The Warped Shelf - The French Connection (AFI Top 100 #93)

Next on the AFI ladder is the rugged neo-noir classic from the late William Friedkin. How did it earn its spot on the list, and do we agree?

Episode #156

Episode Transcript

(00:31):
Hello, and welcome to the WarpShow. I'm Frank Durann, I'm Sean
Vasquez. We are two artists reachinginto the pile of let's say, movies,
films, TV, comic books,just any sort of general art,
anything that sort of moves you,and we talk about what's worth taking with
you that can be either physically orspiritually in a sense huge And today we

(00:57):
are back on our bullshit. No, I'm just kidding. We are on
the AFI Top one hundred. Ifyou've been listening to the show, we've
had episodes where we've been going throughthe top one hundred, the American Film
Inditus top one hundred films of alltime, and now strictly they take American

(01:17):
films made in America and they andthat's what this list is comprised of.
So there's no there's not many foreignfilms on here or even foreign directors even
so it is but it is avery interesting list, and it's it's a
more concrete list than say imbd's Toptwo fifty or Yes. Switch is never

(01:38):
determined by fluid voting, so likethe bottom especially tends to shift a lot
because we're originally going to do thatand because that like bottom constantly shifts around,
we like switch to this, we'respecially this, and they don't even
update this every year to be fair, I didn't see a new list for
twenty twenty four or anything like that. So it's a very set list that

(02:00):
they are very confidous in the we'reworking off the tenth anniversary one. It's
been way longer since the tenth anniversaryand it just it's remained unchanged, unchanged,
And that's kind of a cool thing. First off, because we can
we can you guys can keep lookingat this list for a while to comment
and still know that which ones aretalking about. But also it means that

(02:22):
there's not a new movie suddenly upsettingthis list completely, which I kind of
dig. And it leads to ustalking about films that we normally wouldn't talk
about on this podcast because we're Imean, me and Deshaun Mett in film
school, you know, like that'swe're you know, we're students of film
uh we we You saw our lastepisode was us going through all the movies

(02:46):
and TV and video games we playedlast year, and it was a really
long episode, not our longest becausethe last year before was our longest episodes
at two hours and four minutes,but this was shorter. This would have
been comparable. This probably actually wouldhave been longer, had like I didn't
have a heart try to fuck itlightning around the last bit of it.

(03:10):
If I had, if I justhad all day free, it probably would
have been a longer episode. Yeah, I was. I was editing it,
and I was like, we thiscould have gone on so much longer,
you know, like we could havegone on. But of course that
means we have plans for next yearwhere maybe we'll start the episode with our
top ten to keep it more organized. This is the good Those episodes are

(03:30):
always tough because it's always like,here's the highlights of what we saw,
but then we get on tantus andjust like, you know, what's really
underrated? Also, speaking of thisthing reminded me of this story. Yeah,
so if you're into long rambling thatthough, the yearly wrap up episodes
are absolutely it. But today we'reconcentrating on The French Connection, directed by

(03:53):
William Freakin, which is number ninetythree, ninety three, and is this
nineteen seventy one, nineteen seventy one, Gene Hackman, Roy Schneider William freaking
in a This is a movie thatI saw, and I'll start off with
my personal history of this movie isI saw this for the first time in

(04:14):
film school and was blown away.I immediately fell in love. I was
like, holy crap, this isthis is crazy because of how well done
the chase scenes are. And Iwill still argue and I will say the
number one reason to see this movieis to see the chase scenes, and

(04:36):
especially the chase scene under the trainin Chicago. That is, it's hard
to beat it, and it's oneof those things that you might want to
watch this movie to understand what someA lot of movies are referencing the French
Connection with a lot of their withtheir chase scenes. Most recent example,

(05:00):
The Batman definitely loved the French connection, sure like absolutely was a fan directors
like Fincher or Spielberg who have citedit directly as influences on say seven and
Munich. Yes, and it's oneof those things that in a twenty twenty
four lens it might be and we'llget into that what this This movie's a

(05:24):
little bit harder to watch, butit is one of those things that if
you're looking at film history. Thisis one of the most influential and best
chase scenes and one of the morejust grounded cop stories that you will see.
Nothing too fantastical, nothing too crazy, nothing no, Like even the

(05:46):
chase scenes is it seems very realand down to earth. They're not.
It's not something he couldn't do,you know, Like, this isn't some
big action star. This is Genealso had to and you also have to
put it in the lens of whichit was made, which you know is
often not a defense of stuff thatdoesn't hold up, but it also helps

(06:09):
to put you in the right likemindset for it, Like this is a
film that's portraying like a trash ridden, dirty almost shot like a documentary version
of New York City in the seventies. And remember this is even older than
Taxi Driver. Yeah, so thisis in the seventies. Is it starts
that, like anti establishment films,they start to pop up like Taxi Driver

(06:36):
and in French connection is not exactlyanti establishment, but it's definitely not looking
at our heroes you know of GeneHackman, Popeye and his partner what's Roy
Schneider's name in there, buddy,Like they are not we are not looking

(06:58):
at these guys as some ro cop. You know, they're not idealized,
they're not idealized, and they're doingbad shit, you know. Like that's
uh, that's what I originally lovedwhen I watched was that these were not
good cops. And it's like funnywatching in a twenty twenty four lens and
you're kind of like, of coursethey're not good cops, but you're like,
you know, like you're just likeyou're like and and it does feel

(07:20):
like but you know, presenting thatidea in the early seventies, in the
early seventies of half Theres go ahead, sorry, go ahead, No,
it's just gonna say there. Thereis a specific flavor of bleak in seventies
cinema. Yes, yes, yeah, absolutely, where they're like, no,

(07:40):
this is all everything's bad, Likeall the lot of the seventies movies
are very cynical. There was likea bitterness in the seventies mhm, and
I feel like this movie has alot of that, whereas obvious that like
the movie is made in response tohow bad the drug culture is getting,
you know, like and but alsoin a response to the overreaction that the

(08:05):
cops are having to the drug problems, you know, like and obviously overstepping
their bounds and doing illegal shit thatuh, you know, like just to
get a bust, you know,like and of course in the seventies you
could look at as like, oh, at least a stop in the drugs,
but you're like, yeah, butthey violated everyone's civil liberties to do

(08:26):
it, you know, like I'msorry, but you know, that's I
think it's quite interesting to look atit that way in you know, in
a world where I grew up inthe nineties where it's like drugs are bad,
cads don't touch drugs to like,uh, where the seventies was being
like being like, holy crap,what is this? You know, like

(08:46):
what's going on? You know,like a little bit. But then where's
the DARE program? It couldn't savethe program. It could have saved them.
But I think it's a French connectiondoes a good job of kind of
showing both sides to this drug problemin a way, and uh, but

(09:07):
also still being like, yeah,but the bad guys. Bad guys are
just straight up scumbags, you know, like the actual dealers shipping from France
are assholes, you know, likethey're just trying to make as much money
as possible by fucking everyone over andyou know, like it's just like you're
like, yeah, and they evenkind of say in the movie, like

(09:28):
the chief cop is like is yellingat them that, like, what are
you doing just running getting callers fora guy with a doobie? Like get
an actual dealer, you know,like, actually get these people, you
know. Like, and I likethe attitude because that's wasn't the attitude in
the nineties. The nineties switched thataround and was like the drug users are
bad, you know, like thepeople taking the drugs are morally corrupt,

(09:52):
instead of being like, hey,maybe the people that introduced it to the
fucking streets. Are they actual moremorally corrupt people here, you know,
Like but you know, and thenyou know, sometimes perpetuated on a higher
political level aka like Nixon and Reagan. Yes, exactly. So it's like
but and I think that's an interestingpart to all this is that we do

(10:18):
not get a just kind of heroidealized look at these cops, like not
only are they doing bad things,but like Gene Hackman is not exactly living
you know, Popeye is not exactlyliving a nice life, you know,
like he's not exactly you know,being taken care of by the city of

(10:39):
Chicago or anything like that, Likeit is New York is okay, Sorry,
it's New york Y. Yes,you're right, you're right. Sorry,
My bad, yep, my bad, because it's of course sorry I
started. I also started the Frenchconnection to This Morning, which I had
never seen actually, so I waskind of like, I was like,
yeah, that's often just one thatpeople forget it exists. Yeah, you

(11:03):
know, it's following anytime you doa sequel to like a very iconic standalone
movie, for the most part,it is either forgotten or just rubs people
the wrong ways, like we don'twant to talk about it. Yeah,
and I it's one of those that, like I gotta say, I'm only
like forty five to an hour intothe movie. It's it's not bad,

(11:26):
you know, like it's it's definitelynot the French connection, but it is.
Yeah, I think that's not bad. It's kind of like robot Cop
too, where you're like you're like, this isn't bad, but it's not
RoboCop, you know, like sure, you know, like I get that.
I think that's I think except betterthan No. It is connection too,

(11:48):
Like no, I was gonna saybetter RoboCop. We were about to
fight to fight. But I didenjoy RoboCop too. I assumed I wouldn't,
And I was just kind of thereto watch it for Frank Miller,
but and I was kind of like, oh, this is fun. This
is kind of like an actual comicbook translated where it's where it's kind of

(12:09):
funny, they like kind of try. So French Connection is loosely based on
a true story, you know,like it's not exactly a true story,
but it's loosely based on one.But two is definitely just kind of like,
well, what do we do?We got to make the characters do
something, you know, so theykind of make up I think story,
you know. I think Ebert putit that way too, where it's it's
like, yeah, it's not theFrench Connection, but he had also said

(12:33):
that like, for what it is, it's better than all it's better than
a lot of imitators that tried tobe the French Connection. Yeah. Absolutely,
I will say. The number onething that stood out to me right
away though, when you go tothe French Connection two is how good the
soundtrack is. In French Connection onebecause two just it is like like it's

(12:54):
just like it sounds bad. It'snot a good soundtrack. They kind of
tried to speed it up to makeit more thrillery the soundtrack, and it's
just it's just ain't it like,which is sad because the French Connection soundtrack
is fantastic. It's moody, uh, it brings you in it, it
does this. They do this greatthing where like and it's just like visual

(13:20):
and audio cues that they're doing.But you know, sometimes like when he's
at the bar and he's looking overat the table uh uh with with it
with Buddy pop By looks over andjust stares and there's this like musical cue
of him concentrating, and I reallylike that's that's the type of those type
of musical cues have really faded outin cinema. You know, like just

(13:41):
this kind of like inner monologue musicthat can sometimes happen in older movies that
they just have they just don't reallydo anymore because it has to be an
ost it has to be a fullsong that plays underneath the scene, you
know, like it like but hewe have these little like musical stings that
are like pop Eye thinking or like, you know, there is often guy

(14:09):
with the way we do soundtracks andscores and movies now where they want it
to be kind of unobtrusive, likethey want it to enhance but suddenly kind
of keep it in the background,add to the atmosphere, but don't stand
out mm hm. And in Frenchconnection, they deliberately will amp up the
like bring the sound up, bringthe soundtrack up, and literally even with

(14:31):
the subtitles on take away dialogue,like you will see when they're doing the
the the like kind of just followingthem and trying to see what they're doing,
they usually get rid of the lotof the dialogue that the the suspects
they're following are saying, or evenwhen they're riding and h there's like another

(14:54):
scene later where they just completely removethe dialogue and even the subt I'll say
inaudible dialogue and the soundtrack just plays. And I gotta say, I I
dig the integrity of that, youknow, like not everything needs to be
fucking heard, you know, likenot every little bit needs a dialogue piece

(15:15):
or something. It can be thesoundtrack holding things can go without saying it's
that old adage that an actor willsay just like, oh I can do
this all in a look yes,and really I give it there now will
now, now let's give it now. Let's talk about the actors here,
because I feel like, I mean, of course, William freaking Is is

(15:35):
killing it. This is this isone of his best movies. I mean,
and that's saying something next to Thefucking Exorcist, you know, like
this is uh, this is oneof his best, no question, and
but the but Gene Hackman and RouySchneider are such a great pair in this.
I feel like they it's like oneof those like classic it just it

(15:58):
just works, you know, likethey are obviously buddy cops, you know,
like it just that they even inthat first scene when they're interrogating that
guy who slashed him with the knife. Uh, just the way they like
stop each other from kicking his assseems so real compared to you know,
like, uh, you know whatcould be happening, you know, like

(16:22):
a lot of modern buddy cop movies. And you gotta give credit. There
is Gene Hackman flawless in this performanceor in French connection to no. I
think that there's some moments where hekind of stops acting but then h and
he just kind of like does whathe's doing. But there, but then
again there's action scenes. There's himlike uh fighting uh the other cops.

(16:48):
There's there's a lot of great actingfrom Gene Hackman here. Don't get me
wrong, I am not shooting himdown, but I think that even though
Roy Schneider is the smaller role here, he's extremely good. I mean,
yeah, and this was and thiswas before Jaws, because Jaws wasn't until

(17:10):
what seventy four, seventy five,I think, so, yeah, yeah,
it's definitely pre Jaws seventy five,So it is pre Jaws. That's
pretty that's pretty crazy. I mean, if I saw him in this,
I'd be like, yeah, he'sthe sheriff of I'd be like, yeah,
he's gonna be the sheriff in myAnd it is interesting that you make
the note for Hackman. I dowonder how much of this film on set

(17:30):
they were allowed to riff because again, the way it shot, it looks
like a documentary, especially the waydocumentaries were made in that period. Like
it is very gorilla, it's verygross, which is funny, it's very
just like Earnest it's it's very gorilla. But like the minute I started French
Connection too and they had like theshaky camera as somebody was walking towards the

(17:52):
camera, I was like, this, ain't it homies. You guys tried
it a little too fucking hard,you know, like you're just like there's
there's there's there's genuine here. Yes, there's like genuine like this is gorilla
style. We need to get theshots we can. We can't get a
steady camp as opposed to like,oh that was the style of the first
film, so we have to emulatethat. Yes, And I think that's

(18:15):
very that very much happens here.Is that Like French Connection is effortless in
a lot of ways, like effortit just hint. It just is the
way it is. Uh. Andit starts off right from the get go
where you you They don't explain anything. You just see this you don't know
it, but a French cop tryingto follow around our main bad guy and

(18:38):
then he gets shot to kind ofshow that like you can't just follow around
this guy, you know, likevery early on, but they don't say
any of that. You just seethis random guy walking around looking at thing.
What obviously following this pair of dudes, and then he just gets shot
by the one of the pair ofdudes. And you're like and and if
and if you're not paying attention tothe visual language is happening there? Phew?

(19:03):
You know, like it's gonna gofear over your head. You know.
It is one of those movies thatwould prime those viewers who are just
like, wait, what happened?The ones who like can't internalize anything,
and just wait a fucking second,dude, when you sent me that meme,
like have you not seen a picturebefore? It reveals the information to
you? I fucking laugh for tenfucking minutes every time. That is such

(19:26):
a perfect response to so what's what'sgonna happen next? You're like, well,
it's a movie, so things willkeep happening, keep watching, just
like what the fuck? Because it'sso true as like a big movie guy.
It is such like a when somebodyasked me, like, what's gonna
happen next? You're like, I'mhere with you, homie, you know,

(19:47):
like I don't know, you know, like what is that you see?
It's fine for you to ask thatquestion, but that question is supposed
to be up peer you're supposed tointernalize that. Your brain is supposed to
go, what's happened, what's gonnahappen next? And the movie will piece
that puzzle out for you. It'snot something you need to say or ask
out loud. And I will saya lot of this movie does not spoon

(20:11):
anything to you. Uh, Likea lot of the dialogue is very much
and it's just one of those moviesthat and I love this when it's all
just in universe. We don't havesome new guy coming in to that has
to explain what's happening, you know, like like some fantasy novel, like
this is just happening and it isthe way that it is and nobody's explaining

(20:36):
shit. And that's okay because guesswhat, as a smart watcher, you
can just pick up what the fuckis happening, keep watching like it's I
enjoyed that part of this movie.Yeah, it is not like heavy handed
in that aspect, but behold,when you give and when you give a
film it's full attention, it's easierto pick up things. Mm hmm.

(21:02):
I will I will say I gotto give credit to Fernando Ray, who
plays the main bad guy. Ido think he just has one of the
most iconic faces of all time,you know, like he just looks like
a French bad guy. You know, like you just you see him and
you're like, yep, the shotof him waving by in the window on

(21:25):
the train, like it's like burnedinto my brain. M M. And
then same thing for Marcel Bosif,who plays Pierre, who they chase through
the whole subway system. He thatis that he is just perfect, you
know, like it's just it's oneof those things that he just is that,

(21:45):
you know, like a character actorthat just is you know, like
and that's just good casting, youknow, like in a role that could
have felt like underwritten, just like, oh, this is just the archetype
that we put in. And it'sone of those things are like you can
get an actor who can do alot with very little. Yes exactly now

(22:12):
that this this movie, it's notexactly so it's not exactly fast at the
beginning, you know, like I'mtalking about these chase scenes, but it's
not exactly a slow burn. Iwill say it's because I don't think this
is a slow burn movie. Itjust is kind of one of those things

(22:33):
that it's only it's less than it'sonly it's only an hour forty five.
It did feel longer to me thesecond time around, but that's only because
like, it's a movie I've seenbefore, even though I hadn't watched it
since around my college either. Andit was less that the film was long
and felt long and more just othershit on my mind because I'm just like,

(22:56):
because my mind was just like,I want to play Persona the reload
right now? Is this is this? Why does this less than two hour
movie feel like it's going on forfour hours. It's just like, yeah,
it's because I want to play myVideA games. But it's not actually
a problem with the movie. Iwill say that, like it it's one
of those things that they they're stakingit out at first, we're just kind

(23:18):
of seeing their beats, like whatthey're doing on their beat, and then
they get the assignment and then stakingout. But then once we hit the
like it's once we hit the steakout though, I feel like because we're
you know, we're introducing everything that'sgoing on, but once we hit the
steak out, it's kind of thisvery fast rush to all of a sudden,

(23:41):
we are getting too close to thesuspect, you know, like and
it just becomes this like very we'regetting too close to close to close,
and then it explodes with them withhim being like, Okay, take care
of this guy, you know,like and and and then we run into
the sniper scene that leads into thechase that leads into the ultimate bust.
So it's one of those things thatit fucking moves even even after the chase

(24:06):
scene, though, you go,wait, are we are we going back
to the pace from before, becausewe can't do that that that chase was
crazy, you know, like,I, well, what I just saw
should have been an end of amovie, you know, like, and
they're like, no, no,no, we still got the end of
the movie coming. Yeah, andI still and I and I have heard
people argue that maybe they played theirbest card too early because that is like

(24:26):
less than halfway into the movie,the big car chase. I will say.
It's like, and there's still halfan hour left after the scene ends,
so you're kind of like you're sittingthere going wait, so where where
there's an emotional there's like an emotionallike bleak climax to the film in the
way it's in the way it's effective. But if you're going in there for

(24:47):
like spectacle and scope, then you'renot really gonna top what you get.
Like the middle. Yeah, Iagree, and I have I have seen
people like criticize it for that.It's just like, well, I feel
like I got all revved up forthat for that middle, and then the
is just kind of back to basics. I will say that. But I
feel like when we're talking about thebleakness of this movie, that the ending

(25:07):
is pretty much what sums it up, you know, like the ending of
Popeye kind of losing it, evenat the end there where he's just so
driving to be able to stop thisguy that he doesn't care he's killed two
other cops and he doesn't really care. He's like, I'm gonna get this
guy no matter what, you know, like and and he doesn't and like

(25:30):
and we kind of just get hedoesn't stop, you know, like he
has to be taken off of itto be able to get stopped, you
know, like and then French Connectiontwo starts and obviously he's not fucking stopped,
you know, like he's just stillunhinged and doing whatever he wants.
But that's almost like in France.Now it's almost the it's almost the problem

(25:51):
with the way we enforce police justin a microcosm, like he's literally hurting
even fellow police officers around him tolike try and get his guy it.
And and really it comes down towhat are what are we forcing our cops
to do, because back in theseventies and and into the nineties and and

(26:11):
even now we we force them toliterally go to war against these people,
Like they are literally planning out howthey are going to take these people down,
not in in just a clean way, but in a way that will
make sure that they get these guysand take them out, you know,
like and and even to the pointof the actually killing them, you know,

(26:36):
like straight up shooting these people,you know, like and not that
they weren't drawing guns on the copsor like that's obvious that these guys.
Yeah, but it's just it's justthe idea that like fireback, you put
you put any person in that psychologicalstate as a career where it's something that
they confront on a daily basis,Eventually that's gonna wear down and you start

(26:57):
to see anyone as a potential forit. Yeah, and that's really it
is that we're basically asking these guyswho go six months of training or and
and maybe that you know, tobe a cop, to go to war
basically and put yourself in PTSD inducingsituations constantly, you know, like stuff

(27:19):
that will keep you up at night. And I don't blame you for that,
you know, Like it's one ofthose things that these people are being
put in dangerous situations constantly, andI don't blame the reaction they're having to
it. It's that we shouldn't beputting these people in these situations, you
know, constantly, because like seeingone dead body will fuck somebody up for

(27:42):
life, you know, like that'sliterally the plot of stand By Me,
you know, like seeing one fuckingdead body fucks you up. Imagine how
many a New York cops sees likein a week, you know, Like
and it's one of those things thatlike I'm definitely not siding with them on
this, like, but I willsay, and plus the pressures we put

(28:02):
them through is immense. And thatand it's also healthy to recognize that if
you look at police from a historicalstandpoint, the origin of them, we're
basically just glorified bodyguards for the rich. Yes, and that's pretty much what
they are now. But uh,and and they kind of do that in
this movie where Popeye and Buddy arejust kicking the crap out of one black

(28:26):
bar, you know, like theyjust keep going in and just and and
busting it up, you know,like and and it's obviously not a big
bust every time or doing anything theyare just it's just like kind of their
reaction to their situation, you know, like they they just keep reacting.

(28:47):
And and that's obviously not an okay, profession or slash thing to do to
our public our public servants, youknow, like is really it? Because
that yeah, and if and reallyhere it shows that like how much these
cops are being used to just keepblack people beaten up, you know,

(29:12):
like it's like that is obviously whatthey're trying to allude to here at the
beginning of the movie. And andand maybe it was not as loudly said
in the seventies, but it isobviously alluding to that, you know,
like, yes, I mean weknew what the we know now what the
war on drugs really was. Yeah, it's racist. And I will say

(29:33):
that this movie's not exactly great withit's with even it's like trying to not
be racist, Like it's obviously tryingto show that Popeye and Buddy are racist
and they're using this to like,you know, like to fight the war
on drugs. But they but alsothe only two black cops in this movie

(29:53):
get punched or shot, you know. And I don't know what's happening with
these balloons. I think they justsaw my sign, but I what happened
there, But I not exactly whatI'm talking. I'm talking about racism,
and they're like, oh god,damn, stuff you only get when you

(30:18):
watch the video version of the podcast. Yeah, sorry, sorry audios,
but please watch it on YouTube.But I will say that, like,
the only we get two black copsin this movie, who are you know,
like, are definitely the movie beinglike we're not racist, don't worry,
you know, like, and theyget punched in the face and then

(30:40):
shot later and you're just like whatthe fuck, Like, couldn't we have
one that lived here or didn't getfucked up? Like what the fuck is
going on here? Like, butyeah, it's the seventies. I again,
you gotta look at it, notit's now, that's fifty years ago,
you know, like that's which iscrazy to think about because I always

(31:00):
think about the seventies is twenty yearsago, but it is yeah, like
twenty thirty, et cetera. Buttime moves on, time moves on,
and again it helps. It helpsthat, as we said before, like
these two cop characters that we followaren't good guys. No, no,

(31:21):
and and and they're not exactly likeyou know, they're not It's like you're
not exactly like, oh, Ican't root for these guys. They're not
anti heroes, but they're not exactlygood, you know, like and they're
not they're not doing a good jobat their job either. Like I think
that's yeah, they're people, AndI think that's sort of the interesting part

(31:41):
about this is how how how muchthey are willing to show, in a
French connection, how much the copscan fuck up, you know, like
and like like the scene where they'relike I'm following them on the subway and
he's like, well, I gotthe hotel locked down like a tent,
and they're like, well, he'swalking around by himself, you know.
So it's like I like that they'reable to show that this is all very

(32:04):
human, you know, like it'snot it's not just some precise business,
you know, like and and it'snot gonna go perfectly, but but you
know, it's it's also a moviewhere they they shoot, like the sniper
scene, they shoot that mother duringthat scene, and they just never addressed

(32:24):
that again. I will say,that's that's my only that would be my
only, like kind of like,what the fuck about this movie? What
is it? And the French connectionto is not not only do they treat
like is there some racist things goingon? There's definitely just some big sexist
overtones going on here, just likelike Popeye is not good to the women

(32:47):
in his life, and then he'slike and he just hits on women in
the street, you know, likethat and like and even in French Connection
too, he just bothers some Frenchwomen just talking to them and they obviously
speak English. Just assuming Popeye survived, he definitely grew to one of those
fucking old men that tells young womena smile, yeah right, and you're

(33:07):
like, fuck up. So definitely, I like, I love the French
Connection because of it's chase scenes,the soundtrack, the acting, the uh,
the way it is paced. BecauseI just even though it's strangely paced.
I do like it and the wayit moves, but there is some

(33:29):
problems that in a twenty twenty fourlens you kind of have to look at
and be like, okay, yeah, no, And even then it is
still it's still murky, but itstill has like enough self awareness in and
of itself. And it is verylike not only quintessential like neo noir stuff,
but also quintessential just seventies because youthink about it in terms of like

(33:51):
what types of movies we would getup until this point. And I realized
when I was writing notes for thisthat there was like this four to five
years stretch where we got like Bonnieand Clyde, Midnight Cowboy, Easy Rider,
then this, Yeah, like it'sthe seventies. There's a reason why
in film school one of our teachersjust caught like did a whole class on

(34:14):
the seventies because it is an absoluteturning point in film because it's no longer
the studio system. So just alittle bit of history, you know,
like the studio system kind of collapsesin the fifties going into the sixties,
so we have this system that isjust churning out movies, you know,
like making serials, making any movie, it can kind of very similar to

(34:37):
now, and then it falls apartand basically all these guys lose their money.
And but the good news is isthat these little filmmakers all of a
sudden get the power to make theirown films, because film goes from being
a very intensive project to carry aroundand handle to being a lot simpler.

(34:59):
So we can and then we getthese like actual handheld shots in the seventies
because we literally the guys are walkingaround with the cameras for the first we
can actually hold them. We canactually hold them instead of actually having to
be on a dolly, a truck, a jib. But you know,
like that is the classic way ofsetting up a cameras. It has to

(35:20):
be on some big thing. Andthen all of a sudden, the seventies
carried around on your shoulder. Yeah, and with the and with the studio
systems basically collapsing like there's no,there's not nearly as many gatekeepers to be
like, no, you can't makethat. People won't watch that exactly.
And that's how I think we gotmovies like The French Connection and Bonnie and
Clyde and especially Easy Rider because imaginepitching Easy Rider in a fucking room,

(35:45):
you know, like, how doyou pitch that movie? You know,
like, how do you pitch thismovie? Like, but it's one of
those like absolutely fantastic movies that likefilm wouldn't be the same without, you
know, Like so it's uh,it's interesting, you know, and especially
in a world where we're getting microbudget. Now we're getting like shrink Shrink,

(36:07):
Shrink. How do you pronounce thathorror movie to Sean Shrink made?
Oh? Uh Skinner merink skin amarink, thank you because I'm saying them
saying the rest of the song drinkygigs. But I like, we're getting
those like micro budget movies where peopleare literally filming their movies on iPhones and

(36:30):
uh like uh literally red cameras andlike tiny, tiny budget like shrink them.
Sorry, I'm gonna mispronounce that nameagain. Skinner Merink had was only
shot for fifteen thousand dollars, whichis unheard of, you know, Like
and like even the like the movieswe're talking about in the seventies were hundreds

(36:52):
of thousands of dollars even for likesmall budget movies. You know, like
this wasn't easy, you know,like, this is not easy. That's
why it was such a big deal. And Roberguiez was like, I made
El Mariachi for five thousand dollars becauseyou're just like that's not fucking possible,
you know, like yeah, justlike you know, like Clerks was like
less than twenty thousand, exactly.It just doesn't It didn't seem possible at

(37:15):
the time. And now we're havingmicro budgets, you know, like that
are even smaller, you know,like, and I think that that's very
interesting and could and it obviously leadsto YouTube having a ton of micro filmmakers
putting out movies at the tiniest budget, which is very interesting. But you
know, it's always there's always someavenue of freedom that like kroon, that

(37:38):
just breeds creativity for better or worse, because sometimes you'll just get super weird
shit when there's no one there totell you now, so you get stuff
like in the seventies as the studiosare collapsing. Then you go into the
eighties and nineties and you have likethe avent of Betamax and VHS where people
will just get their movie straight intoa video store because they don't need to
get it into theaters and that orthey open up an avenue. Then you

(38:00):
get to the avenue of the internetand say YouTube and other like streaming site
streaming. Like right now, howhow are we in a world where a
Knuckles like fully animated Knuckles TV showis happening just on Paramount Plus. Like,
it's not going to any major network. It is not coming to TV.

(38:21):
It's I mean, it's not comingto movies, theaters or anything.
This is a straight up just streamingevent type of thing. And it's one
of those things that back in theday they would be like, no,
that's too much money to just puton streaming. And I think that that's
or you know, such a sucha small audience. But obviously it's not
a small audience anymore. It's themajority of the audience. And and that's

(38:45):
a kind of weird economy that wehave at the moment where it's like,
oh, yes, we want youin the butts in seats in theaters to
make that money, but also theyseem to be making plenty fine money from
not and seats and sitting at home, you know, like and being okay
with it. Yeah, it's morelike long it's like a long term investment

(39:07):
type of thing because they don't makeimmediate money. But you know, the
more you gather subscribers, you havelike sustained income. Yeah. Like let's
say last year with uh, therewas three movies up for Best Picture that
were just on Netflix, and thisyear we only have Maestro. But I
I think that that's quite an interestinguh you know, like development is that

(39:31):
like we these movies are not juststreaming only, and then we're just being
like, get that out of here. These are Best Picture nominees. These
are up, yeah, for thebest of the best. Like I feel
like if American Fiction wasn't so applaudedbecause it's the award season right now,
that probably would already be up onPrime video already. That's an MGM movie.

(39:51):
Amazon owns MGM. Now, yeah, thank god, it's actually actually
LUs was almost like it's so funnytoo, because it's like one of the
few times I'm just streaming. Ialready saw it. I already saw it
in the movies, and now Iwant to watch it a million more times,
So give it my god. Ifeel the same way about Godzilla Minus
One, though I'm kind of likeI I've seen it in theaters now let

(40:14):
me buy it. I'll pay forit on multiple services. Just give it
to me. You just gotta gosee it again. You got to see
the minus color version. I wantedto. It's out of theaters. Now
I can't fucking go see it.So it's kind of like options. Now
I'll have to check to see if, like anywhere closer to Boston has it,
if actually I listen to it doingit or something, because they were

(40:35):
supposed to Toho said out of theatersFebruary second. But I'm kind of interested
to see if any theater actually likelistened or if they were just like no,
I'm still making money, you know, like I don't care, like
you know, like like it yeahright, like just like with Barbie,
where they were just like no,no, it's streaming, but we're still
playing it in theaters if you wantto go see it, you know.

(40:55):
And to be fair, Minus onewas in theaters way longer than and it
was supposed to be. Oh yeah, Minus one is like made them so
they kept that around. But that'sit. But Minus one is a good
part of this conversation because it wassupposed to be a week. Like they're
like, oh, it's expensive todo a theatrical run, but we don't
want to just release this on streaming. Let's do a one week theatrical run.

(41:20):
And then people showed up and supportit. And then it went for
over a month, which is alot more money on Toho's side, so
they must, you know, theywere obviously raking in the money to pay
for it. And it just showsthat, like it really is still about
making good stuff and the fans showingup to like the good stuff, you

(41:43):
know, like that's what's going tostill work nowadays. It's not just Halo
Show season two. Nobody likes this, We're still putting it out even though
critics hate it, audience hates it. The sort of hates it, you
know, like everyone sort of.But we're still putting it out because money.
I know, like like like thatis I feel like Halo is that

(42:06):
ultimate example of like, please fuckingstop, nobody wants this, like like
like you like it sounds like adream, you know, like in my
head, you know, Young Frankis like, you know, reading the
Halo novels being like, oh man, I can't wait till they make this
a movie or a TV show.And then if you literally showed him like
a clip of this, so you'dbe like, the fuck was that?
You know, like, hell uh, And it's like it's sad when our

(42:31):
video game from the two thousands canoutright the hell out of any modern TV
show episode. You know, you'rekind of like, you're like, guys,
Halo wasn't exactly immaculately written or anything. Yeah, just but somehow it
is way better than what you're doinghere, you know, like you're like,
come on, But besides the point, French Connection, uh is a

(42:58):
I feel like it deserves its spoton here. We brought up some issues
about it, but that's just afifty year old lens, you know,
like that is yeah, you knowthat that's the way a lot of I
think a lot of these older movieswe're gonna look at and be like about
certain things. But I feel likethe French Connection still holds up in a

(43:19):
lot of ways, and and it'sstill worth seeing now. So if you're
like watching this being like, youknow, I haven't seen it yet and
maybe I will get to it,I would recommend it. I do own
it on DVD. I thought Ihad it on Blu ray. I went
through my Blu rays earlier, butI couldn't find it, but I do
have it on DVD somewhere, andI do think that this is a worthwhile

(43:45):
own for your for any film collector, you know, like, this is
definitely if you're into film, ifyou're into movies, this is a little
bit of history that you're you're gonnawant to include, not only because William
Freaking is one of the best directorsthat ever lived, but because of of

(44:06):
the of the Chase Seed and theway they put this whole movie together and
how uh at leastly cool and uhcalm and collected this whole this whole movie
is you know, like it's justit's done with such purpose, and then
when you get to French Connection too, you're like, not so much purpose
here, you know, like,yeah, it's just like and there's a

(44:28):
genuine griminess that you just don't getanymore. Yeah, Like you're not gonna
you're not gonna get the same effecttrying to film in New York Now,
it's like what you're gonna You're gonnafucking see the eminem store in Times Square
and then immediately be pulled out.You're like, was that a Krispy Kreme?
What the hell? Like exactly justlike and then I like, I

(44:49):
talked to my mom, who grewup in New York when she was a
kid, she was born in seventythree, and she would talk about how
like, oh, you couldn't goto Times Square, that was just all
fucking porn theaters, whole stretch thatwas not a place to be. And
and I feel like that is sortof the fun time capsule of this movie
too. If you look back onthis is just kind of like a history

(45:09):
piece that you're looking at in NewYork you don't see anymore, you know.
Yeah, and it's a genuine NewYork that was still like that to
shoot it as opposed to as opposedto like movies trying to emulate that like
a Joker, Yeah, yes,Joker's perfect for that example where they're like
trying to make it look like oldNew York. And definitely a lot of

(45:30):
New York looks like old New Yorkstill, Like there's obvious that, but
there's a little there's something about howwe can actually clean things now that didn't
happen in the seventies, you know, like actually cleaning up the streets,
not in like a drug way,but literal soap and water, like is

(45:53):
just wasn't happening. We didn't havethe public services to clean up New York
back then, and I feel likeit is. I mean we do now.
We still slack off. Yeah,still like when lockdown, when when
lockdown was in full of force,in full force, and you had all
these you have like all these citiesbeing like we're gonna clean up the subways

(46:13):
now, just so you weren't cleaningthem before. You're like, what do
you mean look exactly whenever? Uh, the MBTA posts like we cleaned the
Orange trains today, and I'm likeyou should be doing that every week,
Like what do you mean? Likethis should be a daily occurrence? What
the fuck is this about? Youknow you guys, aren't you guys don't

(46:35):
run twenty four to seven like NewYork? Does you have off time?
Clean those fucking cars? Clean thosecars? Yeah, damn, I will
say the I love the overhead trainof old New York. I do.
I do think that that's just oneof the coolest aesthetic things ever, you
know, like it's you know,like it's just so cool. Also,

(46:59):
that car chase, uh, whichjust came to me just now. I
just remembered that car chase of like, you know, following the overhead train
totally inspired a fucking mission in GTAfour really, because there's a really pain
in the ass mission that I rememberedwhere you're literally chasing an overhead train while
you're in a car, and it'sobviously pain in the ass because it's Liberty

(47:22):
City. It's basically New York.You're dealing with New York traffic and roads.
Oh my god, that's so funny. Uh. The other uh,
I will say, the the otherthing that is interesting behind the scenes about
this, about the chase scene isthat they like literally just didn't get the
permits to do a lot of it, you know, like of course they

(47:44):
yeah, they got permits for likethe the actual stops, but a lot
of the running around in the citywas not controlled by you know, it
wasn't permits and a lot of pickupsfor the car stuff as well. Like
there are stories of how like WilliamFreed can became the cameraman for those shots

(48:06):
like inside the car because and Iquote some of the cameramen had family.
That's so freaking's just like I'll doit myself. So if something happens like
so they did have New York PoliceDepartment's tactical for us to like stop uh,
major things from like major trucks fromcoming in, but like normal traffic

(48:30):
was just stopped by assistant directors.So there was there's some real shots here
in this movie that they're not actorsin the background. That is just straight
up people in New York just livingtheir lives as Gene Hackman or stunt double
slams the car around, you know, like it is and and I'm sure
William freaking hanging off the side ofthe fucking car, you know, like

(48:51):
it's like you're just like tell youit's got it's got a wild But we
brought this up before there was somethingto be said about like the dangerousness of
filmmaking in the old days. Yeah, yeah, there's it's kind of like
we're saying grittiness, but like alot of filmmaking was was we're gonna capture

(49:13):
this or we're gonna die, youknow, like sort of yeah, even
even something as simple as like Iwant a scene with a tiger in it.
CG doesn't exist yet, So we'regonna film with an actual tiger and
hope no one does or bugs ofany kind, you know, like that's
like, what are you gonna geta train bug? You know, like
like come on. Other thing thatis slightly just like an interesting, like

(49:37):
real life thing is a lot oflike the cop things they do here where
is based off of real stuff.And one of the more iconic things of
him running around is Santa Claus atthe beginning was an actual real tactic that
cops used in New York where theywould dress up as as Santa with their

(49:58):
partner nearby and like damn and dothat to people and you're just like the
Salvation Army. As if the SalvationArmy wasn't bad enough, now they're fucking
narks. Like it's just one ofthose things where you're just like you're like,
you're like, I totally thought thatwas a movie thing, you know,
like when you watch it, you'relike, of course, that's funny,
you know, like it's like it'ssort of like wild. But then

(50:20):
you like you read about it andyou're like, oh no, this was
something cops did. Like you're justlike, oh no, but you know
that's that's just a fun little littletidbit about it. Yeah, it's hilarious,
darkly hilarious. Dark yeah, reallydarkly hilarious. But uh, another

(50:40):
thing that I will give credit isis that I feel like the movie is
very realistic, and not only it'sjust setting in the way it does its
dialogue, in the way uh itlooks and everything, but also just in
the way that the like cops kindof react to each other constantly. And

(51:02):
I gotta give credit. I knowthat Gene Hackman and Roy Schneider went for
like a month of ride alongs beforethat to kind of like pick up how
New York cops actually interacted with eachother. So I feel like if if
they weren't allowed to add lib,they were still able to add a lot
of what they picked up from thatto Yes, you know, like so

(51:28):
I think that that's that's something thatyou know, I still do nowadays.
It's also very telling, yes,right, it's just like, oh,
we know cops, we know exactlyhow to act like cops. Ethan talk
did the same thing for training day. Yes, and he's got some funny
stories. I don't know if youI think I sent you that clip where
he talks about the lady trying toget out of the back of her the

(51:49):
cop car and asking him to gethim out of it. You know,
like I think that's a very interestingstory and a damn good point. But
uh, it's like that type oflike acting where you before the movie starts,
you like kind of go and shadowpeople is not gone. I will
give I will give credit. Ifeel like that happens in movies nowadays,

(52:10):
where like if I know that alot of like high school movies, they
will go and stay at high schools. And I know for Tom Holland as
Spider Man, they literally sent themto a New York high school for a
month to see how he would do, you know, like and of course
he blew his cover because he's TomHolland. But like every like, it

(52:30):
is still a tactic being used todayby today's actors. And uh, and
I think that's interesting that a lotlike play, you know, acting hasn't
changed much in a lot of ways, you know, like it's it's been
fifty years, but and we've seenhuge advancements in lighting, video cameras,

(52:51):
technology like everything, but acting likethe bones remain Yeah, yeah, that
stays very similar. And I thinkthat that's another reason why you should go
back to these older movies and seethat is that shit doesn't change, you
know, Like sure, if yougo far enough back, you get some
you know, like people are tryingto act big like they're still on stage,

(53:14):
you know, in like the nineteentwenties movies, But like that slowly
goes away as people start to embracethe media more. And I feel like
acting has not changed much in thelast fifty years, so in a lot
of ways. Now I'm sure I'vegot some actor in the comments being like,
you don't know shit about acting,I would say, I would say

(53:34):
the biggest thing that has probably changedand maybe to the a detriment depending on
who you ask, is the advancementof the way we can capture audio.
Yeah. True, that you getlike those clips of like actors practically whispering
their lines, which works for thescene because it just feels natural. But
then you get a lot of like, you know, people have flat screen
TVs who never got a soundbar tobeing like what what? Why did I

(54:00):
The amount of people I know,I feel like it's increased so much.
The amount of people I know whojust watch stuff with subtitles on all the
time. Yeah, And I meanthat happens sometimes some people have too much
sensory issues to not turn on subtitles. So I get that in some ways,
but yes, I do feel likesometimes people throw on subtitles because they

(54:22):
might miss a dialogue and that's notthat just means they mixed the movie badly.
You know, in my opinion,you're just like, hey, you
just didn't do it right. Thereis like, but I do constantly hear
the complaints of just like why isfilm? Why is movie? And TV
audio so bad? Now? It'sjust like do you have a flat screen
TV? Yeah? Did you getany speakers for it? No? It's

(54:45):
like, what do you think happenedwhen your speakers turned into this to this?
That's a good point. So ifyou were interested, guys, if
you're interested in what the original bookit is, call The French Connection,
a true account of cops, narcoticsand international conspiracy, written by Robin Moore

(55:07):
in nineteen sixty nine. But WilliamFreaking does say it's more of an impression
of the case than it is themovie than it is like that book.
You know, Like it's not likehe's it's like, as much as The
French Connection is a true story,is it is more of an impression of
a true story than it is likethe Heart Yeah, in the same way,

(55:30):
in the same way the Goodfellas isyeah yeah where a Goodfellas and Wolf
of Wall Street I would feel like, you know, like where where it's
like, yeah, he it's comingfrom the person, but like, is
the person telling the whole truth oris he even good at recounting what actually
happens? You know, like andand all that things. I mean,

(55:51):
just recently we learned that two moviesthat are I feel like are one that's
not changed so much, but anotherthat's changed by it finding out that the
person who told it was lying.We have Blindside, who it came out
that they were exploiting our main guyin the blind Side there, that they

(56:12):
were using him for money. Sothat kind of ruins that movie completely,
Like I mean, good Sandra Bullockis still good in it, but it's
kind of one of those things whereyou're like, so none of the nice
feelings that happened in this movie happenat all, you know, like you're
like at all, like you know, like I mean, and then you
have it could not depends on whoyou ask. There are people who still

(56:32):
love The Greatest Showman. Yes,but that's the thing, is I feel
like Gray Showman isn't even hindered byit not being true, you know,
like it's just like, well,of course this isn't true, you know.
Like but another one that I thoughtwas funny. I saw it on
Reddit people being mad about this notbeing true. But it's one of those
things that I've always thought it wasn'ttrue, Catch Me if you Can.

(56:53):
Like, I love that movie.Catch Me you Can is a fantastic movie
movie. But I never was like, oh, of course this is absolute
truth from the like. I neverlike was like it's this is the truth,
and it like sort of is,but like not really, Like if
it's a narrative production, there's alwaysgoing to be major caveats in the same

(57:15):
way they're like when we watched SteveJobs. Obviously all these big confrontations didn't
happen specifically before the start of apress conference. Yeah, right. In
fact, it's funny the real AndyHertzfeld commented on that film and kind of
put it perfectly. He said,none of that happened, but it's one
hundred percent true, Like it didn'thappen that way, but you guys kind

(57:37):
of nailed the atmosphere and the people. Yeah, and I feel like,
you know, that's what film's allabout. Baby. Yeah, and I'm
gonna blow your mind, guys.Even documentaries aren't objective truth either. The
moment you edit something, it's changedthe truth. Yeah, right, Like,

(57:58):
I mean, we live in aworld where streaming is just straight up
straight from the stream, but alot of what you're watching has been edited
in some way, and that meansthat somebody puts some sort of narrative on
it, you know, even ifthey're doing it subconsciously, you know,
like they are putting those those thingsin a certain sequence, and uh,

(58:19):
suddenly the truth is not there.You know. Like that's you know,
important to keep in mind. Butguys, uh, the French Connection absolutely,
I think you should own it,Deshan, What do you think?
Yeah, absolutely, if you're ifyou're specifically not a collector and have never
seen it, it is streaming onMax. That's the way to find it

(58:39):
for right now. And f andFrench connection too, if you want to
just keep keep that puppy going.But I will say, if you if
you have it, if you're morbidlycurious, I suppose, uh, but
yeah, I feel like comparing itto RoboCop and RoboCop Too is almost the
perfect comparison for the for that whereyou're like iconic move that changed film and

(59:01):
a sequel that's totally okay, Butthat's that's its crime being okay, you
know, like it's just like you'relike, all right, you know where
if I had just watched The FrenchConnection Too, I would have been like,
okay, you know, like insame thing for Robo Cop two,
I would be like, that's fine, you know, like, but guys,

(59:22):
part this is pre Empire. Wedidn't quite know how to do sequels
yet. Yeah, now in aworld where we're like, of course we
must treat every sequel with such reverenceand money. We're gonna throw money at
every sequel like and that's really thedifference is that they just didn't throw the
same amount of money at the sequel. No, it's not exactly bad.

(59:45):
They got a pretty big they gota pretty big director for two Too.
Who is it? It's It wasalso considered a risk if you waited too
long. You had stuff like Sonof Kong, which came out months after
King Kong because they figured we haveto to get it while it's fresh on
people's minds, or no one's gonnacare. Yes, the director of French
Connection two is John Frankenheimer, andthat's the director of The Manchurian Candidates and

(01:00:10):
uh the Island of Doctor Moreau,which isn't as good but just as famous,
you know. Like so like we'renot talking like like they didn't pull
out a yeah, like the likethe off on some like poor up and
comer. Yeah, like they theyabsolutely tried to give some reverence to French
Connection two, and but it justisn't the same. But you'd be surprised

(01:00:34):
because they still did bring back prettymuch everybody but Roy Schneider, but he
was shooting Jaws that year, soyou really can't. Yeah. But the
same composer too, which is funnythat you were making notes about the reason
because I did not. I waslike, this is not the same.
I don't like it. That's likeI was like, this isn't right.
Like I was like, ah,this is just missing the point. But
that's funny that it's the same one, because I felt like he just I

(01:00:58):
must have missed with this one.It was much better in the first.
One point is you can you cansee French Connection on Max and maybe even
check out, like William Freakin's otherstuff because I think this is the only
freaking film on the AFI list,because I was looking for like the Exorcists,
and the Exorcist isn't on there.Huh, so watch the Exorcist.

(01:01:20):
He also did. Uh. Healso did a remake of Twelve Angry Men.
That will probably bring up when weget to Twelve Angry Men. Yep
and uh. And of course he'sfamous for To Live and Die in La
and like yeah, and he considershe considers Sorcerer one of his best films.
I've been meaning to watch that fora while. I never watched Sorcerer
me neither I would. I wouldlove to watch that movie actually, because

(01:01:43):
it looks I mean, anything withTim Curry I'm down for, you know,
like and that that movie seems insane? Wait is Oh no, I'm
thinking of a different movie. Soyou're thinking of a legend, I'm thinking
of legend. I'm thinking of legend. I am, I am? But
yeah, no, no, Irecognized this poster for Sorcerer. It's the
where it's the trick. It's thetruck falling off of a wooden bridge.

(01:02:07):
Yeah, one of those iconic posters. Oh yeah, No, I'm into
watching this. This sounds sounds dope. Might happen. I've been meaning to.
I just haven't like pulled the triggeron it yet because after after William
Friedkin died, there was a lotof like interviews that like reserviced for him,
And there was this whole thing withSorcerer because that was like when he
was like constantly butting heads with thestudio about really that's fun, but he

(01:02:29):
considers but he considered it like ifnot his best work, like one of
his best works, which is wildbecause he did those three in a row.
He did the French Connection, theex Assist, and Sorcerer all in
the seventies. Like that, thatis insane, you know, like the
like that's that's pretty fucking incredible.You know, like that just shows how
much of a powerhouse he was inthe seventies. You're like, damn that

(01:02:51):
man, that's fucking insane. Yeah. But yeah, Oh and I'm gonna
have to watch that remake of twelveAng Your Men because it's definitely got a
high rating. You know, likeit's not I've seen it before, it's
been it's been a long time.It's not the Sidney Lomay original yeah.
To be fair, the Sydney louMay original isn't even the original because it
was a remake, a remake teleplayyep yep ye, which thankfully, Well,

(01:03:16):
we'll talk about Tilo of Angry Man. It's on the A f I
list. I'm super excited to talkabout it when we get there, Yes,
yes, when we get there.Now, Deshaun, do you know
off the top of your head,what's the next one on the list here,
I'm I'm pretty sure the next oneis Good Fellas at ninety two.
Oh hell yeah. So we're gonnabe talking about one a movie that I

(01:03:38):
am overly passionate about. I am. It's like I am, I I
love Goodfellas. I'll tell you whatwatch. This is gonna be sure.
I wasn't gonna say that. Iwasn't worried about that, but you should
watch because one it's not on thelist, and two it's always compared to

(01:03:58):
it and you still haven't seen it. It will be a good talking point.
Casino, Yeah, that's true.I knew exactly the media. You
were like, you haven't seen it. I was like, Casino, it's
one of those like it's one ofmy missic like those like you know,
you watch a lot of movies inyour lifetime, but there's still holes.
Everyone has weird holes in their filmknowledge, and yeah, Casino is one

(01:04:20):
of them for me. So yeah, I definitely want to get to that.
So yeah, ninety two, sothis is ninety three French Connection.
Ninety two is Good Fellas. Thenone I haven't actually seen. Ninety one
is Sophie's Choice. So I sawit that once a very long time ago,
so it's been worth watching to roundout the nineties. I actually have

(01:04:43):
it on Blu Ray Swing Time,so I'm excited to talk about that one
too. That'll be a first timefor me. I've never seen Swings.
That's good. We're gonna talk aboutit. It's a good time. But
guys, thank you for supporting these. These are one of our most popular
episodes, the five time one hundreds, and I'm sure that's because everyone's looking
up diy if I top one hundred, but I really do support like,

(01:05:05):
thank you guys from the bottom ofmy heart for your support on these episodes.
And I hope you check out otherepisodes of our podcast because we usually
cover like what's coming out, butwe also like this kind of look back
in film history sort. It's anongoing challenge, yes, exactly, And

(01:05:25):
that's kind of fun for guys who'veseen so many fucking movies, Like it's
it's kind of wild when I openup IMBD and you're and you go to
your rating section, you know,and you're just like, you're like,
how many fucking movies have I seen? Right now? It says I've rated
over one eight hundred and thirty onemovies, and I'm sure that's way under
what I've actually seen because I haveforgotten to rate things, you know,

(01:05:47):
Like, yeah, IMBDS, Iwould love to know what the actual total
of the amount of like movies orlike seasons of TV. When you get
to the Pearly Gates and Peter's likeyou were you were fine with your sins,
but you did we'd watch two fivehundred movies and you're like, yeah,
but guys, thank you so muchfor your support on these Thank you

(01:06:11):
for supporting the show. Make sureyou make the algorithm work hit the buttons
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(01:06:31):
galaxygeek dot com to listen to theaudio version. It's right there, right
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guys, if you want to checkout our own personal social medias, I
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(01:06:57):
everywhere. I had mentioned the mediathread that I'm doing on Threads, I'm
up to almost sixty now for likemovies. I've watched Telling Vision seasons,
I've watched games, I've beaten,et cetera. I'm racking it up,
the man racking it up. Socheck that out. And guys, again,
thank you so much, and Ihope you have a great rest of

(01:07:18):
your week. We'll see you nexttime. Audios