love

(33:09):
like a big sky, big desolate one person in the
middle of nothing feeling. So I think seventy millimr is
right for that obviously evokes that sort of sense of
bigness and yeah, isolation.

Speaker 2 (33:24):
I guess my thing. It's I I don't disagree, but
like seventy five percent of this movie takes place inside
a cabin and it feels almost like a play. And
so then I'm like, I want to see that. I
want to see them mountains again. Maybe that's a stupid
criticism of a movie, but I just thought it. It's
kind of funny that we have the most expanse of

(33:45):
huge format used on a movie that takes place indoors
for me.

Speaker 1 (33:51):
But then it pays off when you see a guy
like naked in the snow.

Speaker 2 (33:56):
That's true.

Speaker 1 (33:56):
By the way, can I tell you like I have
a Hollywood I was at a party, uh once a
while back when I was still living in LA and
I was hanging out with my friend I can call
her my friend Alison Anders, who was a director, and
she is lovely and sweet and I became friends with

(34:17):
her over the years. She we were at a party
and she brought her date to the party, was a
guy in The Hatefully, and he was the naked guy
in The Hateful And with the minute he said it,

(34:38):
I streamed, like I screamed. And he was so cool
and nice by the way, like he was very friendly
and like we we were like all chatting and we
had like all vibe going on. And he then he
casually mentions that he's that character he plays Chester Charles Smithers,
and he has a very memorable. I won't give it away,

(35:01):
and I screamed in this man's face. I was like,
oh my god, I cannot believe that's you. So anyway,
he was, and he was awesome. He was talking about
how awesome it was to work on that movie and everything.
So anyway, that's just a little personal amazing.

Speaker 2 (35:17):
Scoop.

Speaker 1 (35:18):
Yeah, I'm sure it was fun amazing. Honestly, this movie,
to me, I haven't. I haven't. Like there's a couple
of his films that I've returned to quicker than others,
and this one, for some reason, I kept. I think
it's just because I watched it in kind of the
best way possible that I felt like, Okay, well I

(35:39):
saw in the best way I could, and there's no
need to go back and watch it on a laptop,
like you said. But I definitely feel like it is
something to return to. I had this whole I remember
when it came out. I wish I still had this
in my phone. I was actually looking for it earlier
because I wanted to bring it up. I remember when
this movie came out. It came out like around Christmas

(35:59):
time in twenty fifteen. And if you do the math,
you will remember that that was like the next year
was an election year, and it was like the first
Donald Trump, like what he was first on the scene campaigning,
And for some reason, I was like internalizing all that
information and I for some reason came up with this

(36:20):
like wild conspiracy theory that this movie was technically about
like the voting public. Interesting, Like I looked at every
character and was like, oh, this this character is an
archetype for this type of person. The Michael Madison character
is like, you know, an LGBTQ voter. Well, and his

(36:41):
name in the film, his character's name is Joe Gage.
The name Joe Gage was he was a porn director,
like a gay porn Oh wow. So I was like
convinced that there was like secret political messaging in the
Hateful Aid, being like, oh, this is this movie, the
characters and movies are representing, you know, the people who
are going to be at the voting polls and like

(37:02):
all the different interests and everything. Anyway, Uh, I wrote
it out in the notes app in my phone like
a very detailed like conspiracy theory, and then I don't know,
I lost it.

Speaker 2 (37:13):
Damn. Sorry, sorry to recreate that for your sub stack.

Speaker 1 (37:17):
Yeah, I have to.

Speaker 2 (37:19):
When I first saw this movie, I guess I was
a little underwhelmed. Like I was kind of like, you know,
Quenton was on his kick of like historical movies. It
felt like it was kind of like Inglorious Bastards Jango
unchained hatefully, and I was kind of like, I guess

(37:42):
I had gotten a little tired. I was like, because
I loved Quentin Tarantina movies. I were set in the present,
but kind of like we're kind of anachronistic with the
past and stuff like kill Bill is very like seventies
and funky, but it's set present day and same with
like pulp fiction reservoir dogs, you know. And I was like,
so I was getting a little tired of that shtick.
And honestly, he's still doing that. I mean, Once upon

(38:03):
a Time in Hollywood takes place in the past too,
So I'm kind of like, I'm like, set a movie
in the present again and then just have these kind
of like fun allusions to the past. Don't like make
it all the past. So at that time, I was
just like Django n Chain was his previous movie, and
I was like, we were just in like a post
Civil war world. I don't really want to revisit this,
so rewatching it this time, I actually like enjoyed it
much more for what it is, just because I was

(38:25):
sort of tired of his stick at that time. Sure,
and I enjoyed that it was all like set in
one location, that it felt like a play at certain points.
And it's just he's such an expert in like building
tension and like taking his time with dialogue. It really
does feel like a master making a movie, you know,
a master filmmaker so.

Speaker 1 (38:45):
Well, and like to that point too, like you know,
he has all these great people in his films all
the time, and like, you know, honestly like love of
my cinematic life. Walton Goggins originally from.

Speaker 2 (38:58):
This is the first time I met him. Yeah, I
don't know if I've seen him in anything before.

Speaker 1 (39:01):
I had seen him in Walt Django. That was the
first time I laid eyes on. Although subsequently, after I
watched Django and after I watched The Hateful Late it
did start Justified, which is the effect series that he's
in with Timothy Yes, which is literally one of my

(39:22):
favorite TV shows of all show. Absolutely obsessed with Justified.
I have to do a rewatch, like every couple of
years because I just love love, the love my boys
and whatnot. But the Yeah, so this is the thing
is that like I was like, oh, he's such a
good like Walton Goggins is perfect as that kind of

(39:42):
like Tarantino Western archetype if there is Yeah at this point, yeah,
because he's.

Speaker 2 (39:49):
Like he feels like somebody, doesn't he feel like an
actor who would be in the sixties. Walton Goggins, he
kind of has that look. I don't know, there's something
about him that feels sort of like he kind of
goofy in a classic way.

Speaker 1 (40:02):
Yeah, you know. Well, and that's the thing is I
think Tarantino is really good at and this in this
movie in Haye Lene. I think it is like a
perfect example of it is the idea that he somehow
manages to find current actors that have this like character
actor vibe to them. That's very old school, right totally.
And I think it's because he's a sinophile. I think

(40:25):
he grew up, you know, obviously being interested in like
sixties and seventies films. There's a lot of character actors
working in these in these eras, So I don't know
that's his talent for me really is to be able
to find like modern actors like Tim Roth, like you know,
Michael Madsen, you know, whomever, like Jennifer Jason Lee, Walton Goggins,

(40:47):
who are like you know, do they're interesting actors, but
they're they're kind of more character on the character side,
which is well.

Speaker 2 (40:55):
I think that's why some of Leo's bet Leonardo DiCaprio's
best roles are in Quentin Tarantino movie because he I
think at his heart, Leo might be a better character
actor than like hunky leading man.

Speaker 1 (41:07):
Yeah, Ohctor, I think that too of Brad Pitt, even
though yes, Brad Pitt too, I think that more of Leo.

Speaker 2 (41:13):
I think ultimately, Yeah, I was just gonna say, watching
this movie came out in twenty fifteen, it is of
its time because and I hate I'm loath to say this,
but I think one of the weak links is our
good friend mister Channing Tatum.

Speaker 1 (41:32):
Oh no, how fucking dare you?

Speaker 2 (41:36):
I just I was kind of like, he's a I
just feel like Quentin Tarti is so going to get
in these like grizzled guys, and then Channing, I don't know.
For some reason, I was like this is very twenty
fifteen that Channing Tatum was in this movie. Yes, and uh,
I don't know, I think, and I love Channing Tatum.

(41:56):
I just don't know if this was his spot. But
that's just me, you know.

Speaker 1 (42:01):
Yeah, I mean sometimes he can feel a bit shoehorned
into things, like what is the Coen Brothers movie that
he was in? Or was he in multiple Coen Brothers movies?

Speaker 2 (42:13):
Well, he's in Hale Caesar.

Speaker 1 (42:15):
Yes, maybe that's it.

Speaker 2 (42:16):
I thought he was great in that though, because he
does a whole dance routine in that.

Speaker 6 (42:20):
Yeah.

Speaker 1 (42:20):
You know, maybe it's just that I want him to
be the center of it and I don't want him
to be on screen for a very short period of time,
like yeah, you know, I feel like, if you're gonna
use him, let him cuse him as you say, let
him cut him cook, let's see that big bubble butt.

Speaker 2 (42:38):
No, we didn't even get to see that, and so
I feel like, I don't know, I just I felt
like we could have used somebody else in that role.
And uh, yeah, that's that's all I was gonna say. Well,
I felt it felt the little shoehorned. But maybe they
got extra funding because they were like Janning Tatum's in

(42:59):
this movie, yeah, well and liked show. Yeah.

Speaker 1 (43:02):
To that point, I think to wrap to wrap up
our discussion today about these large formats, these like weird,
you know kind of traditions within you know, the movie
going experience. Try it. Like if you're like, if someone
who's trying to get you to watch something like this

(43:24):
to go drive an hour north into the suburbs to
watch something in Imax or something like The New Avatar
or whatever, take it, take a chance, go up and
you know, just go to get some snacks for your
little road trip and go up there and see it,
you know, because honestly, it's like pretty cool. Like seeing

(43:46):
Oppenheimer in Imax was insane.

Speaker 2 (43:49):
Like I brought earplugs, yeah, because I was like, well,
the loudest movie I've ever been to.

Speaker 1 (43:54):
Loudest movie. But was it thrilling? Absolutely? Do what I do?
You think I would be in the US thrilled if
I just see it and like, I don't know, normal
normal circumstances, normal theory circumstances, Probably not.

Speaker 2 (44:08):
Don't you just go to the movie sometime and you're
just like, Wow, I love the cinema when you're in
when you're in the theater, it's just like, Wow, this
is enchanting, isn't this? I'm seduced by it.

Speaker 1 (44:24):
To quote the rapper Vince Staples on his Instagram recently,
Uh huh Cinema you feel me.

Speaker 2 (44:33):
Love? That I could have been a title of this podcast.

Speaker 1 (44:36):
I know I should. We should have named it.

Speaker 2 (44:37):
That amazing amazing. Well, that is all we have to
say about the Hateful Eight and seventy millimeter movies, and
that we said all that there can be said about it.

Speaker 1 (44:49):
Frankly, I agree, Well, well, now it's time for what
we like to call my area of expertise, and we

(45:09):
have somebody who has an incredible area of expertise, wouldn't
you say?

Speaker 2 (45:14):
Uh huh? I certainly would, many many areas of expertise.
I also think it's great that Brian is going to
be on the show today because we're talking about a
Quentin Tarantino movie and Brian does the podcast for the
uh you know, the Pure Cinema podcast, which is essentially

(45:35):
the New Beverly's podcast, and the New Beverly is a
theater in Los Angeles owned by Quentin Tarantino's Great Those Connects.
She owned those connections. Also, you know The Hateful Eight.
It's not a game movie. They're not playing a game,
but it does have sort of a clue gamy quality

(45:55):
to it. So I feel like it's very apropos that
Brian's on this episode.

Speaker 1 (45:59):
I would I think you're talking about an all Somble cast.

Speaker 2 (46:03):
Yes. Anyways, here's our conversation with Brian Sower.

Speaker 1 (46:12):
Okay, casey, folks, We've got a guest who I absolutely love.
I insisted that we bring him on because it had
been a while actually since we chatted, and I was like, oh, Brian,
I gotta bring Brian on the new podcast. But I

(46:34):
absolutely love this guy. Like he hosts a podcast with
his co host Eleric Caine called the Pure Cinema Podcast.
It is real cinophile shit. I like love it. I
love the deep dive if they do it for the
new Beverly Cinema in LA which, weirdly enough, on the

(46:57):
topic of Tarantino is Tarantino's Theater, one of his theaters.
I think he is too now right, Yes, but they've
been hosting this podcast for a long time. Great, great dudes.
And then he also does this other amazing podcast called
Just the Discs which is essentially like the quintessential home
video freak podcast for anybody that loves like physical media

(47:20):
like DVD, Blu rays stuff. He's your guru for that,
and so I I'm lucky to call him a dear friend.
Uh please everybody welcome Brian Sower.

Speaker 3 (47:33):
Thank you so much. What a gracious, incredibly kind intro.

Speaker 1 (47:38):
Of course, straight from the straight from the heart. That
was not I wasn't. It didn't prepare at all. I
just said what I felt.

Speaker 2 (47:44):
I love it.

Speaker 1 (47:45):
I was I was hoping that maybe you would give,
like I don't know if you would call it like
an elevator pitch or just some give me your philosophy
of why you think people should be buying physical media,
because there is a lot of people that were probably
listening to this podcast that are like, again, we talked
earlier about people who don't want to see things the
seventy millimeter in the movie theater, Like people were just

(48:07):
like why would I buy things when I can just
stream things? Like so, like what would you say to
a person that says that, or like, you know, just
give us your sort of like philosophy behind physical medium.

Speaker 3 (48:18):
Absolutely, I mean I had a better I had notes.
I did something like this on your old show, and
I had better notes, so I'm gonna wing it here,
but like, yeah, the basics are okay. One I think
the big one for me is it's I'm always about
the movies, Like, you know, I really like, I'm into
the features, and we'll talk about that in a second,
but like, I'm just really into the movies, and people

(48:40):
don't understand just how many movies are not available to
stream and likely never will be, and or there may
be available in some really crappy YouTube rip that.

Speaker 4 (48:51):
Is almost unwatchable.

Speaker 3 (48:52):
And you know I've done that, you know, But there's
just so much stuff that's not streamable.

Speaker 4 (48:57):
So that's one.

Speaker 3 (48:58):
I feel like there's just a lot of people who
are like I can watch anything. No, you absolutely cannot,
and you never will be able to watch everything.

Speaker 2 (49:04):
And it's getting worse.

Speaker 4 (49:05):
It is getting worse.

Speaker 2 (49:06):
Titles are being removed more and more as the years
go on.

Speaker 3 (49:09):
Yeah, we're definitely seeing more of an emphasis on newer films,
you know, the last twenty years, what have you, and
a lot of the stuff from two thousand and before,
I feel like just starts falling away as we move forward,
and I think it's only going to continue to do that, honestly,
because I feel like the algorithms then grab onto the
stuff that people This is just a theory, but they
grab onto the stuff people watch, which is going to

(49:30):
be more newer stuff because that's what's available. And so
then that stuff kind of just continues to perpetuate itself
and the old stuff gets left behind because the algorithms
don't grab it or whatever, you know. But so that's
one and for my show, for Pure Cinema, we're just
that this also, but we're always about trying to dig
out like the lesser scene stuff. We really want to
champion that. So so that's a big part of the

(49:52):
show is how do we watch and find these less
seeable movies And a lot of times it means getting
a disc or something like that, and so that's that's
a big part of it. Like I just there's so
many movies out there for people to discover, and I
want people to know, like you can't stream everything and
you're missing out on a lot of good stuff if
you only It's like right away, a couple things come
to mind, Like there's a movie called Payday that I

(50:12):
absolutely love with rip torn yea as a country yeah,
country western singer. It's only available on DVD right now.
It's not even on Blu Ray. But like it's not streamable.
I don't think it's on YouTube, and YouTube is so
unreliable because stuff gets taken down there all the time,
you never know.

Speaker 2 (50:27):
But so that it just looks so bad. It doesn't
so many that's just like unwatchably bad.

Speaker 3 (50:32):
Well, yeah, and let's talky. We'll go to that site.
Normally I would go to the feature second. But while
we're talking about visuals, like, there's a lot of compression
in streaming. And I'm not like so video snobby that,
like I I watch a lot of stuff streaming. My
kids love streaming, they've grown up with it, you know,
so it's not a big deal. But if you want
like uncompressed, you know, really beautiful transfers, I mean, you

(50:54):
can watch a movie that's available on you know, digital
and Blu ray, but the Blu ray might be a
new Oh. This is one thing that's happening a lot
now is we're getting four k's and Blu rays where
they're going back to the original camera negatives and retransferring
to films. So look, the best they can, and I
don't know for sure that the studios then take those
masters and put them on streaming. I think sometimes they

(51:14):
use old masters. I think a lot of times these
new masters are exclusive to these Blu rays and four k's,
and they look great. They look better than ever, they
sound better than ever. The audio is not compressed, if
you're into that, and I mean, again, I'm not mister
video audio file, but I really do think that that
presentation helps a lot. So that's another reason to get them.
And the other big one is that the supplements. You

(51:35):
get commentary tracks, you get interviews, you get context, especially
about movies that are maybe a little tricky these days,
maybe have some problematic elements about them that you know,
could turn people off just from watching them. I think
sometimes it's great to have a little context that allows
you to appreciate the time and place they come from
and what was going on at that time, and just

(51:56):
I love to hear behind the scenes stories like how
did this happen? And you know, there's so many great
film scholars out there doing commentaries and great interviews available
with filmmakers and people that were involved in those films
that it really brings up the experience. It makes it
more enriching in some way, and I think you miss
out on that if you're just streaming it, you know.

Speaker 4 (52:14):
So those are the three basic bullet points for me.

Speaker 2 (52:17):
Just switching gears here a little bit. We brought you
on to talk about, you know, physical beauty is obviously
an area of your expertise, but we all also want
to talk about, you know, in the film world, what
is your area of expertise. What is a something within
the world of film that you feel like You're like,
I kind of have the corner on this. I know
I can. I can teach a university level class.

Speaker 5 (52:38):
On thus today. Well, by the way, this was a
thank you, Yes, I would do. This is a tough
This is a tough topic. Actually, I was I was
looking at and I was like, oh my god, what
do I pick for this?

Speaker 3 (52:51):
I I like, I mean, the big thing is, obviously,
if you listen to Pier Centere, we talk about all
kinds of cinema.

Speaker 4 (52:55):
We loved all kinds.

Speaker 2 (52:56):
Millie.

Speaker 3 (52:56):
You were talking about documentaries on one of the shows recently.
I absolutely door documentaries. I could have done something on that.
But this is actually kind of going back to the
video store in terms of the origins of this kind
of thing for me, and it's movies about playing a
game where the characters within the movie are playing a
game of some kind and the goal within the movie

(53:17):
is to win the game, or you know, to participate
in such a game, and I was really drawn to one.
The other BHS cover that I could have mentioned is
a movie from Buena Vista, Disney called Midnight Madness, which
is a big favorite of mine, big nostalgic pick.

Speaker 4 (53:35):
It came out in nineteen eighty.

Speaker 3 (53:37):
It was I want to say it was either the
first or the second PG rated Disney movie after I
think The black Hole, but I could be getting that wrong.
Maybe The black Hole is G and it's the first PG. Anyway,
It's kind of a raunchy comedy, definitely. The artwork is
spinning off of something like Animal House, and it's all
about a college campus wherein this like super nerdy guy

(53:58):
has picked out five I think five different people, like
there's a and they're all archetypes. You know, there's a
sorority girl, there's a jock, there's nerd. There is a
sort of an everyday every man guy played by David Naughton,
and then there's this rich jerk played by Stephen First,
who of course was in Ani Whiles, and he sort
of pitted them against each other and wants them to

(54:20):
play this game called the Great All Nighter, and it
is kind of like a scavenger hunt, except you it's
La based and they're going around La solving different clues
that lead to different locations that lead to different clues
to locations, trying to get to the finish line. And
this is one that my sisters used to rent a lot,
especially my little sister. We rented a ton as a kid,

(54:41):
and so it became sort of a family favorite.

Speaker 4 (54:44):
It's totally goofy.

Speaker 3 (54:45):
Movie, and if you watch it now with fresh twenty
twenty five eyes from people our age, you probably would
think it's really stupid. But it's just a movie that
I really enjoy. It's got a very young Michael J.
Fox in it, and it's just a lot of fun.
So I started to notice that there's a lot of
movies like this that generally the eighties was a strong

(55:06):
period for this stuff, but it's really not limited to that.
So there were things like I mean, you know, well,
I mean one of the big ones that people will know.
Is is David Fincher's movie The Game, which comes out
in like ninety seven or whatever, and that's a different
kind of like hitchcocky and you know, fully immersive game
kind of thing. But you know, there's other things like Tag,

(55:28):
the Assassination Gang and Gotcha. I put in both because
a very I also love movies that respond to weird,
very short trends. And there seemed to be some kind
of trend on college campuses and then early nineteen eighties
where they were playing these assassination game games where that
you would hunt people on campus and you'd shoot them
with darts or, in the case of Gotcha, paintballs, which

(55:50):
seems like a really bad idea, and you were that
was just something that was going on apparently, and so
you know, a couple of different studios made movies based
on that. And then you have things like you know,
Cloak and Dagger, which sort of opens with role playing
games and it's very game centric. And then one that
I mentioned to you off Mike, but I love is
and this is back in the seventies. This is a

(56:12):
movie called Last of Sheila, which is, as you.

Speaker 4 (56:15):
Mentioned, Casey.

Speaker 3 (56:16):
It's written by Stephen Sondheim and Anthony Perkins, who were
famously big fans of putting on game nights like not
quite murder mystery, but that kind of thing. And so
that movie in particular is it's also a big favorite
of Ryan Johnson's. If you watch it and then you
watch Glass Onion, you can go, oh my god. And

(56:36):
same thing with Knives Out. He definitely mentions it as
an influence in that. But it's about a rich producer
who's bringing a bunch of his Hollywood type friends on
a cruise and they're playing sort of a murder mystery
game that kind of goes real dark and people start
actually dying, and it's really cool. It's a great cast,
and I absolutely love it. And you know, there's just

(56:57):
a so I made this letterbox list and then you know,
so you have all these games, but then you have
like race movies like Deathrays two thousand, Gumball, Rally, Cannonball.
Those are their own sort of subgenre within the game genre,
and there's just a ton of these that you can
find and watch and they all have sort of different

(57:18):
stuff going on with them. But it's just something I
kind of like the idea of giving the characters in
the movie an objective and you're watching them play the game.

Speaker 4 (57:24):
It's kind of fun to watch.

Speaker 2 (57:26):
I love. Yeah. I love this type of movie as well,
and I particularly like, like you put in a lot
of the fun ones in there, but I really like
the ones that are like you have Cube, which I
love Cube from nineteen ninety seven, and that's like people
trying to figure out a game or puzzle that they're

(57:47):
in or they will be killed, yes, which is also
like the Escape Room movies, yeah, which is all your
Escape Room is on here? Also, or a movie like
Battle Royality.

Speaker 4 (57:58):
Oh yeah, I should have put that on here.

Speaker 2 (57:59):
That's that's a bad film. Battle Royal is a Japanese
film from two thousand and it's essentially the Hunger Games.
It's before The Hunger Games came out, but it's a
movie where a class of high schoolers have to kill
each other off in a competition on an island. It's
kind of set in a freaky future. But that's another

(58:21):
one where they're like killing each other that I really
I love that movie, and I also love like there.
There's this Edward Furlong movie called brain Scan or he
has to play a video.

Speaker 4 (58:35):
Games that's a whole other almost sub genre.

Speaker 2 (58:37):
Yeah, it almost was loves to bring that one in there,
because that's not like a whole other category.

Speaker 3 (58:41):
I like that movie too, but but it does open
up a can of worms of like video game movies,
which is kind of another thing, but but does fall
into the game movie.

Speaker 4 (58:48):
Category also, so it's tricky.

Speaker 2 (58:50):
Yeah. No, I this is a fabulous list. There's some
I definitely need to check out.

Speaker 5 (58:55):
Well.

Speaker 3 (58:55):
And then there's the whole like most dangerous game genre,
So have things like Hard Target Surviving the game Open Season.
These are all movies where you have humans being hunted.
Turkey Shoot is kind of that to the Brian Trenchard
Smith movie, So there's that genre. There's just all kinds
of fun, silly stuff like that, you know. Yeah, even

(59:18):
something like Quintet, which is a notoriously hated movie even
among Robert Maltman fans, but I kind of like it,
which is all about like this post apocalyptic, you know,
snowy universe where people play this game that's kind of
like backgammon, but it's like the thing to do at
in that time. And I, again, my game movie fandom

(59:39):
makes me actually kind of like Quintet too.

Speaker 1 (59:41):
You know.

Speaker 2 (59:42):
Yeah. Well I also loved when I was a kid,
and it really scared me was Jumanji, which I think
is actually a Disney movie. Yeah, but that was like
it would the idea of playing a game for your
life is like sort of scary.

Speaker 1 (59:57):
Let me let me pose this. This is this might
be like two nuanced of a conversation. We'll see where
it goes. So would you make a distinction between a
movie like a game movie like the Last of Shila
or maybe Death Race or whatever, and then something like Saw?

Speaker 3 (01:00:20):
Oh yeah, yeah, I think, ah, yeah, definitely.

Speaker 4 (01:00:25):
I'm trying to think, how did because you're right and.

Speaker 2 (01:00:28):
Some reason that didn't even come to Saw feels like
so different for some reason I didn't even like. And
I was just saying, how I love movies where they're
playing a game to like survive, but that feels.

Speaker 1 (01:00:40):
That's like a rude Goldberg type of thing. Yeah, like
to me, where I'm like, I just Saw. It's obviously
not fun loving and you know, it's it's definitely not Cloak.

Speaker 4 (01:00:52):
And Dagger or whatever.

Speaker 1 (01:00:53):
But but yeah, I was just kind of curious about
like those types of movies, like, Brian, do you like
I don't even know this is kind of a little
bit of a side, but have you watched like Squid
Game or something like that, like.

Speaker 3 (01:01:08):
You know what, No, I haven't really And that's one
thing I you know what, I miss out on a
lot of because of all the movie watching for the
shows and I this is a constant thing I have
with people, is I miss out a lot of you know,
the really big TV shows, you know, like just haven't
seen them because for one, like I'm always late to
the party and I feel like I miss the big
cultural conversation unless I'm doing it at that moment, So

(01:01:30):
I miss out. This is just a minor aside about
me and TV. But so yeah, so I haven't had
a chance with Squid Game yet, but I mean I'm
intrigued certainly. But yeah, there's something there's something a little
different about it is a little nuanced in that I'm
trying to think how to articulate it because it's not
like some of these other game movies where you're fighting
for your life. They aren't the odds aren't stacked against

(01:01:51):
the players. But in Saw in particular, I feel like
they almost don't even have a chance, like it's they do.
But like it's really much more about watching them be
killed than it is about watching them solve the puzzles.
Whereas I think the game movies I'm talking about we
want there's a little bit of us. It's like, oh,
they can't reasonably do it, and we want them to
do it, and I'm not as into them getting I mean, like,

(01:02:13):
I like, you know, movies where people get killed as fine.
But I'm just saying I think there's a little bit
of a difference in terms of like, but it is subtle,
you know, in terms of Yeah.

Speaker 2 (01:02:22):
A lot of the SAW challenges too are like you
have to chop off your own leg to survive, and
so you're not like you're making a sacrifice, like you're
coming away very even if you win, you lose, you know,
where in a lot of these game movies, even the
ones where you're like doing it for your life, you
can win and walk away. Kind of yeah, like that,

(01:02:45):
like it seems like there is a possibility there's more
of a plausible way to win cleanly.

Speaker 1 (01:02:52):
Yes, I guess, yeah, maybe maybe that's a good way
into it. Both of y'all have the right because I
was like thinking, like CAUSAW to be is just so
like I'm like, like this is just too much like
and honestly doesn't even feel like a game. It just
feels like, well, this guy just wants to do what
he wants to do and you just have to you

(01:03:13):
have to be there while he acts. Is like dumb
crimes is dumb.

Speaker 2 (01:03:18):
Well his whole thing too, which is an I'm a
bit of a saw apologist and Saw X. You get
to learn his like mindset a little bit more, and
he it's all like, I'm not doing anything. I'm not
killing them. They're they're killing themselves, like I'm not. I'm
not a murderer. I invented this game and I put
them in this game, but like they're doing it. It's

(01:03:39):
not me, you know. So it is about punishing these people. Yeah, yeah,
that is more about punishing them.

Speaker 3 (01:03:45):
Yes, I think that is almost the key thing is
it's about punishment and not the game itself.

Speaker 4 (01:03:50):
It's really about messing these people up, whereas.

Speaker 3 (01:03:53):
I feel like the game movies that I love tend
to be more about the game and and and maybe
the guy who person who's creating the game doesn't want
them to solve it and makes it difficult, but there's
still you still feel like they.

Speaker 4 (01:04:05):
Have a chance, and it's not about punishment.

Speaker 1 (01:04:07):
There's like a level of like sports personship or something.

Speaker 3 (01:04:11):
Yeah, yeah, exactly, some kind there's a commissioner, commission honor.

Speaker 2 (01:04:17):
Yes, I do think you would if you like I
do think squid Game. I've only seen the first season.
It is good, okay, and it does within these category
that we're that would fall, like the category that is
in your letterbox list. It's like more like cube.

Speaker 1 (01:04:37):
I think, Brian, I think you'd like it. It's pretty violent,
that's cool. Then you know, it's obviously like South Korean,
so it's cool. There's cool actors in it, and like
I saw the whole thing. Like my mom had actually
seen every single episode during the holidays, and I was like,
how have you seen entire the entire run of Squid Game?
And I haven't. She's like, it's good, So she watched

(01:04:59):
it again with me. We Binge watched it. It was
it's really entertaining.

Speaker 2 (01:05:02):
So amazing. Uh, Millie, did you have anything else to well?

Speaker 1 (01:05:07):
No, I just wanted to, like, you know, shout out
Pure Cinema podcast as well, because to me, I think
that podcast is just such a great like it's just
like I know that like you and l Rick are
just incredibly smart and intelligent about movies. I know that
you know our friend Phil Blake and Ship, who is

(01:05:27):
the you know, basically an employee at the New Beverly
Cinema who comes on very regularly. I mean, it's like
like being with the three of you guys is like
being It's like being on like inside the NBA or
something like.

Speaker 4 (01:05:41):
Like you guys are.

Speaker 1 (01:05:42):
Like Shaq and Charles Berkley and you know, and Kenny
and I'm.

Speaker 7 (01:05:46):
Just like the earnie guy that just sits there and
enjoys everything.

Speaker 3 (01:05:51):
So Millie, I should say, Milly, is I think you know,
with an upcoming calendar.

Speaker 4 (01:05:57):
Record we're gonna do h.

Speaker 3 (01:05:59):
I think she's a most returning his guests.

Speaker 4 (01:06:01):
She's she's been on.

Speaker 3 (01:06:02):
I'm pretty sure you've been on like four or five times,
and I don't think we've had anybody on. Karazuski's close,
but I don't think I think he got a beat,
especially with this new calendar.

Speaker 4 (01:06:12):
Oh my gosh, because we are.

Speaker 3 (01:06:14):
One of our favorites, like you you totally like always
bring it and always I've loved your programming and your
cinematic taste for years, and so you're like the absolute
perfect fit for our show. And I do appreciate all
the metaphorical basketball compearances.

Speaker 4 (01:06:29):
It's pretty pretty kind, to say the least.

Speaker 1 (01:06:31):
I have to say. It's you know, everybody knows I
like basketball, so there was the only comp that I
could think of.

Speaker 4 (01:06:38):
But it really does. I'm honored again.

Speaker 1 (01:06:42):
Well, yeah, I would encourage everybody, especially if you're really
into like finding out about, you know, just kind of
stuff that's off the beaten path, stuff that's just like
not really like you know, out there a lot of
times to watch, you know, kind of with any kind
of regular larity or you know, I just think that

(01:07:02):
that's your real your talent is to find movies that
people aren't really talking about as much and kind of
elevating them. And I mean that's what The New Beverly
does too, And it's programming and so, I don't know,
it's a great podcast and it's really fun to listen to.
So everyone check that out.

Speaker 4 (01:07:16):
Please, so kind, so kind, Thank you so much.

Speaker 1 (01:07:29):
Love love love that Brian Sower.

Speaker 2 (01:07:31):
He's great. It was so great. I mean, I it's
one of those things where I'm like this could go
on for nineteen more hours because there was just so
much I wanted to talk to him about. And he
talked to us in front of like a wall, a
wall of physical media. I was just I was so
impressed with his collection.

Speaker 1 (01:07:51):
Oh yeah, like his wall. I mean like my rink
eating two shelf scenario is just like puty compared to
his collection.

Speaker 2 (01:08:01):
So this is like the Beauty and the Beast library.

Speaker 1 (01:08:05):
I wonder if he has like the giant rolling ladder
that you can, yes, like in Carl Lagerfeld's house or something.

Speaker 4 (01:08:14):
But we love Brian.

Speaker 1 (01:08:16):
We were so Bloody was on and yeah.

Speaker 2 (01:08:20):
Yeah, Well, next up is our film advice segment. That
is where people send in their questions asking for our advice.
And we have a voicemail today and we're we're really
the experts to give out advice in this very specific
regard movies. I don't know if anything I could give
advice in any other category or anywhere else, but this

(01:08:45):
I think we can give out some good advice. So
we've got a great voicemail, so let's listen to it.

Speaker 6 (01:08:51):
I'millian Casey. This is Lee first time listener, longtime voicemail
leaver just kidding. I love the podcast everything I could
hope for in a virtual film frend, so thank you
for that. My question is, how do I sound more
knowledgeable when I talk about films because a lot of
my favorite parts of films are not the big thing.

(01:09:11):
So it's not like the monologue or the actor. It's
a little intimate moments and I find them very hard
to describe and why I like them so much. So
I just know, like, what's a good way to learn
the lingo? I got some film textbooks, but it's like
a big data nump, but it's hard to reconcile the
terms with what you're actually watching in a real film.
So where's a good place to start just to learn

(01:09:34):
about techniques or what shots are called, or what camera
movements are called, things like that, just to better describe
the little things in films.

Speaker 2 (01:09:41):
Thanks so much, love you guys. Oh Man, Leah, what
an incredible question I could. This is such a good question.

Speaker 1 (01:09:50):
A lingo question.

Speaker 4 (01:09:51):
This is so funny.

Speaker 2 (01:09:52):
Yes, does anything come to mind?

Speaker 1 (01:09:54):
Well, I'll speak from my own experience. Right less, you're
lucky enough to like go to film school or have
a job or be on set type of thing, right
because a lot of that is it comes from talking
to people who are are like working in film or something.
To me, like, there was so many things about film

(01:10:15):
that I learned the techniques for when I was either
at my job at TCM, on set that kind of thing.
But I will say another good way if you're like not,
if you don't want to do it like that, you
just want to like watch some I would say, watch,
like especially cinematographers go on YouTube and watch interviews with

(01:10:39):
like Roger Deakins or you know whomever. You know, people
who were kind of like a little bit more technical
like directors obviously, but honestly, like cinematographers, lighting people like
a lot of times those crew members give a lot

(01:10:59):
of info on either their own personal websites or on
their YouTube channels or on podcasts like film podcasts that
they do guest spots on, and it's a little bit
more you know, they're thrown around the you know booms
and the you know, steady cams and the rigs and

(01:11:20):
this and that, like they're using the terms a little
bit more. Yeah, And so I don't know, from those points,
I just feel like I've picked up enough of like
their vibe to where I kind of like, oh, well,
that's what they call that thing, or you know, rack
focus is this or whatever, versus like going and formally

(01:11:40):
studying it, like taking a test on it in school,
which is what I've also done. But I'm just saying,
if you don't want to go that route, I would
just listen to interviews podcasts with working film professionals. Really right, Yeah, My.

Speaker 2 (01:11:55):
Number one advice keep listening to deer movies. I love
you from affinity. That's the big thing. You're gonna learn
everything you need to know about movies on this podcast.
Number two, I think you know. I just want to
encourage you to not feel bogged down by not knowing
the lingo. I think lingo and proficiency of skills is

(01:12:17):
a tool that men a lot of times like to
use to put down people who aren't as experienced or
to gate keep in certain situations. So I have been
victim of that as well, where they're like, you don't
know what that means, You're stupid, And it's very easy
to feel that way, and so it's a bit of
a losing game to feel like I need to learn

(01:12:39):
a certain amount of lingo in order to fully appreciate
or to fully feel like my opinion is valid or
that I'm you don't want to share your opinion because
you don't know the right words to use, you know,
but that's not true. You have the right vocabulary in

(01:12:59):
you already, So don't feel like you need to be
chasing after this imaginary thing. I will say, just like
learning film stuff, I would say commentaries is really fun
and like because that's the whole thing. It's like you
don't want to like you just say, like in your question,
you don't want a data dump. You know, you can
like look up these terms, but that's like boring. I
would say, like, watch film commentaries on movies that you

(01:13:21):
really like and are interested in how they were made,
and you'll naturally absorb it that way. I'm reminded of.
So my this is a big tangent I'm about to
go on. My uncle was a very successful printmaker and
a lithographer. He worked with a lot of artists in
New York like Andy wa Warhol, Robert Rauschenberg, Jasper John's

(01:13:45):
and he was working with them in printmaking. And he
was a very close friend with Robert Rauschenberg and my
grandma visited Robert Rauschenberg's studio in Texas and visited my
uncle one time, and Robert Rauschenberg asked my grandma which
of his paintings she liked, and my grandma goes that

(01:14:08):
one and he goes, why do you like that one?
And she said it's blue, And he said that's as
good a reason to like it as any, so that
your opinion is valid and you don't need to know
the terms. Guess what I'm saying. But maybe that's not
where you're asking, But I would say, just don't be

(01:14:29):
discouraged if you don't know every you know technique.

Speaker 1 (01:14:34):
And why am I saying that every time you've mentioned
a female member of your family it is the greatest story,
Like between your grandma and your mom. I'm like, I
love these savage queens that are all over your family
timeline and like, what the hell what can they be

(01:14:54):
on this podcast?

Speaker 2 (01:14:55):
Well, sadly, my grandma Burrel has passed away, so she
cannot be a guest on the show unfortunately, But maybe
we'll have my mom on Oh my gosh uh, creator
of chicks Picks at Mister Movies in South Minneapolis.

Speaker 1 (01:15:09):
That's good advice. Though, casey honestly, because it is like, like,
even though I just, you know, gave you like a
legit answer to solve your issue.

Speaker 2 (01:15:17):
I did not. Your answer was good, good good.

Speaker 1 (01:15:20):
Oh yeah, I don't know, and that's why. But it's
also fine to be reminded though, that you don't have to.
And I certainly don't like I don't. I might use
the terms, but I don't feel like I I don't know.
I'm just such a godzilla stopping through all these motherfuckers
all the time. I'm like, I don't care if I
don't anything or not.

Speaker 2 (01:15:41):
Well, I remember there's some story, do you know? You
know the director Terrence Malick who did the movie bad
Lands and Days of Heaven and The Thin Red Line. Yes,
when he was directing his first movie, bad Lands with
uh Martin Sheen and Cissy Spasic, the cinematographer was like, oh,
should we should we move in for coverage, which what

(01:16:05):
he's saying is should we get some different angles of
this same scene so you can edit it together and
you don't just have one shot one angle that the
scene is shot from. And Terrence Malick goes, yeah, we
can do that, but we should also get some other
shots and angles of the scene. So Terrence Malick actually

(01:16:27):
did not know what the word coverage was on his
own movie that he was directing. Yeah, that's an incredible film.
So a lot of people use lingo as a way
to make other people feel little.

Speaker 1 (01:16:41):
Yeah, and imagine humiliating Terrence Malick. What are you a
fucking asshole?

Speaker 2 (01:16:45):
Yeah, come on, I actually love that story.

Speaker 1 (01:16:49):
I didn't I didn't know that story.

Speaker 2 (01:16:51):
Yeah.

Speaker 1 (01:16:52):
Well, Leah, thank you for leaving that voice memo.

Speaker 2 (01:16:57):
Yes, thank you so much.

Speaker 1 (01:16:58):
We really really appreciate it. Casey, you want to like
tell the people how to do it if they want to.

Speaker 2 (01:17:02):
Yeah, please send in your questions for film advice right
in to Deer Movies at exactlyrightmedia dot com. Or you
like Leah, you can leave a beautiful voicemail and we'll
play it on the show. So please do that if
you're so inclined, keep it under a minute and record
in a quiet space, just like our new friend Lea did. Yes,

(01:17:25):
and we'd love to answer.

Speaker 1 (01:17:26):
Them for you.

Speaker 2 (01:17:28):
Millie. We're at the end of our show. It's time
for employees picks. Yes, what movie are you going to
recommend today?

Speaker 1 (01:17:35):
Well? Okay, so this is kind of complicated this week
because we're advocating that you see seventy mili movies in
movie theaters. Yes, but if you want to watch something
that was shot in large format, I mean, I think
maybe not one hundred percent shot in large formatp at

(01:17:55):
most of it, A big, big portion of it. I
would suggest watching The Master from twenty twelve, Paul Thomas
Anderson's coded Manifesto on scientology. I don't know if that's
actually true. Actually, don't quote. Don't say that's not a
coded that's not researched.

Speaker 2 (01:18:16):
But I don't think it's I think it's pretty pretty.
It's like one to one. I don't.

Speaker 1 (01:18:24):
Oh wait a minute, see where it happened to play
a very similar looking l Rod Hubbard type.

Speaker 2 (01:18:35):
Oh wait, I think you're going out on a limb there.

Speaker 1 (01:18:38):
Okay, I don't listen. I don't fuck with scientologists, right,
I try to like.

Speaker 2 (01:18:44):
To mess with them. I don't want to get you
know how. I don't want to get audited.

Speaker 1 (01:18:47):
No, I don't want to, you know. I don't want
to have people leafletting against me outside of my house.

Speaker 2 (01:18:53):
Okay, yes, a great movie. I need to revisit that movie.

Speaker 1 (01:19:01):
I saw it in the theater in the large format version,
so it was great.

Speaker 2 (01:19:08):
Similarly, I am recommending a seventy millimeter movie that I
feel like, even though it's like one of the most
famous movies of all time, it gets slept on and
it is a more subversive movie than I think people realize,
and that is Lawrence of Arabia Uterotool, directed by David Lean,

(01:19:28):
came out in nineteen sixty two. What I mean, this
movie is so huge it needed to be shot in
seventy millimeters. Yeah, it looks beautiful. I think about this
movie all the time. There is some queer speaking of coding.
There is some queer coded things going on in that
movie with Lawrence, and some BDSM things that are surprising

(01:19:56):
to see in such a mainstream film. Does it have
Alec Guinness playing a Middle Eastern person? Yeah, that's not great.
Like the the brown face that's going on in this
movie is bad. Yes, And uh, if if that makes
you not want to see this movie, I understand that.

(01:20:16):
But it is a beautiful, breathtaking film and it's very interesting,
and it's very long, and it's huge and it's big,
and uh, if you haven't seen it, or you haven't
seen it in a while. I highly recommend checking out
Lawrence of Arabia.

Speaker 1 (01:20:33):
Uh, this is a little inside La Baseball. Do you
remember that business that was? I think it was on
Beverly actually, speaking of the New Beverly. It was called
Lawrence of Librea.

Speaker 2 (01:20:43):
Yes, is that like a lamp?

Speaker 1 (01:20:47):
I think it was a rug store?

Speaker 2 (01:20:50):
Dude, rug store, rug store? Yes?

Speaker 1 (01:20:52):
Yeah, I was like, that is fucking hilarious.

Speaker 2 (01:20:57):
I you know, maybe at one time I realize that
that was a play on Lawrence of Arabia. But it's
so it's so far away from it's such a stretch.

Speaker 1 (01:21:10):
It's like hard to.

Speaker 2 (01:21:13):
Uh piece that together.

Speaker 7 (01:21:16):
Yes, I love that it's clunky though, right. Don't you
think it's funny that it's clunky?

Speaker 2 (01:21:23):
It's so.

Speaker 7 (01:21:33):
Change it ever, I just just I like that it's
just so dumb and funny.

Speaker 2 (01:21:40):
H oh oh boy.

Speaker 1 (01:21:43):
Well that's our show.

Speaker 2 (01:21:45):
Wonderful Epp Millie, what a wonderful episode this was. Thank
you for talking about all this great stuff.

Speaker 1 (01:21:52):
Would you say it was our Do you think it's
our nerdiest episode so far?

Speaker 2 (01:21:56):
It might be our nerdiest episode, but hopefully made it.
We were people were interested and educated as opposed to
being horrified and turned away.

Speaker 1 (01:22:05):
I think that we're we're decent. We're decent enough to
like take these big, nerdy subjects and make them palpable
to people absolutely probably don't have a shit, but I
that's what I love to do in life and in film.
So yeah, I hope you enjoyed it.

Speaker 2 (01:22:22):
And thank you so much to Brian Sour for being
a guest on the episode today. Loved having him on.
Just a great human being. Check out the Pure Cinema
podcast and Just the Discs his two podcasts. They're fabulous.
And also if you want to see the game like
movies where people are playing a game, list to follow

(01:22:44):
him on letterboxed at Rupert Pupkin. Some of you may
know what that's a reference to, others figure it out,
look Rupert Pupkin. And then yeah, so thank you Brian
for being on the show.

Speaker 1 (01:22:59):
If you are on social media and you want to
follow us, please please do. We are on Instagram and
Facebook at Deer Movies.

Speaker 2 (01:23:09):
I love you wonderful and like we mentioned already, if
you have any film advice you'd like, send it to
Deer Movies at exactlyrightmedia dot com. But not only that
you should follow us on letterbox. MILLI and I we're
posting on there and it's fun. You can see what
we're watching and what we think about movies from the
past too. If you're like, oh, what did Casey think
about I don't know, Dead Ringers, Oh he loved it,

(01:23:32):
I should watch it. You know, you can see what
we've thought about in movies in the past too, So
that's kind of fun. But our letterbox handles are at
Casey le O'Brien and at m de Chericho. Give us
follow Well.

Speaker 1 (01:23:44):
That is all for this week. Thanks so much for listening,
and we will see you next time.

Speaker 2 (01:23:51):
Bye bye bye.

Speaker 1 (01:23:54):
This has been an exactly right production posted by me
Millie to Cherco and produce by my co host Casey O'Brien.

Speaker 2 (01:24:02):
This episode was mixed by Tom bryfocal. Our associate producer
is Christina Chamberlain, our guest booker is Patrick Cottner, and
our artwork is by Vanessa Lilac.

Speaker 1 (01:24:11):
Our incredible theme music is by the best band in
the entire world, The Softies.

Speaker 2 (01:24:16):
Thank you to our executive producers Karen Kilgarriff, Georgia Hardstark,
Daniel Kramer and Millie to Jericho. We love you.

Speaker 1 (01:24:23):
Goodbye Beker

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