House of Reiner - 131 - When Harry Met Sally

In the realm of romantic comedies, few films have achieved the level of iconic status and enduring charm as Rob Reiner's 1989 masterpiece, "When Harry Met Sally." This delightful film, written by Nora Ephron, remains a timeless classic that has captivated audiences for decades. With its witty dialogue, relatable characters, and insightful exploration of love and friendship, "When Harry Met Sally" continues to hold a special place in the hearts of moviegoers around the world.

Episode Transcript

(00:03):
Welcome to the Nerd Party. Helloeverybody at home, and welcome to Houselights,
specifically House of Rhiner. We arefinishing up our Rhiner of the eighties

(00:28):
this week with When Harry Met Sally, which came out in nineteen eighty nine.
Sorrying Billy, Crystal, Meg Ryan, and a lot of Carrie Fisher,
written by the Nora Ephron, whoat this point is only an associate
producer on the film, which whichmade me chuckle because Nora Ephron is such
a powerhouse and cinema during the ninetiesand early two thousands, it was so

(00:53):
funny to see associate producer next toher name. But we are so happy
to be finishing this out of Rynerand moving on to the next which we'll
discuss at the end of the show. So please stay tuned and listen to
the entire show to find out whatwe're doing next week, and if you'd
like to hear what we've done previousweeks, go to the nerdparty dot com

(01:15):
slash house Lights and there you canfind all of our previous works as well
as tons of other shows that giveyou just hours and hours and hours and
hours of enjoyment. We got starWars, show Star Trek shows, we
got Harry Potter shows, we gotsci fi, we got A twenty four,
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(01:38):
their nerd Party or at Join nerdParty with me as they are every single
week are my beloved co hosts,John Mills and Darren Moser. Now,
this was my first time seeing it, so some of you seriously, Yeah,
this was my absolute first time seeingit. I missed that I didn't
know and I'm hosting, and sothis is new territory for us, because

(02:00):
usually we reserve the films for theperson who has never seen it to not
host. But you know what,I really wanted to to talk about this
one because you know what, Iknow, we love to be coy and
we kind of, you know,just kind of say like, Okay,
well, you know what rating I'mgonna give this. Did I like it?
Did I not? You know,I'm going to be fair in my
criticism. I'm just gonna say atthe top of the show, holy crap,

(02:20):
this is a great movie. AndI was just I was blown away
when I watched it because this isone of those films that I just didn't
get around to. This was amissing frame which you should also listen to
at the nerdbody dot com. Thisname for a podcast there. I think
so too. This was something thatI just didn't watch. It's not because
I didn't like Rob Bryner, Ididn't like nor Frown, or didn't like

(02:42):
Billy Christopher, didn't like meke Rindalike all those people. I just don't
know why I didn't take the timeto sit down and do it. But
I also thought before I watched itin preparation for this podcast, that I
had seen everything from this movie justout of order. You know when a
movie just exists around you so longthat you're flipping through the channels and you
think you've seen every single scene.That's what I thought before I watched this.

(03:05):
But as I'm watching this, Iwas like, oh no, there's
like ninety percent of the scene ofthese scenes, I didn't know we're in
here. And so it was avery pleasant surprise. I watch it with
my wife, and my wife hadseen it obviously, Um, you know,
she's a woman. Apparently I'm findingout that women love this movie and
some people call this a quote chickflick end quote. I'm doing Bunny Ears

(03:28):
right now in tune with my voice, and you know, I don't,
I don't it is it is itconsidered a chick flick just because it's romantic.
I don't know. Listen, thismovie comes out in the summer of
nineteen eighty nine, which is ayou know, like, if you're gonna
use the phrase quote unquote chick flickand I'm doing air quotes too, eighty

(03:50):
nine is a somewhat I guess youcould say testosterone late in summer with Batman
and Indiana Jones and start well,okay, star Trek five doesn't really count,
but he climbs him out in thebeginning. That's a very manly thing
to do. But you know,you've got Ghostbusters two with the male leads
like it's a very mountain with hispenis. Well, that came out of
left field. That was a cutscene. But I like everything that came

(04:13):
out in nineteen eight the summer ofeighty nine, you were going to get
the male audience with Batman like,that's just what happened, and Indiana Jones
got everybody else that wanted to goeverybody loves Indiana Jones and everything like that,
and Ghostbusters too and all that stuff. When Harry Met Sally always had
a strong reputation, But this isthis is one of those movies. It's
you know, it's a little enginethat could, and by the time it

(04:35):
comes out, this is a VHSmarket. Now by nineteen eighty nine,
people are willing to sit back andbe like, I'll catch it on tape
when it comes out. Because ifI got to spend my hard earned money
and I got to take my familyout, or I'm going to go out,
I'm a I'm a teenage boy atthis time. Do you think I'm
going to go see When Harry MetSally? Or I'm gonna go see Batman
for the fourth time? Batman onethe fourth time. So that's not to

(05:00):
knock it. It obviously had success, It obviously got a great critical response.
But it makes perfect sense that thiswinds up for me the same story.
I saw it before this, butit was one of those that summer
it was like, uh, youknow, no, I wasn't going to
watch it, And then as Igot older, they are all of these
things I'm watching and it just continuallystays there and it's like, yeah,

(05:23):
I'll get to it. I'll getto it. And the whole reason I
wound up seeing it was because myfuture wife said was shocked I hadn't seen
it before, because she knew Iloved you know, I love movies,
and so she basically she didn't forceme to watch it, but she gave
it to me as a gift.When she came over one night and she's
like, Okay, now you haveno excuse not to watch it. Here

(05:43):
it is on desk. I waslike, oh, so she knew early
on that that was the only wayto get you to watch a movie.
Literally buy it for you and putit over him like she came together exactly.
No, she actually came over withit in hand. I opened it.
I was like, oh wow,this is She's like, we're watching
it this weekend. I was like, see, I cheat by sending it

(06:03):
to you via Amazon. Like Ican't fly all the way to Florida,
so that's all that I can do. Well, you know, we had
it. We had a different vibegoing on at the time. You know,
it was a little more in personback then, back at the past.
But like, yeah, so Ilike that's the thing, because you
know, Darren, you were makingthe joke that your wife, when she
found out we were going to betalking about this, she was like,

(06:24):
oh, great, three guys talkingabout when Harry met Sally. But you
know, I'll see the floor herebecause I think Tristan is getting at it
too. It's like, I wantto know from you, why does this
get that reputation as a quote unquotechick flick. Nothing about this. This
isn't like steel Magnolia's or something,is it. Maybe Maybe it's just because

(06:44):
the overall plot is just about twopeople's relationship, which again, is it
a bad thing, But that isliterally the point of the movie is about
a guy and a girl and thereyou know, ten twenty whatever year span
of this relationship. Like so whenthat's the main plot of the story,

(07:04):
it's not oh, and they weregoing on an adventure like romancing the stone
or something, and they also fellin love. You know, it's like
literally the entire like the story isthe relationship. That's a really good comparison,
really good pull man. I hatethat. I honestly hate that that

(07:25):
just because a movie is about arelationship, it's people automatically assume it's it's
geared towards women. That really pissesme off as a modern man who men
escapes. You know, it justreally pisses But see, I'll blame the
marketing department for stuff like this becauseI promise you I don't have any archival

(07:45):
knowledge in my brain or anything likethat, but I guarantee you they tried
quote unquote counterprogramming because it was theBatman summer. Because they knew what they
were going up against. They thenpositioned this. They said, okay,
yeah, there was a they werein the we want to get the marketing.
We're going to market towards that sliverthat's not gonna get soaked up by
Indiana Jones and Batman. But butalso they're saying, look, the boys

(08:09):
love that one. Let's market tothe girls. And so all of the
marketing winds up leaning heavily towards thefemale. I'm gonna put this DVD on
the pink aisle and then everybody willgo see it. We want to.
Yeah, So I honestly I'll bringthe marketers for that one, because you
could have easily marketed this as ineverybody movie. Yeah, something to see

(08:31):
together, even that, Yeah,a couple yeah, yeah, yeah,
yeah, I like that. Yeah. With this movie, I mean,
I think because you know, it'sdirected by a man, written by a
woman, and you have great leads, male lead, female lead, fantastic
comedic actors right off the top.So it's just it's not like it's like

(08:52):
you said, you know, likeI love that Steel Magnolia. It's like
totally the go to. I mean, come on, let's be fair,
Yeah, let's let's be honest.Um. Yeah, so this is I
hate that I slept on this solong because I absolutely loved it. I'm
saying this right at the right atthe top, this is this is this
is so well written, this isso well acted. And you know,

(09:13):
um, Darren, you said thebefore we started recording, They're like,
holy crap, Billy Crystal is youngin this and we looked it up and
he's forty. He looks young.I mean, maybe he isn't actually young,
but yeah, I was comparing itto last week when we talked about
The Princess Bride, which obviously wasold age makeup. But for me,
Billy Crystal resides in this eternal snapshotof time of the last few times that

(09:39):
he hosted the Oscars in the fifties, like he's actually in his fifties,
like fifties. Yeah, and butyeah for this, I mean, I
mean, obviously they're doing they're doingthings to make Ryan's hair, They're doing
things to like his sideburns and stuffin the in the past where they're trying
to make them look even younger.And it worked because it's like baby face,

(10:01):
you know. Uh. I thinkthey to him to like yeah,
and then later he's got a beardand so like I mean, because it
time jumps a couple of times,like five ten years at a stint,
so it this is a very longmeeting, guys, It takes takes a
couple of years. Well, youknow, I want to talk to that

(10:22):
because that's one of those things thatI think it really sets this one apart
is Reiner and Ephron who you knowwho wrote it. Obviously they lean into
borrowing a little bit of that documentaryfeel that worked so well with this is
spinal tap because they have the interviewswith the quote unquote real couples as the

(10:45):
markers. So it gives Harry andSally this feeling of reality because when it
all caps off with them talking tothe camera at the end, you get
a feeling they know the story.Well, not just that we know the
story, but it lends this authenticityto the telling. I think if you
remove that, the little interstitials,with the interviews with the you know,

(11:09):
the older couples and everything, honestly, you know, flash forward a couple
of decades. It's what helps makeInterstellar work so well is they use these
real documentary talks and it makes thestory more grounded. And I think,
I mean, I'll put it outthere. I think that's what makes us
work so well, is you believein Harry and Sally because you're seeing real

(11:33):
people talking to the screen about theirrelationships. I like that. Like,
as I was watching this and Iwas like, as I was watching the
interstitials, I was actually thinking tomyself, I was like, these stories
feel real. I was like,this, this feels real. But their
their ability on camera is to practiceright, right, they're obviously actors,

(11:56):
but they're right there. They tookninety eight percent of a real story and
they're just presenting it way. Theyaced the public speaking at All of them
were ace public speakers at school,and they just happen to be the ones
on camera. Yeah. Yeah,I liked it though, I think that
was a very smart approach. Imean with with Interstellar, I think those
were real Internet they were real,they were real interviews from the dust Bowl.

(12:18):
Yeah, but I like, Ilove that comparison. I love that
comparison. I think that that's thatabsolutely rings true. One thing I do
want to ask about is, andyou don't have to give any any kind
of like personal stories or anything likethat, anything that you're not comfortable with
talking about, but like, wasthere anything that rang true to you?
Speaking of ringing true? Is thereanything that rang true to you during this

(12:41):
movie where you're just like, Yes, this is exactly how men act,
This is exactly how women act.This is exactly how we interact with each
other. John, I would loveto hear from you. My wife always
loves to point out the line fromBilly Crystal the White Man Overbite about dancing,
and I cannot not hear it inmy head every time I go somewhere
where there's dancing. I was like, white Man over but like it's in

(13:03):
my brain. I'm like, yeah, that's that's a thing. It happens,
you know. I think that whatI enjoy about it is, I
mean, there are so many thingsI enjoy about it. But something I
think also as the authenticity is therelationship between Jess and Harry Bruno Kirby's character,

(13:28):
because that feels very authentic to howguys talk to each other. It's
not it's not the played up lockerroom talk for a comedy movie. It's
not being overly vulgar talk. It'snot the like they take Bruno Kirby in
City Slickers a few years later andthey amp him up to the nth degree,

(13:48):
you know, to make him anabsolute pig. But this these conversations
feel very real. Like when BillyCrystal is talking with with Jess and they're
you know, they're at the footballgame and he's just distraught because his wife
is leaving him. This is acomplete mass in the way he the movers
knew like a week before. Yeah, man, you're just that right.

(14:13):
That his hard. Like there's somany things that universal in this film,
like regardless of the time period,like, yeah, this took place in
eighty nine, which is a longtime ago if you think about it,
and it's just this is there's Imean, at least for our demographic,
this is how men and women talk. This is how they interact. With
each other, whether you're in abig city, small town. You know,

(14:37):
university doesn't matter, Like there's certainkinds of interaction that are ever present
and just the way that we are. Like granted, okay, I'm obviously
generalizing here, so don't come afterme, but you guys know what I'm
saying. And with with that,I think for me, the thing that
really rang true was because I I'vehad I've had several successful relationships I should

(15:05):
say friendships with women that I've hadno romantic interest in, but there's always
that outside perspective where they're just likeyeah, but you know, there's there's
always that time when people think like, yeah, you're your friends now,
but you want to sleep together,or like the man wants to sleep with

(15:26):
him, or I don't even sleepwith her or something like that. But
yeah, no, I'll defend youon this one because there is I think
what the movie is really talking to, and of course it's played up for
comedic value, is that when whenpeople with potential romantic situation, like if

(15:48):
there's a potential romantic situation because ofwhatever circumstance, you have to acknowledge that
at first, at least it fliesthrough your mind of like project out on
the timeline what would that look like? And sometimes you make that decision very
early on. You're like, yeah, that one wouldn't work, so okay,
like and it's it's going or theremight be something where as you go

(16:11):
along, you start to feel anattraction to somebody and you think to yourself,
Okay, well is this Do Ineed to stop hanging with this person?
Because the potential is there now?Like, I think that's what That's
what the dialogue really speaks to isyou have an awareness and it creeps in
at some point and at some pointyou deal with it mentally and emotionally to

(16:34):
say this is either gonna never godown that road or it could go down
that road, and you have todecide exactly how comfortable you are if if
could is a word that's in there. You have to make a conscious decision
of how comfortable you are, andyou know whether you're significant other would be
comfortable with that situation as well.You know, it's a thing. I

(16:56):
think that's well put. I thinkthat's well put. No, Darren,
I have a question for you.Yes this is okay. So you're the
biggest star wars NERD out of allthree of us, and that is saying
something right because we are like oneof our hosts here of this is my
time to shine. Okay, likehas its own Star Wars podcasts, and

(17:18):
down here Darren has encyclopedic knowledge ofStar Wars. But you crafted your own
five first armor. So it meansI win, John, You do you
win? Can you watch a moviewith Carrie Fisher without picturing Leia Organa in

(17:41):
that situation? I say yes,because Carry Fisher is such a dichotomy between
Princess Lea. When she's Princess Leia, she's Princess Leia, and then every
other role is Carrie Fisher, likelike just the because carry Fisher, you
know who just got her Hollywood staron the Walk of Fame on May fourth,

(18:06):
On May the fourth, I meanto break it. People pay for
that, and it's just a moneything. It's not there's no vote,
there's no popularity contest. It's justit happens to you that you you knew
that when Carrie Fisher was alive,she didn't give a crap. Oh no,
she doesn't care. Yeah, butyeah, so I feel like that,
like again when I see her inBlues Brothers or when I see her

(18:27):
in something else, like even inthis which is a fairly larger role,
Like she's not the top lead,but she's like number two or three,
you know, she's she's say she'sthe third leads or the second female lead.
I'd say as well, Um,but yes, so it's I don't

(18:48):
see Princess Leia really in any ofher performances that is not in Star Wars.
I think it's such a Carrie easilybrings out more carness in pretty much
everything else that she does. Atleast that's my interpretation. I'll back you
up on that. But I'll goso far as to say that I have
trouble not seeing Carrie Fisher because Iagree with both of you. I will

(19:11):
say that, yeah, that isthat is probably more of what I mean
where it's oh, it's Carrie Fisherplaying, you know, in the role
of Marie. Like not, that'sMarie. Oh who is that again?
Oh it's Carrie Fisher. It's like, no, it's Carrie Fisher. And
she's wearing a Marie named tag today. Tomorrow she might be wearing a different
name tag, but today she's Marie. Carrie Fisher was such a beautifully flawed

(19:37):
and powerful personality that it's hard tohide that underneath the character. And that's
okay, and it's I think thereare certain little moments when watching this film
when I was just like, youknow, that was her, Like that
was her idea. Like, well, she's also like a renowned script doctor,

(19:59):
so she probably script doctored all ofher own words from that movie.
I don't doubt it at all.Yeah, I like, I'm not saying
this was or wasn't her, butwhen she when her character kept saying,
you're right, you're right, Iknow you're right. Like every single time
it came up that like's he's nevergoing to leave his wife, it's like,
you're right, you're right, Iknow you're right. I laughed every

(20:21):
single time. Well, what's what'sdoubly funny about that to me is that
I actually have known people like Mariewhere they have specific attraction just to people
who are in relationships, people whoare ungettable or or out of their reach,
or they might be the side personsort of thing. And it's and

(20:44):
you you know, some people mightjudge me and be like, well,
why did you not? And it'slike some it's sometimes you feel like Sally
does, which is like, youknow, this is just my friend.
I was friends with her before shestarted doing this, and man, I
wish she would stop, but sheobviously needs somebody to talk to and she
can't like, if anything, Marineneeds to be in therapy and Sally is
her therapist in a sense. Totalslide note. But there was one time

(21:08):
when I was watching Madman with mywife and there was a moment when a
guy who was married, like islike Don Draper's best friend and you know,
business partner played by John Slattery,like, he got drunk. He
was with a woman who was nothis wife, and he had a heart

(21:30):
attack and the EMTs came, andas that character was being wheeled out,
he was like saying the other woman'sname, and and Don Draper like paused
the EMTs. He grabbed John Slatteryby his hair, slapped him and said
Mona, your wife's name is Mona. And then my wife looked at me

(21:56):
and said, what would you doin that situation? I said I would
do the exact same thing as DonDraper, and she's like, really,
you, like you can done thatkind of thing. I was like,
no, I don't condone it atall. I think it's horrible, and
I think he should absolutely stop.And I would tell him that he should
absolutely stop, but I wouldn't advancehim to get caught. I wouldn't go

(22:18):
to his wife. He's compromised rightnow, I would do I would say
that things are complicated enough in thatmoment. I haven't watched mad Men,
so I'm surprised. In the fifties, like that seems odd, but you
know, and the ambulance wasn't inventeduntil the nineteen seventy five. Yeah,
this new maneuver called mister yeah please, the maneuver. Yeah. Yeah.

(22:48):
I'll just say in passing that it'slike there are certain moments where it's complicated
enough and you're you're just like,Okay, we'll deal with this problem later.
This is the problem, yes rightnow, yes, yes, Like
And that's the thing like as Ihate to say this because it makes me
sound like a douchebag, but asa bro like you can criticize, you
can yell at them, you cansay they need to stop that, you

(23:10):
can say that they need to comeout to their wife. But at the
same time, you're not going togo to the wife and say he's doing
this. See the thing is this, I'll I'll continue taking it down this
this strange rabbit hole. But therewas I was one person removed from somebody
and I found out that they hadused the other person as cover for what
was going on. And the personlike found out about it was fine with

(23:33):
and like I looked at the person. I said, you got to stop
being their friend right now. Yeah, because that's where it crosses the line
is when you sit when you're likeit's one thing to be like, I
was friends with you before you starteddoing this. I will constantly counsel you
to stop doing it. But theinstant you use me as your cover story,
done, you're out. No youcan't ever say you were over at
my house that night. No,no, no, no, no.
That that is definitely crossing the line. This went down some weird territory all

(23:57):
to say that Carry Fisher was CarrieFisher. I like it though. Any
any time that we that Carrie Fish, I think Carrie would enjoy this,
and yes I called her by herfirst name. Carrie would enjoy us going
down this rabbit hole. Yeah,you know your rabbit holes. I don't
have a segue. So with Megclient Sally, all right, we see

(24:18):
her. Okay, so we're atthe beginning of the film. They're take
the same beginning as a sure thing. That's the why are these two people
in the car together. It's literallythe same thing. Yeah, you're I
didn't even think about it till thatmoment. You're absolutely right. No,
as soon as how do we startthis movie? Well, just so you
know, I've I've started this othermovie it's called a shirt Thing. It

(24:41):
was really successful. Let's start itagain just like that. Yeah, So
in that scene, like they're inthe car, they're driving. I was
a little worried at first because whenMeg Ryan was like the uptight you know,
a person who like you know,did the math on the on the
on the check and was just likeyou could tell she was like the character
and the sure thing. Yep.And then when Billy Crystal was like John

(25:03):
Cusack, you know, like wasfree lovin and like was spitting out the
seeds on which was hilarious of thegrapes, like when he hit the window
and he's like maybe I'll roll thatdown. I mean he's literally making out
with his girlfriend before getting in thiscar with another girl to drive across country,
which again ye seems odd by whatever. I was really scared when I
started this because even though it wasa funny interaction, I was like,

(25:26):
holy crap, is Rob Ryan arealready repeating himself? It was like me
yelling at my theater in college.It was like, are you already redoing
the play that we did three yearsago? But I was. I was
scared. But then thankfully they veeredit into a different direction. So what
were you guys thinking right at thatinteraction in the car? Were you entertained?

(25:48):
Did you think it was too similarto this sure thing? Or how
what were you guys thinking, Darren? What were you thinking at the opening
scene? This is an interesting movie, Like I definitely don't hate this movie,
but it has a hard time kindof like growing on me it In
some ways, it feels like itfeels kind of like Ghostbusters, where Ghostbusters

(26:11):
like a sketch. It feels likean SNL sketch. It's like, oh,
hey, guys and girls can't befriends because of the sex thing.
Let's pull that sentence into a ninetyminute movie. And that's kind of what
they do. And not that it'snot brilliantly written, Like I'll totally give

(26:32):
it that but at its core atthe beginning, I'm like, okay,
so where are we going with this? And then it jumps five years and
I'm like, how ok okay,Like it's you know, I didn't realize
this was an epictome of the courtshipof Harold and Salad Salad Ford, you
know, as they're as they're growingtogether. It's like geez, but yeah,

(26:56):
So I mean I definitely picked upon the sure thing connection or redo,
but um, yeah, it's Idon't know, I just didn't know
how to feel because I'm like,am I obviously they're kind of setting up
Billy Crystal as this jerk, youknow, he's a little a little bit,
yeah, a little bit. ButI was a little I was a

(27:18):
little scared of that because like duringthat scene, I'm glad that you brought
that up, because during that scene, I was just like, let's not
make him an ass, you know, like, don't don't make him ass,
because I want him to be likable. Like he rides the line.
He's not full on, but heis very close to the line through the
whole first two time jumps. Butthe yes, but the thing is,

(27:40):
though, while you're on right,like I started thinking about what I was
like in college and how much edgelord crap I probably said in you know,
like in that four years when Iwas in college. The other comparison
I felt, too, was thisfell like a bit from How I Met
your Mother. This felt like somethingBarney Stinson would do. He's pulling open

(28:04):
the bro code that says on pagetwelve men and women can't be friends because
the sex thing gets in the way. And then i'm it's my mission in
life now to prove to you thatyou are wrong and I am right.
And he doesn't let it go fortwenty or ten years. That's kind of
the movie, I don't know,with great writing, with great writing,

(28:30):
but that's you know, I don'tknow. I think I actually think Billy
Crystal's character shows great growth through themovie. I think that ultimately what that's
true. What I think is oneof the beautiful ironies of the movie is
that in a sense he's right,but he's right because Harry and Sally are

(28:53):
I mean, they're sort of likethe yeah, and this is what the
interstitials prove is like they're sort ofthat their story is going to be shrunk
down to oh, well, youknow, I met her you know,
I met her twelve years before wegot married, but you know I knew
back then, No you did andI did. No. Like, It's

(29:14):
got that sort of vibe to it, and I think the interstitials serve that
additional purpose of showing how when youtell the history of your relationship after it's
gone on for so long, yourealize that it's all way more complex than
you really feel like telling sometimes,and eventually it's just easier just to say,

(29:37):
yeah, you know, I rememberedher for twelve years and then we
got together, and you know,I was just happy as anything. But
you take that twelve years apart,and you realize it was a really complicated
and weird time with a lot ofpersonal growth. But I think there's definitely
a marked difference between Harry at thebeginning and Harry at the end, and

(30:00):
I think that's what makes there that'swhat makes their relationship feel earned. They
weren't ready for each other in seventyseven. They should not have become a
couple from a car drive. I'lleven turn it on its head, But
what I think the movie does areally good job and well, I think
Crystal does a really great job conveyingwith his facial expressions. Is he is

(30:23):
very outwardly the difficult person. He'smade it his bit. That is who
he is. Is he's going tobe difficult, and he's going to say
these things and he likes getting areaction from people, and we all know
people like that. But Sally isunquestionably what people would term high maintenance.

(30:44):
I want this type of sandwich,but if you don't have this type of
ice cream, then I want whippedcream. And if you don't have the
whipped cream that's not in a can, I don't want that. But I
want the apple pie, but don'theat it up, and that sort of
yeah, really onerous sort of thingwhere it's like, do you under stand
how much you're putting this poor waitress. If I would have like been in
a friend group and been like kindof like, you know, okay,

(31:06):
you're checking your prospects and one ofthem orders like that, you're kind of
like, yeah, okay, no, no, that's that's that's a that's
a that's a flag. It's gonnabe a very difficult person to try to
keep happy over time, and gee, and she keeps doing it. It's
not like a one time bring likeshe it's not a bit, but it
is kind of part of her personality. And I think one of the most

(31:27):
beautiful moments in the entire film isit's a it's an outside observational shot.
They're in a Chinese restaurant and yousee her gesticulating while she's doing the order,
and you see the waiter has thisface where he's like he's being the
necessary polite level, and it's justhe's sort of overtaken, and he looks
over at Billy Crystal and they bothhave this moment where they both sort of

(31:48):
like to shrug at each other andit's like, yeah, you know,
what are you gonna do? Um? So you know, I mean all
of that. That's that's really long. Wait a way to say that,
Like, I think that it's easyto come at Harry and say, oh,
he's such a jerk at the beginning, and yeah, but he's a
performative jerk. He's very obviously tryingto get a rise out of people,

(32:12):
and so you can be very freakingwanted. He wants to imprint himself on
the people that he interacts with throughhis life so they'll remember him. Yes,
and we want him to be flawedto a point. We want him
to grow as a character. Ifhe was Prince Charming Wesley and Buttercup,
if they were Wesley and Buttercup inthe first scene, we would have been
like, well then why did youguys wait twelve years? You wasted a

(32:36):
decade of your life not being together. But that is not this story.
No, it isn't. And Ithink that another thing that makes it work
really well is I believe Nora Ephronwas friends with Woody Allen, and you
know, I know the name carriescertain blah blah all that stuff. A
Hall. Well, I mean thisfeels like a Woody Allen film at a

(32:57):
lot of points. Well, I'mso glad you brought that up. Yeah,
well, but it's a it's anot a remake. But I heard
it was I was clicking through uhNorah's stuff and it said that this was
based off of Annie Hall. LikeI'm sure of terms. I've never seen
Annie Hall. I'm mad at itfor winning over Star Wars and seventy seven,
so I won't watch it. Buth it's a great film. It's

(33:22):
not Star Wars, but it's agreat film. But um, I mean
Barry Sonenfeld, who's Okay, RobReiner once again benefits from some incredible talent
with him. You got Nora Ephronwriting the script, you god, yeah,
yeah, Janet Hertchinson and uh andI can't remember the other name right

(33:44):
now. But like they've been hiscasting directors this whole time, they definitely
picked the right cast. Um.But you get Barry Sonnenfeld as the cinematographer,
and he goes on to do likeAdam's Family, Men in Black,
all of these things. He's agreat comic director. He did get Shorty
all of this stuff, and he'sobviously just you know, he's being his

(34:07):
director of photography self here. SoI want to go ahead and throw it
out there with Efron as the writer, Sonnenfeld as the director of photography.
I'll thord to you first, Tristan, because this is your first time seeing
it. Do you see Rob Reiner? Is there any signature Rob Reiner thing
that you see in this movie?I don't. I don't see Ryner in

(34:29):
this at all. I see Efron, and I see Sonnenfeld, I see
Crystal, I see Ryan. Idon't see Reiner. I really don't,
Darren, do you? I mean? I think we already mentioned the opening
matching sure thing, and that's Imean, that's Reiner right there, right,
But I think obviously you were moreinferring like the visuals and the h

(34:52):
but I mean, honestly, Imean it's it's tricky because this isn't Ryners,
not west Anderson. He's not oneof those directors where that is has
a look and that's okay. Idon't want every single director to have l
look where oh I mean, andbecause otherwise we wouldn't get the storybook softness

(35:15):
of Princess Bride or you know,the coming of age kind of grit of
you know, stand by Me andstuff like that. So yeah, I
I honestly think that's the biggest connectionis that some of those story beats.
And then I will say this withRyner also seems to know when when to

(35:45):
let the actors improv and when nottoo he I want to talk about that
for a second, because this doesn'tfeel this is different than Billy Crystal being
miracle Max. This is this isIt feels like Billy Crystal read every single
word that was written and it waslike, this is such a good script.
I am going to just read itas is. I'm sure he improvs

(36:07):
up. I mean it's Billy Crystal. I'm not I would not be surprised
by that, But does it feellike that to you? John, Like,
this feels like he honed way closerto thus script, probably because of
its it's goodness or that's the kindof the vibe I was getting, at
least off of his role. Itthe little felt like that manic improv where

(36:30):
you can kind of tell they're kindof just coming up with it as they
go. I think you're right inthis sense, in the sense that this
is a more disciplined Billy Crystal performance. Disciplined get up to this point in
his career, not very disciplined,very sticky, very im a standout co

(36:52):
star sort of thing. He seemsto take it very seriously when he's put
in the co star role here andwhat I see as I see an actor
very responsibly giving his co star mcryan everything she needs to be successful and
vice versa. I see two peoplewho showed up on set and said,
I want you to have a greattime and and great opposite and they and

(37:16):
they both hit it off and theygot it right. They got that rhythm
right. And I think he hasto hit the emotional moments internally for Harry.
He can't like when when he's atthe baseball field lamenting over about to
be divorced, he can't throw inzingers, you know, like that has

(37:40):
to otherwise that movement, that momentis broken. And say every single moment
in the progression of Harry's life,I mean it's not like we've been ten,
ten, twelve years. Those thosemoments that we see him he is
in. He has to progress thecharacter, but he can't just be like
oh but he always has that funnyone liner or he always like no he

(38:04):
And I think that's maybe that's whatI'm picking up on, is that is
him sticking to the script. Andlike you said, John, I totally
agree with that, where he's creatingthe moment for Meg Ryan in a way
to be a little more spontaneous,a little more flowy. Again, also,
I think she's sticking to the scriptreally well. But there was also

(38:24):
reading behind the scenes stuff and youknow, doing research for the podcast.
Apparently a lot was found in rehearsal, like with all of them together,
you know, just riffing off ofeach other and figuring things out, like
even the once they were shooting thenit's like it feels more locked in because
all that improv was off camera exactly. And I love, like, yes,

(38:47):
you have the Adam McKay early comedieswhere everything's improv and they just shoot
from three angles and then they're justlike piecing a movie together in the edit
bay. Yes, there's that thathappens, and there's good things and the
bad things about that kind of process. But I love hearing things that are
found and rehearsal, and like whenhe when they're at the museum and he's

(39:09):
making that voice and he does likeapparently there was a moment when he says,
he's like and I would love tohave your peak and pie like that
was just off the cuff. Thatwasn't found a rehearsal that was off the
cuff. And in the moment youcan actually see Meg Ryan look off screen
and look at the director, andthe director is saying, off screens,
go with it, go with it, going it, and but Meg Ryan

(39:32):
like, you know, like youthink Billy Crystal the improver, you know,
like he's the one, but MegRyan is the one in rehearsal who's
who It was her idea to dothe orgasm on screen. You know because
in the original script it was justher talking about faking an orgasm. But
and that became an iconic moment.It is one of the most moments of

(39:55):
film of last fifty years. Ohyeah, easily. It is one of
the most iconic moments in cinema inthe last fifty years. And that's the
when you think Harry Metslly. That'swhat people think. And it was Meg
Bryan's idea. And what sucks frommy perspective is the movie gets a ton
of credit. The scene gets aton of credit. I've never seen Meg

(40:20):
Ryan herself get the appropriate credit forwhat for what you just said coming up
with it. I've never seen somebodysay, hey, Meg Ryan came up
with that idea. It's always oh, what a charming movie. Oh that's
great. Oh look that's Rob Reiner'smom said I'll have what she's having.
Isn't that the perfect ending into thescene and all that. I didn't know
that was his mom. Yeah.Well, one other shot, I just

(40:40):
because I was still thinking of whatwhat makes us think of a Rob Reiner
movie. I feel that the fourway conversation of the phone call, that
is a Rob Reiner. The halfsplit dual screen like that is him.
But it worked at sixty two takes. Sixty two takes. Oh, that's

(41:04):
right, all Wonders. It's alwaysall filmed at the same time, like
so they it was. It wasall Wonders. So you had Billy.
It was all on one sound stagewhere Billy Crystal was to the left,
um uh, Jess and Marie asin Carrie Fisher and Bruno were the middle
in the middle, and then Megranwas on the right. They all filmed
at the same time, and thephones were real like they all hooked up

(41:28):
to one line and so that theycould talk to each other. And it
took sixty two takes to get itright. Because one shot, one take,
it does work. I think thatwhat works even better is the scene
where they're watching Casa Blanket in bedtogether, even though they're not in bed
together. No, that is agood that is a good scene. I

(41:49):
can I never watched Casa Blanket withanybody. But you know, as much
as it might shot people, Idid date women before I got married.
There are enough people that you know, I don't know they had something going
wrong with them that they went upfinding value in that proposition. But there
were so many phone conversations like thatwhere you're just I think what that really

(42:15):
captured is the real energy that exists. And it's so easy. I know
there are so many people right nowthat would be like back in my day
the town, and I'm sure itstill happens now. It's just with cell
phones. It's face just on thephone with somebody for a long time.
You're watching them, we're watching Netflixtogether. Yeah, but I mean even

(42:39):
better than texting, even better thanFaceTime. I actually think the disconnected voice
thing, it's such a safer,more open space. I hope people still
do that on a very frequent basisof just having the phone conversation. It
also forces you to be wittier withthe disembodied UM voice. Oh yeah,

(43:01):
I agree, because I can't.You can't rely on the face twitch,
the eyebrow going up. You can'tsay like like like gets better than texting
like. There's so much subtlety lostin texting that there's no inflection, there's
no nuance. Not really yep,exactly. I was opening my mouth to

(43:22):
say the exact same thing. Thereyou go, there you go. I
know this has been one heck ofa love fest, but I gotta ask
you guys, you know, becausethis is a passion of mine to ask
about the music. Got to askwhat do you think of what Mark Shaman
does with the arranging? This theyou know, it had to be you
and yeah, I as if Irecall correctly, this is the moment where

(43:44):
Harry Connick Junior really burst onto thescene and people. This was his first
soundtrack, his first soundtrack, whichis hilarious to me because even in it,
like as eighty nine, I wasjust like, wait, we really
really like Harry Knnick Junior in eightynine? That seems a little early,
and I was like, oh,it's his first one, it makes sense.
Um so but did he's perpetually liketwenty seven? In my mind?

(44:06):
Yeah? Did the did the musicchoices work for you guys? Didn't?
I mean like, I don't know, I think last week I talk nothing
super I'm the wrong person to talk. Yeah, I'm curious, I don't
know, I've always I'm I'm maybeI've been ruined by Williams. But like
I usually do not remember a soundtrackunless it Yeah, William you should have

(44:29):
scored this. There wasn't enough soonin this score. Yes, But now
I'm saying like, I usually willnot remember a score unless it has like
a motif, it's built around moutisfor characters, like, it's just harder
to remember. But I will saythe use of pop culture music like that

(44:51):
that was well done, you knowit's and that can be While I don't
necessarily think like, oh well,when I hear it had to be you,
it makes me think of when Harrymet Sally, Like I don't make
that connection in my mind. Othermovies might have that where they have that
one song that connects, but seethat. That's what I think is so
wild about this is I'm used torom coms having that big swell music at

(45:16):
the end, like that big orchestralswell, you know, and it where
the camera spins around them, rightthey meet in the middle of the street
and they kiss. Yeah, AndI think, what's amazing about the way
this film works is it never relieson those tricks. And I go back
and forth, I'm like, doesit work as well as it does because

(45:39):
it feels more honest because it doesn'thave those tricks, like is it undercutting?
Like I have an expectation I gointo a rom com with a guard
up where I'm like, Okay,here it comes like you're talking about trist
and where it's like, here comesthe camera, spin move, here it
comes the big swell a music.And this movie seems to cut you off
at the knees, and it's like, I'm not gonna play by the rules

(46:00):
you're expecting. And I would sayalso the fact that, okay, if
this movie wasn't called when Harry metSally, which is basically telling you that
they get together, Like, wouldyou think that these characters are going to
get together like or that you couldhave predicted how their story was going to
go based on that first scene,I would say no, I'm not sure.

(46:22):
Because apparently they had a really,really, really hard time naming this
film, and it got to thepoint where Rob Briner actually went to Castle
Rock executive starts at the board andyeah, and like you said, he's
like they had a poll going wherelike what do you think this movie should
be called? So it's just oneof those It was the name until we

(46:44):
think of something better. Then wenever thought of something better. I think
that's the thing. Because Nora Ephroneven said, like if if she could
change one thing and be the titleof the film, which I think,
but it's memorable. It's not likewe get it confused. I mean the
poster looks just like Sleepless and Seattle, so that doesn't really do it any
favors for Sorry, I should say, Sleepers in Seattle looks just like this

(47:05):
post. There you go. That'swhat you know. I U whenever I
hear Ryan meets so so in certainblank here, Whenever whenever I think of,
um, you know, title discussionsgoing back and forth, I always
think of the fact that rom Comthat I actually enjoyed, called it could
Happen to You with the Cage movie. Yeah, that's a good movie that

(47:29):
I remember seeing them doing behind thescenes stuff and the clapper said cop tips
waste waitress and I was like,thank god, that wasn't the title of
this movie. Well, I meanthat was probably a you know, blue
harvest stand in like we don't ohno, this was no, no,
it could happen to you that theywere not covering anything. They were just
like, who the hell knows whatthe title of this, Like it should

(47:51):
have just been we'll figure it outlater. Take twenty two untitled so its
director film. Take five like yes, now, speaking of Sleepless in Seattle
and Meg Ryan of course, becauseas we know, you know, they've
done three movies together, and uhumnot with Rob Bryner, but um,

(48:12):
You've Got Mail was also done byNora Nora ut Front, So like Sleepless
in Seattle, You've Got Mail noruf Front Tom, it's like a like
a trinity of you know. Well, Tom Hanks was approached for this role
for Harry and he turned it downsaying it was too light weight. And
Michael Keaton was approached for this role. And oh, but Brooks was approached

(48:32):
for this role. Oh oh,I could see Keaton, I could see
I could see Hanks like sub Keaton, just like Blow People Away with Batman,
you can't see Brooks. I cansee Brooks, the three of them.
I can see Brooks the most.I cannot see Brooks because maybe it's

(48:52):
because of my own where Brooks livesin my head. I Brooks is too
big for this. Have you haveyou seen Defending Your Life? No?
If you saw Defending your Life,you would think he could do this film.
I might, but I haven't,so I insist that I'm correct.

(49:13):
Now. I love Sleep in Seattle. I love never seen that Mail,
never seen what never seen one ofthose. Are you talking about chick flikes
at the opening of this show?They always market them wrong. I'm just
kidding everybody that's used a bit sendsend your angry letters to doctor sci Fi

(49:36):
on Um. Yeah, one ofmy most recent chick flicks that I really
enjoy. We used to love watchinglike Love Actually. I love that film,
which for that film it just TristanI will I'm gonna bounce off the
page ice Cold Pavement that since Chicago, I'm gonna bounce you up and down

(49:57):
on that. I will say that. Love Actually, though, does the
Arnoldson of saying the name of theyear of the movie in the movie,
which I hate because every time theysay two thousand and three, it pulls
me out, like no, no, no, hang on. Dick Clark
in this movie talks about the sixteenthNew Year's Rock and Eve, which instantly
dates it because I know that therewere more than sixteen. I was,

(50:21):
well, I will though, Um. That really great romantic comedy is The
Holiday with um Jack Black and that'sUnderrate Winslet and Jude Law, Jude Law
and Cameron Diaz. Cameron Diaz,Yeah, really really good. I wasn't

(50:42):
expecting you too, John. I'mjust saying for our man, I love
a good rom com. This isdoesn't sound like it doesn't sound like you
do. All right, this iswhere have you seen? Is where I'm
going to defend myself. Have youseen two weeks? Two weeks? Notice
no? Then no? Okay,if you haven't seen the things that we

(51:02):
mentioned tweks, there's three movies Ihaven't seen out of the what fifteen thousand
releases we keeps, you keep notseeing them? That's all see. And
this is where I where I offerexplanation to defend myself. Is I am
actual. I am a huge fanof rom coms. I hate bad rom

(51:22):
coms. I hate rom coms thatdisappoint me. So I wind up not
seeing a lot of rom coms becauseif I see the rom com and I
dislike it, I get mad atit. I hate rom coms that disappoint
me, So it does take anextra little bit to push me over the
edge to go see the rom combecause I'm so scared of disappointment. Because

(51:43):
I care that much, I'll gosee a thousand star Trek Next Generation movies
because they all suck. So I'mlike whatever, I know what I'm getting
into with this. You're breaking up. Yah, that's where I come.
I'm so sorry everybody. We haveto we have to continue on without John's
and then John having technical problems backto his home planet between commercial breaks.

(52:05):
I was killed with Puccia. No. But that's what I'm saying is my
my my demands are very high ofrom comes, and so it becomes very
difficult for me to go see them. Also, let the holiday on your
list. I I Darren recommend it. I will even though Jack Blacks in
it in a lead, I willgo ahead and put the home. He
is amazing, amazing as the lead, as the lead. As the lead,

(52:30):
Jack Black is supporting character, fantasticstuff. As a lead, he's
the lead of the secondary couple.Okay, see, okay, there you
go, secondary couple couple, soand and he and he brings it.
Jack absolutely brilliant. But like butbut like Jack Black. That that's a
that's a that's a great example oflike when you're talking about the casting sort

(52:52):
of thing. It's like he's anAlbert Brooks type where I just can't see
him in the lead in a movielike this. I can see him in
a Bruno Kirby role, but Ican't see him as the Billy Crystal role.
No. Yeah, And I definitelywanted to say the holiday would be
work with Jack Black as the primarycouple, but as the secondary couple it
works really well. So this iswhat we were talking about. Nobody,

(53:16):
nobody would expect our rom com knowledgeto go this deep or this passionate.
I mean, we do have amovie podcast, so I mean there's there's
a chance that we would know alittle something not known for our rom coms
up to this point though, justgoing to throw that out there. That's
true. There's not a lot ofrom combs on our list because we usually
go towards directors who don't do them, or we just put the years like

(53:37):
the eighties or nineties where they're notdoing rom coms. Did I thant Christopher
Nolan to do a rom com?Feel like that needs to happen? Maybe,
Okay, Like I'm looking up NoraEfron right now because I can't remember
what she has directed, but Ifeel like maybe we could do House Unfortunately
she If we do House of Efron, I think she directed Mixed Nuts with

(53:59):
Steve Martin, and I will besick that week. This is this is
My Life, Sleepless in Seattle,Mixed Nuts, Michael, Michael's Great,
Michael is a great movie, LuckyNumber, Bewitched, and Julie and Julia
Mixed Bag. Yeah, just likeMixed Nuts. No, no, Mix

(54:19):
Nuts is just vile. It's terrible. Nobody should ever watch that movie.
Okay, so we're we're. Imean, I feel like I got to
pull the plug here because I feellike we could keep going. All yes,
absolutely, but let's let's let's goahead and talk about our ratings because
we talked about. One thing thatI do want to mention before we give
our ratings is that apparently Harry isbased off of Rob Reiner post divorce.

(54:45):
Oh really, yes? And Ireally find that interesting because I love when
I hear stuff about that where it'sjust like this is about me, or
like this character is based off ofme. I'm the director, or I'm
the writer, or I'm the oneever and this is the kind of experience
that I was going through. Ilove that kind of connection with film because

(55:06):
film is such a personal medium.It's you devote a year or more to
your life, of your life tothis, to this creative endeavor and to
find out that you have such apersonal connection to it. It really intrigues
me. And it feels makes youfeel like you get a peek behind the
curtain when it comes to the headhoncho, the hefe of Rob Reiner with

(55:31):
this movie, and and so itand apparently Nora Ephron wrote a lot of
the dialogue based off of the interactionbetween Billy Crystal and Rob Reiner, which
again makes me happy. But we'reat the fifty five minute mark. I'm
not cutting a single thing from thisepisode. We're gone tape. This is

(55:52):
live to tape people to get letters. So look it's our sixty fifth take,
so we're gonna get it right thistime. Yeah, Darren, I
need to know, like how manyhow many times I want you to tell
me how many times have you seenthis film? And oh man, and
and and what's your what's your rating? Because you do not give half stars,
so what's your full star? Ido not full ast. So so

(56:15):
this is probably the second time I'vewatched this. And what's really interesting is
the first time was probably back beforeI was even in a relationship, so
pre dating, pre engagement, premarried virgin. So yes, yes,
I mean that is that is true. Uh so, yeah, So going
from that to now, why doyou you lose it at John? You

(56:43):
lose it? I can handle it. When John loses it, I cannot
handle it. I can't keep astraight face with John loses it, just
slid it right in there. Youjust gotta Okay, Okay, take sixty

(57:06):
five. We could do this,all right, Let's stay with it.
Let's say okay, so yeah,I mean you're talking fifteen twenty years between
the first and second watch of thisonce when I was a virgin. Sorry,
guys, I'm sorry. I can'thelp it. Okay, okay,

(57:28):
okay, all right, okay,okay, I'm gonna turn around. Y'all
can't say okay. He's wafting hiseyes like like you just won Miss Universe.
Thank you, thank you. I'dlike to thank the Academy right now.
Um yeah, no, I thinkyou guys have helped me kind of
grow, growing a little bit.I think I've always agreed that the writing
was amazing. Um, you're Mike, You're Mike. But the other trick

(57:57):
again, Like like I said inthe beginning, you know, at its
core, it did kind of feellike this SNL sketch of you know,
here's this one sentence premise, howdo we pull it into a ninety minute
movie being based off of any Halldidn't give it any favors in my book,
but ah, I I want togive it a three, But I

(58:24):
also don't want to be that harshbecause okay, I'll say this, I'm
going to give it a four.I would have given it a three at
the beginning of this conversation just offof having watched it. But I think
you guys have talked it up enoughand really like it is a good movie,

(58:45):
and Rob Breiner is a good directorfor this, so I'm gonna get
it. What's your what's your criticism? Like what I mean? Like obviously
like we can have some sway becausewe had a good time tonight. You
know, we talked about the goodthings. But what's your first when I
say, hey, why did youget to three? What's the first thing
that pops in your head? Ithink it's just maybe just the unlikability of

(59:07):
Billy Crystal's character, and I don'tI just don't relate to it as much.
I don't. This wasn't my Idon't have that much of a worldly
experience of relationships and divorce, andthings like that. So I don't connect
to this movie on that level.I mean the fact that you know,
I had one girlfriend and then metmy wife and that was a relationships.

(59:31):
That was it. So I don'tas a little different than John apparently.
But that's freaking lucky, man.I'm like jealous. That's awesome, that's
amazing, that's fantastic. I wasthe guy who chose not to date in
high school because I kept seeing thefact that person A went one direction and
person B went another direction. Sowait, so wait, so so this

(59:55):
is the episode Guys where Tristan mocksme for not day in high school.
John calls me out from being avirgin before I got I was just too
times. Don't blame me, don'tplay this stuff. I can no no,
no, no, no, like, but you know, we're all

(01:00:16):
friends, so it's all good,no no no man, like it all
seriousness. Like the thing is likeyou and your wife, you're you're the
couple that has like the beautiful storyin the interstitial. Nope, And I'm
like, I'm not saying that it'slike a jackass. I'm saying that's like
legit, like and that is thatis sort of the thing That's what I
think elevates the movie in a largesense, is that you get the sense

(01:00:39):
of how many different types of relationshipsthere are. I think the big problem
with rom coms in general, althoughapparently I haven't seen enough of them,
according to you, you haven't,but is that they sort of present it
as a one size fits all lookat relationships, and the relationships in them
are everything. And I think theseinterstitials really go along way to laying it

(01:01:00):
out there. It's like, thisis a story that is one of many
stories, and it might not beyour story, but it's still a fun
story to go along with because youwouldn't mind knowing You wouldn't mind having them
tell you this, Like, wasn'tthere one interstitile where it was like,
uh, it's like, well,we met, but then you got married

(01:01:21):
and then you divorced her, andthen you got married to her, and
then you divorced her, and thenlike it was and it's just like,
oh, oh dang. It's like, but but true love one out at
the end, and twenty years laterwe ended up getting back together. It's
like, yeah, but that shouldn'tmarry anyone as you say, that's oh
yeah, that guy Yeah, thatwas you know, he personified uh saying

(01:01:44):
that I've popularized at work, whichis solved for X. You know,
if there's one common denominator, what'sthe problem figured out? I had a
friend who constantly said, like likethere was her favorite demotivational poster was you
are the common denominator and all yourfield relationships. I love it. It's
so true. It's true. Butyeah, you know, so maybe not

(01:02:06):
a bit of it, just justconnecting. So but I'll give it.
I think I can give it aI can give it a four. Awesome,
John, how many field relationships areyou giving this film? I'd love
to give it all of my failedrelationships, because stead I would get a
thousand of them. But I will. I will give this a solid five
because even though I might look atit at certain points and say, ah,

(01:02:30):
you know, there's nothing really spectacularhappening as a director here, there's
nothing really spectacular. This is oneof those ones where, even though I
hate the phrase the whole was greaterthan the sum of its parts, if
I pull this thing out of it, it's not the greatest I've ever heard.
If I pull the script and Iread the script, I'm like this
isn't the best script I've ever read, but the combination of the casting of

(01:02:53):
Ryan or getting those performances, ofthe fact that Snenfeld is able to give
In one particular scene, I lookedat it and that, even though I
didn't know until this conversation that shehad based it, that f Ron had
based it a bit on Annie Hall. There's a specific shot where they're walking

(01:03:15):
down the street, and I waslike, this is the Max conversation from
Annie Hall right now where he's walkingdown the street with his friend and they're
calling each other Max for no goodreason because that movie makes no sense.
But I can tell right there.And Sidenfeld is also he's a terrific director
of photography, so why all ofhis movies look beautiful? Yeah, this
is beautifully shot, This is wellcrafted, very new, this is this

(01:03:37):
is easily I'm going to throw itout there. Of the films that we've
watched with Ryaner, it's the bestshot film period, best shot film that
he's done up to this point atleast. But yeah, so I give
it a five. He got atleast acknowledge it's cultural footprint on top of
everything else. I mean that thisis the rom Com that all rom coms

(01:03:58):
after are measured against. That's it. So for me, I'm gonna give
it a four and a half.So I'm going to split the difference between
the two of you. I'm givingit. Honestly, I kept trying to
think, like, why am Igiving it a four and a half?
Why am I? Why am Inot giving it a four? Why am
I not giving it a five?I just for the I'm not ready to
give a movie that I've seen oncea five star. I feel like I

(01:04:20):
have to see it again to seeif it earns that five stars, kind
of like with like John, likeyou and I with once a bunch of
time in Hollywood. We watched itand we're like, man, what a
picture. One an amazing film,four and a half stars. This may
bump up to five, you know, it's just and then we watched it
and we're like, yes, this, Oh my god, this is a

(01:04:40):
five star film, you know,like that kind of thing, Like That's
maybe where I'm at with when Harrymet Sally's I love. I love so
much about this movie, like ninetynine percent of this film. And I'm
saying ninety nine percent because I can'tthink of that one percent, but I'm
not going to say it's one hundredpercent, So I am saying four and
a half stars. This was great. This This is a c packer jack

(01:05:00):
script, cracker jaft script, greatperformances and just I think make grind needs
to get more confusing that word.I don't think it needs. So here
we go. We got four,we got four and a half, we
got five. All around good movie. We all agree that this is a
cultural footprint. This is a touchstone. Everybody should see it, even though

(01:05:20):
it was made in eighty nine.This is has a universal appeal. Man
or woman, doesn't matter anything inbetween. John, what are we doing
next week? Well, Tristan,we're actually going to stay here in the
Ephron Hallway and we're because I haven'tseen Sleepless in Seattle or you've got mail,

(01:05:41):
we figure let's stick with it.When Harry met Sally is the gold
standard. Where do sleepless in Seattle? And you've got mail following that?
So next week will be we willbe watching nineteen ninety three's Sleepless in Seattle.
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