Commentary Track: Kiss Kiss Bang Bang

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hey, this is Brian wanting to let you know that
the Movie Film Podcast now has a Patreon. If you
head over to patreon dot com slash moviefilm Podcasts and
hit subscribe for only five dollars a month, you'll gain
access to a special feed where you'll find every commentary
we've ever recorded and every episode we do moving forward
add free and without any interruptions. We are very grateful

(00:21):
for our sponsors, and our free feed isn't going anywhere,
but we wanted to offer an option we believe is
the most satisfying way to enjoy the show, no ads,
no interruptions. Your subscription will also go a long way
and helping to support us and helping to sustain production
of this show. So if you're interested, in able and
want to enjoy the most satisfying way to enjoy the podcast,

(00:41):
please head over to Patreon dot com slash moviefilm podcast
and subscribe. We'd be very grateful and now on with
the show. Welcome Friends Podcasts podcast show Jacky and Brian.
They're talking about ruby back. I guess.

Speaker 2 (01:09):
From Shane Black, the creator of Lethal Weapons, comes a mystery.
It's a frame up. First things first, do you have
the corpse.

Speaker 1 (01:17):
I got?

Speaker 2 (01:17):
Remember you throw it away?

Speaker 1 (01:18):
Look up idiots in the dictionary. You know what you'll
find picture me. No, the definition of the word idiot.
Awhere is the girl you put a live round in
that gun?

Speaker 2 (01:28):
Oh yeah, there was like an eight percent.

Speaker 1 (01:30):
Chance, you laugh. Robert Downey Junior, What do you think
I'm stupid?

Speaker 2 (01:35):
Val Kilmer, Yes, I think you're stupid.

Speaker 1 (01:39):
Kiss kiss, bang bang, These doesn't suck.

Speaker 2 (01:45):
Welcome to a movie film commentary track. My name is
Zachie Hassan and I'm here with Brian Hall.

Speaker 1 (01:49):
Hey, how's it going, Zachi.

Speaker 2 (01:51):
You know, Brian, I've come down and visited you in
La many a time, but uh, never, never have you
taken me on an adventure the likes of which we're
about to talk through.

Speaker 1 (02:02):
Yeah, and I apologize, Well.

Speaker 2 (02:06):
I feel like you've done us a disservice.

Speaker 1 (02:07):
Frankly, Yeah, yes, like erotic Christmas parties.

Speaker 2 (02:12):
Every time I come down, I'm hoping, I'm hoping for
some of that doesn't happen. You know.

Speaker 1 (02:17):
It's funny. I actually did go to a party like
that once, and it wasn't to that extreme as we
see in the movie. But I remember being in there,
and it was in this huge cavernous space and a
DJ and lights, and there were women on those like
the cloth things like doing acrobatics, you know pink does.
And I do remember thinking in that moment, I'm actually
at one of those things.

Speaker 2 (02:40):
Well, in case you're wondering what we're talking about, if
you hit play on this episode without reading the title,
we're talking about Kiss Kiss Bang Bang, celebrating its twentieth
anniversary this week as we're recording it.

Speaker 1 (02:54):
Unbelievable. I remember seeing this in the theater very clearly
and being being excited about it. I remember seeing it,
I remember loving it, and it's in my mind been
this gem that I feel like many people are aware of.
Not everyone, but many people are aware of. And you
can go, oh, yeah, that's great. I love that too,
And I just can't believe it's twenty years since this

(03:16):
has come out.

Speaker 2 (03:17):
Yeah, certainly its reputation has only grown in those twenty years,
But I would say that, you know, some of our
commentary tracks are sort of like, oh, here's that movie
everybody knows, and I feel like this one might be
here's a movie you may not have seen but you.

Speaker 1 (03:31):
Should yep, right, yep. Looking at the budget, I didn't
even realize it only grossed. It grossed under five million
in the US. Yeah, so, I again, it's one of
those things where maybe you get lost in your little
circles of people that know the same sorts of things.
But I thought this was a movie maybe more people
were familiar with. But I'm happy to introduce it if
that's the case.

Speaker 2 (03:52):
Absolutely, Yeah, I mean, I think what Warner Brothers did
to this movie is just an absolute travesty in my opinion,
as far as the release goes. But this is the
movie in many ways that we can point to as
the reason Robert Downey Junior is considered one of the
biggest stars in the world right now. Yeah, yeah, it

(04:12):
didn't you know, one could not have imagined it going
that way, but it is. In fact, Robert Downey has
had many times it is his favorite performance of his
m HM, although he said that before he went in
an Oscar for Oppenheim or something that maybe that changed
the calculus a little bit.

Speaker 1 (04:28):
Sure, sure, but one presumes.

Speaker 2 (04:30):
It's at least solidly in the top three for RDJ
I think so. And written and directed by Shane Black,
his first directing effort, and I would go so far
as to say it an astonishingly executed directorial debut because
it's it's, you know, just a picture of precision.

Speaker 1 (04:51):
I actually had a note about that, and it is
such an assured product, like I just can't believe this
is his first movie he directed. It's yeah, astonishing. Well.

Speaker 2 (05:02):
Hey, let's let's withhold further comment until we get into
the movie itself.

Speaker 1 (05:06):
Yep, let's do it.

Speaker 2 (05:07):
So we are watching Kiss, Kiss, Bang Bang from two
thousand and five, starring Robert Downey Junior and Val Kilmer,
the late great Val Kilmer. I laughed a lot while
rewatching this and the lead up to this. I suspect
I'll be laughing a lot again over the next hour
and forty five minutes. Yeah, yeah, So if you want
to watch along with us, you can. If not, hey,
you know, we'll try to keep the conversation interesting enough

(05:30):
to keep you engaged. Brian, you ready, I'm ready, All right,
here we go. We will do the usual thing. We'll
hit play on three. So I one two three play
and one two three play.

Speaker 1 (05:43):
All right, good old Warner Brothers for now.

Speaker 2 (05:48):
Right as we record this, Warner Brothers is in the
process of being strip mined for parts that it sounds like.

Speaker 1 (05:55):
Oh my gosh. And they're just such a I think
they're one of the studios that most champions artists and voices. Yeah,
you know, you get a lot of big swings out
of them at great cost, and it would be really
sad if that changed.

Speaker 2 (06:16):
Yeah, And to that point, I mean, this is this
is very much a reflection of the fact that they
were willing to take a swing on Shane Black. I
think I think that the way this movie got made
is itself a reflection of Shane Black's history, not only
with Warner Brothers, but with producer Joel Silver, Right, because

(06:36):
of course Shane Black wrote to the first lethal Weapon.
That was his debut script, right, and talk about coming
out the barrel hot.

Speaker 1 (06:46):
I mean, he was like a real wunderkin for a while, right, Like,
I mean, he had the record for the most amount
of money made for selling a script for a long time.
It was for Long Kiss good Night. It was a
record setting at four million dollars for that script. And
since I was curious, then, like, has what has topped that?

(07:07):
If anything? And it's Terry Rossio. Wow, sold the script
which we had just recently talked about when we were
talking about Devil with a Blue Dress Denzel Washington, and
then we mentioned Deja vu. Oh Scott directed Terry Rossio
sold that script for five million dollars.

Speaker 2 (07:22):
Wow, also starring Batt Kilmer.

Speaker 1 (07:25):
By the way, Oh that's right. I don't remember that
movie well, but it hasn't has yet to be topped.

Speaker 2 (07:31):
That's that's extraordinary. Yeah, Indio Downey, Robert Downey's son played
the young Harry Lockhart in the scene that we just saw.

Speaker 1 (07:40):
Oh that's fun. I didn't know that.

Speaker 2 (07:41):
Yeah. Definitely bears a resemblance to Dear old Dad.

Speaker 1 (07:45):
Yeah. Wow, how perfect.

Speaker 2 (07:48):
I love this opening title sequence, which very much evokes
James Bond.

Speaker 1 (07:53):
Yeah, like all bass kind.

Speaker 2 (07:54):
Of yeah, And that's very appropriate because Bond is known
internationally as mister kiss Kiss bang bang, right, right, and
so you know this very much has that flavor totally.

Speaker 1 (08:08):
It does the right It feels like Bond meets sal
Bass here.

Speaker 2 (08:10):
Uh huh.

Speaker 1 (08:11):
Very very cool.

Speaker 2 (08:13):
Now, it says that it says based in part on
the novel Bodies Are Where You Find Them by Brett Holliday.
It seems like that was a structure that sort of
accidentally emerged like, like Shane Black sort of realized while
making while writing the script, oh wait, this is very
similar to this novel I read. You know, it's like
an older book, and so this is not a story

(08:37):
that began as an adaptation of that story.

Speaker 1 (08:40):
No, he was struggling a little bit because after selling
the record setting Longkis Good Night script, it didn't perform
very well, and he was kind of having a moment
trying to figure out what he wanted to do next,
how to come out of as funk and excuse me.
James L. Brooks encouraged him to write a romantic comedy,

(09:03):
and so he you know, Shane Black says that he
started writing a quirky story about two kids in la
and but Brooks was like, eh, needs a little more,
needs a little more. So he was like, imagine a
character sort of like Jack Nicholson from As Good as
It Gets playing his role from Chinatown, like a little
character like that. And so Black was sort of like,

(09:26):
you know what, the script needs a murder. So then
he just kept like then he came up with Perry,
the character of Perry, and suddenly, yeah, became this sort
of noir and I think he's a big fan of these,
you know, sort of noir novels, which, like you you
just said, like eventually led him to that book. Like, oh,
this reminds me of that book, and maybe that's a
good sort of jumping off point for me to play with. Well,

(09:51):
and I and I love that.

Speaker 2 (09:52):
I love that that that book gets a shout out.
I mean, you know, this movie is probably different enough that, Yeah,
there's like a plausible deniability, you know, but it's like
respect you know, writers, respect writers.

Speaker 1 (10:06):
Yeah, well, that reminds me actually of Paul Thomas Anderson.
He kind of does that right where he'll he'll take
a book like There Will Be Blood is based on
a book called Oil, but he basically uses that as
a jumping off point and there's enough things where it's
it's right to credit the book. But then he kind
of takes the story and runs with it and makes
it his own. But you love that he you know,

(10:26):
still credits the source of inspiration, right, yeah, and even
One Battle after Another was based on yeah, right, that's right,
that's right. Yeah, yeah, but of course it's kind of
its own thing at the same time, but it's he
credits the book. Yeah, and you know, Similarly, you know,
this movie's broken up into chapters, so in giving props

(10:47):
to the books and the inspirations, specifically Raymond Chandler novels,
crime novels, the chapters of this movie are named after
Chandler books.

Speaker 2 (10:57):
That's right.

Speaker 1 (10:57):
So Trouble is My Business, The Lady in the Lake,
the simple art of murder so wearing his homages on
his sleeve proudly.

Speaker 2 (11:07):
Well, that's really the thing with this movie, is it.
It's it's very inside baseball in terms of the references
and everything. And so I can see how people who
love not you know, the industry and the the its
history and everything would really plug into all of it,

(11:29):
just soak it up. But I also do wonder how
how well something like this would play in you know,
in quote unquote Flyover Country.

Speaker 1 (11:39):
You know, you hear that a lot, right, like these
movies about making movies, Yeah, you know you and I
I think really enjoy that, you know, the sort of
tail or that setting, but they don't always perform very well. Yeah,
and so it's it's hard for me to understand because
I just find that, you know, world so enticing and
and interesting and maybe even related in some ways.

Speaker 2 (12:00):
But I mean, I mean, this is a this is
a story that is literally from one coast to the other,
nothing in between, you.

Speaker 1 (12:09):
Know, right, this, by the way, I had forgotten how
Downey Junior's character got wrapped up in this whole thing.
This made me laugh out loud, brilliant where he's basically
robbing a toy store and then the police are chasing
after him, and the police have shot his partner yep,
And so Downey Junior just stumbles into the first you know,
building that he can to hide and walks right into

(12:32):
auditioning for a movie. And the sides that he's given
to read have to do with his partner being killed
and him the character, leaving that partner behind. So of
course he performs the part really really well, feeling troubled.
I was dying. This is so funny. Thing.

Speaker 2 (12:50):
The thing with Downey in this movie, right is he's hilarious, right,
And part of that is just because Robert Downey's a
funny guy, right. But he gets to play so many beats,
He gets such a rich range to occupy, you know.

Speaker 1 (13:05):
Yes, well in all his quirks just make this character
like this character was made for him. Oh yeah, you know,
it's someone else could play this and they would seem
I could see someone else making it kind of fun.
But his funny piccadillos that are specifically, you know, specific

(13:26):
to Robert Downey Junior.

Speaker 2 (13:28):
By the way, Hey good luck.

Speaker 1 (13:32):
But you know, just sort of the like mumbling under
his breath, commenting on everything, gum chewing, kind of twitchy guy.
You know, this guy so interesting and charming.

Speaker 2 (13:45):
Well, I love what Downey has said right where. You know,
normally he plays smart guys who are motormouths, and this
was the first time he played an idiot who's a motormouth,
right right. I kind of love that.

Speaker 1 (14:00):
I know. It's great, Like it's yeah, he gets to
do his thing, but it's slightly different because I would
say playing Tony Stark is very much his thing as well. Yeah,
but it's it's different. It's different.

Speaker 2 (14:12):
Yeah, and yet you don't get our DJs as Stark
without this movie.

Speaker 1 (14:18):
I mean, yeah, I guess we should talk about that
a little bit, right, I mean he Robert Danney Junior
started acting in the eighties.

Speaker 2 (14:26):
Yeh.

Speaker 1 (14:27):
He was in some of those brat Pack movies, you know,
weird science things like that, and then he was nominated
for an Oscar for Chaplain for Chaplain, right in the
early nineties.

Speaker 2 (14:34):
But then he is, But by the way, what an
extraordinary performance in that movie.

Speaker 1 (14:39):
You know, I've never seen it.

Speaker 2 (14:40):
Yeah, I mean, not merely him playing Chaplain at his peak,
because the resemblance is uncanny, right, but the fact that
he you know, he plays Chaplain towards the end of
his life too, right, And here's a guy who was
probably in his thirties, you know, and to be able

(15:01):
to bring truth to that, it's remarkable.

Speaker 1 (15:04):
Yeah, I need to check that out.

Speaker 2 (15:06):
Yeah, I mean I would say, I would say he's
better than the movie. I don't think it's a bad movie,
but I mean, he is absolutely magnetic in that movie.

Speaker 1 (15:13):
Yeah. I use it a lot in Cinematrix. Yeah.

Speaker 2 (15:16):
Oh yeah, that's a that's a cornucopia.

Speaker 1 (15:19):
Yeah yeah, I mean I don't feel like I see
it referenced a lot. Yeah, anymore, But yeah, I'd like
to see it. I mean, yeah, for his performance. But
then you know, so he had a lot of substance
abuse issues and cost him probably a really important time
in his life for his career, right, And so it

(15:41):
was sort of like, I mean, there were even joke.
You know there's that joke on The Simpsons, right, yeah, right,
where there's like a shootout and Robert Downey Jr. Is
involved and they're like, oh, there's Robert Jonny Junior. Is
he making a movie? Like I don't see any camera.

Speaker 2 (15:53):
Well it related to that. SNL had a Robert Smigel
cartoon called Downy, Kidder and.

Speaker 1 (15:59):
Hash Oh yeah, and I can picture it.

Speaker 2 (16:02):
Right, and it was you know, these three actors who
are dealing with troubles and they form a detective agency. Right,
And you think about that now and it's like Margot
Kidder has passed away and Hash has passed away, right,
you know, Robert Downey still here. So I mean he
had been largely written off. I mean it's worth it's
worth recognizing recognizing how how far he had to come
back from.

Speaker 1 (16:23):
Yes, yes, I mean certainly with those things and the
personal things. And I even I forget that he was
in the movie US Marshalls, the sequel to the Future,
and he was like you know third tier guy.

Speaker 2 (16:35):
Yeah, yeah, you know this movie that was ten years
before Iron Man.

Speaker 1 (16:38):
Right, Like he isn't amazing, Like he didn't know his
hugest you know, most crucial years were still ahead of him.

Speaker 2 (16:46):
Well he didn't know while making this movie, right, That's
that's what I think about, right, So so so he
he he's he was on Ally mcbeil. He got fired
from that because of his troubles and and you know,
it was kind of well, what's next, maybe nothing? And
then he does this movie and he is desperate for
this to be his comeback because he's so proud of

(17:07):
the film, and then it completely dies upon initial release
and you can imagine the heartbreak he feels, right little
realizing that it's this movie, and Jon Favreau watching this
movie being like he's the guy for Iron Man, yep.
And then away we go like you just don't know.

Speaker 1 (17:25):
Yeah, you know. Yeah, And you know it's perfect too,
because this is a great film and he is absolutely
perfect in it. But the fact that this is Shane Black's,
you know, directorial debut, and it doesn't have a huge
budget and you know all the things. I think the
budget was fifteen million dollars and it was supposed to

(17:47):
be ten. It was just the perfect opportunity at the
right time for him to become a showcase.

Speaker 2 (17:55):
Yeah, you know, yeah, it is remarkable all the pieces
that sort of fall into place, and you also realize, like,
you know, obviously you focus on the budget side, just
you know, if you're a studio person or whatever, but
like these movies have have a shelf life that is
completely separate from that, right, because there is no doubting

(18:18):
that twenty years later, this movie has has built and
maintained a very sturdy reputation as just a good movie,
you know. And we're talking about Downey's casting. I mean,
Warner Brothers wanted Johnny Knoxville. Yeah, yeah, And I'm not
even this isn't even a diss on john Now. I
think he's funny. I think he's good in stuff. Right, Yes,

(18:41):
but you talk about something that would very squarely situate
this as just another generic mid two thousands movie.

Speaker 1 (18:48):
Yeah, I think I think Dane Cook.

Speaker 2 (18:51):
Would be the only thing that would make it more
more like of a moment, you know.

Speaker 1 (18:55):
But you're right, in that moment, I could see that
being him being on the list. Yeah, and this is
such a different dude. Just we've got to come out
in the last three minutes of this movie. Right. What
makes this movie so special is it's not just a
great noir and it's not just greate one liners, but
it has a real beating heart to it, yes, which

(19:16):
is really crucial and key to its success. And so
I just I want to comment. So, you know, we
see in Michelle moynihan here the first time I ever
saw her, and she just blew me away. And she's
so beautiful, she's so talented, like she's so funny. She's
also so perfect in this but like I know, but
so you're at this soulless Hollywood party, yeah, and then

(19:37):
you see this woman who's so beautiful and she's an
actress or whatever, and then you sort of learn a
little bit about her backstory and how she was obsessed
with these crime novels or her sister at least wasn't.
And then at the party, as she's wandering off by herself,
she sees, you know, these like totems from her childhood.
She sees those novels that she remembers from when she
was a girl, and she she gets a lot. And

(19:58):
then it cuts to her lying on her back, yeah,
almost reverting back to like childhood, getting to experience, you know,
something special again with all this Hollywood around her, you
know what I mean. She becomes like a little girl again,
and it's so sweet. It almost made me tear up
to seeing it because I know that feeling, you know,
when something brings you back to your childhood and how

(20:20):
special that is. And then we see this moment where
she's fallen asleep and this guy starts touching her and
you're like no, like you just you know, the emotion
changes on a dime.

Speaker 2 (20:29):
And by the real Okay, I just want to mention
the person she's walking away with is the guy who
was beating up Harry.

Speaker 1 (20:36):
Yes, yeah, yeah, yeah, yeah, Well that's what I'm getting to.

Speaker 2 (20:38):
So, yeah, we missed the shot, like Shane Black has
talked about, they didn't get an insert to clarify that,
and I think that's an important part of this.

Speaker 1 (20:45):
Oh see, I thought that was always clear. And what
I love is then then you see you know you
always talk about to save the cat moment, right, like
it was your character, right, And so then you see
Donny Junior, who we know is like a thief, so
we're not entirely sure how.

Speaker 2 (20:58):
He's like a second story guy, so he's like two
bit hood, you know.

Speaker 1 (21:01):
Yeah, and so then he comes in and he sees
this girl possibly about to be taken advantage of. Yeah,
and he's not like you know, Arld Schwarzenegger, like someone's
super tough, but he like unwaveringly stands his ground.

Speaker 2 (21:15):
Yep.

Speaker 1 (21:16):
And it's just like he's got this great sort of
pithy way of saying it. But just you know, like
you know, you you better walk away right now or
you know you're going to be in a world of trouble.
And you're like immediately like, hell, yes, I love this guy.
That's a guy I can I can get behind. But
then of course it subverts it because then yeah, we
cut to him getting the crap kicked out of him
for doing the right thing outside. But you know what,

(21:36):
he doesn't regret it because he's a good guy like.

Speaker 2 (21:39):
Well, and and what makes it extra great is that
the movie makes sure to give him that moment before
the reveal that she is harmony that girl he knews.

Speaker 1 (21:48):
Yes it's not, yes, it's not just kind of had
a connection.

Speaker 2 (21:51):
He would get it as an indicated on a previous
relationship exactly.

Speaker 1 (21:54):
Yes, that's a great funny thing too. Where so yeah,
I mean and yeah, you have this funny nareation device
where he's you know, a ware the narrators are aware
that he's in a movie and we're watching it, and
he'll stop the movie and comment on movie tropes and
be like, you know, something random will happen, like, g
do you think that'll come into play later? Like, and

(22:15):
then he references the shot of the cook and Hunt
for Out October and it's so funny, it's so good anyway,
just I love it. I love it. I love the
textures to this and oh yeah, the heartfelt things as well.

Speaker 2 (22:30):
Well, this this whole thing about oh I got a
five that says this, and then Perry's like, oh really,
I got a quarter that says this. There is something
so specifically Shane Black in this back and forth and
it's sort of like Shane Black filtered to his purest form. Yes,
where at least for me, it took me like a

(22:51):
second to catch the thrust of the back and forth. Yes,
And that's what I love about it. Yeah, And that's
that's that's where Harry is kind of too, you know.
It's the same thing, well that this was so great.

Speaker 1 (23:03):
I mean, yeah, this this, in some ways, I mean
maybe his masterpiece, right, Like he distilled down to his
peers form like you said, because he's I remember after
this being super re energized about Shane Black, and he
used to do great things, but he's also done some
things where, you know, I like The Predator's sequel, right,
I was like, ugh, like I can feel him in

(23:25):
this movie, but it's not hitting right the way that
he does when he's on fire and stuff. And so
this this is like the perfect Colling Card movie, not
just for Donny Junior, but for Shane Black and what
he does. But yeah, just the like you talk about too,
being his directorial debut, I mean, just such an assuredness to.

Speaker 2 (23:47):
The I mean just look at this shot right here,
right with them against that red background. It's the green
and the red, the way they can translated to each other.
He had a very clear sense of what he wanted
the movie to look like.

Speaker 1 (23:58):
And the pacing and the editing, and you know, I
watched a movie recently. I won't place this in time
because who knows when people are listening to this, but
it was an actor's directorial debut and it felt it
wasn't confident, okay, And the editing felt like there were
these kind of wipes to get out of scenes that

(24:19):
felt a little like they didn't properly set up how
to get out of them. And I was like, you know,
I didn't hold it against it. I still enjoyed the movie,
but it felt like someone who was finding their footing
as they were going, gotcha and you and so having
that in mind and then watching this, I was like, Wow,
right out of the gate, he was made for this.

Speaker 2 (24:38):
Yeah, he well, he knew how you know, how fortunate
he was to have this opportunity, and he went in prepared,
you know, I mean, he had he had a clear
vision that he executed. And obviously it was very fortunate
in that the movie's anchored by these tremendous actors who
were really invigoratd by the material, right like that. You know.

(25:02):
Val Kilmer even at the time, was famously mercurial, you know,
but he knew what a gift this was for him.
And I would go so far as to say, honestly,
I'd forgotten how good he is in this movie. Maybe
like a top three Valcima performance.

Speaker 1 (25:18):
Yeah, yeah, you know. And there's such a bold decision
in the lighting ye too, it's very confident. You might
even call it a swing. I mean, later in the
movie there's moments where for some reason, like a hallway
is a neon orange and their faces are blue and

(25:38):
there's a little splash of red in the corner, but
it just it works. Native American Joe PESHI, you know
what's funny, I was reading about this right where in
the script there were these placeholders where it was like
bald Kevin Costner, And basically they waited till the day
and saw all the background they had to work with,

(25:58):
and they picked well based on things they could come
up with to compare them to that that was funny.

Speaker 2 (26:06):
Now worth pointing out here that Michelle Monaghan is eleven
years younger than Robert Downey. Yeah, yes, I think it's
worth acknowledging. As amazing as she is in this movie,
she was about twenty nine when they made this. She's
playing thirty four, I.

Speaker 1 (26:26):
Think, okay, And he's supposed to be playing thirty four, and.

Speaker 2 (26:30):
I suppose and he was he was probably yeah, he
would have been like forty here and this is unfortunately,
I mean, the movie is critiquing Hollywood, but let's acknowledge that,
you know, age appropriate love interests were still at this
time deemed you know, well, she has to play older, Yes,

(26:52):
well he gets to play younger, you know what I'm saying.

Speaker 1 (26:54):
Oh, and by the way, I just I want to
get back to that, but I just want to call
it the funny narration again. Or they're showing the flashback
and those two background people are standing in front of
the camera, and so as narrator Don Junior's like, hey,
oh okay, let's just put the background people right in
front of the thing I'm trying to show you, and
then you see them. And I wondered if that was
like ad lived in Adr or something. But then the

(27:15):
background people turn and look at the camera like oh sorry,
and they move out of the way.

Speaker 2 (27:19):
By the way, I wanted to mention, I don't think
we'll see her again, but a young Harmony who he's
doing the chainsaw with. That's an aerial winter from Modern Family.

Speaker 1 (27:28):
Oh wow, yeah, how funny.

Speaker 2 (27:30):
One of her earliest there's because Modern Family started what
like twenty eleven, I.

Speaker 1 (27:34):
Think, wow. I mean, look at that gorgeous lighting too,
by the way, that red. But yes, I will say,
and I'm gonna gush over this movie for the remainder
of the hour and twenty minutes, but yeah, it's worth
calling out the age's discrepancy because they're supposed to be
the same age. Yeah, and I will say I don't

(27:54):
entirely buy a romantic chemistry between them. You know, she
sort of well, he screws it up here in a
in a bit that would make her a little angry.
But they work and they're very charming together, and I
believe that there is a chemistry, but I'm not sure
that I ever really buy into a romantic chemistry like

(28:16):
I'm with them, maybe alluding to Yeah, but she is.

Speaker 2 (28:22):
She's fantastic. I mean, and you talk about h you know,
launching a career. I mean, she has never stopped working
after this.

Speaker 1 (28:30):
I know. I mean I wish I had seen her
in bigger things, like more often. Like I remember recently
seeing her in Maxine the movie she was like a cop.
And then and then actually last night flipping channels just coincidentally,
I saw part of the Heartbreak Kid them the Fairly Brothers. Yeah,

(28:50):
and she's great in that. But she's so good.

Speaker 2 (28:53):
Yeah, Well, she was in due date with the rdj.

Speaker 1 (28:56):
Oh we see, I forgot that movie.

Speaker 2 (28:58):
Yeah.

Speaker 1 (28:59):
I remember when that was announced. It was sort of
like Todd Phillips is going to be remaking plane strains
and automobiles.

Speaker 2 (29:05):
And I was like, what, I'm glad, I'm glad they
didn't explicitly call it that.

Speaker 1 (29:09):
No, it's it's its own thing, right. Yeah.

Speaker 2 (29:12):
I remember seeing an Ama that Val Kilmer did, or
he talked about a good time he had on Kis
Kiss Bang Bang, and he he said something to the
effect of like, I wish they would have told me
that they were working together again, meaning Robert Downey and
Michelle Monaghan, because I would have showed up just to
watch them or just to see, you know. And I
you know, now you read that in hindsight, you're like, oh,

(29:33):
I wonder, I wonder if he did feel bad, you know, yeah,
because I mean, but again, it's I think everybody involved
in this had just such a great deal of pride
about the movie, right. And that's that's one of those
things where, irrespective of how it turns out, if you
got to make the movie you wanted to make, well,
at least you can point to that, right. So, like,
let's say hypothetic and again not to throw Johnny Knox

(29:56):
Ye under the bus, but let's say that was a
decision that Shane Black was not crazy, but he was
forced into doing it. The movie was going to do
whatever it was going to do, but now it's this
thing that is something that the director didn't want and
has to like, oh, well, maybe if I got to
do it my way, it would have done better.

Speaker 1 (30:14):
Yeah, you know. Yeah, and you know, it lives forever
now and it did come out well, and we can
like proudly tell people who haven't seen it check it out.
You're gonna love.

Speaker 3 (30:23):
Yeah.

Speaker 2 (30:24):
You know, you were talking about Shane Black being the
highest paid screenwriter at one point, and I was thinking
about how that's the problem with achieving that level of
success in your field is you know, it's it's like
being the best gunfighter in the West. Suddenly everybody's out

(30:45):
to get you.

Speaker 1 (30:46):
Yeah.

Speaker 2 (30:46):
Sure, right, And that's why I always hear the stuff
because I remember, I remember back when that sale happened.
We're talking late late nineties, and like, oh, who's this guy?
Think he is kind of thing you know in the
in the discourse, and you know, people would say that
about Joe Astrahas or whoever, you know, and and it's like,
you know, maybe just like like like the takeaway for

(31:07):
me is like be success, like just successful enough, right,
able to do the next thing, you know, but don't
be so successful with everybody's wanting to come after you.

Speaker 1 (31:16):
That's good. Yeah, yeah, you know it's funny. That reminds
me for some reason. I'm linking it to when Jim
Carrey got that twenty million dollars.

Speaker 2 (31:25):
I was thinking the exact same thing. I was literally
about to say that.

Speaker 1 (31:29):
Because he had just been conquering, conquering, conquering, and so
then of course, you know, it's like, why wouldn't his
people push for the highest payday for an actor ever?
And then that payday was for the cable guy, which underperformed. Yeah,
and so then you're gonna be criticized more harshly.

Speaker 2 (31:46):
Right, And that's the trade, all right, I mean, because
on the one hand, I'm like, look, man, make that money,
like if you know what you're worth, what you're worth, right.
But yeah, I mean again there's that. But you know
it's like Rocky says in Rocky Balboy, go get what
you're wor but you got to be willing to take
the hits mm hm. And I will say, certainly for myself,
I am too fragile a sort.

Speaker 1 (32:07):
Yes, you know what I love. By the way, I mean,
of course, the nature of this being a crime story.
You know, most things that are set up are paid off.
But just lately I've been writing something recently and I've
been thinking about it or paying more, even more closer
attention to set ups and pay payoffs, and so even

(32:27):
just introducing that darringer gun in the glove compartment right there,
it's kind of funny and it's a little you know,
it could speak to the character of Perry here. You know,
he's like this gay character and downy Junior. You know,
they riff about it, right and he's like, oh, look
at this this gun. Why would you have a gun
like this? And you know, it could just be sort
of a joke thing. And then they just bring it

(32:48):
with them. They got a gun on them. But that
gun comes into important play later in the script, you know,
like it ends up saving the day. And I was like,
of course, like, if you're going to have something in there,
have it pay off.

Speaker 2 (33:00):
It's Chekhov's crotch gun.

Speaker 1 (33:02):
Yes, yes, but I just I don't know, I really
delight when a script does that and does it well, Yeah,
I don't know.

Speaker 2 (33:12):
This Shane black Kids got he's got potential. Yeah, he
seems to know his way around a script.

Speaker 1 (33:18):
Yeah. Yeah, well, and then you know we should uh well,
let's go back even further what I was gonna say
about Marvel. We'll get back to Shane Black and Marvel.
But so basically, Robert Downey Junior, he gets sober in
two thousand and three and he wants to do stuff,
He wants to come back, and he was dating Susan

(33:39):
who's now Susan Downey his wife, but it was his
girlfriend at the time, and she was working.

Speaker 2 (33:43):
Susan Levin I think it was her name at the time.

Speaker 1 (33:45):
Yeah, she was working at Joel Silver's company. Yeah, in
some sort of senior position. But he wanted to get
in and she helped him. I guess she was working
on Gothica at the time with Joel Silver, and he
wanted in on this. That's where he met her, yes, right, right,
because he was in Gothica and that was his way

(34:07):
into this. And so then this works out well for
Downey of course.

Speaker 2 (34:13):
Well, and what happened is that he was aware of
the script because he would hear her laughing out loud
reading it. Yes, and he's like, man, I want in
on that, and he didn't really have an inn, but
he would just hang out. He was hanging out because
his girlfriend was there at the time, and so Shane

(34:33):
Black would be like, hey, can you just run lines?
And this is like a Harrison Ford in Star Wars situation.

Speaker 1 (34:37):
Oh okay, yeah.

Speaker 2 (34:39):
And then the more Shane Black hears down, he'd deliver
his dialogue, He's like, this is the guy.

Speaker 1 (34:45):
Yeah, you know, but I just want to call this
this moment here where they pulled the dead woman out
of the lake and her dress is hiked up so
she's kind of nude, and then he, of course we
have established it he's a gentleman, and so he pulls
the dress down. And I remember that happens in The
Nice Guys as well. Do you remember that where that
girl ends up in the backyard of that boy and

(35:06):
her robes open, so then the boy closes the robe.
That's like sort of a Shane Black touch.

Speaker 2 (35:12):
That's that's a fascinating trope. Yeah, it's occurring.

Speaker 1 (35:17):
It's like sweet and horrifying. It's horrifying seeing this violence
toward women, but there is sort of a nice thing
where like the characters are trying to respect them even
in death or I don't know, it's it's kind of messy,
but it's it's bittersweet, I suppose. But anyway, Yeah, So
what I love about that though, is then, yeah, this

(35:38):
creates this opportunity for Downey Junior and Black takes a
chance on him in a moment where it would be
taking a chance on him. And then later, once Robert
Downey Junior is ruling the Marvel universe and they want
to make an Iron Man sequel, he's like, I got
the guy. Yeah, and he brings Shane Black in, and
Shane black writes and directs Iron Man three.

Speaker 2 (35:57):
Yeah, And and I would say of the MCU catalog,
and we talked through it to recently, relatively recently, that
that is one of the more auturist entries. Sure certainly
still has to play within that sandbox, but you know,
there is there is a spark of individuality that's that
is certainly now you know, with twelve years of distance,

(36:19):
stands out.

Speaker 1 (36:22):
By the way. We should comment on that one line
that's probably the line that most people quote from this movie,
where you know, Donny Junior's character fumbles something and the
guy's like, you know, you find if you looked up
the definition of the word idiot in the dictionary was like,
what a picture of me? He's like, no, the definition
of the word idiot, which you will certainly are.

Speaker 2 (36:41):
Yeah, that is definitely one of the one of the
exchanges I most remember. I had honestly forgotten how many
great lines Kilmer gets in this movie. Yeah. And the
other thing, you know, well, I have two thoughts. Number one,
you know, I love he's Perry or gay Perry, and
I'm like that just see like something you know, as
a writer, you know, you sort of occasionally, like a

(37:05):
quirky name pops into your head and you're like, I'm
going to use this one day.

Speaker 1 (37:08):
Totally right, right.

Speaker 2 (37:09):
So I'm sure at some point Shane Black heard gay
Perry and it was like gay Perry, Right. He just
files that away in the old roller Deecks and he
finds the perfect way to use it, right right. But
the other thing, number one, I'm pretty sure Perry is
the first gay action hero.

Speaker 1 (37:27):
Yeah, Shane Black talks about that, that was why he
wanted to use this character. He's like, I don't feel
like I've seen that, you know, where he's not like
there so you can have all these jokes against him,
like he's the one who's kind of in control and
kicking ass. He just happens to be gay, which in
two thousand and five it was easy to forget, but
as a different climate back then. I mean, one of

(37:48):
the funniest ex changes to me is earlier right or
shortly after they meet, where you know, Harry is like, sorry,
he's still gay, and he's like, no, I'm knee deep
in pussy. He has so many just you know, just
deadpant one liners. Well, he just had a great one
where he's like any questions hesitate to call?

Speaker 2 (38:12):
Yeah, Well it's great because because you know, Perry is
the guy who's got everything figured out. And the comedy
comes from the fact that Harry is so clearly in
over his head right and even though the movie sets
him up. Oh no, this guy he's a hood, but
he's like not very good at being a hood.

Speaker 1 (38:34):
This is such a funny and like She and Blackie
moment too, where it's like the guy thinks his friend
is dead, but the leaning against the person's car, but
the person wants to leave, like it sucks. That okay,
that sucks and I kind of need you to move.
That's so good.

Speaker 2 (38:58):
Oh, this commercial cracks me up. Yeah, so you know
the voice of the bear.

Speaker 1 (39:02):
I did, well. I saw it because I the research.

Speaker 2 (39:04):
Yeah, Laurence Fishburne as the bear, which I wonder where
that came from. Yeah, I was. I was actually thinking
about what's the what's the connection?

Speaker 1 (39:19):
Something I noticed. I'm trying to look up something really fast.
There is this guy. There's an article about him several
years ago where he's this extra. But he's like one
of the most frequently used extras ever. I can't think
of his name, but he's been in so many movies
and if you saw his face, you go, oh, yeah,
that guy. I have seen that guy a lot, like

(39:40):
he was in Social Network and anyway, I noticed he's
in that commercial. He's playing one of the Oh here
it is Jesse Hyman. Okay, h e, I m a n.
He's cited as the world's greatest extra, our most frequent extra. Wow,
he's getting in over one hundred projects. Spider catch me
if you can da Da Da da. Anyway, I noticed

(40:02):
he was in that beer commercial, just standing there waving.
So I was like, hey, it's every time I see him.
It makes me happy, like good for you?

Speaker 2 (40:08):
How funny?

Speaker 1 (40:09):
Yeah, you know and it's as much fun as this
movie is, it's kind of a grim story. That's another
thing to keep in mind.

Speaker 2 (40:20):
You know, it's very much so I you know, above
and beyond the all the you know, all the murdering
of it all. You know, the backstory about Harmony's sister involves,
without explicitly being stated, is very clear. You know, it's
the sister being abused by by the dad, you know,
and and it's it's you know, it's this real tight

(40:41):
rope that you have to walk tonally right where the
movie itself is very very funny, and yet you have
to make sure that you pay proper, you know, attention
to making these dark moments be dark.

Speaker 1 (40:55):
Yeah, because I mean it's a little grimy, but that's
the genre, that's right. And like you said, it is
a tight rope because you read those novels and you
kind of know what you're getting in for and you
want to see everything get solved. But this movie is
like what if we had some fun while we were
walking through that story. So yeah, it is a real
dance that I think it pulls off amazing. I think

(41:16):
so yeah, which I mean also, this is a movie too,
it's so funny, it's expressionous. It kind of reminds me
of The Nice Guys, another sort of Warish film that

(41:38):
has a pretty grim story but also has a lot
of fun. It's like an amazing dance And I remember
watching that movie The Nice Guys as it was playing
in the theater and thinking, man, I'm so disappointed we'll
never get a sequel to this. I can watch these
guys in five films, but I know it's not going
to perform the way it needs to. But it's that

(41:58):
good and these characters are that much fun, and I
feel that way about this. I wish, you know, it
does like a little bit of a possible setup at
the end that the two characters could work together again,
but it just didn't perform the way it should have.

Speaker 2 (42:12):
Yeah, I mean, it just I don't know, man, I
just I just feel like Warner Brothers just just left
us out there to die.

Speaker 1 (42:18):
You know. Yeah. Yeah, but it's just yeah, there's just
so much potential to this world and these characters together,
and you just wish we'd got more stories with them.

Speaker 2 (42:28):
Yeah. This whole thing with the spider and the boob,
Oh my god, so funny. I was watching this last
night I was laughing out loud. Yeah, because just the sheer,
the sheer preposterousness of that specific scenario.

Speaker 1 (42:46):
Yes, I know, my god, you explain that. Yeah, I
mean for people who haven't seen this. Basically, the you know,
his friend has fallen asleep and her bra like is
kind of exposed, and he's putting her to bed, but
then he sees a spider walking across her chest and
he's like, oh, so he wants to get rid of it,
but it goes inside the bra and he's like, oh no,

(43:06):
So he like taps the bra really hard, trying to
kill the spider, waking her up, and she's like, what
are you doing? But this it's hilarious and it winds
up being a great character moment for both of them. Yeah,
you can kind of see where she's like, oh, it's
it's no big deal, and you kind of understand how
she views herself. And then when he's he he won't

(43:28):
let it go, he's like, no, it's important that you understand.
I was really trying to help you. And then when
she checks and she sees that there's a dead spider there,
you know, it's it's a it's a it's a good
moment for them. I know it's but it's a great
moment for the two of them. Yeah, you know, and
we already know that he's chivalrous.

Speaker 2 (43:55):
And and then she's like you're off the hook, and
he's like, no, no, but I I could have like he's
I could have been I'm a bad boy, you know.
So I was thinking, Laurence Fishburn, this is clearly I'm
this is what I'm obsessing over. It's probably a Joel
Silver connection because of the matrix.

Speaker 1 (44:13):
Ah oh wait, so yeah, the last matrix was three
or something, right.

Speaker 2 (44:17):
Yeah, so I'm sure Joel Silver could get Fishburn on
speed dial and just be like, hey, talk about how
you like sucking heads off of fish or whatever. Yeah,
He's like, OK, dude, this part here again, I had
so many laugh out loud moments here, so funny. So,
so Harry has taken a whiz. He sees the body
and he's so shocked. He pee's on the body.

Speaker 1 (44:37):
Well because he's like in the middle of ping, he's
midp and then it sees the body and he turns
like h on. So he's like peeking all over the body,
which is hilarious because I've never seen that before. Yeah,
but then also it does screw him up because now's
DNA is everywhere yep. So it's like it creates a problem.

Speaker 2 (44:57):
Oh my god, dude, god, dude.

Speaker 1 (45:04):
You know what, I will call out just because we
are going through this like you know, minute by minute.
But there is like this weird sort of continuity thing
that does jarm me every time, where basically he has
that moment with Michelle moynan and he's just like okay, like, well,
I'm going to go use the restroom, and then we
cut into the restroom, and to me, the energy feels
different like he was probably filmed on a different day,

(45:24):
and he's like, okay, well now I'm just in the restroom,
I'm going to pee in there, you know. And then
he's he's kind of like ad libbing, like trying to
get himself into the scene and starts peeing in the toilet.
And it always like, oh I bet that was filmed
a different day. How fascinating The energy feels a little
but yeah, that moment and then so he calls Perry
and he's just like okay, there's the body. He's like, Okay,

(45:44):
well here's what we got to do. He's like wait,
hold on, just so you know, I peede on it.

Speaker 2 (45:48):
What can they get DNA from that?

Speaker 1 (45:52):
Why would you pee on it? Oh?

Speaker 3 (45:58):
Man?

Speaker 1 (46:03):
But you just look at the color, like the green
outside but the blue in the car. It's such a choice.

Speaker 2 (46:08):
Yeah, yeah, no, that's what I'm saying. You know, there
is this great noir kind of you know, sensibility. It
really makes La look unique, you.

Speaker 1 (46:21):
Know, Yeah, vibrant and colorful and alive, and yeah, you
know there's I think we might have missed it, but
there was a shot earlier I wanted to call out
where it's a sort of establishing shot of La. But
it looks really unique in that it does that thing
that old movies do. I'm thinking specifically like die Hard
in that ilk where you see a shot and there's

(46:43):
like half the screen is brown, right to be like dusk,
you know, but the bottom half isn't. Like it's very clumsy,
and I assume that's you know, they didn't they couldn't
color time things in a computer like we can now
you can do every sort of shadow and change colors,
and so they probably just put half a gel, you know,

(47:05):
in front of the lens it was brown to make
it look like dusk and I almost want to and
now we're past you know, oh brother, where art thou
and stuff? At this point where they turned the whole
movie where it looks like you're looking at it through
a glass of lemonade or something, and I wondered if
that was Shane Black's homage to like old school movies
in the way that they looked, because the rest of

(47:26):
the movie doesn't have that blunt coloring and has the
more so anyway, I want to call it out because
I thought, yeah, no, that's interesting. This is so disturbing.
I mean, you laugh, but you're also like, that's so awful. Yeah,
that body hit the dumpster. You know. I also saw

(47:54):
that an early iteration Warner Brothers was considering for this
was Benicio del Toro for Harry and Hugh Grant as Perry. Interesting,
and I'm like, yeah, it's interesting seeing those ideas, right,
because then you're like, oh, so that movie would have
felt kind of like this, Yeah, you know, the multiverse

(48:17):
version of this, right.

Speaker 2 (48:21):
You know. I applaud the movie for not leaning too
deep into the no homo stuff, you know, totally totally,
you know, and and you can imagine ten years earlier
you have Perry sort of mincing and prancing, and you know, yes, yes,
and thankfully, I mean they didn't do any of that,
you know, but but he's very unabashedly who he is.

(48:42):
And and even i mean even Harry isn't like you
kind you know what I mean.

Speaker 1 (48:48):
Yeah, yeah, yeah, or make assumptions about him.

Speaker 2 (48:53):
Yeah, you know, I mean the scene that we just
saw where Perry plants one on him. I mean, certainly
there's that element of show. But that's that's as close
as the movie gets to sort of gay panic, you know.

Speaker 1 (49:04):
H Yeah. It feels very ahead of its time in
that way. Yeah, because I mean sometimes I'm still shocked
when I go back and watch movies from the early
two thousands and I hear some of the words that
they'll use. I'm like, oh, yeah, we're still doing that.

Speaker 2 (49:17):
Then we're still doing that.

Speaker 1 (49:18):
Yeah, yeah, you know. Really, just looking up just trivia
things about this, I saw that one of the or
the original title was You'll Never Die in This Town Again, Yeah,
which is also a great title. A great title. I mean,

(49:39):
I think kiss, Kiss, Bang Bang is a little more
accessible if you saw it in the video store back
in the day. Yeah, But that's a great title, You'll
Never Die in This Town.

Speaker 2 (49:49):
I think Kiss Kiss, Bang Bang propably conveys the tone,
which is sort of totally farcical. And you know, I
think You'll Never Die in This Town again is very
Johnny Gossamer if you.

Speaker 1 (49:59):
Will, yes, yeah, but.

Speaker 2 (50:01):
Yeah, to your point, if you're browsing the shelves, I
don't know that it conveys what it's about, right, you know,
it is amazing how Shane Black was able to find,
you know, the Chandler titles that perfectly reflect the chapter
that we're heading into.

Speaker 1 (50:20):
Yeah, that's a good point.

Speaker 2 (50:25):
You know.

Speaker 1 (50:25):
He just had a movie come out recently. I haven't
seen yet, Play Dirty. Yes, that's right, that I think
is on Amazon Prime, and yeah, I you know, it's
one of those things where I think I was a
little I'll admit my prejudice when I saw I went
to Prime, I was like, oh, like, it didn't feel
like urgent. Sure, but you know it's coming from an

(50:46):
author I like, so yeah, even like a a movie
that may not rise to this bar might still be
enough fun.

Speaker 2 (50:55):
So I mean, look, unfortunately, the world we're living in
now is one where you just have to accept that
that state of affairs more often than not.

Speaker 1 (51:07):
That's a that's true. That's he's taking the notes gotto gotto,
just drawing a picture of a cat. Uh huh uh.

Speaker 2 (51:18):
Because he's he's pretending to be a private eye, because
that's what harmony mistakenly assumes. And he he when she
asked if you're a private eye, he happened to see
part of her nipple. Yeah, and you know he stopped
thinking properly in this situation.

Speaker 1 (51:35):
Well that was set up well too, because at the
beginning when that woman is asking, it's like a runner
in this movie, women asking him what he does, you know,
which was I feel like you don't hear that joke
as much anymore, but that used to be, Like I
remember in Swingers that was like a runner also, you know,
or you go to what do you and people like
what do you do? That's kind of like an LA joke.

Speaker 2 (51:54):
But you've never been in that situation, Oh.

Speaker 1 (51:57):
Sure, yeah, definitely, And I mean I I do too,
because you're just kind of curious because you know, it's
it's so almost a funny thing too, where it's like industry,
you know, like do you work in the industry too?
So we can relate over that or.

Speaker 2 (52:10):
So is it that or is it like people deciding
whether you're worth talking?

Speaker 1 (52:14):
Oh, I'm all of it. I'm sure it's all of it. Yeah,
but I'm obviously the joke that you see all the
time in movies is you're being judged? Are you do
you do something that is worth me talking to you about?
We're talking to you at all? Which I think it
comes later, But there's a funny joke where the woman
comes up to him at the party and she's like,
what do you do? And he says, you know whatever,

(52:37):
and then he's like, is that it? She's like yep,
and she just walks away. We understand what's happening here. Okay, bye,
very funny. I had to rewind that because I didn't
understand what he said. They're the ungooshed head.

Speaker 2 (52:56):
Yes, yeah, I know you're not a subtitle guy.

Speaker 1 (53:00):
No, you are.

Speaker 2 (53:01):
I always.

Speaker 1 (53:03):
I mean, I know you've used them, but you.

Speaker 2 (53:04):
All the titles are standard issue for me.

Speaker 1 (53:09):
No, No, I just I know there's some people right
now that are very satisfied hearing that. But like, I
I get it, I really do get it. I think
for me, my eye is drawn to them. Yeah, and
I'm such like, I mean, there'll be movies that are
just kind of mid movies, but like they're so freaking
enjoyable to look at that they go up a letter

(53:30):
grade because I'm just such a visual person when it
comes to movies. Yeah, you know, and so yeah, I
don't like anything taking my eye away from what I'm
supposed to be looking at otherwise. Yeah, you know, yeah,
you know, yeah.

Speaker 2 (53:44):
I think for me, it's just it's just it's holistic,
you know, I don't I'm not distracted because it's just
part of the frame. And it helps that, like for
specific turns of phrase that I'm not able to make out,
I can just immediately, you know, I can immediately catch it.

Speaker 1 (54:01):
Well, there are certainly things, i mean where people have
like strong accents or it's like really dense dialogue where
then sometimes I'll just give in and I will put
on the subtitles and I'll actually think, oh wow, I
would have missed all of this, you know.

Speaker 2 (54:15):
I think there's something also about how movies are mixed these.

Speaker 1 (54:18):
Days, that's true. I hear about that a lot.

Speaker 2 (54:21):
Yeah, you know, I've said this before, right, If not
for subtitles, I wouldn't have no understanding when Batman.

Speaker 1 (54:27):
Says, I'm pupased right right right.

Speaker 2 (54:33):
So yeah for me for and I know this is
like a it's like a weird generational divide, you know.
It's like wars have been fought for less now but
subtitle who we are a subtitle family. The hassans I should.

Speaker 1 (54:45):
Say, No, that's great, that's great. You know there's one
of the shot shot yep, sorry, I just right. Doesn't
that look like that old school eighty Yeah? Anyway, sorry,
sorry I had to call that up. No, but I
get it, I get it. Wor's a bit fu for this.

Speaker 2 (55:08):
So this here also so so Harmony's friend Flicka, Yeah,
my friend. He's like, oh my, you know my friend
Flicka as down, he says, And I'm like that character
was named such just so that we could have the
phrase my friend Flicka.

Speaker 1 (55:21):
Yes, you know, well it's funny too, because there's sort
of a joke about He's like, yeah, you know, out
here in LA you're going to meet a woman named
Jill who spells it with an I and an E.
And I do feel like that was sort of like
a funny thing that you would encounter every now and then.
But like now I feel like that's almost normal, meeting

(55:43):
these kids that have these really takes on interesting on
names that are just spelled different. I don't know, you
know what I mean, Like, I feel like it's become
much more common.

Speaker 2 (55:52):
Yeah.

Speaker 1 (55:56):
I was also kind of noting how this scene was
lit here in the gate at the gate at the airport.
It's really dark, which obviously is a choice, right, you know,
but it fits the tone of the movie, like it
would look weird if you suddenly under bright neon lights,
you know, or not neon lights or what do you
call those?

Speaker 2 (56:14):
Yeah, well, like the normal lighting you'd have in an airport.

Speaker 1 (56:17):
Yeah, yeah, And it just it stood out to me.
But I loved it because of a piece of the
whole movie, and it made me feel like, yes, I'm
in La, but I'm also in like a different type
of La. I'm in a crime story La.

Speaker 2 (56:30):
Well, I said, I was going to ask you, like,
how familiar does this all look?

Speaker 3 (56:33):
You know?

Speaker 2 (56:34):
Do you recognize your town here?

Speaker 1 (56:36):
I mean yeah, kinda. I mean it's not as brightly lit,
you know, with all the reds and the greens and
the blues, but yeah, certainly it is very like downtown,
like the standard hotel and all that kind of stuff.

Speaker 2 (56:45):
Oh, this is like this part right here, This is
probably my clearest memory of this movie, dude.

Speaker 1 (57:00):
But what I love is like you can imagine you
and I are sitting in a room and we're writing
this script, and it's like she slams the door on him,
and you think, wouldn't be kind of funny if like
his finger was in the door and like cut off
the finger. You're like, yeah, but then we would have
to deal with that for the rest of the movie.
And this movie's like, yeah, but what if we did.

Speaker 2 (57:20):
I love that We cut to him getting it stitched
back on, and he looks like up towards camera almost
with this with this look of like annoyance. Yeah, not anger,
not pain, just annoyance.

Speaker 1 (57:36):
Right, But it's so great because then we have to
deal with it the rest of the movie. Like he's
kind of high for some of it and he's not
thinking clearly. And then of course, like it comes undone
and the dog you know, gets away with it. Like
it's just it creates more situations.

Speaker 2 (57:53):
She slams the door and then she opens it. She's like,
did I just He's like, yeah, yeah, it's on the ground.

Speaker 1 (58:03):
Yeah, then smash cut to it. How is this it?
I don't know. There's so many talks too, and it's like, oh,
is that it? I love it.

Speaker 2 (58:13):
So one of these party sequences, either this one or
the one at the top of the movie, was shot
at Shane Black's house.

Speaker 1 (58:19):
Oh that's right, Yeah, the one at the beginning the
house part. Yeah.

Speaker 2 (58:21):
Well, so Shane Black was kind of renowned for throwing
like a real real humdingers of parties. Oh interesting, you
know so I almost wonder if he was sort of
lampooning himself a little bit, you know.

Speaker 1 (58:33):
Well, you know what's funny worth noting is it still
comes up to this day when they talk about when
you're writing a script, you know, there's a lot of
important things you want to keep in mind. Besides having
just a great script. You want to write characters that
are so great that an actor wouldn't want to turn
it down like they want to. Oh I've got a
that sounds fun and challenging. I'd like to try that.

(58:54):
And another thing is you've got to make sure the
person who's reading it, who's going to decide to make it,
can't stop reading it. They want to keep turning the page.
And part of that not just you know, great dialogue,
but you've got to have action that's really interesting. So
you don't want to be like he goes in a room,
you know it's filled with people, who walks to the
other side of the room, Like that's not going to

(59:14):
make someone want to keep reading it. And so Shane
Black was famous for having this real funny prose right
you know, in his action and one of the examples
that comes up the most is in Lethal Weapon one,
he writes, you know, the the Riggs and Myrtou pull
up to a mansion, the kind of place I'm going
to buy if I sell this script, you know, which

(59:36):
is like witty and funny, and then in your head
you're like, oh, okay, I kind of picture it, but
he's imagining. And then it's funny that you bring up
the you know, really nice la house at the beginning
of his movie is Shane Blacks. Yeah, so there you go.
He got it, he got a weapon, he got the house.

Speaker 2 (59:52):
Yeah he manifested it.

Speaker 1 (59:55):
Yeah, exactly, exactly. This is such a funny moment when
Perry it just Ducks is the class. It's very Looney Tunes,
Lord of the Cock Creams. There's a lot of Lord
of the Rings references in here too, when he talks
about the multiple endings at the end. Yeah, yeah, you
realize this is like two years out from probably one

(01:00:18):
year out from yeah, Return of the King.

Speaker 2 (01:00:21):
Well I think he started writing this is what like
one right? So uh yeah, very much while there was
there was Lord of the Rings fever.

Speaker 1 (01:00:35):
Look at that young Corbyn Burnson.

Speaker 2 (01:00:39):
So is that is that footage from like La Law
or something?

Speaker 1 (01:00:43):
I gotta imagine right right man?

Speaker 2 (01:00:46):
What a what a head of hair that guy had?

Speaker 1 (01:00:48):
Yeah?

Speaker 2 (01:00:48):
Man, But to Corbyn Burnson's credit, he does rock the
ball pretty well.

Speaker 1 (01:00:53):
He does. He does. Yeah, I mean not everybody gets
to do that like on psych Yeah yeah exactly. Yeah,
he's great. You know it's funny. By the way, just
my weird little algorithm on Instagram, a clip from La
Law came up. Wow because Dan Castelnetta do you know this?
Do you remember this? It's like Jay Leno you heard

(01:01:14):
of this?

Speaker 2 (01:01:15):
He Kevin, you have me check this out, Jay.

Speaker 1 (01:01:20):
But basically, there was an episode of La Law in
like nineteen ninety two where a character who worked at
a theme park playing Homer Simpson. So you see this
person in a Homer Simpson foam you know, Disney Mickey
Mouse style outfit is suing or getting sued. I think
by the theme park because he took his head off

(01:01:41):
in the park in front of kids. Okay, and the
person who plays Homer Simpson inside the foam outfit is like, well,
I was the outfit was making me sick. But Dan
Castlenetta plays the guy in the suit. So for half
the episode you see this big foam suited Homer Simpson
with actual Homer Simon since voice coming out of it,

(01:02:01):
like you don't.

Speaker 2 (01:02:02):
Understand what was good? Was it? Was it Walter Matthow
Homer Simpson or was it?

Speaker 1 (01:02:06):
No? It was like yeah, ninety two ninety three, so
he had kind of home figured it out. Yeah, but
it's just this funny, weird little artifact from a show
that looks very of its time, very early nineties. Like,
what a funny thing, what a crossover? Weird?

Speaker 2 (01:02:22):
How random?

Speaker 1 (01:02:22):
Over Yeah, I had to look that up. By the way,
the mic and Mustard, it's like a dirty joke from
the sixties.

Speaker 2 (01:02:30):
I was like, okay, so yeah, that I completely went
over my head.

Speaker 1 (01:02:33):
I gotta be honest. I even started reading the joke
and I was like, I got I get it. It's fine.
It wasn't even funny, but like it just what a
funny thing. And I love that his partner's like, what, Yeah,
I don't know about that reference.

Speaker 2 (01:02:44):
Man, it's so funny.

Speaker 1 (01:02:46):
Yeah, this is that thing. I like that. I bring
up a lot where there's like weird, I get diegetic.
Would you call it like light happening Like it's it's
from something happening off, but it's making every shot look
more interesting. You know. I always think of really Scott
first when it comes to that, because there's always like

(01:03:07):
water reflecting off of something. So when someone's talking and
there's like a mood, you see the water reflection light
dancing behind their head, and it just makes the scene
interestingly a percentage more interesting to look at. And we
have that here because they're in some room at the
club and we see these strobes coming through.

Speaker 2 (01:03:28):
It just kind of gives life to the frame.

Speaker 1 (01:03:30):
Yeah, life to the frame and extra tension as he's
being interrogated. It's great. First time director, that's amazing, you know.

Speaker 2 (01:03:40):
Well, I mean I think what helps is that you know,
he probably had opportunity to see his scripts interpreted, yeah,
by some of the you know, when you think about
who he's worked with, right, Richard Donner, John McTiernan, Tony Scott.
I mean, you know, like what's his name, Nnie Harlan,

(01:04:04):
you know, yep.

Speaker 1 (01:04:06):
Not a bad film school, you know, absolutely, And of
course I mean Joel Silver is producing this. He's no slouch. Yeah. See,
I like this kind of stuff too, where like disparate
people who like are brought into something together and don't
necessarily bond or I mean especially between Perry Pray doesn't

(01:04:27):
really know harmony and Perry and Junior. I keep calling
Diy juniors character because IM forgetting his name, Marry. They're
not like best of friends at this point, but once
they get a little deeper into things, they just start
looking out for one another. Yeah, And I love that
right where she's like, I know, I need to take
you to the hospital, but like I see these bad
guys getting close to where Perry's on a stakeout, and

(01:04:49):
I feel like he needs we need to go look
after him. Yeah, you know, and then they become this
unlikely gang. I always love that MacArthur Park that always
makes you think of that weird al song.

Speaker 2 (01:05:05):
Oh right, Yeah, yeah, that's right. So I didn't realize
that that's Shannon's sausaman as the as a girl with
the pink hair.

Speaker 1 (01:05:21):
Yeah, remind me. She was in like a Knight's Tale
or some Night's Tale.

Speaker 2 (01:05:24):
That's what I most know her from it. She was
also she was in another uh movie with with Heath
Ledger two. I think, what's the one where he's like
a priest or something, you know we're talking about.

Speaker 1 (01:05:34):
No, but I'm looking it up right now.

Speaker 2 (01:05:38):
Oh darn it, what am I? What was it called
The Order? Something like that? Well she I think she
was in.

Speaker 1 (01:05:44):
There, right, see the knights Tale, Risk.

Speaker 2 (01:05:46):
Cut the Order? That was right? Yeah?

Speaker 1 (01:05:48):
Order?

Speaker 2 (01:05:49):
Yeah.

Speaker 1 (01:05:49):
Rules of Attraction is another one she was in. Interesting,
I don't remember that.

Speaker 2 (01:05:57):
M hm, yeah, I remember. I remember on finding her
quite quite comely. Oh yeah, and it's awesome. Yeah.

Speaker 1 (01:06:05):
Oh, she's in the Holiday also the Jack Black movie.
Yeah okay, oh and yeah he said a wayward pines, right,
I didn't but yeah, oh forty days and forty nights. Yeah,
this is all kind of coming back.

Speaker 2 (01:06:19):
To forty forty nights. Yeah yeah, yeah, yeah, okay, she.

Speaker 1 (01:06:24):
I mean, we'll get to it. But she has like
a really upsetting death. Yeah, a weird again it Bittersweet's
not the right word. But there's something sort of like
she gets to have one last connection, like an unexpected connection.
He has to watch her, and it's like.

Speaker 2 (01:06:39):
So, yeah, well it's a great moment for Harry. Yeah,
in terms of his progression as a character, you know.

Speaker 1 (01:06:46):
Right, Oh yes, well then yeah, the way he retaliates, Yeah, yeah,
the action's handled really wellness, isn't it.

Speaker 2 (01:06:53):
It really is clear? And seriously, man, Calimber is so
cool in this movie.

Speaker 1 (01:06:59):
I know, I know, you know, he's the way he
dresses and everything, the way he carries himself.

Speaker 2 (01:07:08):
Yeah, and it's I don't know, I mean, obviously you
can't help but watch him in this movie with this
tinge of sadness, not only because he just passed away recently,
but also because this was one of his last performances
where he was you know, fully present, you know, right,

(01:07:28):
And there's just something about that as well, you know,
it's I don't know.

Speaker 1 (01:07:33):
There's just.

Speaker 2 (01:07:35):
There. These these performances live on, right, and so they
imbue these actors with immortality, right. Val Kilmer's work will
be watched as long as people are watching movies, right,
and and yet like that that immortality is intertwined with
how temporal it is, you know.

Speaker 1 (01:07:55):
Yeah, yeah, yeah, it's strange. We talk about that a lot, right, Yeah,
to see.

Speaker 2 (01:08:02):
The past like at this moment when when I saw
this movie and I saw it, probably I saw it
after you know, I definitely saw it an home video.
I'm trying to place it chronologically if it would probably
after Iron Man, I'm trying to remember. But regardless, I mean,
it was just another Valcilma performance, right, like mmmmm yeah.

(01:08:22):
And you you watch it now and you're like, oh,
this is this is like water in the desert because
there aren't many more left, you know.

Speaker 1 (01:08:34):
Yeah, yeah, this is uh kind of dark. Yeah, but
again that's that's the thing, right, Like we're having so
much fun, but he is telling a crime story, you know, so.

Speaker 2 (01:08:51):
It's like, yeah, those moments have to hit yep.

Speaker 1 (01:08:55):
Yep, and they do hit, and it's it's I don't know,
they're not jarring, they don't rip you out. Yeah, they
just remind you the story that you're in.

Speaker 2 (01:09:03):
That's right. Yeah.

Speaker 1 (01:09:09):
Shoot, there was sometimes gonna say and I lost it,
but yeah, I do remember seeing this in the theater
when it came out like this was an event of
this at this moment. So I don't know how to explain it.
I don't know what the word is, but there's something
so awful about it. But yeah, watching them lock eyes
is just so it just her so almost even innocently
after being shot, like who are you? Yeah, and him

(01:09:32):
having to keep her quiet. It's just such an upsetting
but like interesting moment.

Speaker 2 (01:09:36):
Well you get to you you get to experience it
all just on on Downy's face, you know. I mean,
I I think we take for granted what a great
actor he is, yeah, right at this point again, one
of the biggest stars in the world. And the fact

(01:09:57):
is people were willing to keep taking chances on him
because he's so talented.

Speaker 1 (01:10:04):
Yeah, you know.

Speaker 2 (01:10:05):
And and that by itself is is a testament, you know.

Speaker 1 (01:10:10):
Yep. And I love all his choices here because now
he's just he's he's seemed too much. You know, he
saw that woman at the lake and he had to
cover her up, and he you know, he apologizes to
that dead the same dead body that he leaves on
the curb. He deserved better. And here he's just had
enough of it. And I love how he looks away.
He's so like seething that right, Like he looks away

(01:10:34):
at first, and there's like he looks like a boy almost,
but then it's anger. Oh looking at her. H incredible.

Speaker 2 (01:10:45):
Yeah, I mean it's it's it's a fantastic performance.

Speaker 1 (01:10:52):
That's a that's a moment that should be on his reel. Yeah,
you know. And then there's an extra weird juxtaposition ye
sadness to this where you know, where you have a
Christmas song playing in the background, which but it's also
it is blue Christmas, which is just inherently kind of
a sad song. But we haven't touched on this yet.

(01:11:13):
This is a Shane Black movie. Of course it takes
place at Christmas.

Speaker 2 (01:11:18):
So what are the origins of that? Is that just
something like he sort of accidentally did you know twice
and then was like, Okay, that's it. I'm in this now.

Speaker 1 (01:11:28):
You know, I read I don't have it in front
of me. I've read him talk about this before. But
his paraphrasing his answer was, there's something about Christmas where
everything is heightened. There's decorations everywhere, the same music is
playing in every story you go into, and we're all
experiencing it at the same time, and it creates like
a mood, an elevated atmosphere, and so setting a story

(01:11:53):
against that just makes everything feel even more heightened or
unique or something in a certain sort of way. And
so he just likes adding that extra bit of elevation
that we all understand to all of his story, and
it is almost all of his stories take place at Christmas.

Speaker 2 (01:12:12):
Yeah, well certainly, you know.

Speaker 1 (01:12:13):
In Living in.

Speaker 2 (01:12:16):
Evil Weapon, we start with jingle Bell Rock as.

Speaker 1 (01:12:21):
We watch something about horrifying about that.

Speaker 2 (01:12:23):
Yeah, and then we segue into Amanda Hansecker Nude and
hid tossing yourself off a high rise yep. And you
talk about a freaking great intro to a movie that
kind that makes you say, oh my gosh, like, what's
gonna happen next? You know. By the way, you know
this is a famous Joel Silver thing, right, I can't

(01:12:43):
help but view things through the lens of of oh
topless women. Joel Silver.

Speaker 1 (01:12:49):
I was actually thinking about bringing that up later with
one hand, because that that's a thing like Joel Silver
literally was like, there's got to be a moment, yeah,
where there's a toples I mean, you even get in
die Hard where it's like improbable, how would that even happen?
You know, but they find a way. And that was
that was that the tenor of those producers in that

(01:13:12):
moment and it and I thought of that later where
we see like a glimpse of like it feels like
a story moment earlier, Yeah, when he catches her nipple,
but like later when we see her topless, it is
still like story driven in a way. But I was like,
I couldn't help but think, oh, Joel Silver, well, there's.

Speaker 2 (01:13:27):
There's a moment earlier in the film that's more gratuitous.

Speaker 1 (01:13:30):
Oh right, I forgot about where Harry.

Speaker 2 (01:13:31):
Is talking to that woman and then we see the
you know, the movie she was in or whatever.

Speaker 1 (01:13:36):
That's right, that is?

Speaker 2 (01:13:40):
I mean that feels less common these days, right, am
I wrong?

Speaker 1 (01:13:46):
Yeah? I feel like that's more in like the TV
space these days where you watch your I mean this
old reference, but like Game of Thrones or like whatever. Sure,
like it just feels like every streamer feels like, oh,
we can do whatever we want, so we're going to
But yeah, it does feel like movies have stepped back
from that.

Speaker 2 (01:14:01):
That's fascinating.

Speaker 1 (01:14:02):
Yeah, it kind of is isn't it. Yeah, should I
was gonna say something, Oh, oh, the when we were
talking about Lethal Weapon. You know, that's another thing too
where I sometimes I forget when you think of lethal Weapon,
or at least I'll speak for myself. I tend to
think of the tone of three and four, more especially four,
where it is literally just like.

Speaker 2 (01:14:23):
Is a hang is sitcom shenanigans?

Speaker 1 (01:14:26):
Sitcom shenanigans, and it's really funny and they're mit kracking jokes.
But Lethal Weapon one is dark, yeah, with fun elements, right,
you know what I mean? And it is kind of
this similar dance we've been talking about with this movie.

Speaker 2 (01:14:42):
Yeah, oh, I would say this one is more broadly comical.

Speaker 1 (01:14:46):
But I just mean, like, oh, that's that's I forget
about that with Lethal Weapon that it's a little The
first one especially is a little darker than I remember,
and it's worth noting, you know. Then he wrote Lethal
Weapon two, but the studio didn't want to go with
his version because it was much darker.

Speaker 2 (01:15:01):
Yeah he was. He wrote Martin Riggs getting killed off
at the end, which I would say probably in that particular,
since the studio might have had a point.

Speaker 1 (01:15:13):
I think, No, I agree but you know, it's funny
because even in this movie they talk about you know,
when Perry you think he's dead, but he's back, and
he's just like a studio doesn't want to have a
dark ending. Yeah, you know you gotta wonder if it's
black still stinging from.

Speaker 2 (01:15:27):
And yet you know, I think I was thinking about
that why while watching I'm like, no, this is the
the more tonally appropriate ending.

Speaker 1 (01:15:38):
Oh, I completely agree. Although you get that wonderful moment
where Harry gives him mouth to mouth and then the
blood comes out and you're like, oh, yeah, it's a
really amazing visual to help us understand what's happening. And
then but yes, I don't want to see him dead.
I'm happy exactly. Yeah. Anyway, we're just talking over all

(01:16:02):
this great, great stuff here. I wonder I was thinking
about like if he had to have like his finger
bent down for like twelve hours a day. Oh right,
Like now you wonder they would just cg it out.

Speaker 2 (01:16:17):
That's a good point. Yeah, yeah, it's probably just just
taped taped down, right. Yeah that would suck. Yeah, if
you're going through a whole day like that.

Speaker 1 (01:16:24):
Yeah, I forgot about the thing too. I love the
when when he says something to her about something bad
and she's like, no, it's badly.

Speaker 2 (01:16:35):
Oh dude, I was gonna bring that up.

Speaker 1 (01:16:37):
And so then he tries to pull that out on Pierre.
Parry's like, who taught you English?

Speaker 2 (01:16:42):
He's like, it's a it's an adverb or whatever.

Speaker 1 (01:16:45):
It's so funny, but he like it reminds me of
like The Big Lebowski. How like the dude he keeps
hearing people say things and then he'll regurgitate them later
as if they're his own thoughts. Yeah, to kind of
sound smart or sharp or whatever. It so remind me
of that where it's like, I mean I've definitely had
that actually, even on this. I remember on one of
the commentaries, I said something I'd read somewhere and then
someone wrote in was like, yeah, that's not true, and

(01:17:06):
I was like, well, that's embarrassing. It's funny.

Speaker 2 (01:17:18):
Yeah, this is see. I I love how you know
we're now, you know, into the third act and and
you know the rhythm of the story is such where
you're like, Okay, it seems like they're wrapping up, but
we know that's you know, we still got time. And
so I love how Harry's flicker of recognition sends us

(01:17:41):
into you know, the last third of the movie.

Speaker 1 (01:17:44):
I mean, yeah, the the nudity does serve the story here. Yeah,
and it's you know, it's it's I don't know that
I would call this gratuitous. It's sort of like in
the mirror and him trying to look away, like it
does sort of feel like it.

Speaker 2 (01:17:56):
I'm not complaining. I will say that, sure, it is
its motivated nudity, right, it is. It is motivated nudity.
That was my band in high school, by the.

Speaker 1 (01:18:04):
Way, Motivated nudity. That's a great band name. Motivated nudity.
That's good. You know, that's become like such a joke
or like a trope of a joke these days, where
it's like you hear like a funny phrase, he says
a band name, and it's like it's I would say,
like half the time it's funny. But then when you
hear something that like surprises you again, you're like, that's

(01:18:26):
why that joke exists, and that's motivated nudity. That's why
that joke exists. Yeah, or the other you know, this
summer at Coachella, that did kind of make me laugh too,
where she's like, you know, you can get in the
bed if you want, but you know it's only going

(01:18:46):
to be sleeping, Like do you think you can handle that?
And he's like, let's see, like Skinnattle's over. It's just
kind of like an interesting sort of dynamic, isn't it,
And then him being like, you know what, No, I
can't handle this. I gotta go yeah, you know, versus

(01:19:07):
like a straightforward romance or something. It's it's a the
crime story. You think of the fem fatale and the
those you know, I think.

Speaker 2 (01:19:15):
To the point you're making earlier right there, there is
kind of a sibling ish relationship between them right that
that does make make us almost not want to see
them get together.

Speaker 1 (01:19:31):
It's a really that's it. It does feel slightly more
sibling Ishah yeah, but I want this. I I I
love I mean obviously like Michelle Moyne, and if I'm
trying to put myself in the story, I'd like us
to connect to. But like, yeah, something something's like a
couple of degrees off for me, but I mean not

(01:19:51):
enough that I can't go with it.

Speaker 2 (01:19:53):
Yeah, it is. It is remarkable to think of of
where down he was at career wise, at this moment, right,
we talk about how you know, Marvel was like, no deal,
we don't want this guy, and you know, we had
to come in and test and it was real. It
was an uphill climb, you know. Shane Black got him

(01:20:14):
halfway up the hill. Jhon Favreau carried him the rest
of the way kind of thing, you know. And then
we cut to twenty years later and he's being called
in by Marvel to help save the franchise.

Speaker 1 (01:20:27):
Right.

Speaker 2 (01:20:29):
You know, as we record this, Avengers Doomsday has not
yet come out, so one one hopes it's a successful
triage operation.

Speaker 1 (01:20:38):
You know, yeah, yeah, but that's yeah.

Speaker 2 (01:20:41):
Certainly it speaks to how much things shifted for him.
You know.

Speaker 1 (01:20:47):
I think about that sometimes. I mean, sometimes you can
be in a moment in your life and think, well,
this is how it is. But like I guess this
is as good as it gets. But like you just
you can never predict, You never know what lies ahead,
and some of the best days may still be out

(01:21:07):
of you, you know, you.

Speaker 2 (01:21:07):
Just I mean, look to me, the ultimate measure is
that you can go up to most kids, say you know,
twelve and up, and be like, who's r d j mmmm,
like just those three letters and they'll know who you're
talking about, right, And that's that's a pretty short list
when you think about it. Yeah, of folks, you can

(01:21:28):
say that about you know.

Speaker 1 (01:21:29):
Yeah.

Speaker 2 (01:21:33):
And then of course some great great titles for these
Johnny Gossamer books. I love them. They feel they have
this is such very similitude, you know.

Speaker 1 (01:21:40):
That's so great.

Speaker 2 (01:21:41):
Yeah, the covers, the art, Yeah, they just they perfectly
evoke you know, that specific era.

Speaker 1 (01:21:48):
And Johnny Gossamer. What a name that's yeah, right.

Speaker 2 (01:21:51):
That's so perfect.

Speaker 1 (01:21:55):
See, I just I love this now, you know, harmonies
in trouble, we gotta go. These two people who weren't
really getting along earlier, now they're sort of united in
this unique way under these circumstances.

Speaker 2 (01:22:08):
Yeah.

Speaker 1 (01:22:09):
I love that stuff.

Speaker 2 (01:22:12):
Yeah, I mean very much. The ingredients here were shuffled
around a bit and put to use again in The
Nice Guys about ten years later. Anythink it was, what
was that twenty sixteen?

Speaker 1 (01:22:26):
Yeah about that.

Speaker 2 (01:22:27):
So it's a goddamn shame that it didn't pan out
then either. Yeah, right, I mean that's the frustrating thing
is we got these great movies. Everybody who watches them
comes awy, being like, well that was just just an
absolute quirker of a time, and unfortunately it didn't matter

(01:22:48):
at that moment, you know.

Speaker 1 (01:22:50):
Yeah. Yeah, And that's the other thing too. I mean,
it's so hard to come up with duos yeah that
are just like irresistible and have amazing chemistries and you know,
I've of course they have to not get along at first,
and then it's like, how can we live without each other?
And like that's just such a how do you cast
that and get it? Get it right? But yeah, Black
keeps getting it right, I know, you know. And then

(01:23:11):
you know, Russell Crowe and Ryan Gosling before Ryan Gosling
is you know who or was who he is now
and we all know that he's funny, and yeah, he
was so funny in that movie.

Speaker 2 (01:23:23):
Well that's another one I'm looking forward to coming back
and talking through with you.

Speaker 1 (01:23:26):
Yeah, dude, look at that that that phone right, gosh,
you know I think about that now. You just take
it for granted. I was actually filming something with my
iPhone the other day and it was the you know,
the choice to shoot in four K, and I was like,
what I know, because I never I don't fus with
that very often. But I was like, I can shoot
four K. I can shoot a movie on my phone.

(01:23:49):
And then but I remember back to these early days
of phones, like Nokia phones, and they had cameras and
I thought they were amazing, but they really look like,
you know, something that's been photocopied thirty times and you know,
kind of rough.

Speaker 2 (01:24:01):
I mean, I think back to when you and I
first met and we'd be shooting around and doing our
projects and in order, you know, you could you could
shoot on like a Sony handycam or you know, you
could you could try to up the ante by doing
as we did back in the day, you know, Ocean's
eleven style maneuvers to get the high definition cameras out
of the cod television. Yeah yeah, yeah right, And those

(01:24:24):
were still these big monstrosity things that you'd harniate yourself
trying to carry them around. You know. Now it's like, oh, yeah,
we got a you know, a four K camera in
our pocket.

Speaker 1 (01:24:36):
Yeah, it's wild.

Speaker 2 (01:24:37):
I mean I say this all the time, right, I mean,
we're living through this amazing era of technology that is
life altering, and it is absolutely wasted on these piece
of shit assholes who have no appreciation for it. It's
very frustrating.

Speaker 1 (01:24:59):
But yeah, I don't know, I just I just think
about however, I'm just realized this is like becoming a
journal entry for me.

Speaker 2 (01:25:07):
I'm like, I don't want to hear it.

Speaker 1 (01:25:09):
Well, I was just gonna say, you know, I think
about those are the days when I had that type
of phone where I was working on all these movies. Yeah,
and they were amazing. I was like mister Missus Smith
and these movies that took place in a casino. But
the casino was built in Los Angeles, you know, so
you'd be in LA and walk into like a generic
looking stage and all of a sudden you were at
like the Bellaggio. And I do have pictures from that moment,

(01:25:31):
but they look horrible, you know, if I had had
my phone then. But it's also I remember walking around
the Fox lot and I was with a friend visiting,
and I took a picture of her on the New
York Street and I got yelled at by security and
we can't do that. And I'm just thinking, now you
can do that anywhere, because how are you gonna stop it? Right?

(01:25:52):
You know? Yeah, Oh, by the way, sorry, this is
another like sort of anecdotal thing. But I was watching
this on your Voodoo account the other night and I
got to this moment and then you started watching it.
Oh no, it's cut it off. No no, no, no,
it's yours. And so I was like, okay, I'll just
I have the DVD. So I pulled out the DVD

(01:26:15):
and I popped it in and I.

Speaker 2 (01:26:16):
Was like, my eyes standard deaf, dude.

Speaker 1 (01:26:20):
I know this is the first world. I know this
is ridiculous, but I was thinking, this movie looks stunning
in whatever it is four K or that we were
watching on Voodoo, But then when I put in the DVD,
it looked horrible, garbily, and so it is kind of amazing.
You know, our eyes a just over time.

Speaker 2 (01:26:40):
Oh that's I mean, God, forget about VHS. It would
be like staring into the Ark of the Covenant, you know.

Speaker 1 (01:26:48):
But you know what was interesting.

Speaker 2 (01:26:49):
I see hipster assholes who are like I like watching VHS.
I'm like, you are a freakin' liar, dude.

Speaker 1 (01:26:55):
That's all in my algorithm. Now, I like, have all
these people that like, there's businesses. Now if people take
making modern movies like Superman from this summer twenty twenty five,
putting it on VHS and selling it for like thirty bucks.

Speaker 2 (01:27:07):
Yeah, I'm like, come on, man, you don't have to
try that hard to be an iconoclast, you know.

Speaker 1 (01:27:10):
Yeah, I wouldn't do it.

Speaker 2 (01:27:14):
This Russian Roulette scene. Yes, Oh my god, I my
stomach was hurting. I was laughing so hard. So funny.

Speaker 1 (01:27:32):
It's so dark, but it's so funny. Oh that too.
He's like, well, there was like an eight percent chance
eight who taw you math? So for people who aren't
watching along, Harry and Perry have this guy on his
knees and they were going to try to, you know,
play good cop, bad cop kind of thing, get an

(01:27:54):
information out of him. And so Harry plays, right, yeah,
puts one bullet in a gun into the chamber, into
the chamber and is like, all right, you know, let's
play a game. And then his first shot kills the guy,
thinking he'd probably get a couple more clicks out of it.

Speaker 2 (01:28:11):
Now, I mean he was, he was quite traumatized about
ten minutes ago after shooting one guy. Right, he's going
through a whole series of emotions now, you know what.

Speaker 1 (01:28:24):
It's funny because I was like, geez, he'd like, that
guy's dead.

Speaker 2 (01:28:27):
That's what I'm saying. It's like two guys in the
span of you know whatever.

Speaker 1 (01:28:30):
Yeah, and then Perry points out to try and make
him feel better. He's like, well he was going to
kill you.

Speaker 2 (01:28:35):
That made me left this too.

Speaker 1 (01:28:40):
Oh my god.

Speaker 2 (01:28:42):
Oh, Cormyn Burn said, we knew you were the bad guy,
right right. We take him down to the racetrack and
buy him a drink, right right, right.

Speaker 1 (01:28:51):
Wait, So the last thing I'll say about the DVD,
because this is a little more relevant. Uh So I
was watching yours your version on Voodoo and it was
one eight five that filled the whole television. Then I
put in the DVD and it was two thirty five.

Speaker 2 (01:29:05):
Oh that's interesting.

Speaker 1 (01:29:06):
I was like what. I just thought that was strange.

Speaker 2 (01:29:09):
That so, what's the real aspect ratio?

Speaker 1 (01:29:11):
I that's so got up. But I just thought that
was strange. I didn't know that it would exist in
two different aspect ratios in two different places.

Speaker 2 (01:29:20):
I love this bit right here where Harry catches the phone.
He's like calling for help. They're like, yeah, he's talking
to the carbet cleaner. Nope, it's harmony. She's that fast thinking.
I love that.

Speaker 1 (01:29:32):
Well, I was even thinking, like her ad libs pretty good. Yeah, well,
making up a great sale.

Speaker 2 (01:29:37):
It reminds me because we get a sense of that
at the very beginning, right because she you know, she
gets on Larry Miller's radar because he sees her on
the news broadcast. That's right, and she's just kind of vamping,
you know.

Speaker 1 (01:29:49):
Mm hm oh yeah, that's right, that's right, that's in character.

Speaker 2 (01:29:53):
Yeah, work, it fits perfectly.

Speaker 1 (01:29:56):
Yeah, you know, this is something I hoped to never experience.

Speaker 2 (01:30:00):
Having electroids on your underwing. Yeah, yeah, I agree. Not
a fan, not a fan of the concept. I have
to be honest.

Speaker 1 (01:30:10):
It's just such like a disturbing touch too. I think
the movie could have gotten away with just doing this.
But then how he's got that squirt gun to wet
it down. Yeah, I know, it's like it just feels
even more real world and disturbing. Yeah.

Speaker 2 (01:30:23):
Well, I gotta say what I said earlier about how
I'm mad at you for not taking me to more
Hollywood adventures. If this is a possibility, I'm gonna say
thank you for not taking me on any of those
Hollywood adventures.

Speaker 1 (01:30:35):
Right. Yeah, but see that Papa Yellow in that doorway
right there. Everything else is I just love it.

Speaker 2 (01:30:43):
I mean, I love that. The color scheme of this
movie is like a Joel Schumacher Batman movie.

Speaker 1 (01:30:49):
Yeah, you know, wow, put to greater use though something. Yeah,
where you don't feel like you're in a cartoon.

Speaker 2 (01:30:55):
I don't know it just ten years after Valculumer played
Joel Mars Batman.

Speaker 1 (01:31:01):
Yeah, oh wow, that's funny. I looked it up. The
aspect ratio is two thirty nine.

Speaker 2 (01:31:08):
Okay, so so Voodoo had it wrong?

Speaker 1 (01:31:10):
Has it cropped? Yeah? Isn't that strange?

Speaker 2 (01:31:12):
Interesting?

Speaker 1 (01:31:14):
This is when I think of moments I remember from
this movie. This is the other one where the darer
comes helping. Well that and then when the Darringer comes
back into play and he yeah, yeah, shoots the guy
through his crotch.

Speaker 2 (01:31:32):
No, I love that. Harry's like Fritz Litzecon and he's like,
I just it's like, you know, I thought you're penis
fires bullet.

Speaker 1 (01:31:43):
Like delivered kind of sincerely, Like somehow you guys could
do that. Yeah.

Speaker 2 (01:31:57):
I feel like if you ever find yourself in a
situation where where you've got electrodes wired to your wing,
you have to start questioning your choices up to that moment.

Speaker 1 (01:32:07):
This was making me like tense up how the coffin
was in the back of the van with the doors open.
I was like slide right out, you know, I'm just
looking through some of the other things I had noted,
but I read that Val Kilmer refused to drink during
the entirety of production to support Robert Downey Junior's sobriety.

Speaker 2 (01:32:29):
Wow, look at that like that. That's that's fantastic. Yeah, yeah,
I mean they you know, they really had a good
time working together, and you really you got a sense
just from you know, when you look at archival, you know,
interviews with each other. You know, they're they're doing joint
appearances and things. I mean, they real camaraderie, you know.

Speaker 1 (01:32:49):
Well, yeah, and if you listen to the DVD commentary
or I guess commentary, I'll say they're all they're doing
is cracking wise and like ribbing each other and making
each other laugh and just as witty fashion as the
film itself. Like they have a real chemistry together and
it's really fun to listen to this. By the way,

(01:33:11):
just getting ahead of this a little bit, but the
coffin flying out, landing on that overpass sign, like that
freeway sign, and then you get the corpse's arm sticking out,
which I was like, ew. And then when Harry goes
over and hangs onto the arm, I was like, what
an idea?

Speaker 2 (01:33:29):
Yeah?

Speaker 1 (01:33:29):
Right, you know, just the I don't know. That's the
thing too, in screenwriting, you want to take the most
advantage of what your story offers, right, you know. And
it's just like I think I actually said it out
loud as I was watching it, like what an idea,
like to just you got this coffin hanging It's in
La stories, so of course there's a freeway involved, and
so like when I have the coffin dangling over the

(01:33:51):
freeway and then use the arm that keeps him dangling
over traffic, Like, it's just so many great ideas in this. Yeah.

Speaker 2 (01:33:59):
Well, and I think it's it's a recognition of like,
you know, fifteen million.

Speaker 1 (01:34:06):
Is not exact, you know, but I don't miss it. Yeah,
I don't miss any anything bigger.

Speaker 2 (01:34:12):
It's like, how do you maximize that money? Yeah, you know,
and just use every piece of the buffalo, so to speak.

Speaker 1 (01:34:18):
Yeah, this this is such a great moment. Well, you know,
this is also an interesting character moment in a way
where Harry didn't love being kissed by Perry earlier, right,
and now he doesn't even give second thought to putting
his mouth on his yeah, to try to save him.
But then yeah, when he collapses over and then you
see the blood come down, Oh that's great. Yeah.

Speaker 2 (01:34:41):
But you know, kind of going back to what we
were saying earlier, like I don't think the movie is
setting us up to have Perry be dead, Like.

Speaker 1 (01:34:52):
I didn't just buy a boat and talk about being
two days away from retirement.

Speaker 2 (01:34:56):
Well, like that's like the that's the bad version, right,
But like the moment doesn't carry enough weight for it
to be his death.

Speaker 1 (01:35:06):
That's a great point. That's something you know, I don't
think the movie. I wouldn't call that a failing of
the film. No, not convincing me, because I think it
does enough to make me feel the impact of the moment.
But you're so right. That happens in movies, right where
if someone really dies, you know, the score will rise,
or it will get like a close up or a
slow motion sort of shot. But then sometimes when it's

(01:35:28):
not done well and they're trying to misdirect you, they
don't focus on it enough at all, and you're like,
oh wow, I mean, how could he possibly be dead
if they didn't focus on it?

Speaker 2 (01:35:37):
Right, Like this moment here is subtle enough that when
he shows up alive, you're like, oh great, not oh
come on, yes, yes, right, that's the trick.

Speaker 1 (01:35:51):
Yeah.

Speaker 2 (01:35:52):
If you make it too much of a moment, then
you don't you're not happy to see him alive.

Speaker 1 (01:35:57):
Yes, right, right, because it feels like a cheap trick.

Speaker 2 (01:36:01):
It feels like, yeah, exactly, you know, yeah, that right there,
I look at that.

Speaker 1 (01:36:05):
That's great. Yeah, I mean it's kind of grim. But
you could almost imagine that being on a poster where
there's like a bunch of images from the film, and
that would be like in the bottom left where it's
like you see a guy sticking out of a coffin,
hagling from the freeway.

Speaker 2 (01:36:25):
Look at that now he's just a gun tote and badass.
Yeah you know what.

Speaker 1 (01:36:32):
This is another thing I kind of like in movies
where someone something's approaching and people just fire even though
there's no likely chance it'll work, right, sort of like
saving Private Ryan when Tom Hanks is on the ground
that tank is coming, right and they just fire out
of desperation, but then it kind of works. There's something
about that, the desperation of it. I always I feel

(01:36:53):
something every time I see that moment. Yeah, yeah, he's
a changed man here, he's doing what he's gotta do. Oh,
I was gonna call it earlier. Twice in this movie
we see random citizens pulling out guns and shooting at people. Yeah,
that woman after the new robbery, and then the guy

(01:37:14):
working the food stand that's right earlier, which is just
kind of happens twice. Worth noting if I had a nickel,
I'd have two nickels. But hey, Worth calling out to
mangle that meme.

Speaker 2 (01:37:30):
I love that, you know. We get the trope of like, oh,
the book stopped the bullet, and it's like, oh, it
actually didn't.

Speaker 1 (01:37:37):
I love that too.

Speaker 2 (01:37:41):
It plays like, you know, that's that's a week. That's
the sort of movie shorthand you know, yep, and it's like, no, no,
it a bullet would not in fact be stopped by a.

Speaker 1 (01:37:50):
Book, not a dime store novel. Yeah, yeah, that was great.
Oh I forgot, And then he gets I was gonna
call it a and the nice guys where you get
a lot of the shame blackness of it. This you know,
mismatch duo and you get but also you get that
weird surreal humor, almost like mad magazine humor. For a

(01:38:10):
moment where there's that giant life size fly in the
car with them, Oh my god. And in this one
I had totally forgotten about this, where they're in the
hospital and they're commenting on endings and people surviving, and
it's like, well, why don't we bring everybody back? And
then you see all the people who died in.

Speaker 2 (01:38:24):
Them coming to the big smiles on their face.

Speaker 1 (01:38:27):
Yeah, and then Abraham Lincoln walks into the room and
Elvis yes, like I love the swing and it somehow
it works. It fits yea, all the dead characters like
we had fun, didn't we It's so funny Elvis, No, No,

(01:38:50):
the nurses like get out, and even the characters in
the scene, it's not like they're not aware. Perry sees
it like huh. Anyway, Anyway, I want another movie. Well
I'm saying that as a movie from Shane Black has
just come out like a week ago. Yeah, so I
gotta give it a shot.

Speaker 2 (01:39:07):
If you got some homework.

Speaker 1 (01:39:09):
Yeah, but man, this guy should be making so much
more stuff.

Speaker 2 (01:39:14):
That's true, But you know, I mean honestly, it's like
I love his sensibility, right, and and I think that
you know, we commented earlier, right, like neither of us
was like blown away by the Predator, you know, yeah, yeah,
but certainly what I remember appreciating the sort of flickers
of his personality that I was able to get from

(01:39:35):
that movie, right, And more so than that, I mean,
I did, in fact enjoy Iron Man three, and I
liked it more on repeat viewing same because I was
really able to appreciate how it was allowing Robert Downey
to do something similar but different with this character that
he was identified with. And and like you said earlier,

(01:39:57):
I just liked that he was like, hey, Shane Black,
get me part of the way here. I'm gonna do
you a solid too.

Speaker 1 (01:40:03):
You know, yeah, I think.

Speaker 2 (01:40:06):
I don't know. I mean, you want to believe that,
like people have that kind of decency for each other, you.

Speaker 1 (01:40:12):
Know, totally. And I guess, let me put it this way,
like I'm not saying we need a movie from him
every other year, because then it might actually tire itself
out a little bit. But if he has a story
that he feels passionate about I want to live in
a world where he gets to make it. Yeah, no, absolutely,
Oh yeah, this is sweet. How far we've come. Two

(01:40:35):
of them like old chums walking down the hall. Yeah,
him Perry leaning literally on Harry. That's good, like dialogue. Yeah,
get along with your dad. Yeah. When I dress like
a bottle very you know, it feels very like nineteen forties.

Speaker 2 (01:40:58):
Yeah, stylish, But that right there, right, you're not a punk?

Speaker 1 (01:41:04):
Yeah, yeah, stop stealing shit, You're not a punk.

Speaker 2 (01:41:07):
Yeah. And honestly, I mean this coda right here, man
talk about chef's kiss.

Speaker 1 (01:41:15):
Oh, I agree, right, I'd forgotten about it.

Speaker 2 (01:41:18):
Yeah, I mean that righteous vengeance right there, right there.

Speaker 1 (01:41:25):
Yeah, I hadn't thought about it. But we get to
see that with Harry when he gets to save the
day with the gun and he avenges that girl in
the pink hair killing the guy. But now we yeah,
we get a moment with Perry getting some righteous vengeance.

Speaker 2 (01:41:39):
Yeah.

Speaker 1 (01:41:40):
By the way, did you notice who that is?

Speaker 2 (01:41:43):
He looks so familiar.

Speaker 1 (01:41:44):
Uh, speaking of saving private Ryan. That's private Ryan, get
out of here. Yeah. So the old man from the
beginning and ending of the movie. Wow, So if Tom
Hanks and his unit hadn't saved him, this whole thing
wouldn't happened.

Speaker 2 (01:42:05):
So privately grew up.

Speaker 1 (01:42:08):
It's kind of terrible. I almost don't like knowing that
because that movie is just so weirdly like sacred or something. Yeah,
Like I kind of hate seeing him because I only
recognize him as that other character, so then seeing him
here would be this horrible abuser.

Speaker 2 (01:42:25):
So he he died.

Speaker 3 (01:42:29):
Like a few months before this movie came out. Oh wow,
he died July of five. Oh, he had a He.

Speaker 2 (01:42:41):
Had a couple more things come out after his death.
But that's kind of remarkable too. Wow.

Speaker 1 (01:42:49):
You know, I like the decision here too, because I couldn't.
I didn't remember this part. And you know, he's got
tubes the father, you know, tubes running in and out
of him here in the commercial, and I thought, oh,
is he gonna kill him? Like is he gonna pull
a tube or something like that? And I like the
decision more. It's a little bit more heroic. It'd be
weird to just shoot an old man in a bed. No,

(01:43:10):
like to slap him like there's something it's not even
like a punch. Yeah, Like, there's weirdly almost something like
more it's it's it's emasculine, emasculated, Yes, exactly, like just
slapping him in his bed like.

Speaker 2 (01:43:21):
It and Harry knows this guy's on borrowed time anyway.

Speaker 1 (01:43:25):
Yeah, but he gives them the indignity.

Speaker 2 (01:43:28):
Yeah exactly, like I know what you do. I know
you're a piece of shit. Yeah, you know, but apropos
of nothing. I should say this always bugged me about
saving Private Ryan. I think I think that movie is
freaking amazing. However, uh, the movie sets it up to
make you think that that old man is Tom Hanks
because of the fact that the entire movie is experienced

(01:43:51):
through his eyes.

Speaker 1 (01:43:52):
Begin with his eyes.

Speaker 2 (01:43:53):
Yeah, yes, so I call horseshit. Sorry Spielberg. I don't
to tell you how to do your job.

Speaker 1 (01:44:03):
I'm just picturing him with like air pods in, you know,
like on an exercise bike right.

Speaker 2 (01:44:08):
Now, Like yeah, if I ever saw him, I'd go
up to him. I'd be like listen, Steve, and then
you'd see me get tossed out like Jazz from from
Fresh Prince.

Speaker 1 (01:44:18):
Ah. Wait, did you see, by the way, the Kit
Capshaw did a portrait of him, Like I saw that,
and it's painting. It's like amazing. Yeah, it really not
only does it look like him, but it really captures
that some sweetness that she captured his essence. Yeah, she
captured his essence. And it's how lovely that it's it's

(01:44:40):
his wife.

Speaker 2 (01:44:40):
I know that's what she thinks of him.

Speaker 1 (01:44:42):
Yeah, that was nice. Wait real quick this ending. Do
you feel like that was added after a test screening?

Speaker 2 (01:44:50):
Oh that's a good point. I was, I was, I
was thinking something in that vein while watching it like that.
There there was kind of a reshoot vibe to it
because they both look so different.

Speaker 1 (01:45:01):
Yes, and it's well, it sort of explains the narration. Yeah,
right where Harry is talking to what looks like a
camquarder and now it looks like they've gone into business together.
But yeah, like you said, they look different and they
kind of tidy everything up right, and so it just
felt a little like, oh, it's felt slightly out of

(01:45:22):
step with everything else in the movie.

Speaker 2 (01:45:24):
That's interesting.

Speaker 1 (01:45:25):
Yeah, I mean it's fine. Yeah, no, not at all,
but it just raised like a little my antenna went up,
like I wonder if that was a reshoot or additional photography.

Speaker 2 (01:45:36):
I I Yeah, if you say that that after test
screenings they decided to shoot like Coda part two. Then
yeah I believe that. Yeah, yeah, well here we are
kiss Kiss Bang Bang my friend so fun.

Speaker 1 (01:45:51):
I am so like when you brought this up, I
was like, oh, yeah, that'll be a good one. And
then rewatching it, just what a blessed. This is one
that I want to go back two more often.

Speaker 2 (01:46:01):
Yeah. I mean it has been you know, definitely more
than fifteen years since I've seen it. Oh wow, right,
so it had been long enough that the stuff that
I remembered I remembered fondly, but there was a lot
that I didn't. Yeah, and so it's one of those
great experiences where where you get to re experience a

(01:46:23):
movie you like the first time, almost like it's a
brand new thing.

Speaker 1 (01:46:26):
Yeah you know. Yeah, well this makes me now want
to cue up the Nice Guys and then I'll do it.
I'll watch play Dirty. Maybe i'll watch it this weekend.

Speaker 2 (01:46:35):
Hey, you got your homework. I guess I'll join you
in that assignment. But yeah, I fully expect we'll be
back probably around a year from now, to talk through
The Nice Guys for its tenth anniversary. Wow, it seems
apropos yep, but hey, let us know your thoughts on

(01:46:55):
Kiss Kiss, Bang Bang. If this is the movie that
you've seen, and if you haven't seen it, you know,
I hope this will be the thing to kind of
nudge you towards that direction, in which case, hey, let
us know what you think after hearing us talk through it.

Speaker 1 (01:47:05):
I would love that. I would love to hear people's
reactions to this.

Speaker 2 (01:47:08):
Let us know your thoughts. If you have any other
questions or comments or commentary suggestions, which we do get
all the time and many times we follow up on,
you can email us at moviefilmpodcast at gmail dot com.
You can also hit like on our Facebook page Facebook
dot com slash movie Film Podcast and message us there.
As always, please go to Apple Podcasts and leave a review,
leave a star rating. Let people know what you think

(01:47:29):
if you like what we're doing. Also, if you're listening
to this on YouTube, please hit subscribe, hit like, and
also leave comments because we do interact there as well. Hey,
we also have a Patreon page, Bryan, that's right.

Speaker 1 (01:47:41):
If you head over to Patreon dot com slash moviefilm
Podcast hit subscribe for only five dollars a month, you'll
find every commentary we've ever done, and at this point
there's over one hundred and thirty of them, and every
episode we do moving forward absolutely ad free. We like
to say our free feed will always be available, but
this is our way of providing what we believe is

(01:48:01):
the most satisfying way to enjoy the show. So there's
no ads or interruptions butting in, which could be especially
annoying if you're trying to watch along with the movie. Plus,
your subscription goes a long way and helping to support
us and helping to sustain producing this show. So if
you're interested in Abele, please head over to patreon dot
com Slash Movie Film Podcast and subscribe. We'd be very grateful.

Speaker 2 (01:48:24):
And hey, if you're looking for me online, you can
find me on social media at Zaki's Corner. That's the
Akis Corner. I'm also at the San Francisco Chronicle or
my reviews and commentaries go up regularly, as well as
at the Rap and IGN. What about You, Brian, You.

Speaker 1 (01:48:37):
Can find episodes I've written of Puppy Dog Pals and
Young Jedi Adventures streaming at Disney Plus.

Speaker 2 (01:48:44):
Well. With that on behalf of my partner Brian Hall.
My name is Zachi Hasan. This has been our movie
film commentary track for Kiss Kiss, Bang Bang. We'll catch
you next time.

Speaker 1 (01:48:52):
Thanks folks,

All Episodes

Episode Transcript

Popular Podcasts

Stuff You Should Know

Ruthie's Table 4

Dateline NBC

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Commentary Track: Kiss Kiss Bang Bang

Episode Transcript

Popular Podcasts

.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}Stuff You Should Know

Ruthie's Table 4

Dateline NBC

All Episodes

Commentary Track: Kiss Kiss Bang Bang

Stuff You Should Know