Ep. 67: Drinking With...Collateral

Pour up a 'Go F**k Yourself' cocktail and join Steven McCash as he relives this thrilling performance from Tom Cruise and Jamie Foxx alongside Brandon and Stoney. Today, we're drinking with...Collateral.

To make the Go F**k Yourself, you'll need: 

• 1 1/2 oz Jack Daniel’s
• 3 oz Lemonade
• Splash of Coke 

To make it: 

1. Pour JD, Lemonade in a rocks glass over ice and then top with the Coke

Episode Transcript

Speaker 1 (00:12):
The Sobros Network presents the movie podcast, breaking down films
and their impact on pop culture as they approach the
legal drinking age. This is Drinking With Now.

Speaker 2 (00:29):
Here's your host, Steven the Cash.

Speaker 3 (00:34):
Greetings and salutations everybody.

Speaker 4 (00:36):
Welcome to Drinking With the podcast, where we raise a
glass to the movies that have reached.

Speaker 3 (00:40):
The legal drinking age.

Speaker 4 (00:41):
I'm your host mcash or the Sowbros Network, and join
me as we embark on a cinematic journey through the
classics of yesteryear, celebrating their twenty first birthdays and style.
From iconic blockbusters to hitting gems. Each episode will toast
a different film that has stood the test of time
and shaped our cultural landscape. So grab your favorite beverage
the one we have curated for this episode, and let's

(01:02):
dive into the nostalgias. We explore movies that are finally
old enough to join us. Word Drink Now Joining me
at the bar as always, are the two best people
I can think of to stumble out of the bar
with after a long discussion of movies. First, as the
resident film critic of the Sobros Network, Brandon Vick, who
is also a member of the Southeastern Film Critics Association,
a board member of the Music City Films Critics Association,

(01:24):
and most importantly, the birthgiver of the vix Flicks and
Cinema Chronicles podcast heard right here on the Sobros Network.
And joining him as always is the man behind the scenes,
the man who leads us all the Sobros Network head
Ei c the glue of the brand, a Jennificionado, cat

(01:44):
lover husband son, yeah, son of a Plumba, and he's
also an all around football wordsmith. Mister Stony Keeley is
in the house, boys and girls, gentlemen, how are.

Speaker 3 (02:00):
We doing today?

Speaker 2 (02:01):
Doing well? Did you hear the pyro?

Speaker 3 (02:02):
I did this? God? Oh Holiday and express there's the expense.

Speaker 2 (02:09):
I know. Well, uh, that's what they roll out the
red carpet for you here.

Speaker 4 (02:15):
Yeah, behind the scenes, we're recording this at a hotel
in the heart of Memphis, Tennessee.

Speaker 3 (02:21):
Yeah. Yeah, yeah, yeah, yeah.

Speaker 4 (02:23):
I don't think those are fireworks going off.

Speaker 3 (02:24):
Boys. Oh well, it just seemed like it was right on.

Speaker 2 (02:29):
Yeah, it just it worked out perfectly.

Speaker 3 (02:31):
I mean, it's February.

Speaker 4 (02:32):
Love is in the air, that's true, it's true. Yeah,
oh yeah.

Speaker 2 (02:36):
Excited to talk about this movie too. This is something that.

Speaker 4 (02:40):
We thought we did last year.

Speaker 2 (02:41):
We thought we were going to do last year.

Speaker 3 (02:44):
I didn't take part in this that ended up being
Collateral Damage. I wish someone would have texted me I
could have told you, yeah.

Speaker 2 (02:51):
But I'm glad we came full circle on this and
actually got to do the movie I thought we were
going to do. It's one of the what I would say,
they feel like rare occurrences where I really liked this
movie when I was younger, and then when I went
back and watched it twenty one years later, I think
I liked it more more now than I did back then.

(03:12):
I think it's one of Tom Cruise's best, really tense,
interesting story that I think I didn't appreciate some of
the bigger themes and ideas in this movie that we'll
get into, but really excited. I love this film.

Speaker 4 (03:28):
Yeah, I agree, it was.

Speaker 3 (03:29):
That same same. I think it's one of Tom Cruise's best.
Might be my favorite.

Speaker 2 (03:34):
Tom, I think it is. I think it is my favorite.

Speaker 3 (03:37):
Michael Man. I like him. I haven't enjoyed all of
his stuff, but I think this is also one of
his best.

Speaker 4 (03:43):
Well, unless you blindly push play, then you don't know
what we're talking about, because that's true.

Speaker 3 (03:49):
We have Oh my god, yeah.

Speaker 4 (03:50):
But we are talking doesn't it doesn't it tell people
that's okay unless you blindly pushka. But we were talking
about the two thousand and five Michael Man film Collateral.

Speaker 3 (04:02):
I don't think it's two thousand and five.

Speaker 4 (04:04):
Two thousand and four. I always do that.

Speaker 3 (04:07):
You're yes, for now, we're talking about I've heard in
a couple of years we won't be here at all. Yes,
but good. But I can't think of a better way
to die talking about Collateral.

Speaker 4 (04:20):
And if you don't know or haven't seen Collateral, it's
all about Max, a timid Los Angeles taxi driver who
picks up the mysterious Vincent one night not knowing his fare.
Is a ruthless hitman. Hitman on a mission to eliminate
key witnesses that could ruin a major case. As Vincent
forces Max to taxi him around the city looking for

(04:41):
his target, Max confronts his fears and fight for survival
while grapping with moral dilemmas. The night spirals into a
dangerous game of cat and mouse as Max tries not
to become one of Vince's targets.

Speaker 3 (04:53):
And how about Tom Cruise is hearing this stunning silver Fox?
Silver Fox has just got that right out of about
that gray suit. Yeah, styfil and killing.

Speaker 4 (05:04):
I wonder if that was all done purposely.

Speaker 3 (05:06):
I bet it was. I bet it was.

Speaker 4 (05:07):
Maybe we'll discuss that.

Speaker 3 (05:08):
I hope so.

Speaker 4 (05:09):
But uh, in case you didn't figure out by the
last three minutes of us talking about Tom Cruise, Collateral
stars Tom Cruise as it also Jamie Fox plays Max,
and then the film features an extensive list of amazing
actors and smaller roles and cameos featuring Jada Pinkett SMITHO,
Mark Ruffalo, Javier Bardemuh and Jason Statham. If he's one

(05:34):
of those if you blink it, you miss it, yep.
If you're one of those people like like ones that
in the city of Memphis who love to show up
for a movie twenty minutes after it starts, then you
would have.

Speaker 3 (05:45):
Missed You missed him completely.

Speaker 4 (05:47):
You also would have missed most of Jada Pinkett Smith
as well.

Speaker 2 (05:50):
Yeah right, sorry, go ahead, you go first.

Speaker 3 (05:53):
I was gonna say, I think for some people have
thought that this character is like Statum is played in
the Transporter.

Speaker 2 (06:02):
Oh, that's a fun theory.

Speaker 4 (06:03):
I thought.

Speaker 3 (06:04):
I don't know it's true, but but I think the
Transporter came.

Speaker 2 (06:06):
Out a year before couple, I think.

Speaker 3 (06:09):
And so they thought that this might be like that.
I don't know.

Speaker 2 (06:12):
So they were starting to leave. They were starting a
transporter the cinematic Universe before the Cinematic Universe.

Speaker 4 (06:18):
Was unlike the Alan Rickman we talked about a couple
of months ago.

Speaker 2 (06:22):
Yes, Christmas, I completely forgot Mark Ruffalo was in this movie,
and then when he popped up, it was kind of jarring, like, oh,
that's who he plays because you see him in the cast,
like yeah, and I couldn't place it. And then Javier
Bardim I had no idea. Of course at the time,
I wouldn't.

Speaker 3 (06:37):
Have known who he was, but I forget is in there.
But Mark Ruffalo's partner is Peter Berg, Yeah, who would
go on to direct like Friday Night Lights and Loan
Warrior him and Mark Wahlberg basically yeah.

Speaker 4 (06:49):
And then it was directed by Michael Mann, who we
mentioned earlier, who is also known for Public Enemies Ali Yeah,
and Heat, which is one of my favorite like, yep,
shoot him up?

Speaker 3 (07:00):
Did you do that? Man? Yes, he did.

Speaker 2 (07:02):
He didn't, Yeah, which I liked in two thousand and six.

Speaker 3 (07:05):
I remember curious to watch it half of us.

Speaker 4 (07:09):
In twenty twenty seven, well, we may find out.

Speaker 2 (07:11):
I dressed up for that movie. Yeah, dressed up for
that film. You wore no socks with your shoes that day?
I wore did you ever hear? I had my hair
slipped back. I wore the Aviator sunglasses. I had the
button down shirt that was unbuttoned like flowing free and
uh an undershirt tucked into khakis with a belt.

Speaker 4 (07:30):
I dressed like hell, yeah, got all the pussy that night,
didn't you?

Speaker 3 (07:33):
Uh?

Speaker 2 (07:34):
No, I did not. No, I did not. And I
was the only person in the theater that dressed up
vice Yeah. Uh.

Speaker 4 (07:41):
It was then written by Stuart Beattie, who is known
for the Pirates of the Caribbean franchise. Was written on
that Thirty Days a Night, which I think is an underrat.
It slept on horror film, Yeah, I would agree Australia,
which I never saw. And then he also has written
on the Obi Wan Kenobi series about that.

Speaker 3 (08:00):
People like that show, I'll take their work. I think
it's about space fighting.

Speaker 4 (08:04):
Yeah, space lot like Marvel burst out on Star Wars.

Speaker 2 (08:09):
Yeah, I haven't watched any of those shows. I think
Star Wars sucks anyways, Yeah, who needs them?

Speaker 4 (08:14):
So a lot of people will tell you to go
fuck yourself for a comment like that, and that, coincidentally
is the name of today's drink. What the go fuck
yourself cocktail? Is A simple? Is a simple cocktail? You
need a half an Announce and a half of Jack Daniels,
three ounces of lemonade, and a little splash of coke.

(08:35):
You're gonna pour the j D and the lemonade in
a Rocks glass over ice, and then top with a
splash of coke.

Speaker 3 (08:40):
I can't serve this to my Christian friends.

Speaker 2 (08:42):
Coke or Coca Cola.

Speaker 3 (08:45):
That's a good question. If this was Miami, Vice would
let me get back to that.

Speaker 4 (08:49):
But we're in La, it's gonna be Coca Cola. In
La would be coke zero probably.

Speaker 3 (08:53):
Yeah. Hell yeah, dude, I got a fridge full of
that ship you want something or some yogurt? You want
some yogurt? Uh. That's a simple little cocktail that I
think that sounds good.

Speaker 2 (09:04):
Yeah, yeah, I'm with it.

Speaker 4 (09:07):
Kind of a springtime drink. We're getting spring.

Speaker 3 (09:10):
That's a little more refreshing, not like that hot and
spicy one that we did for Love.

Speaker 2 (09:16):
Actually yeah yeah, cider, yeah, insider, Yeah, it's a diuretic,
it'll make you poop.

Speaker 4 (09:23):
What was what was the actress's name? Something in my crotch?
What was her crotch?

Speaker 3 (09:28):
Hikey on my crutch? Yeah, go back. I wonder how
many actually, I wonder how many references huge laughs that
got when people listened to it, especially when I said
it for the third time to make sure everyone understood.

Speaker 4 (09:40):
Uh, we talked as we do on every podcast, and.

Speaker 3 (09:43):
Once again you'll know which three, which three episodes we
did in one city.

Speaker 4 (09:51):
We're only on number one. Speaking of numbers, what did
it cost to make.

Speaker 3 (09:59):
Collapse? Yeah, that's a big I think that's some big money.
Tom Cruise what twenty million at least? And Jada Pinkins
can't imagine Mark Ruffalo, no one knows.

Speaker 2 (10:15):
I'm gonna say. I'm going to say I.

Speaker 4 (10:19):
Think Jason Stadium got at least what Claudie Schiffer got
in Love.

Speaker 5 (10:22):
Actually, yeah, maybe.

Speaker 2 (10:26):
It's an intimate story.

Speaker 3 (10:28):
It's not doesn't cost a lot like as far as
what they did, I don't think there's not a lot
of big sets.

Speaker 2 (10:33):
Yeah, I'm gonna say, I'm gonna say forty six.

Speaker 3 (10:38):
I was I was thinking forty two.

Speaker 4 (10:41):
You're way off. Sixty five million dollars.

Speaker 3 (10:44):
Damn well, that must have had to do with Michael.

Speaker 4 (10:49):
There's a good bit of cars that are crashed and
blown up.

Speaker 3 (10:52):
There's I know Tom Cruise gets a hefty paycheck. He
probably that's probably twenty.

Speaker 4 (10:59):
Of Itjamie Fox wasn't Jamie Fox yet, No, but I mean,
I mean he's yeah, yeah's Academy Award winner yet.

Speaker 2 (11:09):
So what I was thinking is like how much I
don't know this, but I know there's a reason that
a lot of the filmmaking industry leaves California to film.

Speaker 3 (11:22):
Breaks and stuff.

Speaker 2 (11:23):
Yeah, so I'm just wondering how much of that is
tied into like if they actually filmed this in Los Angeles,
and I bet.

Speaker 3 (11:31):
You think I think it was filmed like on these locations.

Speaker 4 (11:34):
I think I think it kind of had to have been, because.

Speaker 3 (11:37):
That's what I'm thinking, like you so so much that's
really outside I think, right, Yeah, I mean, I know
they of the clubs.

Speaker 2 (11:43):
So I'm thinking, like if if you're starting to get
into it's not the special effects it's not necessarily the
star power. Maybe it goes into.

Speaker 3 (11:53):
Just filming an expensive hermits.

Speaker 2 (11:58):
Yeah, so I mean maybe they just they said, you
know what it has to be.

Speaker 3 (12:02):
How much does it cost to rent a cab for
that long?

Speaker 2 (12:04):
Yeah? And I mean, to be fair, does this movie
feel the same if it's not filmed in LA, Because
I feel like this is one of those cases where
the city itself is one of the character.

Speaker 3 (12:18):
Has to be like in New York, Chicago, La.

Speaker 4 (12:20):
Well, it was originally not to get ahead, but it
was originally set to be written.

Speaker 3 (12:24):
In it for New York.

Speaker 4 (12:27):
When Michael Mann came on board, He's like, no, I
don't do I don't do New York.

Speaker 3 (12:32):
Well, I kind of feel like this is a man
La kind of story. Though, well it it. I think
it becomes that. And of course then there's I mean,
there's a whole conversation where Vincent hates La, talks about
the city itself and kind of shits on it.

Speaker 4 (12:46):
But let's continue talking about numbers. We got to talk
box office. Give you a little backstory. It opened August sixth,
two thousand and four, and it was the only major
release outside of Brittany Murphy's rom com Little Black Book.

Speaker 2 (13:01):
Oh yeah, damn, I didn't realize that was O four.
I thought that was a little earlier.

Speaker 3 (13:04):
Wow.

Speaker 4 (13:05):
And I will give you a hint. Collateral was the
twenty first highest grossing film of two thousand and four.

Speaker 3 (13:11):
Damn. Oh good for them.

Speaker 4 (13:12):
And it opened on thirty one or three eighty eighth screens.
So what did it bring in opening weekend US Canada?

Speaker 3 (13:23):
I feel like it was traded, are though? Right? Yeah?

Speaker 2 (13:27):
Oh yeah, and it's opening weekend. I'm going to say,
right at the end of the summer blockbuster scenes, I'm
going to say thirty one million, thirty one.

Speaker 3 (13:40):
I was going to say, like forty six.

Speaker 4 (13:43):
You were way off twenty four point seven? Mal, what
the hell everybody went to see Little Black Book.

Speaker 2 (13:49):
Yeah, it's the end of the blockbuster run.

Speaker 3 (13:52):
No, but the twenty first that's a you made a
lot of money from August to the ye.

Speaker 4 (13:58):
So total North American box office was one hundred and
one million, and then worldwide and more than doubled that
it a little over two hundred and twenty million. You
know why, I mean, I do I have the notes?

Speaker 3 (14:11):
Oh, I was gonna say, I feel like Tom Cruise
International Star yeah, what.

Speaker 4 (14:15):
Do you think was the highest grossing country outside of America?

Speaker 3 (14:18):
Bulgaria because they thought Alan Rickman was in it. But
they I have Bulgaria.

Speaker 4 (14:24):
They China, you're close, well, China, Russia, You're close, Russia, Japan, Japan.
Japan brought in uh, just under twenty million dollars.

Speaker 3 (14:38):
He said close.

Speaker 4 (14:40):
Yeah, I mean China is close to Japan.

Speaker 2 (14:42):
Geographically based about on the Mount God, I'm the racist.

Speaker 3 (14:46):
Yeah you yeah, You're gonna get canceled. Damn. I mean
you thought was talking about the people. Yeah, oh, shame
on you, for real, that's on you. I'll tell you
who I told you.

Speaker 4 (14:56):
Bugaria, Shit, Bulgaria did love collatteral they brought in over
eighty two.

Speaker 3 (15:01):
There they are, there they are.

Speaker 4 (15:03):
And I talked about how Egypt hated fucking love actually,
but who really hated Collateral good? The fucking New Zealand.
What New Zealanders brought in six hundred and four dollars.

Speaker 3 (15:18):
Was Lord Rings still playing probably that's why.

Speaker 4 (15:21):
Well that's or they were still filming one and all
the everybody was as an extra.

Speaker 3 (15:25):
It's Peter Jackson's fault.

Speaker 4 (15:27):
Yeah, so we know New Zealand hated it. The Japanese
loved it. But what did critics think about rotten Tomatoes?

Speaker 2 (15:35):
What did they think about rotten Tomatoes? I'm going to
be so hungry. I'm gonna say eighty six percent.

Speaker 3 (15:43):
I feel like I'm I'll say eighty nine. I feel
like it's in the eighties.

Speaker 4 (15:48):
Stony's right on the dot.

Speaker 3 (15:50):
I'd say I thought not ninety, but eighty sounded sound right.

Speaker 4 (15:54):
But did the audience members think?

Speaker 3 (15:57):
Probably they don't appreciate art.

Speaker 2 (15:59):
I'm still gonna go relatively high from the audiences, cause
I can't. This is one of the rare films that
I can't. I have a hard time seeing too many
real critiques of it. Like if you just don't like
the style of film, I get it. If you just
don't like Tom Cruise, I get it. But I don't know.
I'm gonna say. I'm gonna say eighty two, eighty two

(16:22):
percent from the audience.

Speaker 3 (16:27):
I feel like it might be higher, but I'm just
gonna say, well, you know what, I'm gonna.

Speaker 4 (16:31):
Say, eighty six eighty four?

Speaker 3 (16:34):
Right, No, we split it.

Speaker 4 (16:37):
And then I have some people from Letterbox who really
like this film as well. Yeah, and we have Christina
Delio four and a half stars. There you go, that's
better than mine. I gave it four?

Speaker 3 (16:49):
How do we probably give it four and a half.

Speaker 2 (16:52):
It's four and a half maybe five?

Speaker 3 (16:54):
Yeah for me, she.

Speaker 4 (16:55):
Said, every time I get to the Yo homie, is
that my briefcase scene?

Speaker 2 (17:00):
I love it.

Speaker 4 (17:01):
I fucking giggle with glee. He he These guys are
so screwed.

Speaker 2 (17:05):
Yeah, for real, Like it's that scene gives me chills
because you just like you just know.

Speaker 3 (17:11):
I remember, and I I remembered even before I rewatched it.
I know there's something about when he says that. He
I mean, we know, as the audience he ain't fucking around.
They're about to find out.

Speaker 4 (17:25):
I would like somebody to put like a little like
montage or clip clip set together of scenes like that
because of Tom Cruise, because every time I see that scene,
I go straightly to the diner scene and Jack Reacher,
where Tom Cruise just beats the ship of those guys
outside the diner. Yeah, am I am I losing you?

Speaker 3 (17:46):
No?

Speaker 2 (17:46):
No, I just thought I heard a knock on.

Speaker 3 (17:48):
Yeah. I was just saying there seemed like there was
a knock on my head set.

Speaker 4 (17:51):
Oh I didn't hear anything.

Speaker 3 (17:52):
No, okay, all right, go ahead, Yes, Jack Reacher, Yes,
I know that.

Speaker 4 (17:56):
Yeah, really threw me off there? Did I say something wrong?

Speaker 3 (18:00):
When you said it? We both heard it, and it
sounded like somebody was.

Speaker 2 (18:03):
Should we pause and take a take a peek? Maybe
we should? What I thought I heard somebody knock on
the door. Okay, all right, but I'm also old and
can't hear for shit, all right, sorry.

Speaker 3 (18:15):
M Yes, Jack Reacher, where he goes into the diamonds.

Speaker 4 (18:20):
Just like I think it would be fun to have
like just a series of scenes put together of him
just whooping people's ass.

Speaker 3 (18:24):
I thought you were going to say, because I think
people have put together scenes of him running, of different
movies of him running, and he runs a collateral. That's
the first thing I think of. And I know there's
a way because I want to think. I know he
trains the stuff, but there's a way that he does
his the way he points a gun.

Speaker 4 (18:45):
Yeah, he went for specific training for that.

Speaker 3 (18:48):
Yeah, And I don't know. Some of that stuff just
sticks in my head when I rewatched it. But yes, him,
and when you know you're screwed. Even though he's five
foot two, I think on a good day he'll still
kill you.

Speaker 4 (19:02):
And then Jerry McLoughlin gave it four stars. Okay, He says,
Cruise can't be bargained with, Cruise can't be reasoned with.
Cruise doesn't feel pity, Cruise doesn't feel remorse or fear,
and Cruise will absolutely not stop ever until you're dead.

Speaker 3 (19:20):
There you go, hell ya? But what about his character? Yeah?

Speaker 4 (19:23):
I think that's what he was referring the man. I mean,
who knows.

Speaker 3 (19:28):
We scientology can do a lot of things.

Speaker 4 (19:32):
Yeah, we've seen it.

Speaker 3 (19:35):
And I love a scientology. I love Tom Cruise.

Speaker 4 (19:40):
You were almost like dipping into a Trump uh impersonation
there was.

Speaker 3 (19:47):
My wife hates Tom Cruise hates him? Have you not
served papers yet? I'm like why, But I'm like, but
here's the thing. I'm sure he's nuts. Oh yeah, but
he makes green, he's magic, but he makes good movies.
He makes actually makes great movies. No, and I don't

(20:07):
see that's the thing. I don't even think she's seen
some of his stuff, just because I don't even know
the last Tom Cruise movies you saw him.

Speaker 4 (20:15):
This world does not need that kind of hate in it.

Speaker 3 (20:17):
I know, I know it's one of those I don't
really want to know the real Tom Cruise. I just
want to know the on screen time.

Speaker 4 (20:23):
I never want to meet him.

Speaker 3 (20:24):
Yeah yeah, no, he seems nice when he does read
of carpets. But you know, there's something I.

Speaker 4 (20:29):
Want to hang out with, like tropic thunder Tom Cruise.

Speaker 3 (20:33):
Yes, yes, I want to hang out with. Which Tom Cruise?
Would I like to hang.

Speaker 4 (20:39):
Out all the right moves where his cock's hanging out.

Speaker 3 (20:44):
Maybe I want to hang out with kind of maybe
a top gun Maverick Tosky business Tom Cruise, Yeah yeah yeah,
and Tom Cruise and are under maybe maybe a younger
Tom Cruise. I haven't seen this back knock on the door,
but the color of my I feel like that cocktail.
That's a that's a cool Tom Cruise.

Speaker 4 (21:04):
Yeah yeah, yeah, yeah yeah. Lastly, Elie gave it three
and a half stars, and she's come up.

Speaker 3 (21:11):
With three and a half. Three and a half.

Speaker 4 (21:13):
She says, date night idea. We go on a romantic
nighttime drive. We go to a jazz club, I meet
your mom. We almost kiss on a bridge. We see
a coyote in the street that nearly brings us to tears.
We go to the club.

Speaker 3 (21:31):
And Mark Ruffalo will not leave us alone?

Speaker 4 (21:37):
Why does not only have three and a half stars?
What I want to know, I mean, I give that,
I give that review five stars.

Speaker 3 (21:42):
Yeah, that's five stars. Five Mark Ruffalo won't leave us alone.

Speaker 4 (21:47):
So it's the fun facts as we're getting into the
meat of the podcast. Two Oscar noms for this film.
Jamie Fox for Best Supporting Actor. Uh, he lost to
Morgan Freeman for A Million Dollar Baby that year hm.
And then Jim Miller and Paul Ruble for Best Film
Editing Films right, damn peewee harmon himself. That's right, Best

(22:10):
Film Editing. They lost to Thelma Shoemaker for The Aviator.

Speaker 3 (22:14):
Okay, well some heavy hitters there.

Speaker 2 (22:16):
Yeah, that was This is a good year for film
that were we're talking.

Speaker 3 (22:21):
I don't think I think some people would be surprised
to I think he deserves it, but that he that
Jamie Fox was actually nominated for Sporting Actor also knowing
he's all he was. He's nominated for Best Actor too.

Speaker 4 (22:34):
Well at the time of its release, we did not
know that.

Speaker 3 (22:37):
I just mean like the fact that he got nominated
twice and he got enough votes to get into Supporting
Actor when yeah, obviously a lot of the weight was
shifted onto the best actor.

Speaker 4 (22:47):
But I do think this is a side of Jamie
Fox we've never seen before.

Speaker 3 (22:51):
Agreed, this was a not since Willie Beamon in any
given Sunday have I seen Jamie Fox.

Speaker 4 (22:56):
Yeah, let loose, because he's always been any character he's played,
whether on in Living Color or any Gives Someday, they've
always been confident characters.

Speaker 3 (23:06):
Yeah, don't forget Booty.

Speaker 2 (23:08):
I could never I thought it was a really interesting
range of emotion for his character as well, that he
had to portray, like he is this timid taxi driver,
but then he has to go into this club and
pretend to be Vincent. That's a pretty that's a pretty
fun scene.

Speaker 4 (23:29):
Yeah, I think you.

Speaker 3 (23:31):
Yeah.

Speaker 2 (23:31):
And and like the idea of this story, like where
they're they're putting it's basically two characters fate's intertwined on
this on this evening, and it's a timid guy that
has to kind of I don't like, rise to the occasion,
kind of like his life's on the line.

Speaker 3 (23:53):
And I think also like his mama's well sorry, but
but it's like to m caash's point in this movie, Tom,
Jamie Fox looks like he has no chance against Vincent,
like that ain't like it ain't gonna work.

Speaker 2 (24:07):
So it's it brings this really interesting layered performance where
Jamie Fox has to get the timid guy down, but
it's also the timid guy that has to kind of
come out of his shell to be a little more hardened,
to be a little more brave and adventurous in order
to survive in the current situation. So I think it's true.

(24:28):
It's the layers to the performance that for me was
just like, wow, this is this is brilliant.

Speaker 4 (24:33):
I saw correlations between their two dynamics compared to Denzel
and Ian.

Speaker 2 (24:41):
Yeah, for sure.

Speaker 3 (24:43):
Do you think Jamie Fox would have won Supporting Actor
as well if he was blind? Exactly? You know what
I forgot, and it's a nice little touch, but you're
talking about where fates are intertwined. I forgot that he
almost went to a different cap. I forgot that little
moment where he's about to get in. He's not paying

(25:05):
attention and he's about to he's starting to walk off,
but and then he calls back out to him.

Speaker 4 (25:11):
Well, one of the reasons I'll kind of get to
some of this later. One of the reasons why Cruise
took on the role was because Michael Mann had fleshed
out the backstories of the two main characters so thoroughly
that when Tom Cruise was was reading all those notes
and everything, it made him take on the role because
and that scene Vincent is testing cab drivers for for

(25:36):
showing who's week, who's weak and such, and so based
off his first question or whatever to Jamie Fox's character
made him decide whether or not he was going to
get in that cab because he needed somebody he could control. Yeah,
and he saw that in the Max character.

Speaker 2 (25:52):
It's very calculated.

Speaker 3 (25:54):
Yeah, as it as it kind of goes goes through.

Speaker 2 (25:57):
Comes across as a very calculated thing though, And it's like.

Speaker 4 (26:01):
The way that that's the way Michael Man just operates.

Speaker 3 (26:04):
Yeah, that's true.

Speaker 2 (26:06):
The way that we're introduced to these two characters with
Max in the in the cab driving the lady around,
and you feel like sympathetic towards him, Like he just
kind of comes across as this every man trying to
chase his dream, trying to make it nice guy. He's
he's got some riz, as the kids say, knows this
city very jovial, like I.

Speaker 3 (26:27):
Can tell you how much time and then doesn't really
give himself the credit.

Speaker 2 (26:31):
Yeah, he's very humble, Like there's just rattling off item
after item off the list. That makes him a sympathetic
character compared to like when we first meet Vincent, it's
very like cold.

Speaker 3 (26:45):
Yes, he comes.

Speaker 2 (26:45):
Across as a hardened guy and it's like we know
right away. It's it's really effective at establishing the characters.
But yeah, the actors really breathe life into those concepts,
and that's what makes this to me such a one
of one of the reasons it's such a speci.

Speaker 3 (27:00):
And Yeah, I know there's like there's obviously the cat
and mouse game and everything, but there are conversations I
thought were really fascinating, especially when they start kind of
breaking it down a little bit more into, like you said,
the bigger themes of not just you have a killer
in your back seat. Yeah, I thought it was really
interesting on that front. Two.

Speaker 4 (27:21):
To continue with the awards talk, this was the only
non Best Picture Oscar nominee that was nominated for Best Editing.

Speaker 2 (27:30):
How about that?

Speaker 3 (27:31):
Wow?

Speaker 2 (27:31):
Pretty good.

Speaker 3 (27:32):
I think I would have liked to have seen Collateral
on Best Picture. I can't Yeah, I don't remember the field,
but I know Aviator, Million Dollar Baby, I know they
were in there. Ray.

Speaker 4 (27:45):
And then there was another awards that happened that year
that I've never heard of, and that's the Mumbles Mumbles
the Mumbley's. Okay, Collateral won the two thousand and four
Mumbley for the Most Mumbled Film of the Year. Then
in the twenty ten World Mumblely List, it won the
Mumblest Mumble for most Mumbly Film of the decade.

Speaker 3 (28:06):
Damn, look at Collateral.

Speaker 2 (28:10):
Racking up the U for what it's worth. The best
picture field that year, Million Dollar Baby, the Aviator Ray,
Finding Neverland, and Sideways.

Speaker 4 (28:20):
Okay, I would have taken Finding Neverland.

Speaker 3 (28:23):
Out boom put Collateral in.

Speaker 4 (28:25):
Yeah, I can support that was what was gold? Oh
gold Gloves does comedy and.

Speaker 3 (28:29):
Yeah, that's hard to say.

Speaker 4 (28:33):
There are no opening credits to the film. It goes
straight in.

Speaker 3 (28:36):
Oh yeah, it doesn't, doesn't.

Speaker 4 (28:37):
There's no credits to the film nor title. The only
credits scene at the end, uh start with directed by
Michael Mann and the title is the end at the end,
very end.

Speaker 3 (28:47):
Oh yeah, I did not notice that. I can't say either,
because I think I was just like ready to go. Yeah.

Speaker 4 (28:55):
I just remember like old black and white films going
doing the same thing, going straight in to the movie,
and then at the very end there's just a basically
a sheet smart that has all the oh.

Speaker 3 (29:07):
Yeah yeah, yeah yeah. Uh.

Speaker 4 (29:09):
Tom Cruise trained for roughly three months with the LA
County Sheriff's Office at combat shooting ranges, and it was
apparently his first time with live rounds, surprising exactly no one.
Michael Man adds that Tom is extraordinary skilled at everything
athletic that he tries.

Speaker 2 (29:27):
And yeah, that's that's the book on Tom.

Speaker 3 (29:31):
They're surprised there.

Speaker 4 (29:32):
Imagine what he could have done if he was like,
you know, six feet tall or six ' five or
something and playing like actual sports.

Speaker 2 (29:41):
No telling, sky's the limit.

Speaker 4 (29:42):
He could have been the real Tom Brady.

Speaker 3 (29:45):
Yeah he could.

Speaker 4 (29:46):
But his tactical draw is so good in scenes from
Collateral that is used by experts and lessons for handgun training.

Speaker 3 (29:53):
Oh my god, they're they're studying an actor, not al
toohold it god. He is good.

Speaker 4 (30:03):
He's he's a goat. Without a doubt, he is there.

Speaker 3 (30:06):
You can't deny his star power, you can't deny his
dedication and now he's kind of more known for stunts
really than anything else. But I will say he is.
He's starting to make a turn around again because Alejandro Niratu,
he did Birdman, he did The Revenant, He's in his

(30:27):
new movie. And I'm like, I think Tom's trying to
get an Oscar.

Speaker 2 (30:31):
Maybe Tom doesn't have an oscar? Does he is?

Speaker 4 (30:34):
Nominations nominations, Yeah, Magnolia, Jerry Maguire.

Speaker 3 (30:39):
Magnolia, Jerry Maguire born on the fourth of July.

Speaker 4 (30:42):
How about that one?

Speaker 3 (30:43):
I think that's only three he's ever done.

Speaker 2 (30:45):
Didn't get a few good men.

Speaker 3 (30:48):
I don't think he got nominated. Yeah. I think it
was just supporting for Jack and Kevin Paulack.

Speaker 4 (30:55):
Oh.

Speaker 3 (30:55):
I know, it's kind of crazy.

Speaker 4 (30:57):
I forgot Kevin poulg was even in that yep. Uh.
But to prepare for the film, Cruz made FedEx deliveries
and a crowded LA market without anyone recognizing him.

Speaker 2 (31:09):
That's insane.

Speaker 3 (31:10):
That inane. But I feel like if anywhere in LA
that's kind of like no one, Like, I don't. I
don't think anybody's paying attention. I yes, I should say.

Speaker 2 (31:18):
And I guess maybe I don't know if he's.

Speaker 3 (31:20):
You're wearing a hat and stuff, you'd have to be
face to face talking to him.

Speaker 4 (31:25):
Yeah, there's a legendary technical advisor named Mark Gould. He
was brought onto train crews for the action sequences, including
showing him how to fire the live rounds, and Gould
was also a technical advisor on action films like Taking Public, Enemies,
Replacement Killers, Heat and Ronan. I fucking love Roan. I
never saw ronin Oh yeah, like a Nero yep. And

(31:49):
though Vincent the Cruise character presents themselves as a gentleman
despite being a ruthless, cold blooded killer, his physical appearance
is based on that of being a wolf, which we
mentioned earl. They're jokingly with the gray hair, grayish eyes,
and predator smile. That was all done purposely by Michael Mann.

Speaker 2 (32:10):
Careful filmmaking, calculated filmmaking.

Speaker 3 (32:13):
It works though, like it really it caught my eye,
like for the first time I saw it.

Speaker 4 (32:18):
Yeah, yeah, because you've never seen Cruise outside of his
like his technically natural Yeah. No, actually, I don't think
that when he plays tries to play a samurai.

Speaker 3 (32:29):
Yeah, I like that movie. Somebody had to.

Speaker 4 (32:36):
Here's some fun little like okay, tm the little TMZ
type stuff. So Tom Cruise he used to date Penelope Cruise,
that's right, who is now married to. And then Cruise
was also married to Katie Holmes, that's right, who later dated.

Speaker 3 (32:59):
Damn, oh my god, and Michael Mayn fucked Nicole Kimmon.

Speaker 4 (33:05):
I don't have that in my notes.

Speaker 2 (33:05):
I don't know, Yeah, I can't. But also, man, do
y'all think they ever had some like big sex parties
just to get Everybody is familiar.

Speaker 3 (33:16):
With are you not? Do you not know who puffed
Aaddy is?

Speaker 2 (33:19):
Everybody is familiar with each other's bodies. There's no there's
no nothing wrong, nothing wrong with just getting together, having
a few drinks.

Speaker 3 (33:28):
And you knowing about Tom Cruise and Javier Bardim.

Speaker 2 (33:31):
Putting the tarps down on the mattresses and.

Speaker 3 (33:33):
Just tell you Wayland, let me Javier Bardim doesn't need
anything else but himself.

Speaker 2 (33:41):
I didn't say, well, nobody needs anything more than themselves,
but it's fun.

Speaker 3 (33:45):
I bet I just realized. Can you imagine Tom Cruise,
Jamie foxx, Javier Bardim, Katie Holmes, Penelope Cruise and Nicole
Am I am I gonna put Nicole kid if I
put Nicole Kivivin in there. I have to put Keithurban
in there, and Michael Mann and Michael Mann. I made
that part up about Michael Mann. I don't want him

(34:05):
emailing me.

Speaker 2 (34:06):
Yeah, good call.

Speaker 3 (34:08):
Don't talk about me having sex.

Speaker 2 (34:10):
It just seems like everybody's swapping each other's body.

Speaker 3 (34:13):
Part so many years. Yeah, I don't know. I'm just
I'm just proposing an idea. Kids.

Speaker 2 (34:20):
Part of the fun of the show is that we
talk about some hypotheticals.

Speaker 3 (34:24):
Can I be honest jave Er Bardim and Penelope Cruz,
I feel like God put them on earth to be together.
You can't. You can't put two prettier people together. I
don't care who you are less unless are you thinking
the same thing I am, Martin Short and Meryl Streep.
Is that who you're thinking?

Speaker 4 (34:44):
Yes, exactly where I went to.

Speaker 3 (34:45):
Okay, just checking.

Speaker 4 (34:47):
I mentioned Stuart Beattie wrote this film. He's from Australia
as an Australian screenwriter.

Speaker 3 (34:51):
It wrote Australia. Yes.

Speaker 4 (34:54):
He was seventeen when he took a cab home from
the Sydney Airport by himself, and it was on that
ride that he had the idea of a homicidal maniac
sitting in the back of a cab with the driver nonchalantly,
nonchalantly entering into conversations with him, trusting his passenger implicity.
Beattie drafted his idea to a two page treatment, and

(35:14):
then later, when he was a student at Oregon State,
he fleshed it out into his first screenplay, which was
actually titled The Last Domino. He put the script away,
taking it out occasionally for revision and rewrites over the
years Wow before it finally became Collateral, And one of
the big reasons why Michael Mann chose to make the
film was the way Stuart's script captured an entire story

(35:37):
in a very short period of time. Because it's all
done over one night. The whole movie is like the
third act of a traditional drama, he said, and he
likes how it doesn't go backward to offer more detail
into these characters' lives and instead we're just catching them
in the moment.

Speaker 3 (35:52):
Yeah. Yeah, well, I think that's what makes that flow
so well, And there's enough in there to kind of
understand where they're coming from, and that's where you know, obviously,
the dialogue conversations give you a peek into what they
were hoping, and I don't want to know everything about
Vincent now that ruins it.

Speaker 2 (36:11):
And I think it's it's really interesting earlier when I said,
like the bigger themes in the movie, I think there
is like a bigger feeling about this story because it's
so small and we're essentially following these two characters whose
fates have intertwined, as Vincent calls it in the back

(36:31):
of the cab, cosmic coincidence, and you think about, like
the odds of all of these things happening in a
way to set this story up. It's not necessarily that
it's a big, sprawling story with a bunch of characters,
a lot of explosions and special effects and all these
grandiose things. It's a big story because of all of

(36:53):
the ways the universe conspire to put these two people together.
And that's the thing I was talking about earlier when
I said I didn't appreciate that at the time, but
when you go back and watch this movie, like every
little decision that that kind of puts them in this position,
and even Vincent acknowledging it in that regard, like the
odds of this happening have to be astronomical. You feel

(37:16):
like you're watching something that is one in a million,
despite the fact that it's yeah, two characters, two actors
breathing life into them and just a hell of a story.
It's like, wow, this is there's almost almost a magical
quality to the film because of that.

Speaker 3 (37:33):
For me, anyway, I also give this film a ton
of credit on its ending.

Speaker 2 (37:41):
Yeah.

Speaker 3 (37:41):
I love the ending. And you get told a little
story maybe about halfway through, just about people not basically
people living their lives and not paying attention around about
the guy being on the train, and yeah, they know
he's dead.

Speaker 4 (37:59):
And then did that closing scene with the train reminds
you of a film, a film's opening.

Speaker 3 (38:08):
Polar Express.

Speaker 4 (38:09):
No, not quite. I don't know if this is done
purposely or not, but the train, the ending scene with
the train goes hand in hand with the opening scene
from Heat.

Speaker 2 (38:21):
Huh oh okay, another film.

Speaker 3 (38:25):
I don't know if I've seen all of Heat.

Speaker 4 (38:28):
I've seen it all the way through once and that
was in the theaters and not knowing it was like
three hours long when I went to see.

Speaker 3 (38:34):
It, and I think, is it next year? I think
it's like thirty year anniversary? Is it ninety five. That
sounds about right anyway. I'm hoping that like somewhere like
Nashville Bell Court, they show it. I would love to
see it in a theater.

Speaker 4 (38:51):
One of the things that Michael Mann loved really the
most about the script was the cab because he used
to drive a cab Michael Man, as did his father
and then his grandfather actually owned a cap company. Damn yep,
family business. Wow, little personal touch to this this film.
And although Max refers to himself as Collateral in the

(39:14):
scene where he briefly stands up to Vincent in the
jazz club, that's not where the movie got its title.
The original script had Vincent's professional name as Vincent Collateral.

Speaker 2 (39:24):
That sounds so lame.

Speaker 4 (39:25):
Yeah, and there's actually a deleted scene that confirms it.
The title was considered for a change after the unsuccessful
release of The Arnold Schwarzenegger actually found Collateral Damage.

Speaker 3 (39:38):
Yeah, here we are, Here we are. I'm glad they
left that last name out.

Speaker 4 (39:42):
Everyone agreed that they shouldn't avoid a title everyone liked
just because it echoed a movie that no one cared about.

Speaker 2 (39:49):
Yeah, no one saw Collateral Damage anyway, except for two
people in this room except for us. Except for us, Yeah, suckers.

Speaker 4 (39:57):
And then after the first killing, Vince refers to Max
as Lady Macbeth because he's cleaning up the mess in
the front seat instead of driving the cab. The character
Lady Macbeth would continuously wash her hands due to her
guilt over the murder of Duncan and other crimes, leading
to her committing suicide. So Max later attempts to kill
Vincent and himself by crashing the cab, but both survived

(40:19):
that crash, and in that scene in real life, Tom
Cruise got a concussion. So Jamie Fox gave Tom Cruise
a concussion.

Speaker 3 (40:28):
Damn.

Speaker 4 (40:29):
Yeah, yep, yep, you want to do some would have
should have? Yeah, let's do directing. Michael Mann wasn't first
in the list before he got the job. There were
three men. I think Steven Spielberg comes up every time. Yep,
but he was one of them. Yeah, Martin Scorsese, I could.

Speaker 3 (40:50):
I could see it. It wouldn't be the same. It
would definitely look different, Yeah, feel different.

Speaker 2 (40:55):
It just doesn't. I don't know. It doesn't feel like
a Scorsese story.

Speaker 4 (41:00):
Couldn't be l a if Scorsese is doing it.

Speaker 3 (41:02):
That's true, have to be the mean streets in New
York like.

Speaker 4 (41:04):
It was like the original script is, and the other
director would be the same way, and that's Spike Lee.

Speaker 3 (41:08):
M I would have liked to have seen that. But
again I do think, and like in so many cases,
which is what makes these filmmakers iconic in their own way,
is that it's never going to be the film we
watch it. That's not how Spike Lee wouldn't it wouldn't
even look like I mean.

Speaker 2 (41:25):
I'm happy with it just the way it turned in.

Speaker 3 (41:27):
Michael Man is the best. Yeah, he's the best choice,
I think, But.

Speaker 4 (41:30):
I don't think Michael Mann could have done it as
well if it was in New York.

Speaker 3 (41:37):
No, that may be true, and that's where I think
Scorsese and Lee probably do run wild with it.

Speaker 4 (41:46):
Yeah, I don't think we can say that name anymore.

Speaker 2 (41:49):
No, I can't.

Speaker 3 (41:50):
No, I don't think so. But Roman Polanski is still
pretty pretty cool.

Speaker 4 (41:57):
Let's talk about acting. There was an act who was
at one point offered both lead roles, not at the
same time, but he could have played either one. Oh,
mister Edward Norton.

Speaker 2 (42:09):
Yeah, I mean I can see it.

Speaker 3 (42:10):
I can see him being offered it. I don't see him. Yeah,
making this better. Uh.

Speaker 4 (42:16):
The screenwriter, Stuart Beattie wanted Robert de Niro to play Max,
but the studio wanted younger.

Speaker 3 (42:24):
Yeah. I don't know. Then if if de Niro is Max,
then who is Vincent? Yeah?

Speaker 4 (42:29):
I mean I have one for that. Oh with with
Oh that would work? That was I don't know if
it would have worked, but that was linked with another actor.

Speaker 3 (42:37):
Oh okay. Uh.

Speaker 4 (42:39):
Then the Detective Fanning character, which was what Mark Ruffalo played.

Speaker 3 (42:42):
Uh.

Speaker 4 (42:43):
Val Kilmer was cast as Detective Fanning, which he worked
in Heat yep, but he had to pull out due
to scheduling conflicts with the film Alexander. Oh, that's that's fine.

Speaker 3 (42:54):
Yeah, that's fine, but sorry. Val.

Speaker 4 (42:57):
Then we have some interesting ones that were up. The
role of maxa Cuba Gooding Junior.

Speaker 3 (43:03):
That's weird.

Speaker 4 (43:04):
Yeah, him and him and Tom Cruise, No know him
and Tom Cruise back together from Jerry Yeah.

Speaker 3 (43:12):
Uh.

Speaker 4 (43:13):
Johnny Depp was briefly considered for the role of Max. No,
he would have been Vincent before he is Max.

Speaker 3 (43:20):
Yeah.

Speaker 4 (43:21):
Ice Cube was considered for Max.

Speaker 3 (43:24):
Huh.

Speaker 4 (43:26):
And then the one that gets me at the time,
I could not have seen it at all, But now
since he's done other more dramatic roles, I could see it.

Speaker 3 (43:37):
Adam Sandler, that's not crazy now, No, not now.

Speaker 4 (43:43):
Two thousand and three, it would have been crazy.

Speaker 3 (43:45):
Would have been his Punch Trunk Love in two thousand
and four, Punchdrunk Love Out.

Speaker 2 (43:51):
I can't remember that.

Speaker 3 (43:51):
That's the only that's the only movie that at that time.

Speaker 5 (43:54):
Yeah, yeah, maybe it's just the stars aligned, much like
they in this story, for Vincent and Max to come together,
for for these actors and filmmakers to come together.

Speaker 4 (44:07):
So then you have an actor that was considered for
Vincent but decided to make another movie instead that was
also nominated for Best Picture that year, and that's Leonardo DiCaprio,
Paul Giamatti. Leo was gonna play Vincent but chose to
make The Aviator instead.

Speaker 2 (44:27):
He could have played Vincent, but good Vincent.

Speaker 3 (44:31):
But those actually kind of worked out, though.

Speaker 4 (44:33):
I just don't I don't buy Leo in the action
since like I do, Tom Cruise, Yeah I.

Speaker 3 (44:39):
Can, Yeah, I was gonna say, yeah, that would be a.

Speaker 2 (44:43):
Different Tom Cruise definitely has a higher ras than.

Speaker 4 (44:47):
Yeah, outside of basketball diaries, I can't think of a
real action y I should say actionally but athletic leo role.

Speaker 3 (44:57):
He's kind of an action in the Russell Chrow Body
of Lies that Robert Redford directed. But yeah, I mean
not really. I mean The Revenant. I mean it's a
different kind of physical role.

Speaker 4 (45:09):
But yeah, but yeah, not really. You ever heard of
a of a film called Eucalyptus. No, that's because it
was never filmed. And I'm gonna I'm gonna tell you why.
Russell Crowe came really close to playing Vincent offered it
and everything, but he could not commit due to filming Eucalyptus,

(45:32):
which was a Dune project starring Nicole Kidman based on
the nineteen ninety eight Murray Ball novel the same name.
Muriel's Weddings director Joscelyn Morehouse was said set a direct Eucalyptus,
but dispute between her and Crow led to the film
never getting made.

Speaker 3 (45:49):
So Crow missed out on collateral in Eucalyptus.

Speaker 2 (45:52):
Because he's a d bag supposedly damn well, shit happen well,
jokes on everybody.

Speaker 3 (46:00):
It unhinged.

Speaker 4 (46:01):
There's excellent film, by the way.

Speaker 3 (46:04):
He's perfect.

Speaker 4 (46:06):
Perfect If that had come out in a non lockdown
pandemic era that might have gotten some nomination talk Oscar
stuff possibly, No, I thought I thought he was tremendous and.

Speaker 3 (46:20):
He's great, but they would have never given a B
B movie type thing.

Speaker 4 (46:23):
I don't think it'd have been considered to be movie
at a different era.

Speaker 3 (46:27):
Well wait a minute, what like in the eighties?

Speaker 4 (46:29):
No, no, I'm just talking about that film didn't get
the light of day because of what was going on
in the world, just like Loving Monsters I thought would
have been a much bigger hit had it not come out.

Speaker 3 (46:40):
In twenty twenty. No, I love it, but no.

Speaker 4 (46:43):
So there is a role in Pulp Fiction that John
Chivolta played named Vincent. Yeah, he also was up for
the role of Vincent in Collateral.

Speaker 3 (46:55):
I can't. I just can't.

Speaker 2 (46:56):
I can't. I can't either.

Speaker 4 (46:58):
And then another act who was offered the role of
Vincent but decided uh not to take it was one
Colin Farrell.

Speaker 2 (47:09):
I could see it, but just.

Speaker 3 (47:13):
He's the closest thing I think that you might have
get some kind of the same. I also find it
fascinating that basically like Michael Mann would go on to
work with these people anyway.

Speaker 4 (47:25):
Because he would later get Colin Farrell and Jamie Fox
together from Avice.

Speaker 2 (47:28):
It's also interesting to me that Johnny Depp public enemies. Yeah,
that there's so many. This feels like one of the
deeper wells of coulda would have should as that we had,
like that they didn't really have this thing pinned down. Yeah,
but there's a lot of different ways top.

Speaker 3 (47:44):
Tier cast Christian Bale could have been Vincent, like that
would have been a good vent.

Speaker 2 (47:47):
Yeah, Like de Niro as Max and Leo as Vincent.
It's just weird, a weird movie.

Speaker 3 (47:56):
What if de Niro was Max and Vincent was played
by Joe Heshi.

Speaker 4 (48:01):
I've got one for you.

Speaker 2 (48:02):
Oh, here we go.

Speaker 4 (48:03):
At one point, de Niro in the Max role, like
we discussed, and the role of Vincent al Pacino.

Speaker 3 (48:10):
Of course I should have known.

Speaker 2 (48:13):
Yeah, no, no, I'm sticking with Tom Cruise and Jamie FOXX.
I think the dynamic you might have had me with
Colin Ferrell.

Speaker 3 (48:23):
Colin Ferrell seems the most like and I guess because
they did start with each other later like him and
Jamie Fox seemed like it could be good. Yeah, but
what if Colin Ferrell was Max and Brendan Gleeson.

Speaker 2 (48:37):
Now we're talking right now, we're talking.

Speaker 4 (48:40):
Talk a little about the cinematic techniques of the film.
I love Michael Mann's looks in his film. Yes, me too,
his directorial styles, his trademarks. You know, I go, I
keep going back to the and there's a lot of
symbolism with that scene where the coyote is just walking
across the street.

Speaker 3 (48:59):
Uh, you know, the way he uh.

Speaker 4 (49:02):
Uses the nighttime of Los Angeles as a setting. I mean,
you know, we talked about this film costing forty million dollars,
but that was that was free. I mean that was
I just love the look of this film.

Speaker 3 (49:14):
Yeah. No, And he's he's kind of always had this
kind of like slick, stylish structure and you I mean,
it's Miami Vice for sure. He did Black Hat with
Chris Hemsworth. I think his most recent was Ferrari. Yeah,
they all you it's but I think it's also like
any like you just kind of know the filmmakers have

(49:39):
that touch and you that's how you identify with you know.
That's why I feel like there are some movies where
like it'll come up and stay directed by and you're like,
really anybody could like, I can't believe.

Speaker 4 (49:53):
Where it looks like this look looks like a great
director just took a paycheck.

Speaker 3 (49:56):
Yeah, like like but like like here's here's the first
example pops in my head. I would have no idea
Disney's Aladdin would be directed by Guy Ritchie because Guy
Ritchie has a very type of flair. Now I know
he's working for Mickey mouse Court, but like that looks
nothing like nothing of his stamp like you have even

(50:20):
with Spielberg especially, I mean Spike Lee and Tarantino. Michael
Mann is one of those dudes. You know his you
know his films, Like you know, if that's a Michael
Man production.

Speaker 4 (50:31):
When I hear Michael Mann, I immediately go to heat
and just.

Speaker 3 (50:34):
Yeah, I think a lot of people. I think, Yeah,
I was gonna say, I think I think a lot
of people.

Speaker 4 (50:38):
And then I follow up with collateral.

Speaker 3 (50:40):
I was gonna say, Collateral is is way up there.

Speaker 4 (50:43):
Yeah, And then I like the there's the moral ambigunity
between the two main characters where you know their duality,
where they blur the lines between good and evil. I
think that was just hm. Hats off to the writer
for the screen play for.

Speaker 2 (51:00):
Putting that in there, I'm saying, man, like, there's some
really deep stuff in this film that is just kind
of a small intimate story it is.

Speaker 3 (51:10):
It is kind of funny, how Like. It's intense and
it's got its action, but it's also emotional and it
is thought provoking because philosophical, because these guys, these guys
aren't talking surface level of shit, you know. And I
think what makes it most impressive is what attracted man
to begin with is that we only got a night
with these people, you know, But are you sure do

(51:31):
get a lot out of that one night?

Speaker 2 (51:33):
For sure?

Speaker 4 (51:33):
For sure? And so speaking, you know, from timetime, we'll
talk about the cultural effect it has on pop culture
and whatnot. Where do you think this legacy of a
collateral has affected like crime thrillers over the past twenty
one years?

Speaker 3 (51:51):
How or if it or yeah? Either way, I think
there's a lot of people that try to do what
Collateral does really well, yeah and fail. I don't know
if it changed the game, but I think it's to me,
it's all chalked up. Performances obviously play a huge part
in this, but it's it's it's like if another filmmaker

(52:16):
got it I mean Michael Man that was just meant
to be and changing it to La made it. That's
his thing, Like, okay, I can do it.

Speaker 4 (52:25):
I could see like editing the way some crime films
are now edited or have been edited over the last
you know, two decades. I think of like a movie
like Baby Driver, using like helicopters for scenes and such,
like a lot of you did, like a lot yeah
that man did in this film as well.

Speaker 2 (52:45):
Maybe trying to add that like philosophical layer yeh, it's
more than just a shoot him up kind of deal. Yeah,
I could see maybe some of that influence later on,
because it does kind of feel like these types of
movies these days, like everybody it's not like everybody has
a message, but it's like we do. We got to

(53:08):
sprinkle in some like really deep thoughts in here to
make people think about like why all of this is
happening and all this stuff, I don't know, just spitball in.

Speaker 3 (53:18):
Well, but we've also seen films like that where it
just feels forced, yeah, or they think it's or you know,
they think they're more clever than they really are, and
this one just seems but it's subtle. Collateral is subtle
in some of its ways of how it's going to
touch on these themes, but still where he's got stops

(53:38):
to make and body. I mean, you know, I mean
people are gonna drop dead, and this is the ride
you're on.

Speaker 4 (53:45):
I think the two that come closest to it in
the last twenty years that I can think off top
of my head are Baby Driver and Ambulance.

Speaker 3 (53:55):
Yeah, yeah, I can see that. I think Baby Driver
has more. I mean it's a lot. It's very stylish
because Edgar Wright, right, I kind of see your point
with with with Ambulance, I still don't. I still don't
think they find that right Nerve that Collateral, Yeah, that

(54:16):
Collateral and has.

Speaker 4 (54:18):
But they're both a little more flashy than than Collateral is.

Speaker 3 (54:22):
Yeah, but a lot of it is because I mean,
you know the way Michael Man, I mean, he does film,
so all that's on film, which makes a huge difference.
And I know, like you know, we are talking about
twenty one years, so obviously I'm sure stuff is. If
he may Collateral today, it probably wouldn't look exactly like that.
We've seen that kind of with Black Black Hat and Ferrari.
But man, the meat, the I mean the meat and

(54:46):
potatoes of Collateral is not really about the killing, and
there's a lot of movies where it sort of is
about the killing. Yeah.

Speaker 2 (54:56):
Yeah, that's a good way of framing it.

Speaker 4 (54:59):
It's there hard films without being horror films.

Speaker 3 (55:01):
Thanks, I'm a film critic.

Speaker 4 (55:04):
I will say there are a couple of fun lines
quotes that I enjoy from this film. Obviously, Yo Hoomie
my briefcase. I love that one, and then really Vincent
just like getting into somebody's soul by saying, just take
comfort and knowing that you never had a chance. God
so bad.

Speaker 2 (55:22):
That's hardest. I love the hardest.

Speaker 3 (55:25):
I also love the one where it's like Max is
the first one like did you kill him? He's like, well,
I didn't kill him. I shot him. I shot him
the bullet and the fall killed him. Yeah, but he
says it just so like not next, Yeah, yeah, but
I did, Like just know you never had I mean,
and here's the thing, you fucking believe it. Yeah, there's you.

(55:47):
You're not questioning that at all. And that's why it's
even better the way it ends with him and Max,
because Max doesn't through this whole film. Why would Max
have a chance now. So I like the way that
they did it, and they just kind of had that
shoot off basically.

Speaker 2 (56:04):
I love and this is kind of a testament to
Tom Cruise's ability as well. But like when the ship
pops off in the club, I mean we're talking shots fire,
people start running like crazy, there's.

Speaker 3 (56:16):
A bruffalo and all that.

Speaker 4 (56:19):
All just leave us alone, There's exactly right.

Speaker 3 (56:21):
It's a beautiful night.

Speaker 2 (56:22):
There's a shot of Vincent walking through the club and
he just flashes like the subtlest of smiles and it's
just like he's enjoying this chaos, but he.

Speaker 3 (56:32):
Loves the thrill, Like that's so cool, thrill of the chase.

Speaker 2 (56:37):
Yeah, it's just like how off the rails can get, like.

Speaker 3 (56:41):
And he's so good at it. Ye. Can I point
out that Mac?

Speaker 4 (56:44):
I mean that Vincent is really fucking cheap too. I
only offered him six hundred dollars for that.

Speaker 2 (56:51):
Yeah, that's that's crazy.

Speaker 3 (56:53):
But Mac's acting like, you know, two thousand.

Speaker 4 (56:56):
I'm like, that's not any fucking thing.

Speaker 2 (56:59):
Yeah, yeah, true, not enough to do what I'm gonna have.

Speaker 4 (57:02):
Yeah. Well, and maybe that's why Max eventually told him
to go fuck yourself.

Speaker 3 (57:06):
It's like this was for six hundred dollars. I should
have asked for more. Yeah, six thousand. Then I'd let
you go kill people.

Speaker 4 (57:13):
I guess six thousand the stop, yeah, oh yeah, because
I need I need them limos.

Speaker 3 (57:20):
Yeah, my fleet. The thing there was an inflation. Yeah.

Speaker 4 (57:24):
Uh, that's all I have unless we have something else
we want to add.

Speaker 2 (57:27):
Now we got through, got through my notes?

Speaker 3 (57:29):
Nope, nope, I don't have notes.

Speaker 4 (57:31):
But then let's sounds good to our favorite Tom Cruise movies.
I can't believe it's tough. We are starting what's season
four of Drinking with.

Speaker 3 (57:42):
Five or five?

Speaker 2 (57:43):
No, we started twenty one three, season five, twenty five
season five.

Speaker 4 (57:49):
Unless I'm mistaken, this is our first time Cruise movie.

Speaker 2 (57:52):
I don't remember talking about one before.

Speaker 3 (57:55):
I don't think we haven't drinking with.

Speaker 2 (57:56):
Yeah, that's pretty crazy.

Speaker 4 (57:58):
That is what I bet you.

Speaker 3 (58:00):
There are some Collateral was two thousand. Yeah, I don't know.
I think you're right.

Speaker 4 (58:07):
Sorry, mister Cruise, we've let you down. Yeah, so let's
talk about our favorite Tom Cruise movies.

Speaker 2 (58:11):
Then easy, all right? I start with Collateral. Okay, I
go to a few good men, I go to risky
business and it's not a very popular movie in this room.
But I go with Eyes White Shut.

Speaker 4 (58:29):
Okay, let's see that one.

Speaker 3 (58:31):
This was actually tougher than I thought. But I will
say if I just go buy movies, not roles, just movies,
because there's the whole Mission Impossible thing.

Speaker 4 (58:46):
I can't wait for the last one.

Speaker 3 (58:47):
And I love Mission Impossible. Fallout I think is my
personal favorite, but I'm putting those aside because that's such
a huge franchise that I feel like that should have
its own melt rushmore. So with that said, I would
I would say Collateral. I actually a Top Gun is fine,
but I really like Top Gun Maverick, and it's done
so well. I was actually really surprised. And he's he's

(59:10):
really good in it. It's not necessarily a Tom Cruise movie,
but he's he certainly plays a pivotal part and he's
great in it, and he was nominated for it. But
I'll say Magnolia, okay. And then the last one is
kind of tough because I do like Last Samurai, but
I haven't watched it in a long time. So mine
was either gonna be risky business or a few good men,

(59:33):
and I risky business. He's good in but movie wise,
A Few Good Men is one of my absolute favorites,
So I'll go with a Few good Men, Magnolia, Top Gun, Maverick,
and Collateral.

Speaker 4 (59:47):
A Few Good Men is the only one we all
agree on or have on our list.

Speaker 3 (59:51):
I shouldn't say agree on, Okay, we all like it.
I'd have two honorable mentions.

Speaker 4 (59:55):
One I'm gonna say the Firm only because it was
filmed here in Memphis where we're recording at the time.

Speaker 2 (01:00:00):
How about that?

Speaker 4 (01:00:00):
And I'm also an extra in it. How about that?
And we're about to go have dinner in the restaurant
where I have filmed one of my scenes. How about
that Blue City cafe. Maybe we can sit in the
booth that I said it.

Speaker 3 (01:00:13):
Oh, let's ask the hostess, like, can I have my table? Yeah?

Speaker 4 (01:00:18):
But no, my four are a few. Oh then my
other honorable mention was Tropic Thunder. It's not a tom Cruiser.

Speaker 3 (01:00:23):
But if it was Roll that's one of the most
memorables he's ever Yeah.

Speaker 4 (01:00:28):
But I actually with my four. I did go with
his roles as well. In Mind a Few good Men,
Jerry Maguire, I.

Speaker 3 (01:00:35):
Just love that. That would that would be right outside
rain Man oh yeah, yeah, yeah, him and Hoffmann.

Speaker 4 (01:00:42):
And then The Outsiders is one of my top five
films of all time.

Speaker 3 (01:00:47):
And you know, I want to say that. And we
were talking about like I would like to see I
don't think I don't. I haven't seen all of Cocktail.
I don't think i've seen any.

Speaker 2 (01:00:55):
I haven't seen the Color of Money, Color.

Speaker 3 (01:00:57):
Of Money, So there's a lot of those where I
feel like in that kind of time period I would
like to go. I don't think I've ever seen all
the Far and Away Cocktails, a really fun film. I
feel like I've seen that in Color of Money, like
I've watched it on TV, but I can't remember because
isn't Paul Newman.

Speaker 4 (01:01:15):
In Color of Money yet?

Speaker 3 (01:01:16):
Yes, but he's reprising a role, is it? Yeah?

Speaker 4 (01:01:19):
From is the Jackie Gleason film The Crap?

Speaker 3 (01:01:25):
Is it the Player? No? I thought it was really strange.

Speaker 4 (01:01:32):
Not Hustler. No, that's not right either.

Speaker 3 (01:01:33):
Yeah, yeah, yeah, yeah it is the the Hustler. Is
that right? It's yes, you know what, I have seen
the Color of Money. I just remembered.

Speaker 2 (01:01:48):
The uh just discovered I have no here, Yeah, years old,
I've grown my first nose here and it's bugging the
shit out.

Speaker 3 (01:01:56):
I have seen The Color of Money, because right when
you said that about The Hustle, I remembered what the
Hustle was and how it and what they did. Yeah,
that is a good movie. But I think it's called
The Hustle.

Speaker 4 (01:02:08):
I'm trying to Robert Redford has a really long list
on his IMDBs.

Speaker 3 (01:02:13):
Paul Newman and Michael Kine. I think, Oh, isn't Robert Redford.

Speaker 2 (01:02:18):
No, No, you're right, Paul Newman and Robert Redford's The Sting.

Speaker 3 (01:02:23):
Yeah, and uh, the Color of Which Cassidy The Hustler.

Speaker 4 (01:02:27):
Yeah, yeah, I was right, I was right. I didn't
it just didn't feel right.

Speaker 3 (01:02:30):
Out, Yeah, The Hustler and then but anyway, Color of
Money is a good and I just remembered I had
to have watched that, like within the past five years.
But when you said that, I do remember it. But
I would like to watch Cocktail. I don't think i've
seen it at all.

Speaker 4 (01:02:42):
Highly recommend it, just for John Steams playing the drums
on the Beach Boys song.

Speaker 3 (01:02:48):
That sounds sexy. Okay, what'd you stand on? War of
the Worlds. I liked it and I like Minority Report
I just hated the ending of it. Yeah, but I like,
I mean, I like those. Colin Ferrell was great Minority Report.

Speaker 4 (01:03:01):
Interview with a Vampire I keep forgetting about. I really enjoyed.

Speaker 3 (01:03:04):
I liked it. I just don't remember a whole lot
about it. I just remember it's a big deal with
him and Brad Pitt.

Speaker 4 (01:03:08):
Did either of you mention born on the fourth of July.

Speaker 3 (01:03:10):
No, but he's great in it. That's if it was Roles,
that would probably be in the top.

Speaker 4 (01:03:15):
I honestly forgot he was in Young Guns.

Speaker 3 (01:03:18):
Oh yeah, me too.

Speaker 4 (01:03:19):
I read it, but he's listed.

Speaker 3 (01:03:23):
Remember The Outsiders and then Taps is a great film,
Oh yeah, with the what's his name, Timothy Hutting.

Speaker 4 (01:03:31):
Hutting, yep, Georgy Scott, Sean Penn.

Speaker 3 (01:03:34):
Oh yeah, yep.

Speaker 4 (01:03:35):
That's a great, little, great little.

Speaker 3 (01:03:37):
Yes, you go through Tom.

Speaker 4 (01:03:41):
He's having a resurgence.

Speaker 3 (01:03:42):
Yeah. Yeah. But when you look through those films, it's
kind of like all of them are actually pretty good.
But then you're like, I don't know what like my favorite?

Speaker 2 (01:03:52):
Yeah, I had interesting.

Speaker 4 (01:03:55):
It was easy for me Outsiders because I just adore
that movie.

Speaker 3 (01:03:58):
I mean, I don't think he's ever really disappointed me
in a movie. Even when I watched that boring is
that boring? Ash shit, eyes wide shut, I thought.

Speaker 2 (01:04:06):
Oh, he's good, it's fantastic film.

Speaker 3 (01:04:09):
I just kubrick. Yeah, I don't know. I have a
love hate relationship. I'm right there with you. Go ahead. Sorry.

Speaker 2 (01:04:16):
When you lay his filmography out and you talk about
all these roles, it's like, yeah, he's good in this,
he's good in that. Didn't realize he did this, didn't
forgot about that one. But when I look at everything
on the table out before me that I've seen, I
just I still go back to Collateral and I think, like,
that's one of the first roles that I think of
when I think of Tom Cruise, and I'm like, this,

(01:04:37):
it's just it's my favorite film of his.

Speaker 3 (01:04:40):
Yeah. Well, and I think it's.

Speaker 2 (01:04:42):
The combination of film and the role.

Speaker 3 (01:04:44):
I think it's a double edged sword because it's kind
of a testament to how long he's been doing this.
Yeah that you go back, you're like, oh, yeah, oh
I remember that one, because you know him and Spielberg
were kind of on a roll for a little bit.
And yeah, I mean the nineties was really his thing.

Speaker 4 (01:05:01):
So I don't know if this is set with inflation
in mind or whatnot, But I found a list where
Tom Cruise has made thirty nine films. I don't know
if that's of date or what not, but thirty two
of those thirty nine have made over one hundred million
dollars at the box Crazy now you go back in
the eighties or not, it was a big deal to

(01:05:22):
make one hundred million at the absolute So his total
box office as of whenever this writing was was just
a little over twelve billion dollars, that's correct.

Speaker 3 (01:05:34):
I mean Mission Impossible has made a ton of money.
Top Gun Maverick made over a billion, and it's on its.

Speaker 4 (01:05:40):
Own, So I feel this number is higher at this point.

Speaker 3 (01:05:43):
Yeah, I think so too, And I bet by the
time the last mission of the Final Reckoning, I wonder
if that's maybe it could be his thirty ninth or fortieth. Wow,
good for him.

Speaker 2 (01:05:53):
What a career was, What a.

Speaker 3 (01:05:54):
Career He could end tomorrow and be fine.

Speaker 4 (01:05:56):
But according to the numbers dot com, he ranks number
one one worldwide box office.

Speaker 2 (01:06:02):
Oh, I believe that it's a it's a rare intersection
of prolific creation, getting a lot of stuff done, commercial success,
and talent. It's like checking all the boxes man.

Speaker 3 (01:06:16):
No matter what has been said about him through the years. Yeah,
his movies make money. And it's almost like it doesn't matter,
Like Scientology's weird, doesn't matter. No one's done it, the
stuff with Nicole Kidman Katie Holmes jumping on the couch,
jump on the couch. Yeah, but it's but you know
what it is, it's almost like he's gone back to
what people know him for. You don't hear him in
the news anymore. He doesn't really do interviews anymore. And

(01:06:39):
it's that's everybody's cool.

Speaker 4 (01:06:41):
But then when you hear stories of him, and like,
I know the story of when the Firm was being filmed.
I think it was the University of Memphis was having
graduation and I think it was I think the law
department was having their graduation dinner at some restaurant. I
could I could be wrong on the group of students
or whatever, or maybe there's somebody from Ole, miss Either way,

(01:07:02):
a group of students having a graduation dinner get together,
and he paid for the whole bill for their dinner
and their drinks and everything. Wow, never said anything about it,
and it finally you know, things like that leak out
into the new I've.

Speaker 3 (01:07:14):
Heard stuff like that too, where it's kind of like, oh,
Tom Cruise actually went and he helped this actor get
that role and he actually called this person and said, hey,
you know what this is like? And it's him and Spielberg.
I feel like are a lot of like where they
are in they are they are just so in deep

(01:07:35):
in Hollywood that they've all like it's almost like they
know what's going on, even if it looks like they
have nothing to do with it. Yeah, for sure, you know,
like he'll go and see something that someone else did
and you know, a Glenn Powell was a great example
where Cruz has kind of helped him along and he
was there for Twisters and was showing a support and
word is now he's wanting to give mission impossible to

(01:07:57):
Glen Powell.

Speaker 2 (01:07:58):
I was about to say, is this a pasing of
the torch, like, because.

Speaker 3 (01:08:01):
We've at least for some of it.

Speaker 5 (01:08:02):
It is.

Speaker 2 (01:08:03):
We've kind of talked about this off air several times.
But like Glenn Powell is like the next big movie star, Like,
I'm cool with it, money making guy.

Speaker 3 (01:08:11):
Listen, I'm fine with it, but he needs to make
some better movies.

Speaker 4 (01:08:15):
Twisters Ruled.

Speaker 3 (01:08:16):
Twisters is fine anyone, but You's okay Ruled too.

Speaker 2 (01:08:20):
Oh my god, that's one of the worst movies.

Speaker 3 (01:08:22):
You've lost your.

Speaker 4 (01:08:23):
Mind and brought back the rom com man.

Speaker 2 (01:08:27):
It's okay.

Speaker 3 (01:08:28):
Hip Man wasn't too bad. But did you know. I
don't know if you guys know this, but a couple
of months ago they announced whose sexiest Man Alive was,
It's not Glen Powell, and people thought to cast a
new girl. They thought, this is it, this is Glenn's
this is it.

Speaker 2 (01:08:43):
Not Glen Peal.

Speaker 3 (01:08:45):
Do you know who it is?

Speaker 2 (01:08:46):
My wife told me the other day.

Speaker 4 (01:08:47):
So do you know Rowan Atkinson, Oh, Dwight Yoakum, Brandon Gleason,
John Krasinski, Oh yeah.

Speaker 3 (01:08:56):
I didn't know that.

Speaker 4 (01:08:56):
I saw him on one of the Late Night talked.

Speaker 3 (01:09:00):
So then I found out that Glenn Powell was like people.
People Magazine bugged him about it, and he refused. He
did not want that title. Good for him, and from
what I understand him.

Speaker 4 (01:09:17):
He wants sexiest Man of the World.

Speaker 3 (01:09:20):
Glenn Powell, Keanu Reeves, Ryan Gosling and someone else are
four actors who have refused to get that title after
They've been asked several times.

Speaker 4 (01:09:34):
And I'd probably let them all hit it.

Speaker 3 (01:09:36):
Yeah, hell yeah, hell yeah.

Speaker 4 (01:09:38):
Saying no to Ken you say no to Ryan?

Speaker 3 (01:09:40):
Guy?

Speaker 2 (01:09:41):
Is it is a matter of like, like I don't
want to be known for this stuff. I want to
be taken seriously as an actor, like.

Speaker 3 (01:09:49):
I think maybe best, but I'll be honest. I think
Glenn Powell is trying to like kind of like hands out,
like okay. I think all of these guys good yes,
And I kind of think that's how it is with
Ryan Gosling and Keanu turned it down where they I
don't think it's like not to be known for it,

(01:10:10):
but I think like they're almost too humble and it
seems like that's so braggadocious that they don't like why
would I like? It's almost like I'm gonna get shipped
for this from my friends and I don't need it.
I guess maybe it's I don't need it.

Speaker 2 (01:10:26):
I'll take it.

Speaker 3 (01:10:27):
I'll take it. I don't know if you guys know this.
I vote every year, and since nineteen ninety seven, I've
been voting for Paul Giamoni.

Speaker 2 (01:10:36):
One day, every fight, every year. One time we got close,
which year what was it for?

Speaker 3 (01:10:45):
It was in It was in two thousand and seven,
and I think, what's the guy who is? Oh my gosh,
oh he's a he's a big Patrick Stewart.

Speaker 4 (01:11:01):
Oh okay, you mean Didntel Washington? No, she was two
thousand and seven. Oh, people's sixties.

Speaker 2 (01:11:07):
Not Patrick Stewart.

Speaker 3 (01:11:08):
Maybe it's in London, maybe it's people UK the people.
But I specifically remember because I was hoping to be him,
Ann and McKellen together. Yeah, I didn't have enough room.

Speaker 4 (01:11:22):
Unfortunately that's not But we're off the rail.

Speaker 3 (01:11:25):
Yeah, let's get out here. I think we're all hungry. Yeah,
I think we're all hungry.

Speaker 4 (01:11:29):
Let's go eat, go get some bob a cool yep, Hey,
cheers to another episode of drinking with where we've explored
the film have Come of Age just like a fine wine.
As we raise our glasses to movies turning twenty one,
we've laughed, reminisced, and maybe shed a tear or two
over the time it was classics. So until next time,
maybe drinks me cold, your conversations lately and your movie

(01:11:49):
night's unforgettable. Drink responsibly. Remember age is just a number,
but great films or forever. You can find me at
mc underscore Cast seventy five on x at Stephen mccash
on letterbox Gentlemen, tell these fine folks how they can
find you.

Speaker 2 (01:12:03):
At Stony Keeley at so Rose Network.

Speaker 3 (01:12:06):
On Twitter at Sir Brandon v Sir Brandon on letterboxed.

Speaker 4 (01:12:09):
And most importantly, check us out at Sobrosnetwork dot com
where you can find all of our work, and most importantly,
as well to the other most importantly, subscribe to Drinking
With Wherever you get your podcast fixed, leave us a
rating review so we know what you think about the show,
and let us know what films from the year two
thousand and four you would like us to review and discuss.
And until next time. We'll see you then, because I

(01:12:31):
have some videotapes to return. I fucked that all up.