June 19, 2026 • 48 mins
Description: Spielberg. Nolan. Two legendary directors with movies out this summer. To celebrate, we're playing a Jeopardy game devoted to their movies, characters, and careers.
Show Notes: Get more information at SpeakingHuman.com/MOMA
Fade In: In a world where movies rely on marketing more than ever to connect with audiences, one podcast aims to make sense of it all...
Become a supporter of this podcast: https://www.spreaker.com/podcast/moma-movies-marketing--3296937/support.
Show Notes: Get more information at SpeakingHuman.com/MOMA
Fade In: In a world where movies rely on marketing more than ever to connect with audiences, one podcast aims to make sense of it all...
Become a supporter of this podcast: https://www.spreaker.com/podcast/moma-movies-marketing--3296937/support.
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Episode Transcript
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Speaker 1 (00:02):
In a world where movies rely on marketing more than
ever to connect with audiences, one podcast aims to make
sense of it all. This is movies and marketing. Next
Saturday Nights, where's sending that to the future? Go ahead,
make my day? How about now? You're crazy Dutch bastard.
Speaker 2 (00:26):
What we've got here is failure your mill gate. Take
them the ground where a crushole of power.
Speaker 1 (00:33):
We might be as well with them.
Speaker 2 (00:37):
I am an f be I agent, So Patrick, you know,
we usually start these episodes with some trivia. One of us,
you know, comes up with some questions. We're throwing it
at the other person, trying to stump them, make them
look like a fool on the airwaves, one of our
(00:58):
great joys.
Speaker 1 (00:59):
Yeah, we do a good job at that.
Speaker 2 (01:01):
But we're not gonna do that today because this whole
episode basically gonna be one big ball of trivia in
honor of summer releases from two big time directors, mister
Steven Spielberg and Sir Christopher Nolan. I don't know if
he's been knighted or not, but seems like someone who
would be h We're gonna play a game of jeopardy.
(01:23):
Jeopardy like the game.
Speaker 1 (01:24):
Show because we're old men and we like game shows.
Speaker 2 (01:28):
We love games, game shows, trivia. But you know, the
wrinkle here is all the categories are gonna be based
around these two directors, and they're films little something new,
little twist, something we haven't done before, but we're gonna
try it out and see what happens. You know, we
like to experiment on this program.
Speaker 1 (01:47):
So I love a good trivia episode where we just
you know, gamify the hell out of it. This feels
like it's gonna be a good one because Steven Spielberg
Christopher Nolan. I mean, they're just two directors where they're
the ip.
Speaker 2 (02:04):
Yeah, they're the reason you go.
Speaker 1 (02:06):
Yeah, the directors are the brand for the movies. That
must be a good feeling. Wouldn't that be such a
good feeling where you know, you know that your name
is synonymous with quality. I guess.
Speaker 2 (02:18):
Yeah, people are coming to see what you make. You're
selling the tickets. Yeah.
Speaker 1 (02:23):
People don't say I'm gonna go see that you know,
new sci fi conspiracy movie. They say I'm going to
see the new Spielberg.
Speaker 2 (02:31):
Yeah, it's probably not much better. There's only a handful
of name director where you know the director by name.
Speaker 1 (02:36):
Mm hmmm, you're like this guy.
Speaker 2 (02:39):
I'm on board Tarantino, Paul Thomas Anderson.
Speaker 1 (02:42):
Sam Raimi.
Speaker 2 (02:43):
I love some Sam Raimi. I don't know if everybody
knows Sam Raimi though, No, but he's.
Speaker 1 (02:47):
In that upper echelon category of directors. I would say,
mm hmm.
Speaker 2 (02:52):
I agree, he's on my Mount Rushmore. Yeah.
Speaker 1 (02:55):
So I'm super psyched about this episode and I think
a lot of fun. But before we get into our
game of jeopardy, let's talk a little bit about these
two directors and the movies they have coming out. Unless
you live under our rock, you've probably heard and which
is some of you do. You're all listening to this podcast,
So maybe you do, because ah.
Speaker 2 (03:13):
Shots fired.
Speaker 1 (03:14):
We're rock slash cave dwellers over here on this podcast.
We don't leave, we don't go out into the sun,
and you're our people listening. So I'm not you know,
I'm not knocking that. But unless you've completely disconnected from
you know, the outside world, you know that these two
have movies on the horizon or have already come out,
(03:35):
depending on when you've listened to this. We've got both
Disclosure Day and the Odyssey. Are you on board for these?
Speaker 2 (03:42):
I'm about as on board as I can be with,
you know, a movie coming out. These are both like
must sees for me, which maybe it's even a bad sign.
How how on board I am? You know, the expectations
are pretty high, but these are probably like my two
my top too, summer movies, which makes me think to myself,
(04:04):
I'm like, oh, no, are these dad summer movies? Maybe
they are, but yeah, I'm pretty into them. How about you?
Speaker 1 (04:09):
Yeah, I am too. I'm into them for different reasons.
I'm more into Disclosure Day probably than The Odyssey. I
know you're maybe more into The Odyssey than Disclosure Day.
Would that be accurate?
Speaker 2 (04:21):
I don't think so. I think I'm more into Disclosure Day. Also,
are you okay?
Speaker 1 (04:24):
They're spectacles and like, yeah, we're talking about the directors
themselves pull you in because you know you're getting something
of substance. Usually when you talk about these tresores, like
and Spielberg coming sort of back. That's one of the
things that people have been talking about, like, oh man,
Spielberg's back right, Like he doesn't quite do what he's
(04:47):
doing here very often anymore, And you know, bringing in
an alien movie sort of takes people back to the
days of like Et and you know AI and Close Encounters,
Close Encounters, things that he just had a had a
heavy hand in and that live on they will live
on in film history. Is like, you know, the great
examples of sci fi for all humanity moving forward, you know,
(05:12):
I mean really not.
Speaker 2 (05:13):
To overstate it, right, No, these guys are both like, yeah,
architects of the summer blockbuster, right, Spielberg fifty years ago
he's making Jaws and like which started summer movies in
some way. And then you know, Nolan's been doing it
for the past twenty years. Every movie, I think almost
every movie he comes out with has been released in
the summer, going back to the you know, Batman movies anyway,
(05:38):
and they're always like, you know, big and made for
IMAX and made to wow you. So you know, you're
getting something that's not just like you know, a small,
a small, little quaint movie. You're getting something like bombastic
that feels like a summer movie, which is what I like.
Speaker 1 (05:54):
I love that to use the word bombastic to describe
it because it made you think of Shaggy. It wasn't me, yeah,
you know, and The thing is is like summer movies.
I'm just gonna say, this is the reason why we
do the summer movie draft, right, Like summer movies is
where it's at. It's like, do you want to be
on the main stage or do you want to be
(06:15):
the supporting cast? Right, And that's what summer movies is.
I think probably for directors, for movies in general, this
is the main stage. Man, this is the prime time.
This is not the late late show. This is the
tonight show.
Speaker 2 (06:30):
Yeah, we're going big, and I think both these guys
have proven time after time they can deliver. You know,
that bets it. Both The trailers for both these movies
haven't totally wowed be so I'm like a little hesitant,
but my hopes, as I said, very high. I can't
wait to see both of them, and the Odyssey. You know,
obviously Imax huge for this one. I don't know, should
(06:52):
we go see this in Imax?
Speaker 1 (06:53):
I'd see it in Imax, I will say. I'm I'm
increasingly coming into the shadfold of long movies. Man, two
fifty four I think is what this one's at. So
three hours, that's tough. I got to plan half a
day plus your previews.
Speaker 2 (07:08):
Uh huh, No, your time ahead. I mean that's like
you're three and a half hours sitting there. That's a
long time.
Speaker 1 (07:14):
I think that's probably one of the things that has
going against it, I think at this point. But it's
also you know, it's he's world building, so I get it.
You know what I mean. You can't have a spectacle
without the spectacle.
Speaker 2 (07:26):
It's an epic, an epic.
Speaker 1 (07:29):
Yeah, I don't know what you're talking about.
Speaker 2 (07:30):
Though.
Speaker 1 (07:30):
The first Disclosure Day trailer that like Teaser Man, that
wowed me. I was like, Oh, what is this man
where it's like Emily blunts like you know, yeah, clicking.
I was like, oh, this might be. I don't even
know if this is my favorite movie yet.
Speaker 2 (07:49):
But I guess I agree that one. I was like,
this is pretty good. I just saw versions of that
repeatedly and nothing. There was no escalation.
Speaker 1 (07:58):
Yeah.
Speaker 2 (07:58):
Part of that is supposedly because they're like keeping things
like tucked away, Yeah, which I appreciate. But at the
same time, I kept seeing the trailer and as I
saw it, it was like a little more diluted the
more you see it.
Speaker 1 (08:09):
That's always the tough part, Like don't give too much away,
but you regurgitate the same stuff, or you show stuff
that's not as interesting because you're trying not to give
plot points away. You know, I'd rather just stick with
that original teaser.
Speaker 2 (08:23):
Keep you on your toes, grab you mm hmm. So
thinking about these two guys together, Spielberg and Nolan, do
you think these two directors are similar?
Speaker 1 (08:30):
And you know, I was trying to think about this.
I feel like I want to say that Spielberg sort
of starts with like emotion m m, whereas like Nolan
is more about concept. Does that make sense now?
Speaker 2 (08:42):
I think that makes total sense. You know.
Speaker 1 (08:45):
They both build to good places. It's one of the
reasons why they're so successful as directors. But that's where
they I mean, I don't know. I wouldn't say that
that's where their differences are, but that's where their similarities are.
They're both they both have this like starting point where
they hook you. And you know, me, I'm a big
I love concept, but I also love a good story
that you're connected to the characters. So they both have
(09:08):
those qualities, you know.
Speaker 2 (09:09):
Yeah, No, I think that's it. I mean, they're both
obviously I think big movies. They're both you know, brands
unto themselves, they have very different styles. I think, like
you mentioned, Nolan's being much more cool and cerebral, whereas Spielberg,
you know, is known for kind of his warmth. They're
obviously at different ages and places in their career.
Speaker 1 (09:30):
Yeah, they are different ages. But you know, I think
of Nolan as sort of this old soul like I
was telling you, I saw this interview where he doesn't
even have like a smartphone that speaks volumes to me,
you know, as a person who sort of sees how
a person deals with their daily life often translates into
the thought and care they put into their craft. And
(09:53):
I'm not saying that like having a smartphone means you
can't be a great creator or anything, but it's just
like he doesn't have time for that stuff because he's
thinking about his movies. Right. He's kind of that old
school like Spielberg, like we all come from this time
before technology ruled our lives to some degree, and he's
treating it like, well, I'm not.
Speaker 2 (10:14):
Going to let it.
Speaker 1 (10:15):
These ideas are coming from my heart and soul. That's
how I took the interview anyway from Nolan.
Speaker 2 (10:21):
Yeah, which is super interesting and I think maybe him
and Spielberger a like in that way, and in terms
of their filmmaking, very like technologically savvy and progressive, you know,
in terms of making like films with effects and doing
different things, you know, in that way and like kind
of pushing the meetium forward. I think of Nolan with Imax, Yeah,
and then you hear something like that. Within their lives,
(10:43):
they're also like very like classical in terms of their
way they're thinking, you're like, you know, maybe even living
in the every day. So that's kind of an interesting
juxtaposition in some way to me, and maybe that's what
makes how they put things together so good.
Speaker 1 (10:58):
If you could name an underrated movie by each director,
what would it.
Speaker 2 (11:03):
Be So for Nolan, I think to me it's definitely
The Prestige, which is popular but not as big as
like some of his later movies. For those who don't know,
it's a movie kind of set in the late eighteen hundreds,
I think London, Yeah, about a rivalry between two magicians
who are Christian Bale and Hugh Jackman. Scarlett Johanson's also
(11:26):
in this as like the Magician's assistant. It's a movie
that's got a lot of like Twists and Surprises might
be my favorite Nolan movie. Yeah, I like this one
a lot. I feel like it's pretty good.
Speaker 1 (11:36):
This is the one I would probably pick too, because
I I do, I like it, and this was before
I knew Nolan, like this, before Nolan became Nolan, I
think in the common vernacular or like you know, common
knowledge of like, oh, people know Christopher Nolan. Maybe people
did at the time.
Speaker 2 (11:55):
I think he was like up and comer at that,
you know, still like on the at that point.
Speaker 1 (12:01):
But this is a great example of why he is
who he is now and why people have elevated him
to a level of being the brand as I say,
you know, so, yeah, I would go with this. I
feel like it's one of the cleanest movies that he has.
It's still like it tells you exactly what it is,
(12:21):
but then it like fools you with like you said,
the twists and turns and I and I love that
about that.
Speaker 2 (12:27):
Yeah, that's a good one. So if you haven't seen that,
that's definitely one. Spielberg is probably a little harder though
he has like a long filmography, so trying to pick
one there, I would probably pick a pretty recent one.
I would pick The Fableman's which he did in twenty
twenty two. It's kind of like autobiographical movie about his
life growing up and you know, the things that inspired
(12:50):
him to become a filmmaker. There's some really good parts
in it, including like the final shot of the movie,
which is like a little bit of a joke. I
don't know, it's pretty good. There's just some like a
few sequences in that movie that I'm like, have kind
of like stuck in my head. I think more people
need to check this one out.
Speaker 1 (13:06):
I had kind of a tough time with this one
because there's some movies that you know, don't get talked
about a lot. And then I was like, well, you know,
do I pick one that sort of reacts with today's topic,
which is disclosure Day, like AI for example. Mm hmm, Yeah,
a lot of people know about that movie. I don't know,
if it gets.
Speaker 2 (13:26):
Talked about a lot, I would call that underscene.
Speaker 1 (13:30):
Yeah, that movie is stuck with me for a long
long time. When I think back to this movie, I
still think of scenes in this movie that man so
unbelievably powerful, and while it's so cool from a sci
fi standpoint, it's so heartbreaking from a reality like a
(13:50):
human standpoint, because you you see so much of like
human nature in it that it's pretty sad. It's depressing
in a lot of ways, and yet you know you're
pulled through with this like robot who wants to be
human so badly. If you haven't seen this, this is great.
It's Haley Joel Osman as a child, not as an adult, yeah.
Speaker 2 (14:14):
When he was sixth cents age. And that movie's super interesting,
you know, even related to the topic today because it
was originally like a Stanley Kubrick project. He was going
to direct it and then he you know, died and
kind of passed it on to Steven Spielberg. Kubrick kind
of similar to Nolan in some ways and like the
(14:35):
way he makes movies, so it's almost you could see
him in that movie too. There's like some darker stuff
than you would typically find in a Spielberg movie.
Speaker 1 (14:45):
Yeah, to the point where there's that cerebral element that
you mentioned, you know about Nolan, and I guess the
darkness too. I never really picked up on that, but
there are actually quite a few things in there that
are pretty dark, and you're like, doesn't feel totally spiled Berg,
but the execution is great.
Speaker 2 (15:02):
Yeah, those are some good recommendations. So those are some
ones to watch, and also a pretty good preamble as
we now go into some Spielberg Nolan jeopardy. So at
this point we're gonna bring up our Jeopardy board, our
custom made Spielberg Nolan Jeopardy board. We're gonna work together
(15:25):
as a team on this one. Patrick, We're gonna see
if we can answer these questions. I'm gonna see how
much we know about Spielberg and Nolan and maybe, you know,
maybe we'll even learn some things in the process.
Speaker 1 (15:37):
Yeah, who's to say. So for our.
Speaker 2 (15:40):
Listeners, here, what we're looking at with our Jeopardy board
is as you would see on Jeopardy. We have five
different categories. Under each category there's questions worth different dollar amounts.
They get a little harder as you go two hundred
four hundred, six hundred eight hundred one thousand. So the category, Patrick,
why don't you read the categories for the people? Can
(16:02):
you read those all?
Speaker 1 (16:03):
Right? Yeah? So the categories are iconic scenes you can't
unsee movie marketing mayhem. Their brains are weird behind the
scenes sequels franchises and other obligations, and two degrees of
(16:23):
Spielberg Nolan should have had therapists.
Speaker 2 (16:28):
That one should always be on there. All right, do
you want to pick our first one?
Speaker 1 (16:34):
Yeah, let's take iconic scenes you can't unsee. For two hundred,
Alex going easy.
Speaker 2 (16:40):
We're hoping this is easy. Let's see the question or
the answer?
Speaker 1 (16:44):
I guess.
Speaker 2 (16:45):
In Jurassic Park, a t Rex approaches a stop jeep
in a rainstorm. The filmmakers realize the scene was working
when something unexpected started vibrating in rhythm with the dinosaur's footsteps.
Speaker 1 (16:58):
What was it? Oh, well, that's definitely the cup on
the dash, the water.
Speaker 2 (17:05):
Yeah, the glass of water.
Speaker 1 (17:06):
Right.
Speaker 2 (17:06):
Spielberg added the vibrating water cup after an editor noticed
it on set.
Speaker 1 (17:11):
And it became one of the cinema's most iconic tension
building shots.
Speaker 2 (17:15):
Wow, most iconic. All right, so we got one correct,
I'll choose next. I'm gonna go with movie marketing mayhem
for four hundred. Do you want to read this question? Answer?
Speaker 1 (17:27):
Yeah. The marketing for The Dark Night in two thousand
and eight ran in an elaborate, months long alternate reality
game tied to the Joker character fans were sent real
physical items, including a phone number and a website called
this a reference to the Joker's campaign slogan in the film.
Speaker 2 (17:48):
I'm gonna assume that's why so serious? Whyso serious? Dot com?
I don't know why so serious? That's gonna be my answer.
Speaker 1 (17:57):
Okay, I don't know.
Speaker 2 (17:58):
You think it's something different. I think that's on legit.
Speaker 1 (18:01):
That sounds legit.
Speaker 2 (18:02):
Let's see what we got, whyso serious dot com? The
viral campaign included cryptic clues, defaced Harvey Dent posters, and
eventually revealed the Joker's face in a crowded photo. We're
killing it.
Speaker 1 (18:17):
That's pretty good. Surprised you got that. I don't know
if I would have gotten that. Dot com?
Speaker 2 (18:21):
You don't remember why so serious?
Speaker 1 (18:23):
Oh well yeah, yeah, all right. I'll take their brains
are weird. Behind the scenes for eight hundred, all.
Speaker 2 (18:32):
Right, Spielberg has a well documented fear that was partly
responsible for why the mechanical Shark and Jaws barely appears
on screen because of kept malfunctioning. But separately, Spielberg has
also said his personal childhood fear directly inspired the content
of two of his most beloved films.
Speaker 1 (18:51):
What was that? Fear Uh snakes?
Speaker 2 (18:55):
Incorrect, fear of the dark slash things hiding in closets
under the bed. This inspired both E T The Alien
Hiding and Elliott's Closet and Poltergeis, which Spielberg co wrote
and produced.
Speaker 1 (19:08):
See I was thinking, uh snake, So I was thinking
like Indiana Jones.
Speaker 2 (19:13):
Yeah, which made sense. Yeah, all right, our first incorrect.
I'll take sequels, franchises and other obligations for six hundred.
Speaker 1 (19:25):
Spielberg was originally set to direct this massive sci fi
franchise film in the early two thousands, but passed, handing
it off to then lesser known director who turned it
into a massive hit. The film was the first in
a franchise about robots that disguised themselves as everyday vehicles.
(19:46):
Oh my god, if you don't get this.
Speaker 2 (19:47):
I'm yeah, I'm glad the second sentence was in there.
I would have never got it. But we were just
talking about these guys, the Transformers.
Speaker 1 (19:55):
That's right, Transformers. Two thousand and seven. Spielberg produced it,
but pass on directing. Michael Bay directed it instead.
Speaker 2 (20:04):
Sadly, now we've got Michael Bay forever.
Speaker 1 (20:08):
Yeah, Michael Bay. All right, I'll take two degrees of Spielberg, Nolan,
I'm kind of interested in this category for eight hundred.
Speaker 2 (20:17):
I thought you were going to go a thousand. Nolan
cited Spielberg's work is a major influence on Interstellar, specifically
calling out this Spielberg film as the emotional template he
wanted to capture, a story of an ordinary person whose
life is upended by contact with something incomprehensible and vast.
Speaker 1 (20:37):
I really don't know what that is.
Speaker 2 (20:41):
I think it's Close Encounters of the Third Kind. Oh yeah,
because you know space, That's what I think.
Speaker 1 (20:48):
And his life is upended, he sees the UFO. You're
probably right, let's go with that.
Speaker 2 (20:55):
Close Encounters Are the Third Kind nineteen seventy seven. Nolan's
specific referenced it in interviews as the spiritual predecessor to
what he was trying to do with Interstellar.
Speaker 1 (21:07):
Yeah. In my head, like, I don't even connect those
two movies, but I guess it makes sense when he
describes it that way. I guess it's kind of like
very similar in that way, two very different movies. Yeah,
although I do love Interstellar, you know, I've talked about that.
Speaker 2 (21:24):
That's your favorite. Nolan isn't it.
Speaker 1 (21:25):
That's yeah, that's definitely my favorite Nolan.
Speaker 2 (21:29):
Let's stick with two degrees of Spielberg Nolan and let's
do a thousand.
Speaker 1 (21:33):
Let's get nuts, let's get crazy. Both directors share an
unusual Oscar distinction. Spielberg was not nominated for Best Director
for Jawser Raiders two Best Picture nominees. Nolan was not
nominated for Best Director for four acclaimed films that were
either nominated for Best Picture or DGA nominated. Name any
(21:55):
two of Nolan's four films that received Best Picture recognition
but no personal Best Director Oscar nomination for Nolan. That's
definitely worth a thousand.
Speaker 2 (22:06):
Name any two. I'm gonna say one of them is inception,
and one of them is, uh, what was that movie
I took in.
Speaker 1 (22:16):
The draft, Dunkirk?
Speaker 2 (22:17):
Well that was like about the war, Yeah, Dunkirk. Okay,
so I'll say inception in Dunkirk. That sounds pretty good.
Speaker 1 (22:24):
I think, oh, Memento, The Dark Knight, Inception. Those were
the three.
Speaker 2 (22:31):
No Dunkirk, No Dunkirk.
Speaker 1 (22:33):
That's definitely a complicated.
Speaker 2 (22:35):
Uh yeah, question.
Speaker 1 (22:37):
All right, Well, let's go to iconic scenes you can't
unsee for a thousand.
Speaker 2 (22:42):
In Schindler's List, an otherwise black and white film, Spielberg
uses color exactly once for a specific narrative purpose. What
is the color used, what is it applied to? And
what happens to that image later in the film.
Speaker 1 (22:57):
God, I don't remember it. I think it's red. Yeah,
I thought it was when someone was shot.
Speaker 2 (23:05):
I thought it was like a kid in like a
red dress, like stop wearing something red. But I don't
know what happens to that image later in the film.
Speaker 1 (23:15):
Yeah, I don't. I only know the color is red.
Speaker 2 (23:18):
Ah, okay, red the.
Speaker 1 (23:20):
Code of the little girl in a ghetto liquidation scene. Later,
Schindler sees her red coat on the cart of bodies.
That's right, the moment that fully breaks him. It's Spielberg's
most deliberate use of symbolic color in his career.
Speaker 2 (23:37):
We were close once. They like describe it. I can
see it. Yeah, very deliberate and powerful. Yeah, we're still there.
Are we got two thousand dollars we've missed you know,
I guess we've missed three. All right. I'll go with
movie marketing mayhem for six hundred.
Speaker 1 (23:56):
All right. Spielberg's et had one of the most effective
tagline and image combinations in Blockbuster history. The famous poster
image two fingers touching across a starry background was inspired
by a specific painting by this Renaissance artist.
Speaker 2 (24:13):
Guessing It's starry night by Van Go. I'm glad they
didn't ask me the tagline because I was like, I
don't know what the tagline.
Speaker 1 (24:20):
You know, one could say while we're playing this game
that we've completely screwed up because you said, what is
I know, starry night?
Speaker 2 (24:29):
Ken Jennings would be like, sorry, can't accept it.
Speaker 1 (24:32):
I mean, I know our listeners right now. I apologize
because if any of you are Jeopardy fans.
Speaker 2 (24:37):
Throwing yourself out a window. Ah, but who is Van Go?
Speaker 1 (24:41):
Ah?
Speaker 2 (24:42):
Ah?
Speaker 1 (24:43):
Michelangelo specifically the creation of Adam from the sixteen Chapel Ceiling.
Speaker 2 (24:49):
Okay, well I get it with the ets finger yeah,
I was thinking of something totally different. They threw me
off with the starry background. It too fun home we
are really that was the SCARIESTDT I've ever heard. We're
really on a downslide.
Speaker 1 (25:04):
Here, Yeah, I mean, this is good trivia, This is
stuff we would you know. I like finding out things
that I didn't know before we're learning their brains are weird.
Behind the scenes. For four hundred, all right.
Speaker 2 (25:18):
Spielberg has said he got the idea for the Indiana
Jones franchise from this other legendary director over a sand
castle building conversation in Hawaii right after the stressful release
of nineteen forty one. Name the director, Oh this is uh,
what's his face? The guy Star Wars George Lucas. Lucas,
(25:41):
thank you, Yeah you said Star Wars. You knew, George Lucas.
The two are vacationing together in Hawaii during the opening
weekend of nineteen forty one, and Lucas pitched Spielberg his
idea for a globe trotting archaeologist adventure. Let's go with sequels, franchises,
and other obligations. For two hundred, Spielberg has directed films
(26:04):
in two of Hollywood's biggest franchises. One is Indiana Jones,
the other involves genetically resurrected prehistoric animals. Name both franchises
and how many films Spielberg directed in each.
Speaker 1 (26:17):
Oh, that part's hard.
Speaker 2 (26:19):
Yeah, that's kind of messed up. In Indiana Jones, he
did four. In Jurassic Park, he did two. Okay, I
think that's right. It's that right to you.
Speaker 1 (26:33):
Uh maybe three he.
Speaker 2 (26:35):
Did the three original Indiana Jones, then he did that
the Crystal Skull. Yeah, but he didn't do the last
one where he was super old, and that lost me
the box office draft. You got it right, I am.
I'm back.
Speaker 1 (26:52):
I guess I didn't even really read that for the audience,
but I should have probably, Well, they know it's correct.
So yeah, I feel good. Let's go was movie marketing
mayhem for a thousand, Let's try to knock that guy
off the.
Speaker 2 (27:06):
Board, sweeten the pot. When Jurassic Park was released in
nineteen ninety three, the merchandise licensing blitz that accompanied it
was unprecedented. Spielberg's team made a deliberate choice to include
a specific type of product in the film's own plot,
essentially making the movie a meta commentary on its own marketing.
(27:26):
What product category appears in the film as a plot point.
Speaker 1 (27:31):
Well, like, a part of me wants to say the jeep,
but that's not it, and I'm trying to think of
what it is. Now, let's just say jeep. I'm probably
got it wrong.
Speaker 2 (27:40):
But Jurassic Park merchandise, it's just jurass Park merchandise theme
park gift shop items. The film literally shows JP branded hats, mugs,
and souvenirs in the park's gift shop, a self aware
nod to the real merchandise machine Spielberg knew would follow
of a trick question there, Yeah, it is all right.
(28:04):
I'm gonna go with iconic scenes you can't unsee. For
six hundred, Spielberg.
Speaker 1 (28:11):
Shot the D day opening of Saving Private Ryan with
a specific camera technique to make it feel like documentary
news footage. What did he do to the camera lenses
before filming?
Speaker 2 (28:23):
What did he do to the camera lenses before filming?
I want to say, like he rubbed him with dirt,
Like made him dirty?
Speaker 1 (28:34):
All right, I think that's a legit. Ah. So he
stripped the lens coating, desaturated, removed the anti reflective coating
to create a harsher, more bleached out look, and used
handheld cameras throughout.
Speaker 2 (28:49):
Interesting, that's hard.
Speaker 1 (28:50):
Yeah, in a way, you were kind of right. He
made it dirty.
Speaker 2 (28:54):
He made it dirty.
Speaker 1 (28:57):
Ar Layman's view of what happened. All right, let's do
two degrees of Spielberg Nolan for two hundred. I need
something easy on this one.
Speaker 2 (29:07):
Sometimes you just got to get the juice gone. Both
directors have made films centered on real historical catastrophes that
killed thousands of people. Spielberg's is Shindler's List Holocaust. Nolan's
is Oppenheimer The Atomic Bomb. What do both films have
in common in terms of how their directors approached the
subject matter? He's getting harder.
Speaker 1 (29:31):
I think this is a hard category to be honest
with you. Yeah, I'm going for the two hundred, and
the two hundred is difficult.
Speaker 2 (29:38):
Mm hmm.
Speaker 1 (29:39):
How they approach the subject matter? Well, for one, I
haven't seen Oppenheimer, so that's kind of tough for me.
What would you say as to how they approach the
subject matter? You've seen both of these.
Speaker 2 (29:50):
Right, Yeah, Now that I'm thinking about it, I'm like,
maybe the answer is in the titles. You know, they
both it's through the eyes of like one person.
Speaker 1 (29:58):
Oh, it's through the eyes of the Yes, it's shown
through the eyes of the antagonists. Really of history Schindler was,
I mean it was his list.
Speaker 2 (30:09):
He's working with the Nazis.
Speaker 1 (30:10):
Yeah, right, Oppenheimer, he's creating the atomic bomb. You know,
he's not the one stopping it. Or I don't know
what you would call that.
Speaker 2 (30:19):
Yeah, let's go with that. We were way off.
Speaker 1 (30:23):
Yeah.
Speaker 2 (30:23):
So both are shot in the hybrid style, mixing black
and white and color photography. Schindler's list is mostly black
and white with selective color. Oppenheimer uses both formats, though
we could also accept refusal of conventional Hollywood heroism as
an answer, which is what I was saying. Yeah, so
I'm gonna give that to you. Okay.
Speaker 1 (30:45):
I like the way it worded it better than the
way I worded. I worded as a human being. It
worded it as a robot.
Speaker 2 (30:51):
Yeah, I agree. It seems like we've had success with sequels, franchises,
and other obligations, So I'm going to take that for
a thousand.
Speaker 1 (31:00):
After the disappointment of nineteen forty one from nineteen seventy nine,
his one true box office flop, Spielberg made a very
deliberate commercial comeback with Raiders of the Lost Arc. Nineteen
forty one was so troubled that Spielberg said he learned
a specific lesson about filmmaking that he carried with him
(31:22):
ever after. What did he say the film taught him?
Speaker 2 (31:26):
Ugh, I'm gonna say it taught him not to do comedy.
Nineteen forty one's kind of a comedy, So okay, don't
do comedy.
Speaker 1 (31:35):
Ah, That spectacle without emotional grounding doesn't work ah, Or
that he couldn't simply pile up gags and set pieces
without a human story at the center. He has called
nineteen forty one the film that taught him restraint in
the importance of character.
Speaker 2 (31:54):
Good lesson, good, lesson.
Speaker 1 (31:56):
I was close. I mean you were close with the
comedy part. Yeah, all right, So let's go with their
brains are weird behind the scenes for two hundred, all right.
Speaker 2 (32:07):
Christopher Nolan famously does not use a smartphone or email,
communicating primarily through this old fashioned method. He also reportedly
does not allow chairs on his film sets, insisting cast
and cruse stand throughout the shoot. So I guess the
question is what is the old fashioned method that he
communicates through.
Speaker 1 (32:26):
He still has a flip phone.
Speaker 2 (32:28):
You're going with flip phone?
Speaker 1 (32:29):
I guess that's not really old fashion, but no, that
sounds what is writing letters in a flip phone?
Speaker 2 (32:38):
Oh?
Speaker 1 (32:38):
Landline phones? Facts? He uses a landline and fax machine.
Speaker 2 (32:43):
It's a flip phone, landline. I'll take two degrees of
Spielberg Nolan for four hundred.
Speaker 1 (32:52):
Spielberg produced and Nolan directed films that both starred the
same actor playing a man who gets stranded somewhere he
desperately needs to escape from. One in an airport and
one in a fifth dimensional bookcase. Name the actor and
both films.
Speaker 2 (33:09):
I can think of the movies, but I can't think
of the movies, or I can't think of the actor
because the Terminal is the airport and then Interstellar is
the bookcase. But who's the same actor. I feel like
this answer is going to be wrong because I think
of McConaughey and I think of Hanks. Unless I've got
the movies wrong.
Speaker 1 (33:29):
I don't think it's supposed to be the same actor.
Like the way it's worded is this guy is playing
a man who could strand somewhere he desperately needs to
escape from. I don't think it's so.
Speaker 2 (33:41):
You think the answer is like The Terminal, Tom Hanks,
Interstellar Matthew McConaughey.
Speaker 1 (33:47):
Yeah, correct answer. This is a trick question. The actor
is not the same The Terminal stars Tom Hanks, Interstellar
stars Matthew McConaughey. Award Points for catching the misdirection. That's awful.
Speaker 2 (34:02):
What was that?
Speaker 1 (34:03):
For four hundred?
Speaker 2 (34:04):
I don't think they can do that?
Speaker 1 (34:06):
Right?
Speaker 2 (34:07):
Or do we just mess with you with this question?
That's really weird?
Speaker 1 (34:10):
Yeah, all right, listen, this is what I'm gonna do.
Iconic scenes you can't unsee. For eight hundred, you got this.
Speaker 2 (34:20):
The ending of The Dark Knight, in which Batman takes
the blame for Harvey Dent's crimes, involves him telling a
lie to protect Gotham's hope. Nolan has said the scene's
emotional power comes from a specific literary concept. What Greek
term describes a heroic figure who falls by a flaw,
which is what Dent becomes.
Speaker 1 (34:41):
This is why I would never do well on Jeopardy.
Speaker 2 (34:47):
I have no idea say any Greek word feta, a
tragic hero hamartia. I don't know how you say that
the fatal flaw. I thought of the word fatal flaw,
but I'm like, what's the I don't know this term.
You can also accept Harvey Dent is framed as a
classic tragic hero. So it's not feta.
Speaker 1 (35:08):
It's not feta cheese.
Speaker 2 (35:11):
Let me do movie marketing mayhem For two hundred The
original teaser.
Speaker 1 (35:16):
Poster for Jaws, designed by artist Roger Castle, shows a
massive shark rising toward a loan swimmer from below. This
image became so iconic it essentially invented this specific marketing concept,
still used today.
Speaker 2 (35:31):
This specific marketing concept, the concept. What is the concept?
Speaker 1 (35:40):
The concept? A lot of these are like super tricky?
Speaker 2 (35:43):
Yeah, do you have it? Do you have an idea? No?
Speaker 1 (35:47):
I don't.
Speaker 2 (35:48):
Okay, I feel like we should know this, but it
seems I'm just like not wrapping my brain around it.
This is a scam.
Speaker 1 (36:00):
We're overthinking it a little bit. Yeah, the summer blockbuster
teaser poster, the concept of the one sheet movie poster
as a cultural event. We could also accept the idea
of leading with a threat scale imagery and a single
dramatic poster.
Speaker 2 (36:18):
I mean, yeah, it invented the I guess it invented
the summer blockbuster, so it would invent the summer blockbuster poster. Yeah,
dumb question. I don't like it.
Speaker 1 (36:30):
How about sequels, franchises, and other obligations?
Speaker 2 (36:34):
For eight hundred, Nolan's films exist almost entirely as standalone stories,
except for his Dark Knight trilogy and one other instance,
where two of his films share an unlikely thematic and
structural parallel, so striking that fans call them a de
facto dip. Tyke named the two films.
Speaker 1 (36:56):
I don't know. I'd say maybe Inception and Tenant something
like that. Okay, I don't know.
Speaker 2 (37:01):
Ah. Oh. The Prestige and Inception both involve elaborate deceptions
with multiple layers of misdirection, and Nolan has acknowledged the
structural similarity.
Speaker 1 (37:14):
Which makes a lot of sense because Prestige was very
popular and then Inception obviously much later. I guess not
much later. It's only four years difference between those two movies.
Speaker 2 (37:25):
Yeah, surprising. All right, we've got only what we six
six left here. Let's do. Let's do iconic scenes you
can unsee for four hundred.
Speaker 1 (37:38):
In Inception, the film's most visually dazzling sequence involves a
hallway that rotates three hundred and sixty degrees as characters
fight inside it. Nolan insisted on building a real rotating
set rather than using CGI. How long did it reportedly
take to construct?
Speaker 2 (37:56):
I mean, this is just a shot in the dark.
Guess obviously, I'm gonna say it took three months.
Speaker 1 (38:01):
All right? Oh, oh, three months, nice, ninety days in
and out. That's a good guess. I'm gonna take movie
marketing mayhem for eight.
Speaker 2 (38:14):
Hundred, all right. Closing out the category, Nolan's Dunkirk was
marketed almost entirely without showing any famous actor's faces in
its trailers, leaning instead on sound, atmosphere, and imagery. This
was a deliberate choice, reflecting Nolan's belief that the film's
real star was something other than its cast. What did
(38:34):
he say The star of the film was, Uh, the set.
I would say the event itself, the Dunkirk evacuation, the
soldiers as a collective. Nolan said the film was an
experience rather than a character story, and market it that way.
The sets, the setting, the I would take I would
(38:56):
accept that as the event, the Dunkirk evacuation, right.
Speaker 1 (39:00):
Would, because that's kind of what I intended. I mean,
it's a little bit more elaborate what the answer is giving, But.
Speaker 2 (39:06):
All right, I'm gonna go with their brains are weird.
Behind the scenes for six hundred.
Speaker 1 (39:13):
Nolan shoots all of his films on photochemical film rather
than digital. He's such a strong advocate that he personally
lobbied studios to maintain film as a viable format. He
made this specific case to the CEO of what major
studio who had been planning to eliminate film entirely.
Speaker 2 (39:35):
I'm gonna go with Warner Brothers. I think he used
to work for Warner Brothers.
Speaker 1 (39:39):
A Paramount Pictures. He lobbied Paramount CEO to keep maintaining
film stock. Other studios followed except any reasonable version. Answer
except for Warner Brothers. That one is not reasonable. All right,
Let's try sequels, franchises, and other obligations for four hundred.
Speaker 2 (40:03):
Christopher Nolan famously does not make sequels, with one notable
exception his Batman trilogy. When he was done with it,
he made a very public statement that he would never
return to Gotham. He kept that promise, but DC has
since rebooted the character with a different director who directed
the twenty twenty two Batman film that followed Nolan's trilogy.
Speaker 1 (40:26):
I remember there being a different director, but I don't
remember exactly who it was. Matt Reed.
Speaker 2 (40:32):
Matt Reed's right, The Batman twenty twenty two starring Robert Pattinson.
All Right, I'm going with their brains are weird behind this? No,
I'm going with two degrees of Spielberg Nolan for six
hundred already failed that their brains are weird behind the scenes.
Speaker 1 (40:47):
A couple times, both directors have made films about magicians
or people who use elaborate illusions to deceive others. Spielberg's
version starred appropriately a man named Frank, Nolan's starred two
rival magicians in Victorian England. Name both films, well, we
(41:09):
know one is The Prestige.
Speaker 2 (41:11):
What's Spielberg's a man named Frank? Do you know what
that is?
Speaker 1 (41:17):
Magicians?
Speaker 2 (41:21):
Frank?
Speaker 1 (41:23):
Oh?
Speaker 2 (41:23):
Oh, okay, I think I got it. I think it's
catch me if you can. He kind of, you know,
he pretends to be elaborate deceive his others illusions, So
catch me if you can. In The Prestige, what is.
Speaker 1 (41:37):
Catch me if you can? Two thousand and two Frank
Abagnale Junior as master con artist, illusionist and The Prestige, Yeah,
rival magicians played by Christian Bale and Hugh Jackman, which
you've already talked about. That's good.
Speaker 2 (41:50):
That was a good get. That was hard. Our score
is five thousand dollars. I think we've gotten more than
we've missed.
Speaker 1 (41:57):
Sor right, So their brains are weird. Behind the scene
for one thousand.
Speaker 2 (42:02):
Last category, Let's see if we can finish strong. During
the making of Oppenheimer, Nolan achieved the practical effects equivalent
of a moon landing filming the Trinity atomic bomb test
without CGI. He and cinematographer Hoyat Van Hoyetoma used a
combination of real chemical reactions force perspective in this specialized
(42:25):
film format, the first time it had ever been used
for a fictional narrative feature.
Speaker 1 (42:31):
To capture it, I don't know, a specialized film format.
Speaker 2 (42:35):
Yeah, I don't know. I was thinking Imax, but I'm like,
that's not the first time it's ever been used Imax Filmax. Specifically,
he shot portions on black and white Imax film. The
first fictional film ever shot that way, black and white
Imax scam.
Speaker 1 (42:52):
Question, why does it say the first fictional film.
Speaker 2 (42:56):
Maybe there was nonfiction documentary shot that way.
Speaker 1 (43:00):
Okay, it was hard.
Speaker 2 (43:07):
It was harder than I expected.
Speaker 1 (43:09):
That was a tough, tough, tough game of jeopardy.
Speaker 2 (43:13):
Yeah. It started off I was like, Ah, we're gonna
kill this, and then quickly went downhill.
Speaker 1 (43:18):
Yeah, it became so difficult that I realized that I'm
never gonna realize my Jeopardy dream.
Speaker 2 (43:26):
Well, that's it.
Speaker 1 (43:27):
I always saw to myself I could do Wheel of Fortune,
but Jeopardy is tough.
Speaker 2 (43:32):
Yeah, so were we suck at Jeopardy? We know nothing
about Spielberg and Nolan, but you know, hopefully we all
learned a little something through that.
Speaker 1 (43:43):
Yeah, humility, we live little humility.
Speaker 2 (43:48):
Maybe a lesson we needed. Mm hmmmm, Well to wrap
things up on you know, the end of each movies
in marketing thing we like to do now is kind
of share an upcoming movie piece, marketing movie news items something.
It's kind of smacked into our radar. So what's on
(44:08):
your hype watch right now?
Speaker 1 (44:10):
Patrick, Well, I just mentioned to you that I saw
this trailer just today. Brad Pitt has this movie coming
out about him and a dog. He's like a Special
Forces type of guy. He's got this dog. They're a
duo Heart of the Beast.
Speaker 2 (44:25):
It's like a survival tale, isn't it.
Speaker 1 (44:28):
Yeah? And you know, I think somewhere in the trailer
says life isn't about who you live for, it's who
you die for. Something along those lines.
Speaker 2 (44:36):
It's deep.
Speaker 1 (44:37):
Yeah, And I don't know, looks good. This seems like
a good Brad Pitt movie. Surprisingly, I don't like dog movies.
I mentioned if they killed the dog in the movie,
I'm done And I can't make out from the trailer
if it's going to be that movie, but definitely looks
like it might be a interesting story.
Speaker 2 (44:55):
Do you think people are gonna get that confused with
the Dog stars? But what the dogs star? Did you
see the preview for that coming out beginning a September,
end of August something like that. It's like a post
apocalyptic thing with Josh Brolin and there's a dog in
it at some point.
Speaker 1 (45:10):
Oh really, there's something to that. You know that there
needs to be more of those movies out there, I suppose.
Speaker 2 (45:16):
Yeah, I'm just glad the dogs are, you know, getting
the work. Other people are putting the dogs to work again.
Speaker 1 (45:21):
Yeah, what do you got? What's going on in the
world of shad Hype?
Speaker 2 (45:29):
Well? I got another trailer? So I recently went to
see Back Rooms, which I told you about supporting my
box office movie Draft Team. But before that movie, I
got served a whopping nine trailers.
Speaker 1 (45:43):
Nine I kid you not, that's insane.
Speaker 2 (45:46):
I had to like write them down during because they
were showing so many, I'm like, I gotta keep tracks.
I remember all these, but the most interesting one was
probably the teaser trailer for the new Resident Evil movie,
which is coming out in September. This normally wouldn't be
super interesting to me, but it's from the writer director
(46:06):
who gave us Barbarian and Weapons, Zach Craiger. This guy's
got the juice.
Speaker 1 (46:11):
Man.
Speaker 2 (46:11):
I'm interested to see what he does next. If that
means checking out a Resident Evil movie, I'll do it.
Kind Of curious because of those other movies, which you know,
kind of defied expectation a little bit. I'm interesting to
see what he has up his sleeve with this one,
what he'll do with this. You know, we already got
a Resident Evil. We've got a couple Resident Evil movies before.
Curious to see what he'll do differently.
Speaker 1 (46:33):
It's funny that there were nine movies you started taking notes.
I do love that the sign of more trailers means
there's more movies being made. There was a time not
that long ago where you'd get like maybe two trailers.
Speaker 2 (46:49):
Yeah, we remember our very thin summer movie drafts, when
we're like coming to our last pick and we're like
that do we even have enough movies to do enough picks? Here?
Speaker 1 (46:59):
What do we do after this? Yeah, we were we
were a little scared there for a second. Well, I
think that that's I gotta be honest. It's a very
long episode for all of our listeners out there. Hopefully
you were able to like kind of follow along with
the jeopardy and the questions there. Maybe you got a
lot more answers than we did. Maybe maybe you've got
(47:20):
a lot of right answers comparatively to us because we
struggled a bit. But yeah, that's It's been a fun,
fun ride through the Spielberg Nolan maze that we clearly
don't know as much as we thought we knew.
Speaker 2 (47:38):
We know very little. The thing we know very little about.
Speaker 1 (47:43):
Yeah, we we thought we thought we knew a lot
about these massive movie makers. We know nothing or next
to nothing. But hope you enjoyed this. That's it for
this episode of movies and marketing. Until next time. Let's
fade back. I'll be back. He's not coming back. H
In a world where movies rely on marketing more than
ever to connect with audiences, one podcast aims to make
sense of it all. This is movies and marketing. Next
Saturday Nights, where's sending that to the future? Go ahead,
make my day? How about now? You're crazy Dutch bastard.
Speaker 2 (00:26):
What we've got here is failure your mill gate. Take
them the ground where a crushole of power.
Speaker 1 (00:33):
We might be as well with them.
Speaker 2 (00:37):
I am an f be I agent, So Patrick, you know,
we usually start these episodes with some trivia. One of us,
you know, comes up with some questions. We're throwing it
at the other person, trying to stump them, make them
look like a fool on the airwaves, one of our
(00:58):
great joys.
Speaker 1 (00:59):
Yeah, we do a good job at that.
Speaker 2 (01:01):
But we're not gonna do that today because this whole
episode basically gonna be one big ball of trivia in
honor of summer releases from two big time directors, mister
Steven Spielberg and Sir Christopher Nolan. I don't know if
he's been knighted or not, but seems like someone who
would be h We're gonna play a game of jeopardy.
(01:23):
Jeopardy like the game.
Speaker 1 (01:24):
Show because we're old men and we like game shows.
Speaker 2 (01:28):
We love games, game shows, trivia. But you know, the
wrinkle here is all the categories are gonna be based
around these two directors, and they're films little something new,
little twist, something we haven't done before, but we're gonna
try it out and see what happens. You know, we
like to experiment on this program.
Speaker 1 (01:47):
So I love a good trivia episode where we just
you know, gamify the hell out of it. This feels
like it's gonna be a good one because Steven Spielberg
Christopher Nolan. I mean, they're just two directors where they're
the ip.
Speaker 2 (02:04):
Yeah, they're the reason you go.
Speaker 1 (02:06):
Yeah, the directors are the brand for the movies. That
must be a good feeling. Wouldn't that be such a
good feeling where you know, you know that your name
is synonymous with quality. I guess.
Speaker 2 (02:18):
Yeah, people are coming to see what you make. You're
selling the tickets. Yeah.
Speaker 1 (02:23):
People don't say I'm gonna go see that you know,
new sci fi conspiracy movie. They say I'm going to
see the new Spielberg.
Speaker 2 (02:31):
Yeah, it's probably not much better. There's only a handful
of name director where you know the director by name.
Speaker 1 (02:36):
Mm hmmm, you're like this guy.
Speaker 2 (02:39):
I'm on board Tarantino, Paul Thomas Anderson.
Speaker 1 (02:42):
Sam Raimi.
Speaker 2 (02:43):
I love some Sam Raimi. I don't know if everybody
knows Sam Raimi though, No, but he's.
Speaker 1 (02:47):
In that upper echelon category of directors. I would say,
mm hmm.
Speaker 2 (02:52):
I agree, he's on my Mount Rushmore. Yeah.
Speaker 1 (02:55):
So I'm super psyched about this episode and I think
a lot of fun. But before we get into our
game of jeopardy, let's talk a little bit about these
two directors and the movies they have coming out. Unless
you live under our rock, you've probably heard and which
is some of you do. You're all listening to this podcast,
So maybe you do, because ah.
Speaker 2 (03:13):
Shots fired.
Speaker 1 (03:14):
We're rock slash cave dwellers over here on this podcast.
We don't leave, we don't go out into the sun,
and you're our people listening. So I'm not you know,
I'm not knocking that. But unless you've completely disconnected from
you know, the outside world, you know that these two
have movies on the horizon or have already come out,
(03:35):
depending on when you've listened to this. We've got both
Disclosure Day and the Odyssey. Are you on board for these?
Speaker 2 (03:42):
I'm about as on board as I can be with,
you know, a movie coming out. These are both like
must sees for me, which maybe it's even a bad sign.
How how on board I am? You know, the expectations
are pretty high, but these are probably like my two
my top too, summer movies, which makes me think to myself,
(04:04):
I'm like, oh, no, are these dad summer movies? Maybe
they are, but yeah, I'm pretty into them. How about you?
Speaker 1 (04:09):
Yeah, I am too. I'm into them for different reasons.
I'm more into Disclosure Day probably than The Odyssey. I
know you're maybe more into The Odyssey than Disclosure Day.
Would that be accurate?
Speaker 2 (04:21):
I don't think so. I think I'm more into Disclosure Day. Also,
are you okay?
Speaker 1 (04:24):
They're spectacles and like, yeah, we're talking about the directors
themselves pull you in because you know you're getting something
of substance. Usually when you talk about these tresores, like
and Spielberg coming sort of back. That's one of the
things that people have been talking about, like, oh man,
Spielberg's back right, Like he doesn't quite do what he's
(04:47):
doing here very often anymore, And you know, bringing in
an alien movie sort of takes people back to the
days of like Et and you know AI and Close Encounters,
Close Encounters, things that he just had a had a
heavy hand in and that live on they will live
on in film history. Is like, you know, the great
examples of sci fi for all humanity moving forward, you know,
(05:12):
I mean really not.
Speaker 2 (05:13):
To overstate it, right, No, these guys are both like, yeah,
architects of the summer blockbuster, right, Spielberg fifty years ago
he's making Jaws and like which started summer movies in
some way. And then you know, Nolan's been doing it
for the past twenty years. Every movie, I think almost
every movie he comes out with has been released in
the summer, going back to the you know, Batman movies anyway,
(05:38):
and they're always like, you know, big and made for
IMAX and made to wow you. So you know, you're
getting something that's not just like you know, a small,
a small, little quaint movie. You're getting something like bombastic
that feels like a summer movie, which is what I like.
Speaker 1 (05:54):
I love that to use the word bombastic to describe
it because it made you think of Shaggy. It wasn't me, yeah,
you know, and The thing is is like summer movies.
I'm just gonna say, this is the reason why we
do the summer movie draft, right, Like summer movies is
where it's at. It's like, do you want to be
on the main stage or do you want to be
(06:15):
the supporting cast? Right, And that's what summer movies is.
I think probably for directors, for movies in general, this
is the main stage. Man, this is the prime time.
This is not the late late show. This is the
tonight show.
Speaker 2 (06:30):
Yeah, we're going big, and I think both these guys
have proven time after time they can deliver. You know,
that bets it. Both The trailers for both these movies
haven't totally wowed be so I'm like a little hesitant,
but my hopes, as I said, very high. I can't
wait to see both of them, and the Odyssey. You know,
obviously Imax huge for this one. I don't know, should
(06:52):
we go see this in Imax?
Speaker 1 (06:53):
I'd see it in Imax, I will say. I'm I'm
increasingly coming into the shadfold of long movies. Man, two
fifty four I think is what this one's at. So
three hours, that's tough. I got to plan half a
day plus your previews.
Speaker 2 (07:08):
Uh huh, No, your time ahead. I mean that's like
you're three and a half hours sitting there. That's a
long time.
Speaker 1 (07:14):
I think that's probably one of the things that has
going against it, I think at this point. But it's
also you know, it's he's world building, so I get it.
You know what I mean. You can't have a spectacle
without the spectacle.
Speaker 2 (07:26):
It's an epic, an epic.
Speaker 1 (07:29):
Yeah, I don't know what you're talking about.
Speaker 2 (07:30):
Though.
Speaker 1 (07:30):
The first Disclosure Day trailer that like Teaser Man, that
wowed me. I was like, Oh, what is this man
where it's like Emily blunts like you know, yeah, clicking.
I was like, oh, this might be. I don't even
know if this is my favorite movie yet.
Speaker 2 (07:49):
But I guess I agree that one. I was like,
this is pretty good. I just saw versions of that
repeatedly and nothing. There was no escalation.
Speaker 1 (07:58):
Yeah.
Speaker 2 (07:58):
Part of that is supposedly because they're like keeping things
like tucked away, Yeah, which I appreciate. But at the
same time, I kept seeing the trailer and as I
saw it, it was like a little more diluted the
more you see it.
Speaker 1 (08:09):
That's always the tough part, Like don't give too much away,
but you regurgitate the same stuff, or you show stuff
that's not as interesting because you're trying not to give
plot points away. You know, I'd rather just stick with
that original teaser.
Speaker 2 (08:23):
Keep you on your toes, grab you mm hmm. So
thinking about these two guys together, Spielberg and Nolan, do
you think these two directors are similar?
Speaker 1 (08:30):
And you know, I was trying to think about this.
I feel like I want to say that Spielberg sort
of starts with like emotion m m, whereas like Nolan
is more about concept. Does that make sense now?
Speaker 2 (08:42):
I think that makes total sense. You know.
Speaker 1 (08:45):
They both build to good places. It's one of the
reasons why they're so successful as directors. But that's where
they I mean, I don't know. I wouldn't say that
that's where their differences are, but that's where their similarities are.
They're both they both have this like starting point where
they hook you. And you know, me, I'm a big
I love concept, but I also love a good story
that you're connected to the characters. So they both have
(09:08):
those qualities, you know.
Speaker 2 (09:09):
Yeah, No, I think that's it. I mean, they're both
obviously I think big movies. They're both you know, brands
unto themselves, they have very different styles. I think, like
you mentioned, Nolan's being much more cool and cerebral, whereas Spielberg,
you know, is known for kind of his warmth. They're
obviously at different ages and places in their career.
Speaker 1 (09:30):
Yeah, they are different ages. But you know, I think
of Nolan as sort of this old soul like I
was telling you, I saw this interview where he doesn't
even have like a smartphone that speaks volumes to me,
you know, as a person who sort of sees how
a person deals with their daily life often translates into
the thought and care they put into their craft. And
(09:53):
I'm not saying that like having a smartphone means you
can't be a great creator or anything, but it's just
like he doesn't have time for that stuff because he's
thinking about his movies. Right. He's kind of that old
school like Spielberg, like we all come from this time
before technology ruled our lives to some degree, and he's
treating it like, well, I'm not.
Speaker 2 (10:14):
Going to let it.
Speaker 1 (10:15):
These ideas are coming from my heart and soul. That's
how I took the interview anyway from Nolan.
Speaker 2 (10:21):
Yeah, which is super interesting and I think maybe him
and Spielberger a like in that way, and in terms
of their filmmaking, very like technologically savvy and progressive, you know,
in terms of making like films with effects and doing
different things, you know, in that way and like kind
of pushing the meetium forward. I think of Nolan with Imax, Yeah,
and then you hear something like that. Within their lives,
(10:43):
they're also like very like classical in terms of their
way they're thinking, you're like, you know, maybe even living
in the every day. So that's kind of an interesting
juxtaposition in some way to me, and maybe that's what
makes how they put things together so good.
Speaker 1 (10:58):
If you could name an underrated movie by each director,
what would it.
Speaker 2 (11:03):
Be So for Nolan, I think to me it's definitely
The Prestige, which is popular but not as big as
like some of his later movies. For those who don't know,
it's a movie kind of set in the late eighteen hundreds,
I think London, Yeah, about a rivalry between two magicians
who are Christian Bale and Hugh Jackman. Scarlett Johanson's also
(11:26):
in this as like the Magician's assistant. It's a movie
that's got a lot of like Twists and Surprises might
be my favorite Nolan movie. Yeah, I like this one
a lot. I feel like it's pretty good.
Speaker 1 (11:36):
This is the one I would probably pick too, because
I I do, I like it, and this was before
I knew Nolan, like this, before Nolan became Nolan, I
think in the common vernacular or like you know, common
knowledge of like, oh, people know Christopher Nolan. Maybe people
did at the time.
Speaker 2 (11:55):
I think he was like up and comer at that,
you know, still like on the at that point.
Speaker 1 (12:01):
But this is a great example of why he is
who he is now and why people have elevated him
to a level of being the brand as I say,
you know, so, yeah, I would go with this. I
feel like it's one of the cleanest movies that he has.
It's still like it tells you exactly what it is,
(12:21):
but then it like fools you with like you said,
the twists and turns and I and I love that
about that.
Speaker 2 (12:27):
Yeah, that's a good one. So if you haven't seen that,
that's definitely one. Spielberg is probably a little harder though
he has like a long filmography, so trying to pick
one there, I would probably pick a pretty recent one.
I would pick The Fableman's which he did in twenty
twenty two. It's kind of like autobiographical movie about his
life growing up and you know, the things that inspired
(12:50):
him to become a filmmaker. There's some really good parts
in it, including like the final shot of the movie,
which is like a little bit of a joke. I
don't know, it's pretty good. There's just some like a
few sequences in that movie that I'm like, have kind
of like stuck in my head. I think more people
need to check this one out.
Speaker 1 (13:06):
I had kind of a tough time with this one
because there's some movies that you know, don't get talked
about a lot. And then I was like, well, you know,
do I pick one that sort of reacts with today's topic,
which is disclosure Day, like AI for example. Mm hmm, Yeah,
a lot of people know about that movie. I don't know,
if it gets.
Speaker 2 (13:26):
Talked about a lot, I would call that underscene.
Speaker 1 (13:30):
Yeah, that movie is stuck with me for a long
long time. When I think back to this movie, I
still think of scenes in this movie that man so
unbelievably powerful, and while it's so cool from a sci
fi standpoint, it's so heartbreaking from a reality like a
(13:50):
human standpoint, because you you see so much of like
human nature in it that it's pretty sad. It's depressing
in a lot of ways, and yet you know you're
pulled through with this like robot who wants to be
human so badly. If you haven't seen this, this is great.
It's Haley Joel Osman as a child, not as an adult, yeah.
Speaker 2 (14:14):
When he was sixth cents age. And that movie's super interesting,
you know, even related to the topic today because it
was originally like a Stanley Kubrick project. He was going
to direct it and then he you know, died and
kind of passed it on to Steven Spielberg. Kubrick kind
of similar to Nolan in some ways and like the
(14:35):
way he makes movies, so it's almost you could see
him in that movie too. There's like some darker stuff
than you would typically find in a Spielberg movie.
Speaker 1 (14:45):
Yeah, to the point where there's that cerebral element that
you mentioned, you know about Nolan, and I guess the
darkness too. I never really picked up on that, but
there are actually quite a few things in there that
are pretty dark, and you're like, doesn't feel totally spiled Berg,
but the execution is great.
Speaker 2 (15:02):
Yeah, those are some good recommendations. So those are some
ones to watch, and also a pretty good preamble as
we now go into some Spielberg Nolan jeopardy. So at
this point we're gonna bring up our Jeopardy board, our
custom made Spielberg Nolan Jeopardy board. We're gonna work together
(15:25):
as a team on this one. Patrick, We're gonna see
if we can answer these questions. I'm gonna see how
much we know about Spielberg and Nolan and maybe, you know,
maybe we'll even learn some things in the process.
Speaker 1 (15:37):
Yeah, who's to say. So for our.
Speaker 2 (15:40):
Listeners, here, what we're looking at with our Jeopardy board
is as you would see on Jeopardy. We have five
different categories. Under each category there's questions worth different dollar amounts.
They get a little harder as you go two hundred
four hundred, six hundred eight hundred one thousand. So the category, Patrick,
why don't you read the categories for the people? Can
(16:02):
you read those all?
Speaker 1 (16:03):
Right? Yeah? So the categories are iconic scenes you can't
unsee movie marketing mayhem. Their brains are weird behind the
scenes sequels franchises and other obligations, and two degrees of
(16:23):
Spielberg Nolan should have had therapists.
Speaker 2 (16:28):
That one should always be on there. All right, do
you want to pick our first one?
Speaker 1 (16:34):
Yeah, let's take iconic scenes you can't unsee. For two hundred,
Alex going easy.
Speaker 2 (16:40):
We're hoping this is easy. Let's see the question or
the answer?
Speaker 1 (16:44):
I guess.
Speaker 2 (16:45):
In Jurassic Park, a t Rex approaches a stop jeep
in a rainstorm. The filmmakers realize the scene was working
when something unexpected started vibrating in rhythm with the dinosaur's footsteps.
Speaker 1 (16:58):
What was it? Oh, well, that's definitely the cup on
the dash, the water.
Speaker 2 (17:05):
Yeah, the glass of water.
Speaker 1 (17:06):
Right.
Speaker 2 (17:06):
Spielberg added the vibrating water cup after an editor noticed
it on set.
Speaker 1 (17:11):
And it became one of the cinema's most iconic tension
building shots.
Speaker 2 (17:15):
Wow, most iconic. All right, so we got one correct,
I'll choose next. I'm gonna go with movie marketing mayhem
for four hundred. Do you want to read this question? Answer?
Speaker 1 (17:27):
Yeah. The marketing for The Dark Night in two thousand
and eight ran in an elaborate, months long alternate reality
game tied to the Joker character fans were sent real
physical items, including a phone number and a website called
this a reference to the Joker's campaign slogan in the film.
Speaker 2 (17:48):
I'm gonna assume that's why so serious? Whyso serious? Dot com?
I don't know why so serious? That's gonna be my answer.
Speaker 1 (17:57):
Okay, I don't know.
Speaker 2 (17:58):
You think it's something different. I think that's on legit.
Speaker 1 (18:01):
That sounds legit.
Speaker 2 (18:02):
Let's see what we got, whyso serious dot com? The
viral campaign included cryptic clues, defaced Harvey Dent posters, and
eventually revealed the Joker's face in a crowded photo. We're
killing it.
Speaker 1 (18:17):
That's pretty good. Surprised you got that. I don't know
if I would have gotten that. Dot com?
Speaker 2 (18:21):
You don't remember why so serious?
Speaker 1 (18:23):
Oh well yeah, yeah, all right. I'll take their brains
are weird. Behind the scenes for eight hundred, all.
Speaker 2 (18:32):
Right, Spielberg has a well documented fear that was partly
responsible for why the mechanical Shark and Jaws barely appears
on screen because of kept malfunctioning. But separately, Spielberg has
also said his personal childhood fear directly inspired the content
of two of his most beloved films.
Speaker 1 (18:51):
What was that? Fear Uh snakes?
Speaker 2 (18:55):
Incorrect, fear of the dark slash things hiding in closets
under the bed. This inspired both E T The Alien
Hiding and Elliott's Closet and Poltergeis, which Spielberg co wrote
and produced.
Speaker 1 (19:08):
See I was thinking, uh snake, So I was thinking
like Indiana Jones.
Speaker 2 (19:13):
Yeah, which made sense. Yeah, all right, our first incorrect.
I'll take sequels, franchises and other obligations for six hundred.
Speaker 1 (19:25):
Spielberg was originally set to direct this massive sci fi
franchise film in the early two thousands, but passed, handing
it off to then lesser known director who turned it
into a massive hit. The film was the first in
a franchise about robots that disguised themselves as everyday vehicles.
(19:46):
Oh my god, if you don't get this.
Speaker 2 (19:47):
I'm yeah, I'm glad the second sentence was in there.
I would have never got it. But we were just
talking about these guys, the Transformers.
Speaker 1 (19:55):
That's right, Transformers. Two thousand and seven. Spielberg produced it,
but pass on directing. Michael Bay directed it instead.
Speaker 2 (20:04):
Sadly, now we've got Michael Bay forever.
Speaker 1 (20:08):
Yeah, Michael Bay. All right, I'll take two degrees of Spielberg, Nolan,
I'm kind of interested in this category for eight hundred.
Speaker 2 (20:17):
I thought you were going to go a thousand. Nolan
cited Spielberg's work is a major influence on Interstellar, specifically
calling out this Spielberg film as the emotional template he
wanted to capture, a story of an ordinary person whose
life is upended by contact with something incomprehensible and vast.
Speaker 1 (20:37):
I really don't know what that is.
Speaker 2 (20:41):
I think it's Close Encounters of the Third Kind. Oh yeah,
because you know space, That's what I think.
Speaker 1 (20:48):
And his life is upended, he sees the UFO. You're
probably right, let's go with that.
Speaker 2 (20:55):
Close Encounters Are the Third Kind nineteen seventy seven. Nolan's
specific referenced it in interviews as the spiritual predecessor to
what he was trying to do with Interstellar.
Speaker 1 (21:07):
Yeah. In my head, like, I don't even connect those
two movies, but I guess it makes sense when he
describes it that way. I guess it's kind of like
very similar in that way, two very different movies. Yeah,
although I do love Interstellar, you know, I've talked about that.
Speaker 2 (21:24):
That's your favorite. Nolan isn't it.
Speaker 1 (21:25):
That's yeah, that's definitely my favorite Nolan.
Speaker 2 (21:29):
Let's stick with two degrees of Spielberg Nolan and let's
do a thousand.
Speaker 1 (21:33):
Let's get nuts, let's get crazy. Both directors share an
unusual Oscar distinction. Spielberg was not nominated for Best Director
for Jawser Raiders two Best Picture nominees. Nolan was not
nominated for Best Director for four acclaimed films that were
either nominated for Best Picture or DGA nominated. Name any
(21:55):
two of Nolan's four films that received Best Picture recognition
but no personal Best Director Oscar nomination for Nolan. That's
definitely worth a thousand.
Speaker 2 (22:06):
Name any two. I'm gonna say one of them is inception,
and one of them is, uh, what was that movie
I took in.
Speaker 1 (22:16):
The draft, Dunkirk?
Speaker 2 (22:17):
Well that was like about the war, Yeah, Dunkirk. Okay,
so I'll say inception in Dunkirk. That sounds pretty good.
Speaker 1 (22:24):
I think, oh, Memento, The Dark Knight, Inception. Those were
the three.
Speaker 2 (22:31):
No Dunkirk, No Dunkirk.
Speaker 1 (22:33):
That's definitely a complicated.
Speaker 2 (22:35):
Uh yeah, question.
Speaker 1 (22:37):
All right, Well, let's go to iconic scenes you can't
unsee for a thousand.
Speaker 2 (22:42):
In Schindler's List, an otherwise black and white film, Spielberg
uses color exactly once for a specific narrative purpose. What
is the color used, what is it applied to? And
what happens to that image later in the film.
Speaker 1 (22:57):
God, I don't remember it. I think it's red. Yeah,
I thought it was when someone was shot.
Speaker 2 (23:05):
I thought it was like a kid in like a
red dress, like stop wearing something red. But I don't
know what happens to that image later in the film.
Speaker 1 (23:15):
Yeah, I don't. I only know the color is red.
Speaker 2 (23:18):
Ah, okay, red the.
Speaker 1 (23:20):
Code of the little girl in a ghetto liquidation scene. Later,
Schindler sees her red coat on the cart of bodies.
That's right, the moment that fully breaks him. It's Spielberg's
most deliberate use of symbolic color in his career.
Speaker 2 (23:37):
We were close once. They like describe it. I can
see it. Yeah, very deliberate and powerful. Yeah, we're still there.
Are we got two thousand dollars we've missed you know,
I guess we've missed three. All right. I'll go with
movie marketing mayhem for six hundred.
Speaker 1 (23:56):
All right. Spielberg's et had one of the most effective
tagline and image combinations in Blockbuster history. The famous poster
image two fingers touching across a starry background was inspired
by a specific painting by this Renaissance artist.
Speaker 2 (24:13):
Guessing It's starry night by Van Go. I'm glad they
didn't ask me the tagline because I was like, I
don't know what the tagline.
Speaker 1 (24:20):
You know, one could say while we're playing this game
that we've completely screwed up because you said, what is
I know, starry night?
Speaker 2 (24:29):
Ken Jennings would be like, sorry, can't accept it.
Speaker 1 (24:32):
I mean, I know our listeners right now. I apologize
because if any of you are Jeopardy fans.
Speaker 2 (24:37):
Throwing yourself out a window. Ah, but who is Van Go?
Speaker 1 (24:41):
Ah?
Speaker 2 (24:42):
Ah?
Speaker 1 (24:43):
Michelangelo specifically the creation of Adam from the sixteen Chapel Ceiling.
Speaker 2 (24:49):
Okay, well I get it with the ets finger yeah,
I was thinking of something totally different. They threw me
off with the starry background. It too fun home we
are really that was the SCARIESTDT I've ever heard. We're
really on a downslide.
Speaker 1 (25:04):
Here, Yeah, I mean, this is good trivia, This is
stuff we would you know. I like finding out things
that I didn't know before we're learning their brains are weird.
Behind the scenes. For four hundred, all right.
Speaker 2 (25:18):
Spielberg has said he got the idea for the Indiana
Jones franchise from this other legendary director over a sand
castle building conversation in Hawaii right after the stressful release
of nineteen forty one. Name the director, Oh this is uh,
what's his face? The guy Star Wars George Lucas. Lucas,
(25:41):
thank you, Yeah you said Star Wars. You knew, George Lucas.
The two are vacationing together in Hawaii during the opening
weekend of nineteen forty one, and Lucas pitched Spielberg his
idea for a globe trotting archaeologist adventure. Let's go with sequels, franchises,
and other obligations. For two hundred, Spielberg has directed films
(26:04):
in two of Hollywood's biggest franchises. One is Indiana Jones,
the other involves genetically resurrected prehistoric animals. Name both franchises
and how many films Spielberg directed in each.
Speaker 1 (26:17):
Oh, that part's hard.
Speaker 2 (26:19):
Yeah, that's kind of messed up. In Indiana Jones, he
did four. In Jurassic Park, he did two. Okay, I
think that's right. It's that right to you.
Speaker 1 (26:33):
Uh maybe three he.
Speaker 2 (26:35):
Did the three original Indiana Jones, then he did that
the Crystal Skull. Yeah, but he didn't do the last
one where he was super old, and that lost me
the box office draft. You got it right, I am.
I'm back.
Speaker 1 (26:52):
I guess I didn't even really read that for the audience,
but I should have probably, Well, they know it's correct.
So yeah, I feel good. Let's go was movie marketing
mayhem for a thousand, Let's try to knock that guy
off the.
Speaker 2 (27:06):
Board, sweeten the pot. When Jurassic Park was released in
nineteen ninety three, the merchandise licensing blitz that accompanied it
was unprecedented. Spielberg's team made a deliberate choice to include
a specific type of product in the film's own plot,
essentially making the movie a meta commentary on its own marketing.
(27:26):
What product category appears in the film as a plot point.
Speaker 1 (27:31):
Well, like, a part of me wants to say the jeep,
but that's not it, and I'm trying to think of
what it is. Now, let's just say jeep. I'm probably
got it wrong.
Speaker 2 (27:40):
But Jurassic Park merchandise, it's just jurass Park merchandise theme
park gift shop items. The film literally shows JP branded hats, mugs,
and souvenirs in the park's gift shop, a self aware
nod to the real merchandise machine Spielberg knew would follow
of a trick question there, Yeah, it is all right.
(28:04):
I'm gonna go with iconic scenes you can't unsee. For
six hundred, Spielberg.
Speaker 1 (28:11):
Shot the D day opening of Saving Private Ryan with
a specific camera technique to make it feel like documentary
news footage. What did he do to the camera lenses
before filming?
Speaker 2 (28:23):
What did he do to the camera lenses before filming?
I want to say, like he rubbed him with dirt,
Like made him dirty?
Speaker 1 (28:34):
All right, I think that's a legit. Ah. So he
stripped the lens coating, desaturated, removed the anti reflective coating
to create a harsher, more bleached out look, and used
handheld cameras throughout.
Speaker 2 (28:49):
Interesting, that's hard.
Speaker 1 (28:50):
Yeah, in a way, you were kind of right. He
made it dirty.
Speaker 2 (28:54):
He made it dirty.
Speaker 1 (28:57):
Ar Layman's view of what happened. All right, let's do
two degrees of Spielberg Nolan for two hundred. I need
something easy on this one.
Speaker 2 (29:07):
Sometimes you just got to get the juice gone. Both
directors have made films centered on real historical catastrophes that
killed thousands of people. Spielberg's is Shindler's List Holocaust. Nolan's
is Oppenheimer The Atomic Bomb. What do both films have
in common in terms of how their directors approached the
subject matter? He's getting harder.
Speaker 1 (29:31):
I think this is a hard category to be honest
with you. Yeah, I'm going for the two hundred, and
the two hundred is difficult.
Speaker 2 (29:38):
Mm hmm.
Speaker 1 (29:39):
How they approach the subject matter? Well, for one, I
haven't seen Oppenheimer, so that's kind of tough for me.
What would you say as to how they approach the
subject matter? You've seen both of these.
Speaker 2 (29:50):
Right, Yeah, Now that I'm thinking about it, I'm like,
maybe the answer is in the titles. You know, they
both it's through the eyes of like one person.
Speaker 1 (29:58):
Oh, it's through the eyes of the Yes, it's shown
through the eyes of the antagonists. Really of history Schindler was,
I mean it was his list.
Speaker 2 (30:09):
He's working with the Nazis.
Speaker 1 (30:10):
Yeah, right, Oppenheimer, he's creating the atomic bomb. You know,
he's not the one stopping it. Or I don't know
what you would call that.
Speaker 2 (30:19):
Yeah, let's go with that. We were way off.
Speaker 1 (30:23):
Yeah.
Speaker 2 (30:23):
So both are shot in the hybrid style, mixing black
and white and color photography. Schindler's list is mostly black
and white with selective color. Oppenheimer uses both formats, though
we could also accept refusal of conventional Hollywood heroism as
an answer, which is what I was saying. Yeah, so
I'm gonna give that to you. Okay.
Speaker 1 (30:45):
I like the way it worded it better than the
way I worded. I worded as a human being. It
worded it as a robot.
Speaker 2 (30:51):
Yeah, I agree. It seems like we've had success with sequels, franchises,
and other obligations, So I'm going to take that for
a thousand.
Speaker 1 (31:00):
After the disappointment of nineteen forty one from nineteen seventy nine,
his one true box office flop, Spielberg made a very
deliberate commercial comeback with Raiders of the Lost Arc. Nineteen
forty one was so troubled that Spielberg said he learned
a specific lesson about filmmaking that he carried with him
(31:22):
ever after. What did he say the film taught him?
Speaker 2 (31:26):
Ugh, I'm gonna say it taught him not to do comedy.
Nineteen forty one's kind of a comedy, So okay, don't
do comedy.
Speaker 1 (31:35):
Ah, That spectacle without emotional grounding doesn't work ah, Or
that he couldn't simply pile up gags and set pieces
without a human story at the center. He has called
nineteen forty one the film that taught him restraint in
the importance of character.
Speaker 2 (31:54):
Good lesson, good, lesson.
Speaker 1 (31:56):
I was close. I mean you were close with the
comedy part. Yeah, all right, So let's go with their
brains are weird behind the scenes for two hundred, all right.
Speaker 2 (32:07):
Christopher Nolan famously does not use a smartphone or email,
communicating primarily through this old fashioned method. He also reportedly
does not allow chairs on his film sets, insisting cast
and cruse stand throughout the shoot. So I guess the
question is what is the old fashioned method that he
communicates through.
Speaker 1 (32:26):
He still has a flip phone.
Speaker 2 (32:28):
You're going with flip phone?
Speaker 1 (32:29):
I guess that's not really old fashion, but no, that
sounds what is writing letters in a flip phone?
Speaker 2 (32:38):
Oh?
Speaker 1 (32:38):
Landline phones? Facts? He uses a landline and fax machine.
Speaker 2 (32:43):
It's a flip phone, landline. I'll take two degrees of
Spielberg Nolan for four hundred.
Speaker 1 (32:52):
Spielberg produced and Nolan directed films that both starred the
same actor playing a man who gets stranded somewhere he
desperately needs to escape from. One in an airport and
one in a fifth dimensional bookcase. Name the actor and
both films.
Speaker 2 (33:09):
I can think of the movies, but I can't think
of the movies, or I can't think of the actor
because the Terminal is the airport and then Interstellar is
the bookcase. But who's the same actor. I feel like
this answer is going to be wrong because I think
of McConaughey and I think of Hanks. Unless I've got
the movies wrong.
Speaker 1 (33:29):
I don't think it's supposed to be the same actor.
Like the way it's worded is this guy is playing
a man who could strand somewhere he desperately needs to
escape from. I don't think it's so.
Speaker 2 (33:41):
You think the answer is like The Terminal, Tom Hanks,
Interstellar Matthew McConaughey.
Speaker 1 (33:47):
Yeah, correct answer. This is a trick question. The actor
is not the same The Terminal stars Tom Hanks, Interstellar
stars Matthew McConaughey. Award Points for catching the misdirection. That's awful.
Speaker 2 (34:02):
What was that?
Speaker 1 (34:03):
For four hundred?
Speaker 2 (34:04):
I don't think they can do that?
Speaker 1 (34:06):
Right?
Speaker 2 (34:07):
Or do we just mess with you with this question?
That's really weird?
Speaker 1 (34:10):
Yeah, all right, listen, this is what I'm gonna do.
Iconic scenes you can't unsee. For eight hundred, you got this.
Speaker 2 (34:20):
The ending of The Dark Knight, in which Batman takes
the blame for Harvey Dent's crimes, involves him telling a
lie to protect Gotham's hope. Nolan has said the scene's
emotional power comes from a specific literary concept. What Greek
term describes a heroic figure who falls by a flaw,
which is what Dent becomes.
Speaker 1 (34:41):
This is why I would never do well on Jeopardy.
Speaker 2 (34:47):
I have no idea say any Greek word feta, a
tragic hero hamartia. I don't know how you say that
the fatal flaw. I thought of the word fatal flaw,
but I'm like, what's the I don't know this term.
You can also accept Harvey Dent is framed as a
classic tragic hero. So it's not feta.
Speaker 1 (35:08):
It's not feta cheese.
Speaker 2 (35:11):
Let me do movie marketing mayhem For two hundred The
original teaser.
Speaker 1 (35:16):
Poster for Jaws, designed by artist Roger Castle, shows a
massive shark rising toward a loan swimmer from below. This
image became so iconic it essentially invented this specific marketing concept,
still used today.
Speaker 2 (35:31):
This specific marketing concept, the concept. What is the concept?
Speaker 1 (35:40):
The concept? A lot of these are like super tricky?
Speaker 2 (35:43):
Yeah, do you have it? Do you have an idea? No?
Speaker 1 (35:47):
I don't.
Speaker 2 (35:48):
Okay, I feel like we should know this, but it
seems I'm just like not wrapping my brain around it.
This is a scam.
Speaker 1 (36:00):
We're overthinking it a little bit. Yeah, the summer blockbuster
teaser poster, the concept of the one sheet movie poster
as a cultural event. We could also accept the idea
of leading with a threat scale imagery and a single
dramatic poster.
Speaker 2 (36:18):
I mean, yeah, it invented the I guess it invented
the summer blockbuster, so it would invent the summer blockbuster poster. Yeah,
dumb question. I don't like it.
Speaker 1 (36:30):
How about sequels, franchises, and other obligations?
Speaker 2 (36:34):
For eight hundred, Nolan's films exist almost entirely as standalone stories,
except for his Dark Knight trilogy and one other instance,
where two of his films share an unlikely thematic and
structural parallel, so striking that fans call them a de
facto dip. Tyke named the two films.
Speaker 1 (36:56):
I don't know. I'd say maybe Inception and Tenant something
like that. Okay, I don't know.
Speaker 2 (37:01):
Ah. Oh. The Prestige and Inception both involve elaborate deceptions
with multiple layers of misdirection, and Nolan has acknowledged the
structural similarity.
Speaker 1 (37:14):
Which makes a lot of sense because Prestige was very
popular and then Inception obviously much later. I guess not
much later. It's only four years difference between those two movies.
Speaker 2 (37:25):
Yeah, surprising. All right, we've got only what we six
six left here. Let's do. Let's do iconic scenes you
can unsee for four hundred.
Speaker 1 (37:38):
In Inception, the film's most visually dazzling sequence involves a
hallway that rotates three hundred and sixty degrees as characters
fight inside it. Nolan insisted on building a real rotating
set rather than using CGI. How long did it reportedly
take to construct?
Speaker 2 (37:56):
I mean, this is just a shot in the dark.
Guess obviously, I'm gonna say it took three months.
Speaker 1 (38:01):
All right? Oh, oh, three months, nice, ninety days in
and out. That's a good guess. I'm gonna take movie
marketing mayhem for eight.
Speaker 2 (38:14):
Hundred, all right. Closing out the category, Nolan's Dunkirk was
marketed almost entirely without showing any famous actor's faces in
its trailers, leaning instead on sound, atmosphere, and imagery. This
was a deliberate choice, reflecting Nolan's belief that the film's
real star was something other than its cast. What did
(38:34):
he say The star of the film was, Uh, the set.
I would say the event itself, the Dunkirk evacuation, the
soldiers as a collective. Nolan said the film was an
experience rather than a character story, and market it that way.
The sets, the setting, the I would take I would
(38:56):
accept that as the event, the Dunkirk evacuation, right.
Speaker 1 (39:00):
Would, because that's kind of what I intended. I mean,
it's a little bit more elaborate what the answer is giving, But.
Speaker 2 (39:06):
All right, I'm gonna go with their brains are weird.
Behind the scenes for six hundred.
Speaker 1 (39:13):
Nolan shoots all of his films on photochemical film rather
than digital. He's such a strong advocate that he personally
lobbied studios to maintain film as a viable format. He
made this specific case to the CEO of what major
studio who had been planning to eliminate film entirely.
Speaker 2 (39:35):
I'm gonna go with Warner Brothers. I think he used
to work for Warner Brothers.
Speaker 1 (39:39):
A Paramount Pictures. He lobbied Paramount CEO to keep maintaining
film stock. Other studios followed except any reasonable version. Answer
except for Warner Brothers. That one is not reasonable. All right,
Let's try sequels, franchises, and other obligations for four hundred.
Speaker 2 (40:03):
Christopher Nolan famously does not make sequels, with one notable
exception his Batman trilogy. When he was done with it,
he made a very public statement that he would never
return to Gotham. He kept that promise, but DC has
since rebooted the character with a different director who directed
the twenty twenty two Batman film that followed Nolan's trilogy.
Speaker 1 (40:26):
I remember there being a different director, but I don't
remember exactly who it was. Matt Reed.
Speaker 2 (40:32):
Matt Reed's right, The Batman twenty twenty two starring Robert Pattinson.
All Right, I'm going with their brains are weird behind this? No,
I'm going with two degrees of Spielberg Nolan for six
hundred already failed that their brains are weird behind the scenes.
Speaker 1 (40:47):
A couple times, both directors have made films about magicians
or people who use elaborate illusions to deceive others. Spielberg's
version starred appropriately a man named Frank, Nolan's starred two
rival magicians in Victorian England. Name both films, well, we
(41:09):
know one is The Prestige.
Speaker 2 (41:11):
What's Spielberg's a man named Frank? Do you know what
that is?
Speaker 1 (41:17):
Magicians?
Speaker 2 (41:21):
Frank?
Speaker 1 (41:23):
Oh?
Speaker 2 (41:23):
Oh, okay, I think I got it. I think it's
catch me if you can. He kind of, you know,
he pretends to be elaborate deceive his others illusions, So
catch me if you can. In The Prestige, what is.
Speaker 1 (41:37):
Catch me if you can? Two thousand and two Frank
Abagnale Junior as master con artist, illusionist and The Prestige, Yeah,
rival magicians played by Christian Bale and Hugh Jackman, which
you've already talked about. That's good.
Speaker 2 (41:50):
That was a good get. That was hard. Our score
is five thousand dollars. I think we've gotten more than
we've missed.
Speaker 1 (41:57):
Sor right, So their brains are weird. Behind the scene
for one thousand.
Speaker 2 (42:02):
Last category, Let's see if we can finish strong. During
the making of Oppenheimer, Nolan achieved the practical effects equivalent
of a moon landing filming the Trinity atomic bomb test
without CGI. He and cinematographer Hoyat Van Hoyetoma used a
combination of real chemical reactions force perspective in this specialized
(42:25):
film format, the first time it had ever been used
for a fictional narrative feature.
Speaker 1 (42:31):
To capture it, I don't know, a specialized film format.
Speaker 2 (42:35):
Yeah, I don't know. I was thinking Imax, but I'm like,
that's not the first time it's ever been used Imax Filmax. Specifically,
he shot portions on black and white Imax film. The
first fictional film ever shot that way, black and white
Imax scam.
Speaker 1 (42:52):
Question, why does it say the first fictional film.
Speaker 2 (42:56):
Maybe there was nonfiction documentary shot that way.
Speaker 1 (43:00):
Okay, it was hard.
Speaker 2 (43:07):
It was harder than I expected.
Speaker 1 (43:09):
That was a tough, tough, tough game of jeopardy.
Speaker 2 (43:13):
Yeah. It started off I was like, Ah, we're gonna
kill this, and then quickly went downhill.
Speaker 1 (43:18):
Yeah, it became so difficult that I realized that I'm
never gonna realize my Jeopardy dream.
Speaker 2 (43:26):
Well, that's it.
Speaker 1 (43:27):
I always saw to myself I could do Wheel of Fortune,
but Jeopardy is tough.
Speaker 2 (43:32):
Yeah, so were we suck at Jeopardy? We know nothing
about Spielberg and Nolan, but you know, hopefully we all
learned a little something through that.
Speaker 1 (43:43):
Yeah, humility, we live little humility.
Speaker 2 (43:48):
Maybe a lesson we needed. Mm hmmmm, Well to wrap
things up on you know, the end of each movies
in marketing thing we like to do now is kind
of share an upcoming movie piece, marketing movie news items something.
It's kind of smacked into our radar. So what's on
(44:08):
your hype watch right now?
Speaker 1 (44:10):
Patrick, Well, I just mentioned to you that I saw
this trailer just today. Brad Pitt has this movie coming
out about him and a dog. He's like a Special
Forces type of guy. He's got this dog. They're a
duo Heart of the Beast.
Speaker 2 (44:25):
It's like a survival tale, isn't it.
Speaker 1 (44:28):
Yeah? And you know, I think somewhere in the trailer
says life isn't about who you live for, it's who
you die for. Something along those lines.
Speaker 2 (44:36):
It's deep.
Speaker 1 (44:37):
Yeah, And I don't know, looks good. This seems like
a good Brad Pitt movie. Surprisingly, I don't like dog movies.
I mentioned if they killed the dog in the movie,
I'm done And I can't make out from the trailer
if it's going to be that movie, but definitely looks
like it might be a interesting story.
Speaker 2 (44:55):
Do you think people are gonna get that confused with
the Dog stars? But what the dogs star? Did you
see the preview for that coming out beginning a September,
end of August something like that. It's like a post
apocalyptic thing with Josh Brolin and there's a dog in
it at some point.
Speaker 1 (45:10):
Oh really, there's something to that. You know that there
needs to be more of those movies out there, I suppose.
Speaker 2 (45:16):
Yeah, I'm just glad the dogs are, you know, getting
the work. Other people are putting the dogs to work again.
Speaker 1 (45:21):
Yeah, what do you got? What's going on in the
world of shad Hype?
Speaker 2 (45:29):
Well? I got another trailer? So I recently went to
see Back Rooms, which I told you about supporting my
box office movie Draft Team. But before that movie, I
got served a whopping nine trailers.
Speaker 1 (45:43):
Nine I kid you not, that's insane.
Speaker 2 (45:46):
I had to like write them down during because they
were showing so many, I'm like, I gotta keep tracks.
I remember all these, but the most interesting one was
probably the teaser trailer for the new Resident Evil movie,
which is coming out in September. This normally wouldn't be
super interesting to me, but it's from the writer director
(46:06):
who gave us Barbarian and Weapons, Zach Craiger. This guy's
got the juice.
Speaker 1 (46:11):
Man.
Speaker 2 (46:11):
I'm interested to see what he does next. If that
means checking out a Resident Evil movie, I'll do it.
Kind Of curious because of those other movies, which you know,
kind of defied expectation a little bit. I'm interesting to
see what he has up his sleeve with this one,
what he'll do with this. You know, we already got
a Resident Evil. We've got a couple Resident Evil movies before.
Curious to see what he'll do differently.
Speaker 1 (46:33):
It's funny that there were nine movies you started taking notes.
I do love that the sign of more trailers means
there's more movies being made. There was a time not
that long ago where you'd get like maybe two trailers.
Speaker 2 (46:49):
Yeah, we remember our very thin summer movie drafts, when
we're like coming to our last pick and we're like
that do we even have enough movies to do enough picks? Here?
Speaker 1 (46:59):
What do we do after this? Yeah, we were we
were a little scared there for a second. Well, I
think that that's I gotta be honest. It's a very
long episode for all of our listeners out there. Hopefully
you were able to like kind of follow along with
the jeopardy and the questions there. Maybe you got a
lot more answers than we did. Maybe maybe you've got
(47:20):
a lot of right answers comparatively to us because we
struggled a bit. But yeah, that's It's been a fun,
fun ride through the Spielberg Nolan maze that we clearly
don't know as much as we thought we knew.
Speaker 2 (47:38):
We know very little. The thing we know very little about.
Speaker 1 (47:43):
Yeah, we we thought we thought we knew a lot
about these massive movie makers. We know nothing or next
to nothing. But hope you enjoyed this. That's it for
this episode of movies and marketing. Until next time. Let's
fade back. I'll be back. He's not coming back. H
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