FH Mini 110 - Encino Dan

[0:00] Hey everybody, remember Flop TV, the one hour online video version of the Flophouse podcast

[0:05] that we produced last year?

[0:06] Well, I'm excited to tell you it is coming back.

[0:09] Flop TV 2, the sequel, will be broadcasting live to your computer screen the first Saturday

[0:14] of every month from September through February.

[0:17] We're talking only about sequels this season, RoboCop 2, Break-In 2, Highlander 2, Caddyshack

[0:24] 2, Ski School 2, and Ninja Turtles 2, The Secret of the U's.

[0:27] It's going to be all new jokes, all new presentations, movies we have never covered on the show before,

[0:32] all in a tight one hour-ish package.

[0:36] Can't join us the night of the show?

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[0:38] The videos for every episode will remain online through the end of February, so you can binge

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[0:45] So that's Flop TV 2, the first Saturday of every month from September through February.

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[0:58] Flop TV 2, everything you loved about Flop TV, but again.

[1:02] Hey, this is Stuart Wellington of the Flop House Podcast, and welcome to another Flop

[1:11] House Mini.

[1:12] I am Stuart Wellington, and joining me are...

[1:15] Jan McCoy.

[1:16] And Elliot Kalin.

[1:17] That's right, we're back.

[1:19] We're back again.

[1:20] The Flop House Boys doing a Flop House Mini.

[1:22] Exactly where you expect us to be.

[1:24] Yep, in your ear holes.

[1:25] On a regular schedule.

[1:26] Uh-huh.

[1:27] Now, one of these Flop House Minis, what we do is instead of watching a bad movie and

[1:31] talking about it, we are going to talk about whatever we want.

[1:34] And today, I want to talk about something that by the time this episode gets released,

[1:38] probably won't matter anymore.

[1:41] But the other day, I went to the movies.

[1:43] Have you guys ever done this before?

[1:45] Not familiar.

[1:46] Yeah, I've, you know, once in a while, I've got...

[1:48] I'm experienced.

[1:49] It's a pretty...

[1:50] I had a pretty big week.

[1:51] I went to three movies in the theater.

[1:55] That's right.

[1:56] It's because I treat watching movies like I'm a professional.

[1:59] And so, my professional...

[2:00] A professional movie watcher?

[2:01] Mm-hmm.

[2:02] I mean, you know...

[2:03] In a way, we are.

[2:04] I love our job.

[2:05] Okay, fair.

[2:07] And so, I, of course, being responsible at my job, I went to the movies with my father-in-law

[2:14] to see Deadpool and Wolverine versus...

[2:17] Deadpool and Wolverine.

[2:18] Okay.

[2:19] And Wolverine.

[2:20] They do fight each other, but that's not the takeaway.

[2:23] And so, while I was watching this movie, there was definitely a point where I thought to

[2:27] myself, how did we get to this place?

[2:31] Why are...

[2:32] What is happening?

[2:33] How did he get to the theater?

[2:34] He probably took the subway.

[2:35] Maybe he drove.

[2:36] No, he drove.

[2:37] My father-in-law can't take the subway.

[2:38] It seems like Stuart had an existential crisis triggered by Deadpool and Wolverine.

[2:43] I had a little bit of an existential crisis.

[2:45] And funny enough, I feel like this...

[2:47] It reminds me a little bit of...

[2:49] Actually, it reminds...

[2:50] I'd just say it reminds me of the opening of Remembrance of Things Past by Marcel Proust.

[2:55] His memory is triggered by a bite of a Flamin' Hot Cheeto.

[3:00] Which in a way, that would be very appropriate for Deadpool to say when he looks at the camera.

[3:05] I don't know if you've met this guy.

[3:06] He's kind of like a family guy who was a superhero.

[3:12] But I was watching this movie, and I also think it's oddly appropriate because we just

[3:15] watched and did an episode on the movie If, which is Disney's attempt to like make...

[3:21] Also, Ryan Reynolds.

[3:22] Yeah.

[3:23] Wait, wait.

[3:24] Is he in it?

[3:25] He's such a chameleon.

[3:26] I can't tell.

[3:27] But that's kind of like Disney's attempt at building...

[3:32] Like putting all their cinematic universe properties into one thing, right?

[3:37] It's very meta.

[3:38] Or it's like a mild attempt at metaness.

[3:42] If is?

[3:43] No, Wish.

[3:44] Did I say If or did I say Wish?

[3:45] You said If.

[3:46] So I was confused.

[3:47] God damn it.

[3:48] It's a stupid movie name.

[3:49] Which we also did recently on a Boston show.

[3:50] Yeah, and it had Ryan Reynolds in it.

[3:51] So I thought the connection seemed clear to me.

[3:53] When you said confused that Ryan Reynolds is in it, it makes more sense that you thought

[3:57] Wish because Ryan Reynolds is not in it.

[3:58] Yeah.

[3:59] Yeah.

[4:00] He isn't in Wish.

[4:01] Oh boy.

[4:02] He's such a chameleon.

[4:03] There's no way of knowing.

[4:04] He's like Jackie Chan.

[4:05] There's no way of knowing if he's in a movie or not.

[4:06] I've already fucked up this many.

[4:08] No, no.

[4:09] The confusion is what makes...

[4:10] Should we start over?

[4:11] Should we start the whole thing over?

[4:12] Should we...

[4:13] I think people tune in for the confusion.

[4:15] So you're saying Wish?

[4:16] Exactly.

[4:17] Yes.

[4:18] It's Disney's attempt to try to tie its old movies together into one thing.

[4:21] Deadpool and Wolverine is...

[4:22] I haven't seen it, but it sounds like it's very much that.

[4:24] It's like very much...

[4:25] Let's pull in a lot of different Marvel stuff.

[4:27] Yeah.

[4:28] I mean, it attempts to sweep all of the older, let's say, either failed or defunct because

[4:37] they were part of Fox, sweep them all into a dustpan, not throw all of it away, sprinkle

[4:44] a little bit on the MCU and combine it all together.

[4:48] Yeah.

[4:49] And mix it in with a bunch of jokes about what corporate takeovers and dissolutions

[4:54] and such.

[4:55] Yeah.

[4:56] I was amazed at how much humor in there wasn't specifically just like...

[4:58] How in the weeds they get on that.

[5:00] Like, you know, comic book nerd stuff, but like stuff for people who really follow the

[5:05] entertainment news surrounding these studios.

[5:08] Yeah.

[5:09] There's definitely points where Charlene's looking at me, I'm like, I'll tell you after

[5:13] the movie.

[5:14] And then you'll be disappointed.

[5:15] So it was very fun.

[5:16] It was very fun to, you know, to have this existential crisis and then walk out of the

[5:19] movie theater.

[5:20] Very fun, says Stuart Wellington about Deadpool and Wolverine.

[5:21] Whoa, no!

[5:22] So I walk out of the movie theater and my very old father-in-law is there, who we took

[5:31] because...

[5:32] He says, will I ever get my wish?

[5:36] Because he, so we took him there because his favorite guy is Wolverine.

[5:42] He loves Wolverine, right?

[5:45] Like...

[5:46] I mean, Wolverine is an American favorite.

[5:47] I remember the first time I wrote a Wolverine comic, I mentioned it to my grandmother and

[5:51] I said, this is a bigger character than I'm used to working with.

[5:53] And she goes, well, everyone knows Wolverine.

[5:55] And I was like, you know Wolverine?

[5:57] She's like, damn straight, bub.

[5:58] Yeah.

[5:59] He's a Canadian favorite, though.

[6:02] Yeah.

[6:03] He's the best at what he does and what he does.

[6:05] It's not very nice.

[6:06] Yeah.

[6:07] It isn't pretty.

[6:08] No.

[6:09] On the nice, not nice spectrum, it's closer to the not nice.

[6:13] And on the pretty, not pretty.

[6:14] Yeah.

[6:15] Yeah.

[6:16] And the amount of like, I mean, in order to understand, I mean, I guess, well, so we

[6:21] asked my father-in-law...

[6:22] You know what?

[6:23] I just realized something.

[6:24] Wolverine in the comics is very short, but Hugh Jackman, who plays him, is not short.

[6:27] He is not short at all.

[6:29] Jack Reacher in the books is very tall, but Tom Cruise, who played him, is very short.

[6:32] Is there some kind of physical, like only so much height is available to Hollywood at

[6:40] a certain time?

[6:41] Possible.

[6:42] And it has to be in stasis.

[6:43] And that's why they cast tall people as short characters and short people as tall characters?

[6:46] I will say, rest assured that in the multiverse shenanigans, we do finally get our short King

[6:52] Wolverine variant as part of the thing.

[6:56] Yeah.

[6:57] It's funny that you say variant because, yeah, that's right.

[6:58] In order to understand some of it, you have to watch Loki, a television show, which is

[7:03] a little weird.

[7:04] But I'm...

[7:05] Well, there's a lot of stuff.

[7:09] It is funny that Disney was like, yeah, we'll tie it all together between the shows and

[7:13] the movies the way the comic books do.

[7:14] And it's like, the comic books are all comic books.

[7:16] It's not like Marvel.

[7:17] It's not like Spider-Man.

[7:18] And it's like, for more on this, listen to the hit song we released last year.

[7:22] Like it's still the same medium, you know?

[7:24] No, you're right.

[7:25] There's no songs about Spider-Man that you can just listen to.

[7:28] That was the point.

[7:29] But there's no...

[7:30] What I'm saying is, that's not the point I'm making.

[7:32] The point is, the song does not feature continuity that will then be referenced in a comic book

[7:36] later on.

[7:37] You know?

[7:38] Yeah.

[7:39] Okay.

[7:40] So I talked to my father-in-law, Herb, and I asked Herb, what do you think?

[7:43] Did you like the movie?

[7:44] His response was, it was different.

[7:47] He put down his can of peaches and said...

[7:50] Yeah.

[7:51] And I feel like that's kind of the thing.

[7:53] If I was to show, say, a person who wasn't, say, particularly familiar with all the ins

[7:58] and outs of these movies, what would they even think of Deadpool and Wolverine?

[8:03] And that was, conveniently, on my walk over here to the Flophouse, I actually bumped into

[8:08] a recently unfrozen Neanderthal.

[8:10] Oh, wow.

[8:11] A caveman.

[8:12] One second.

[8:13] Guys, let me let him in.

[8:14] Oh, wow.

[8:15] Holy.

[8:16] Okay.

[8:17] This is much more than I expected.

[8:19] We have this unfrozen caveman, and we're recording this on Friday.

[8:25] Our mom is going to be back by Sunday night.

[8:27] Okay?

[8:28] So we only have a weekend to be able to instill the entirety of the human experience into

[8:32] this caveman.

[8:33] Okay?

[8:34] Because mom is against that.

[8:35] Mom doesn't like teaching cavemen modern things.

[8:38] Well, if she finds out it's a caveman, she'll take him away from us, and we won't be able

[8:43] to show him off in high school.

[8:44] Okay?

[8:45] I think this pretty much makes a lot of sense.

[8:46] You're right.

[8:47] You're right.

[8:48] I don't know if it works well, but I think that's what happens.

[8:51] One thing that Deadpool and Wolverine remind me is that movies have the ability to impart

[8:57] the entirety of the human experience into people who might not have experienced those

[9:01] things.

[9:02] Yeah.

[9:03] You can learn.

[9:04] Yeah.

[9:05] They're kind of like, what, empathy machines?

[9:06] Is that what Roger Ebert called them?

[9:07] That was the famous quote.

[9:08] Yeah.

[9:09] That's the famous quote Roger Ebert has that I take issue with, but yeah.

[9:11] But nonetheless.

[9:14] So we have this amazing tool at our disposal to-

[9:18] I wouldn't call Dan a tool, but he is amazing.

[9:20] We have to introduce to our Encino Dan, if you will, this Neanderthal man, how to become-

[9:28] Wait.

[9:29] Alex, just add in some Neanderthal sounds.

[9:32] 1, 2, 3.

[9:38] Okay.

[9:41] So yes, that makes sense a lot.

[9:43] So we are going to try and communicate.

[9:45] We need to impart what it is to be a human in the modern world using the best tool we

[9:50] have at hand.

[9:51] Not books.

[9:52] Not music.

[9:53] No.

[9:54] Not, I don't know, like interpretive dance.

[9:56] No, we're going to talk about movies.

[9:58] And so we're going to go over-

[10:00] for a couple of different key things about modern society.

[10:03] And we need to kind of pick the best movie

[10:07] to impart as much information as possible on that subject.

[10:11] So just to give you an idea, I have at least one prepared.

[10:14] So for instance, for the premise of this podcast,

[10:16] I might suggest Encino Man, the movie.

[10:21] Barring that blast from the past

[10:23] or something else with Brendan Fraser.

[10:24] Can I just say-

[10:25] Brendan Fraser is really good as a guy

[10:27] who has missed a lot of years

[10:30] and has to learn about them now.

[10:31] Or if he's fighting a mummy.

[10:33] Yeah.

[10:34] Can I just say, now that Stuart has-

[10:35] Stuart's two strengths as an actor.

[10:37] Gotten his premise out.

[10:38] I didn't want to interrupt his premise

[10:40] out of a sense of courtesy

[10:42] that I'm not afforded that frequently.

[10:45] But now that it's out, I wanted to say that,

[10:49] the expressions on the guy's face.

[10:51] He's had his notes app out.

[10:53] And if you know the notes app,

[10:54] it automatically gives a heading to everything

[10:57] at the top of it.

[10:58] And I've seen the words Encino, Dan,

[11:01] for the past 10 minutes.

[11:02] I'm like, I gotta know.

[11:05] I gotta know how this figures out.

[11:07] Where are we going?

[11:08] Dan's spectations, yeah.

[11:10] No, it was much better than I thought, honestly.

[11:13] Yeah, I think it's pretty tough.

[11:14] It's a good premise.

[11:16] When I was a kid growing up,

[11:17] I grew up in New Jersey.

[11:18] I didn't know Encino was a place.

[11:20] So when that movie came out,

[11:21] I was like, I guess that means prehistoric.

[11:23] I don't know.

[11:24] Totally I didn't get, yeah.

[11:26] And it wasn't until I got to see Sean Astin

[11:28] and Pauly Shore have some hijinks

[11:30] with our buddy, Brendan Fraser,

[11:31] before I kind of figured it out.

[11:33] The same way that when Get Him to the Greek came out,

[11:35] I was not familiar with the Greek theater.

[11:37] So I thought the Greek was like a mobster

[11:38] that wanted Russell Brand or something like that, you know.

[11:42] And luckily that's a movie

[11:44] where nobody involved in that movie

[11:45] has had like a fall from grace of any kind.

[11:50] Okay, so to give you another example.

[11:53] A movie that sums up the,

[11:55] like I feel is like the perfect encapsulation

[11:58] of an issue of our modern day

[12:01] would be if we were going to say climate change.

[12:03] If we're going to say climate change, for instance,

[12:06] I would say First Reformed.

[12:08] You know, a movie that perfectly captures

[12:10] the terror and the like untouchable frustration

[12:17] of being able to do nothing about a problem

[12:18] that is killing us all.

[12:19] Yeah, the feelings of both guilt and impotence.

[12:22] Yeah, towards the problem, yeah.

[12:24] So if we were trying to teach our Encino dance,

[12:27] exactly, if we were trying to teach Encino dance,

[12:30] but I feel like there's much more important,

[12:32] like not more important, obviously,

[12:34] you know, climate change is going to kill us all.

[12:36] But let's say more immediate

[12:38] if we want to try and get him into, you know, society.

[12:43] So for instance, I've given some examples.

[12:46] Let's talk about, let's look at some topics here.

[12:48] I wrote down a bunch of topics here

[12:49] and I figured you guys could help me.

[12:50] You guys are the most knowledgeable film people I know,

[12:53] so that's why I want to talk to you,

[12:55] barring some other people that I text with.

[12:57] But you guys, yeah, you're-

[12:59] Okay, well, thanks for the totally-

[13:01] So let's say-

[13:02] Unfootnoted compliment.

[13:03] Okay, language.

[13:09] Language.

[13:10] Yep, this Neanderthal man

[13:12] does not have a concept of language yet.

[13:14] What's a good movie about language and communication?

[13:18] Now, here's the thing.

[13:19] You say, My Dinner with Andre, I'll give you a high five.

[13:22] That was literally the first movie that came to mind

[13:25] because it's like, well, you want a movie

[13:26] with a lot of talking.

[13:27] My Dinner with Andre is all talking

[13:29] and it could also teach him about how to be in a restaurant

[13:31] because that's something new to it.

[13:33] See, that's the thing.

[13:34] If we can find movies that do double duty here,

[13:36] that's great.

[13:37] Yeah, on the other hand,

[13:39] I don't know if it will get, if he'll be able to,

[13:41] so My Dinner with Andre is my number one choice,

[13:43] but I wonder if there's something else

[13:44] that will more easily help him create the connection

[13:47] between language and things.

[13:49] Since My Dinner with Andre, fair or not,

[13:51] this is maybe a fair criticism or not,

[13:53] takes it for granted that the audience

[13:54] has an understanding that you can talk

[13:56] and express ideas verbally.

[13:58] So, I mean, the most literal version I can think of

[14:00] is like The Miracle Worker,

[14:01] which is literally about someone learning

[14:03] that language means things, you know.

[14:05] And Not Finding Forrester,

[14:07] where he learns that the key to writing

[14:09] is really like punching those keyboard keys.

[14:11] Yeah, so Dan, this caveman lost,

[14:13] he completely missed the time when typewriters were used.

[14:16] So let's, why bring it up?

[14:17] Why bother with it?

[14:19] Well, I thought on the comedy podcast,

[14:21] it might be amusing to talk about it, but you know.

[14:24] Hey, let's teach you about typewriters anyway,

[14:26] so nobody uses those anymore.

[14:27] And the caveman is like, why waste Ogg's time?

[14:30] You're right to reject my serious suggestion

[14:33] of Finding Forrester.

[14:36] Yeah, I was gonna say something like,

[14:38] I mean, I guess it's more about communication,

[14:40] but it's like something like Sound of Metal,

[14:42] where Riz Ahmed's character is going deaf

[14:44] and he has to struggle with that

[14:47] and come to terms with his inability to hear things.

[14:49] You know, there's a rival about language,

[14:53] about trying to communicate with.

[14:54] Perfect, sure, and also time and perception of time.

[14:57] Now that Dan got his goofy one out of the way

[14:59] with Finding Forrester, he gave us the real one.

[15:02] I forgot Dan always opens with a gag.

[15:04] This is a serious podcast.

[15:05] Yeah, he does one goof for himself in the rest area.

[15:09] I don't know what in our history would make us think,

[15:11] make you think that a goofy one would be okay.

[15:13] And the caveman is like, Ogg not understand.

[15:15] When Dan's sincere, when Dan not sincere.

[15:18] Mixed signals to Ogg.

[15:19] Tell me about it, Ogg.

[15:21] Ogg's sick of Dan's mind games.

[15:24] Okay, Matt, man, wordy.

[15:26] Ogg looking for serious communication relationship.

[15:29] Ogg tired of the meat market.

[15:32] So as I said, we're gonna have to be able

[15:35] to get this guy to blend in with us at high school, okay?

[15:37] So what's a good movie?

[15:38] Yeah, we're high school students, sure.

[15:39] Yep, that shows high school.

[15:42] What's a good high school?

[15:43] Number one, you only have one movie

[15:45] to show him about high school.

[15:46] Well, here's my gag suggestion.

[15:49] Dan does a lot of gags.

[15:50] My gag suggestion, a movie about someone

[15:53] showing up at high school and he has to like figure out

[15:56] what it's like to be at high school

[15:57] when you're not a high school student.

[15:59] I don't remember the name of it,

[16:00] but that John Cryer movie where he has to go undercover

[16:03] as a high school student.

[16:03] 12 o'clock high?

[16:04] Yeah, because he's in the witness protection program.

[16:05] 12 o'clock high?

[16:06] No, not 12 o'clock.

[16:07] No, that's not it.

[16:08] That's a different one.

[16:09] It's the one where he's in the witness protection program.

[16:09] It's a cowboy movie.

[16:10] Yeah, sorry.

[16:12] Dan, you're thinking of 3 o'clock high probably,

[16:13] which is not the movie I'm thinking about.

[16:16] No.

[16:16] I'm thinking about Hiding Out.

[16:17] I think that's it.

[16:18] Hiding Out.

[16:19] Where he has to pretend he's a high school student.

[16:21] Is hiding out spelled like high like it's in high school?

[16:25] No, it's not.

[16:26] I think they missed something there.

[16:28] They did miss something.

[16:29] But that is where he plays a stockbroker, right,

[16:32] who is on the lam or something like that.

[16:35] He's on the run from the mob,

[16:36] and so he has to hide out at a high school,

[16:38] pretend to be a high school student.

[16:40] Was this before or after his ducky days?

[16:43] This is, so this is 1987.

[16:45] I wish I could go back to those ducky days.

[16:47] I do not.

[16:48] He's a piece of shit, that guy.

[16:50] So that's what, Pretty in Pink.

[16:52] Let's just take a look and see what you, that was 1986.

[16:53] This is the year after he's ducky.

[16:55] So, okay.

[16:56] So yeah, I would argue, still ducky.

[16:58] Then he's no longer so ducky.

[16:59] Yeah.

[17:00] On the other hand, there's also like just one of the guys.

[17:02] There's another gag suggestion going undercover at high school.

[17:05] Another goofy one.

[17:06] Yep.

[17:08] I'm gonna make a suggestion that's not a goofy one,

[17:10] and I think it does a little bit of double duty.

[17:13] I would say Alexander Payne's election,

[17:15] since it does touch on some politics there.

[17:18] Yeah, it'll help him understand a little bit more

[17:20] about democracy and the American system of government,

[17:22] but also high school, yeah.

[17:23] Yeah.

[17:24] And the pressure that a man might go through

[17:25] when he's trying to get his wife pregnant.

[17:27] Yeah.

[17:28] I was first gonna-

[17:29] He'll be like, all confused.

[17:30] Why girl coded as villain of movie?

[17:33] Girl just trying to be good at things

[17:34] and run for high school president.

[17:36] It's complicated.

[17:38] It's complicated, Aug.

[17:40] Tracy's hero of movie, right?

[17:41] Well, Aug, it's a little more complicated than that.

[17:43] I don't, I think the movie's more complicated than that too.

[17:46] Like, I don't think she's coded as the villain.

[17:48] I think that we're supposed to like understand

[17:50] why this like, this person that we're coded to like

[17:55] because he's Matthew Broderick,

[17:57] but then we realize he's a shit heel

[17:58] over the course of things.

[17:59] Yeah, that's true.

[18:00] And that's just kind of his perspective on, anyway.

[18:04] For me, it's the scene where Tracy Flick

[18:05] is complaining to her dorm mates

[18:07] about them being too loud.

[18:08] That's the moment where the movie is like,

[18:10] yeah, but she's not cool, right?

[18:12] Yeah.

[18:12] Yeah, but who was?

[18:13] I mean, like, that's the thing.

[18:14] Like, the part of the problem,

[18:15] the thing that that movie exposes is

[18:17] people who care about things and are, you know,

[18:21] have like specific desires attached to that,

[18:25] like are also difficult and that like causes people

[18:28] not to like them when, you know,

[18:30] likability is not what should, you know, win elections.

[18:33] This is also good stuff for Aug to learn.

[18:36] Yeah, you should learn all this stuff.

[18:37] You should learn this first.

[18:38] It might be a political.

[18:39] Politics is on my list of things to teach Aug.

[18:41] Well, then that's my vote ahead of time.

[18:44] But I was gonna say for high school,

[18:46] like at first I wanted to go with days.

[18:49] You say screwball, Stan.

[18:51] At first I wanted to go with days and confused

[18:53] because I feel like that's a very like

[18:55] sort of realistic depiction of the interaction

[18:58] between teens, but it's on the last day of school

[19:01] and much of it is not about high school itself.

[19:05] They certainly don't do a lot of schoolwork.

[19:07] Yeah, so I'm gonna switch over to a movie

[19:10] that I don't love, but you know,

[19:13] it's, it comes from a book about going back

[19:17] to high school undercover, Fast Times at Ridgemont High.

[19:21] Maybe I would go with.

[19:23] Okay, okay.

[19:25] Yeah, and that'll prep Aug for his love of Judge Reinhold.

[19:30] His love of masturbation.

[19:32] Yeah, I would say it's, again,

[19:35] this is not a movie that I love.

[19:37] It doesn't, but I think The Breakfast Club

[19:39] would get across some of that stuff too.

[19:41] Yeah.

[19:42] Okay.

[19:44] I mean, of course, these are all high schools

[19:46] from, you know, back when we were younger.

[19:48] I don't know for modern high school.

[19:50] I mean, they don't make,

[19:51] I mean, there's High School Musical.

[19:52] That's pretty much it, right?

[19:53] They make a lot of high school movies these days.

[19:55] There's Booksmart.

[19:56] That's a lot of high school too.

[19:57] I liked, I liked Edge of 17 from McClure.

[20:00] years ago. I didn't see that, but I heard it was good. It's good. Yeah. It's a rare

[20:05] movie where you're like, oh, no, these teenagers are acting like teenagers where they make

[20:10] bad choices. I mean, if he wants to learn about middle school, then like eighth grade

[20:14] is yeah. How is that? I always just the concept of a movie about eighth graders stress. I

[20:21] can understand that. I think I actually think it's a really good movie. And I'm someone

[20:26] who often gets a little annoyed by kind of Bo Burnham's stuff. But you find him. Does

[20:33] he do annoying things? It's just not my type of thing. But it is a very good movie. And

[20:37] it's not as much haters. It's not as depressing as it seems like it'll be. OK, wow, man, we're

[20:44] crushing these. How about Family Dynamics? What's a good movie to show? Family Dynamics

[20:52] because I'm from a different type of family dynamic where he is. I don't know. Rides dinosaurs

[20:58] and he can't explain that he doesn't have language. I don't know if this is the maybe

[21:06] the crude. I mean, I feel like crude to be like two on the nose for all this already.

[21:14] It's hard because, you know, all unhappy families are unhappy in their own way, etc., etc. Like

[21:20] I feel like Family Dynamics is so specific. Like I was, you know, like I was going back

[21:26] and forth between like, oh, everything, everywhere, all at once, a lot about Family Dynamics.

[21:30] But yeah, that movie won't confuse Ogg. Yeah, yeah. Specifically tied to an Asian immigrant

[21:37] experience. But like what isn't tied to a specific experience? What good movie isn't

[21:42] like? Yeah, that's that's right. So it's hard to say. It's hard because there's a lot of

[21:46] movie. I mean, because also if you're making a movie about a family, it's often because

[21:49] something bad is happening to that family. And I don't necessarily want to give a bad

[21:52] version. So I think I this is my my gag suggestion is Fast and Furious. It's all about family.

[21:58] But my a good one. But my real suggestion, Adam's family. That's a very honest man.

[22:04] Barry Sonnenfeld, Adam's family. I think it's it's like they're a they're a creepy family,

[22:09] but they are a solid, functional, loving family. They're arguably ooky or spooky, but they're

[22:17] a little kooky. But I think that's if I want to kick in, they would they slap a friend?

[22:22] This is up to debate that we never see it canonically in the film that way and slap.

[22:27] I don't know. He's saying the song, Dan. Yeah, but that that would be that'd be my legitimate

[22:32] one. I feel like if you want to show a movie that where you're like, this is how a family

[22:34] operates when it loves each other, like even maybe don't show the parts for Pugsley and

[22:39] Wednesday trying to murder each other.

[22:40] But still, yeah, that part might be confusing. Yeah. You make fun of me for confusing pics.

[22:45] He's like, I don't know if this is like this is this is a more out of the mainstream family.

[22:51] I don't know. But but also but like, yeah, that just their style, you know, but that fact that

[22:54] like, yeah, they it's a loving husband and wife loving. They love their children. The children

[23:00] are trouble, but they still love them. His brother thinks comes back and he feels so guilty about not

[23:05] finding him before. He's so excited he's there. Like, it's great. There's I feel like, yeah,

[23:09] 100 percent. And it's going to teach people. It's going to teach him about kind of like those

[23:13] kind of type goth aesthetic. Wait, is that Barry Sonnenfeld? Yeah, that's right. Yeah. Those are

[23:19] his best movies, right? Well, he also did get shorty. That's a good one. Get shorty. I love.

[23:26] Yeah, I think. Yeah. And as a director, I think Adam's family or get shorty probably is his best

[23:32] movie. Yeah. Like, I mean, I'm partial to Adam's family values, but that's true. And family values

[23:37] is real. I'm not the man in black is fans. And a lot of people are like, I like it. OK,

[23:41] what else family values? No, I said I'm not the men in black fans. A lot of people are like,

[23:45] I like it. It's fine. It's a really fun movie. It's good. And it has like an all time performance

[23:50] from, you know, it's good. I just put the other ones we mentioned above it. Yes. I mean, I'm

[23:54] sorry. Ratings. I think Adam's family values. I wouldn't show up just yet because I don't think

[23:59] he'd be able to handle Joan. Yeah, yeah. It's too intense. Yeah. What a whirlwind of emotions.

[24:05] OK, I forgot. I forgot he directed nine lives. The movie where Kevin Spacey is a

[24:11] you've had a real fall from grace. Yeah, it's too bad. OK, modern travel.

[24:19] What are we going to show for modern travel, whether that's subways, cars, bikes? I mean,

[24:26] there's one movie that doesn't travel planes, trains and automobiles. Yeah. OK, what's what

[24:31] is that movie? It's called Rat Race. Mission Impossible dead reckoning. Our mutual friend Tom

[24:40] is almost always recommending rat race to us. Really? Yeah. He is not recommended rat race to

[24:46] you. Wait, are we talking about the same time? Yeah. Tom from Huckleberry Travel. Oh, that he

[24:52] loves. So you weren't talking about the same time? No, we weren't. But that's fine. I don't

[24:57] know. I was so scared of people. Yeah, I was not aware that he was such a rat race. He's always

[25:05] like, hey, I love rat race. You want to come watch it? It's like, I guess it's an uneven movie,

[25:10] but they're like two or three scenes that are very funny. Like the rest of it is not very good.

[25:16] A couple of flashes of funny moments in it. Yeah. Yeah. I haven't seen it yet. Maybe I should take

[25:20] Tom up on his. I wouldn't say rush to see it. Don't don't race. Speaking of rush, the movie

[25:26] I would recommend is Premium Rush because I think it gives New York New York geography,

[25:31] which you have to be able to, you know, because the Flophouse is canonically in New York,

[25:37] even though a third of it is in Los Angeles. Yeah. But, you know, like your heart is still

[25:41] in New York, right? For sure. You left us there. I left there slowly dying. But yeah,

[25:47] and I feel like Premium Rush really gets across the concept of, you know, making your way through

[25:52] the big city. And he'll and he'll he'll he'll see Michael Shannon. He'll be like, I knew guys like

[25:58] that back in the Stone Age. I knew guys who had that kind of anger at all the time. He would be

[26:03] Michael Shannon could be a modern man, a caveman. He could be at all. He can do it all. He can be

[26:08] any period of history. Like, yeah, is I mean, but also the thing I love him is performance in

[26:12] Premium Rush so much because it's like he's so genuinely threatening and also such a clumsy,

[26:17] like goof. Yeah. He's constantly failing. But you are worried about it. Like if he if

[26:23] you're worried, he's going to get his hands on the hero, you know, scary.

[26:27] I mean, it's not this character is not scary, but the filmmakers explicitly said, you know,

[26:32] like they're trying to do like a coyote and Roadrunner thing. And it's it shows like on

[26:37] the funny side of things like he is a comically sort of bad luck villain even while he's scary.

[26:45] Yeah. Any any other travel suggestions? We have planes, trains and automobiles.

[26:51] I mean, if we're talking about just a premium rush, if we're talking about movies with Michael

[26:54] Shannon in them to then like Kangaroo Jack, there's a lot of travel in that.

[26:59] Yep. That's you. You remembered that he's in it. I guess. I don't know. Around the world in 80 days

[27:05] has a lot of modes of travel and a lot of countries. Yeah. That's pretty useful for

[27:11] semi-modern travel. Yeah. I mean, you know, let's not air balloons. Yeah. Not a lot of

[27:16] steamships these days. Well, I mean, yeah. And there's there's I mean, a lot of the modern

[27:21] Bond movies, you know, I feel like they're the older ones actually show him traveling more now.

[27:26] It's usually they just cut to another country and it says like Monaco in big letters. We don't have

[27:30] to do that part. Yeah. People are familiar with airplanes now. So maybe an older James Bond movie.

[27:36] How about religion? What movie should we show? You mentioned first reformed religion.

[27:42] First reformed. Yep. That's maybe that does a little double duty there.

[27:46] Now we talk now. The question then is, are we talking about so many religions,

[27:49] Stuart? What are we saying? A specific religion or the idea of religion? Well,

[27:54] if if he has to exist in blend into New York high school society. OK, what? I mean, I think

[28:03] I mean, if it's high school religion, then like what saved, you know, something like that. Not

[28:07] bad. Yeah. But I would also say serious man. Oh, well, I'd like I'd like I'd say maybe Fiddler

[28:13] on the Roof, which is the main character literally is in dialogue with God the entire

[28:17] movie and talks about his religion. You know? Yeah. I mean, in in America, there's a broad

[28:23] spectrum of religions, but probably for the most part, he's going to encounter

[28:27] a culturally Judeo-Christian stuff. So maybe like do a double feature slap a Jesus Christ

[28:34] superstar onto there. Yeah. I think probably not like the serpent in the rainbow. That wouldn't

[28:38] give him an idea of like the the mainstream American religion. Yeah. I'm trying to see.

[28:43] I'm like, you know, see if there's something that gives more of a spectrum. But

[28:47] what do you do? I see Exodus, gods and kings.

[28:54] God's not dead. Is that showing Bill Mars religious?

[28:59] I feel like that's going to be. Well, we showed we showed it.

[29:06] Yeah, well, I hit himself with his club until he died.

[29:10] We just we just last weekend were in Boston for our Boston show when we were recording this.

[29:15] And I was took a walk around and at the Boston Music Center or whatever it was,

[29:18] the one near Fenway, there was a big, big electronic sign up advertising that Bill

[29:24] Mars was going to be there. And I was like, oh, man, like a man, like I kind of I kind of wish

[29:29] that that we were opening for him or something like that. So we just mess up that show.

[29:34] Just ruin it. Kill the plug, everything and run. Yeah. My wife and I celebrated our was at our I

[29:42] think it was our one of our it might have been our last wedding anniversary. We went down to it

[29:46] was kind of last minute. So we we went down to Atlantic City and we were getting dinner at the

[29:51] Borgata. And we just saw a big sign that said that Sebastian Maniscalco was going to be there

[29:55] of all places, Atlantic City. No. And I was like, Charlene, it's your guy.

[30:00] Did you choose to meet there because they'd blown up the chicken man in Philly last night?

[30:04] Wait, wait, wait. I don't get that reference.

[30:08] Elliott, you're from New Jersey. You should understand this.

[30:12] It's a, it's a Springsteen song. It's a very famous one. Atlantic City.

[30:17] Oh, I don't, I'll, I'll, look, I'll be honest.

[30:18] He's a billionaire. I don't listen to his music anymore.

[30:20] This is the shame of my, the shame of my, of my life is I don't really connect to Springsteen's

[30:26] music very much. My dad loves him. My brother loves him. My brother will be like, yeah,

[30:30] yeah. I took a trip to Iceland. Bruce Springsteen was playing there and I wanted to see him,

[30:34] you know?

[30:35] Wow.

[30:36] But, uh,

[30:37] I mean, that's what Bruce Springsteen songs are all about is Iceland. I'll just, I'll

[30:40] just box up that joke and submit it to the now over with Scott Aukerman, uh, Adam Scott

[30:47] Springsteen series.

[30:48] The thing is, Dan, I guarantee you'll get like one or two DMS from people that are like

[30:52] Stuart and Elliot are crazy for not getting that reference. You're the best, man.

[30:56] One of the movies from Brian Davis.

[30:58] Yeah. This DM comes from my wife.

[31:01] So I'm going to, I'm going to recommend a movie that I think, uh, I'm going to recommend

[31:06] two movies for this one for religion that I feel like maybe they're not the most best

[31:10] or most accessible movies. One of them I think is an amazing movie, but it's not the most

[31:13] accessible and the other one is okay, it's fine, but they're both about kind of religious

[31:19] belief and the questions surrounding that. And one of those is silence, the Martin Scorsese

[31:25] movie, which I think is an amazing movie and should have gotten more attention from the

[31:28] world. And the other is leap of faith with Steve Martin, which leap of faith when it

[31:32] came out, they sold it as like funny man.

[31:35] Steve Martin is at it again this time. He's a, he's an evangelist, but when you see it,

[31:38] it's like, it's about a guy who is coming to terms with the fact that he is playing

[31:42] on the faith of other people for greedy reasons. And when things start, when he starts, when

[31:48] that faith starts to become real in a way, he has trouble handling it. You know, it's,

[31:52] and I think that as it's something I haven't seen in years, but I remember it making a

[31:55] strong impression on me that it was felt more, much more complicated than I thought it was

[31:59] going to be going into it. Not as funny as I thought it was going to be about like why

[32:04] people are religious, but also the pitfalls that come with that, you know, when you said

[32:08] about why and like pitfalls, I thought you were going to go with life of Brian, which

[32:11] is also about, you know, sort of, uh, the lighter side of religion. Dave Berg's the

[32:18] lighter side. Uh, no, but it has like some stuff about sort of the way religions form

[32:26] that could, uh, be useful. I think, I think life of Brian doesn't have is it doesn't have

[32:30] the, it is about the pitfalls of religion and how a good message can be kind of twisted

[32:36] or become covered, but it doesn't have the, it doesn't really deal with the concept of

[32:40] actual faith or the, or then that kind of not knowing or knowing, you know, but it's

[32:45] such a great movie. Fantastic. And then I will be, I will be impressed by Graham Chapman's

[32:49] penis. Yeah, he's going to, yeah. I'll, I'll, uh, take a mental snapshot. So, uh, or you

[32:56] could take a real snapshot. It's up to him. Yeah. I could do what he likes. Yeah. Uh,

[33:00] there's no teaching him how to use a camera. As I said, I guess autofocus. Um, yeah, yeah.

[33:08] Og over here. Uh, yeah. Or there's segments of, uh, road to perdition. Yeah, sure. Yeah.

[33:15] Camera prominently used. So Og here doesn't, uh, doesn't, you know, doesn't come from a

[33:19] capitalist society. So he probably doesn't understand the idea of like going to work,

[33:23] going to a work day, uh, working for the man. So what would be a good, good movie to show

[33:29] Og what it's like to be working? Uh, this is day nine to five because then there's a

[33:36] movie that might be appropriate for that. That's nine to five is a solid answer. Yeah.

[33:41] That's, I mean, nine to five was came to mind when nine to five and working girl both came

[33:44] to mind. Yeah. I mean, blue collar comes to mind if we're doing, if we're showing a Neanderthal

[33:54] only pulse rate. So, so everyone pervert who keeps journal. Okay. We're going to show them

[34:02] these movies about how women get screwed in the workplace. And then we're going to show

[34:04] them this movie about how capitalism screws everyone in the workplace. Yeah. I mean this,

[34:09] yeah. Then Og suddenly is like super into online poker. What's going on? Uh, I was going to say,

[34:17] it does seem more likely that Og would get a job at a car factory than rather than a job at a,

[34:21] a working girl or nine to five type office job, you know, which is not to say anything bad about

[34:25] those, but, uh, I think he's more likely to work a blue collar job. He doesn't have a degree.

[34:30] I also like the, the last couple, the, the movies we just mentioned are all pretty old and I,

[34:37] I've had this like kind of weird issue with a lot of media, whether it's TV or movies that I feel

[34:42] like, uh, there's a certain, there's a certain increase in lifestyle porn to it or it's very

[34:48] much so they'll like the stories of blue collar folks, uh, or like working class folks just aren't

[34:53] being told anymore. And, uh, like everybody's houses are fucking huge. And, uh, so like,

[35:01] do they make movies about, about this stuff anymore? Uh, they do, but they're not big

[35:08] release movies. You know, they're not, they're not the kinds of movies that get,

[35:11] that get into every theater the way they used to. There's certainly fewer movies where the

[35:15] main character by default is not rich or at least has any kind of money where, I mean,

[35:19] like I recently on, on father's day, my kids and I went to go see ET and just the fact that like

[35:24] that family is doing okay, but they're not rich. Whereas now that would be a story about either a

[35:29] rich kid or a kid who has no money and is at the poverty line. Like there's nothing,

[35:33] there's no kind of in the middle where someone is not, can't just buy whatever they want,

[35:39] but it's not constantly, you know, in the, in danger of falling into debt.

[35:43] Those are the only extremes that we see a lot, but it's mostly rich stuff that we see.

[35:47] I was going to say like, it was, it's like, uh, you know, like a couple of months ago,

[35:51] I went and saw Silence of the Lambs in the theater as part of Matt Singer's, uh, series

[35:56] about, uh, uh, Siskel and Ebert thumbs up, thumbs down pairings where he would, he showed two movies,

[36:02] one that Ebert gave a thumbs up, one Siskel gave a thumbs down to, and then did the inverse for

[36:07] the other screening. I can't remember what the other movie was, but, uh, Gene Siskel did not

[36:12] like, uh, Silence of the Lambs. He said it was too, uh, you know, like too what flashy or

[36:17] something too, like, uh, you know, it's, it's a, it's a weird argument. It makes sense. No,

[36:24] just like to like, uh, sensational, I think sensational would be, is a better term.

[36:29] And especially like when watching it, so much of it takes place in these like small,

[36:35] like steel towns and shit like that. And like all the extras look like regular people and

[36:40] they dress like regular people. And, uh, it's watching it on this big screen. Like you would,

[36:47] like, I guess my memory had been so wrapped up in the, like the mythologizing of Hannibal Lecter

[36:54] that you kind of forget that it's like a movie set in like America basically.

[36:59] Yeah. There's a, I was trying to say that. Well, no, just Jonathan Timmy's like,

[37:04] like one of the best at just sort of capturing like on the ground,

[37:09] what feels like normal life. And he brings it to what's, you know, like this sort of sensationalist

[37:15] potboiler. Yeah. What you're saying, sir, it reminds me of a recently also, I was,

[37:19] I hadn't watched slap shot in many, many years and I was watching that again.

[37:23] And I'm like, Oh, the kids, I would imagine. Yeah. They loved it. I mean, Sammy loves sports movies.

[37:27] So I'm like, Oh, you're going to love this. Um, we went to the inside out too. And I was like,

[37:31] Sammy, did you like it? And he goes, yeah, there was a lot more hockey than I thought there was

[37:34] going to be, but, uh, the poster there's the part in slap shot, like the characters it's the,

[37:40] it's similar. It looked like they're in real, real feeling places, real feeling clothes.

[37:43] And he goes to the owner of the team's house. And in the, in that movie, that house is supposed to

[37:48] be like a really luxurious, big house. And watching, I was like, this is the house that

[37:52] every character in movies lives in now. Like this would just be a normal house in a movie now,

[37:56] not like people, we don't get to see as many movies where people don't have

[38:01] for me, the crazy frog is just a regular frog. Yeah. Yeah.

[38:04] Yeah. Uh, but I was going to say another work movie that maybe I'll go enjoy is monsters,

[38:09] Inc. Very much about having a job, needing to do it, not being, having ambitions to do a different

[38:15] job, you know, needing to deal with interpersonal rivalry with coworkers. You know, I think it's

[38:20] kind of fucked up. We didn't suggest the Flintstones or Flintstones Viva rock Vegas.

[38:25] I feel like I would really connect. Like he was shooting the parallels.

[38:30] I feel it's the opposite. I feel he'd be like, Oh, this is what you think is

[38:34] this. You know, that kind of thing. Yeah. Well, it would also be confused.

[38:39] It would just be confusing. It would feel like science fiction to him. Like it'd be like, wait,

[38:43] this is not, this is not the way it was. This is some weird mashup. Yeah. I don't understand.

[38:48] This hurts all his brain. And the thing is, I would have no understanding of dinosaurs. He

[38:52] would none at all. So yeah, he would just think they were crazy monsters. Yeah.

[39:01] My name is Jordan Cruciola and I love movies, but you know what I might love even more talking

[39:07] about movies and the directors, actors, and writers that join me every week on Feeling

[39:11] Seen love to talk about movies too. Like our recent cohost, the writer and director, Justin

[39:17] Simeon. And I love the premise of your show Feeling Seen. I think that's kind of always my

[39:22] goal when I'm making something. Nothing touches my heart more than when someone comes out of my

[39:26] movie and says, Oh my God, I never thought I would see myself. So hang out with us and geek out about

[39:30] watching movies, making movies and the ways the movies we love speak to us directly. You might

[39:35] just start asking folks around you. Hey, what movie character made you feel seen? We're doing

[39:39] it every week at maximumfun.org. The greatest generation has been going on for more than eight

[39:48] years. And if you've been greatest gen curious, but have never taken the leap, we recommend

[39:53] exploring your greatest gen curiosity in a safe, fun environment with partners you can trust.

[40:00] Right now is one of the best times ever to become a new listener.

[40:03] That's because we just started covering a new Star Trek series,

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[40:13] This is your chance to ease in to the greatest generation lifestyle,

[40:18] the greatest generation now covering Star Trek Enterprise.

[40:21] The one with Scott Bakula every Monday

[40:24] on Maximum Fund dot org or in your podcast app.

[40:28] Hey there, it's Dan with some Novocaine garbled announcements.

[40:33] That's right. I went to the dentist.

[40:36] They pumped me full of Novocaine.

[40:38] It was still painful when they tried to pull my back tooth.

[40:42] And so they said, go home.

[40:44] We're sending to another place tomorrow where you can get some gas.

[40:48] So I have a mouthful of a half

[40:51] worked on tooth and a bunch of drugs.

[40:54] Can I talk so you can understand me?

[40:57] Let's see.

[40:59] Hey, this podcast is sponsored by listeners like you,

[41:04] mostly by being members of Max Fun.

[41:07] You can check that out over at Maximum Fund dot org.

[41:10] But some folks also get j-j-j-j-jumbotrons

[41:15] for their friends, loved ones and various hangers on.

[41:20] This one is for future Dr.

[41:23] Emily, last name withheld from her mostly excellent partner.

[41:29] Welcome to middle age.

[41:31] Looking forward to growing much older

[41:33] alongside you as we make new memories and revisit the same old places

[41:37] like Hanselman's Bar during Jewish Christmas.

[41:40] Love you, my sympathetic string.

[41:44] Yeah, welcome to middle age indeed.

[41:48] Also, hey,

[41:51] we just announced recently Flop TV.

[41:53] You may be wondering what is Flop TV?

[41:55] It's our full season of six monthly video live streams.

[42:00] That's right.

[42:00] We've taken sort of our live shows, crammed them down to an hour,

[42:05] added some Zazz, some Zazzle to make them more like a streaming TV show.

[42:09] You can see him the first Saturday of every month from September through February.

[42:19] Sorry, my brain is still in that dentist chair.

[42:24] So this season we're talking about bad sequels.

[42:27] That sounds fun, right?

[42:29] It's the second one of the Flop TV seasons.

[42:31] So we're talking about number twos.

[42:33] We're talking about on September 7th,

[42:35] Robocop 2 on on on October 5th.

[42:40] It's breaking to Electric Boogaloo,

[42:42] the movie with a subtitle that was a joke for years.

[42:47] November to Caddyshack to a sequel to a comedy that I'll be honest,

[42:52] despite my age, I never found it all that funny.

[42:56] So to hear that Caddyshack 2 is a big step down.

[43:01] Oh, boy.

[43:02] December 7th, Highlander 2, the quickening.

[43:05] I hear that some people really are partisans for this one.

[43:09] I'm curious to see.

[43:11] I might have a good time.

[43:13] Who knows?

[43:14] January 4th, Ski School 2.

[43:17] Stuart loves the ski school movies.

[43:19] We know this. He talks about all the time.

[43:21] So we're going to talk about the second one.

[43:23] Will we learn anything about the first one along the way?

[43:25] Who knows? Probably.

[43:27] February 1st, Teenage Mutant Ninja Turtles 2, the secret of the ooze.

[43:33] Finally, we'll know what's going on with that damn ooze.

[43:39] You can purchase individual show tickets

[43:41] for seven dollars or discount for thirty five dollars for the whole season.

[43:48] Now, I will say there are a few.

[43:53] What do you call them?

[43:55] You know, there's some fees,

[43:57] some ticketing service fees that make it a couple of dollars more than those things.

[44:02] I'm sorry about that.

[44:03] You know, we're a small organization.

[44:05] We have to use a ticketing service, but that's what it is.

[44:07] Seven dollars per show.

[44:09] Thirty five for the whole season.

[44:11] You get a price break.

[44:12] It's like getting one show for free.

[44:15] And if you're interested, go to the Flophouse dot SimpleTix dot com.

[44:19] The Flophouse dot SimpleTix dot com is where the information is and ticket links.

[44:25] And you can also go to just our website, Flophouse podcast dot com.

[44:29] And if you click on that events link, you'll get the same info.

[44:34] So, uh, yeah, let's go back to the show.

[44:37] Why not?

[44:38] OK, so what about the concept of growing up or growing old?

[44:44] Oh.

[44:46] I mean, I we have to dig out the link ladder here, I think, like either the

[44:52] like cheat and put in the hole before trilogy or that would also cover the basis

[44:58] of love, boyhood, a movie that I didn't like as much as everyone did.

[45:02] But, you know, it does what what it's supposed to.

[45:05] What you didn't like that the kid got older.

[45:08] I don't know. I just didn't find the kid that interesting.

[45:10] Like even even if you're going to do this movie about like the passage of time,

[45:14] like and I understand that like now I feel like I'm criticizing a real person

[45:17] because it was sort of like, you know, developed alongside the kid's actual life.

[45:23] But I don't know.

[45:24] I just I found, you know, the parents more compelling than the kid.

[45:30] Yes, I think that I think it is it is slightly hurt by the fact that the the

[45:35] parents are played by two amazing actors who are bringing a lot to it.

[45:38] And the kid is just kind of living life.

[45:40] But also Richard Linklater, I think, is more interested in that period of life

[45:44] when you are a teenager and you think you know everything about the world and you

[45:47] have your philosophies and your dreams than I personally am.

[45:50] So when I was watching the movie, too,

[45:51] I was like, I don't give a shit what this kid thinks like the parent.

[45:55] There's the scene where his art teacher,

[45:57] his photography teacher is like, look, you're more talented than other people,

[46:01] but you're not trying at all and they're going to get jobs and you're not going

[46:04] to get them because they're going to do the work and you're not going to do it

[46:08] because you think you can just skate by on talent.

[46:10] And I was like this.

[46:11] I was like, I haven't I'm not used to seeing this kind of scene.

[46:13] And this is exactly what this kid needs to hear.

[46:15] And then the movie was kind of like, yeah, but he's not really listening anyway.

[46:19] And it just kind of went off in its direction.

[46:20] I was like, oh, this kid had had a chance anyway.

[46:23] So you do that.

[46:24] There's also a straight up and fly right kid.

[46:27] This is more about it.

[46:28] Yeah, I mean, that is kind of my message to the kids of America.

[46:32] But the this is more about old age than it is about youth.

[46:35] But like Nebraska, I feel like it's a good movie for like

[46:38] what it feels like to be older, to have another Alexander Payne.

[46:42] Yeah.

[46:44] So it really punches up the fact that only

[46:46] a few working directors are saying anything substantive.

[46:51] Life.

[46:53] But I mean, I mean, I enjoy the genre garbage, too.

[46:57] Don't get me wrong. Don't get mad at me for.

[46:59] No, but it would be very easy on movies.

[47:01] It would be nice if there was a greater variety of tones of film and and kind

[47:06] of levels of complexity of film in your in your modern day multiplex.

[47:10] You know? Yeah, yeah.

[47:11] Why can't I just go see the Fall Guy all the time?

[47:13] Yeah. Movie that I loved.

[47:15] I mean, you can now you can own it now.

[47:17] I want to do so. That's amazing.

[47:19] I can't say that.

[47:21] When can I get my Criterion collection?

[47:23] Blu-ray of the Fall Guy?

[47:25] It'll probably be a while down the road.

[47:27] I feel like it has to be reclaimed critically as a, you know,

[47:32] effervescent entertainment of years past.

[47:36] Yeah, that makes sense.

[47:37] OK, so

[47:40] death, what are we going to show show to get across the concept of death and dying?

[47:46] I mean, there's a whole movie that's

[47:47] literally just about the faces of death.

[47:50] Yep.

[47:52] Yep. Obviously, Final Destination is a solid option.

[47:57] I mean, it kind of is because like both

[47:59] that and it follows are about the inevitability of death.

[48:03] I don't know if Final Destination is in quite the same way that it follows.

[48:07] I mean, look, is one artier?

[48:10] Sure. But like that's that is the fundamental

[48:12] thing about the Final Destination movies is like, yeah, you can make death skip over

[48:17] you for a little while, but it's eventually going to catch up to you.

[48:20] And that's kind of like what makes them like not not to.

[48:24] But like, do you feel like I feel like it

[48:26] follows is more about like growing up too fast than it is about like death.

[48:31] I don't know. It follows to me was about it was about death and about that.

[48:35] The you cannot avoid it.

[48:36] And the only way to deal with it is to make connections with other people.

[48:39] That's what I got from it.

[48:40] Like that last that last if I'm remembering correctly, I haven't seen in years.

[48:44] But that last shot of the end where

[48:45] they're walking and there's kind of like a blurred figure behind them.

[48:48] And you don't know if it's the it or

[48:50] something else and they just kind of hold hands.

[48:52] It's like that's all we can do.

[48:53] We're all being followed by death.

[48:54] And all we can do is love each other.

[48:56] In the meantime, I was watching you the other day, but I mainly got distracted

[48:59] because the one character has an e-reader that is like a little clamshell.

[49:03] Yeah, it's incredible. Yeah.

[49:04] That's amazing.

[49:06] What an amazing choice that is.

[49:07] That was that's one of the things that I

[49:10] didn't even sort of notice when I first saw it.

[49:13] Like it registered is like, oh, that's weird.

[49:15] But like the intent was that this is like a reality sort of different from our own,

[49:20] maybe like a little in the future or whatever.

[49:22] Like I know from like.

[49:24] Reading interviews with the director,

[49:26] but the rest of the movie is so grounded in everyday reality as it exists,

[49:32] that it didn't even like occur to me that that could be possible.

[49:35] Yeah, but even that but like that's another one, though, where like that's

[49:39] a movie that feels like it's taking place in real places like we were talking about.

[49:42] Like it's they've got, oh, yeah, she's got a little clam e-reader,

[49:46] but also like they have an above ground pool, you know, like it's a it's that's

[49:50] and that's what the future is going to be, all the crap that we have now with a bunch

[49:55] of new stuff tossed on top of it, you know, it's not going to be all new stuff.

[49:59] It's like.

[50:00] And when a movie, uh, when like, like I was complaining about Maxine,

[50:05] which is a movie that I like quite a bit, but it feels a little bit like it's

[50:07] cosplaying the eighties where it's like, everything is exactly what you would

[50:11] imagine from the eighties.

[50:12] Whereas like in the actual eighties, most of the shit people had was from the

[50:16] seventies.

[50:16] Yes.

[50:17] Yeah.

[50:17] Very much.

[50:18] So I feel like that's a concept that like this set design and costuming in a

[50:21] show like Mad Men actually got a, got a PR had a pretty good understanding of.

[50:25] I mean, they did Mad Men, they did such a good job of it that like, yeah,

[50:28] it wasn't just everything.

[50:29] Everyone didn't dress 60 style.

[50:31] I mean, also the fact that fucking Goldberg's or something.

[50:34] Yeah.

[50:34] Or like the wedding singer or something like that.

[50:36] Yeah.

[50:36] Thank you.

[50:38] Uh, okay.

[50:39] So man, we're, we're, yeah, we just talked about death.

[50:45] Uh, I don't know what, uh, I don't think we actually said anything, but that's

[50:49] fine because, uh, you know, we gotta keep moving, right?

[50:52] Yeah.

[50:52] We gotta, we gotta keep moving.

[50:53] Uh, love what's a good movie to introduce to the concept of love.

[50:59] Uh, love, romantic love, romantic love, not just the physical act of love.

[51:03] Yeah.

[51:04] And not just a number of short clips.

[51:06] I can share.

[51:10] I know this isn't the full thing.

[51:11] It's fine.

[51:11] We could just watch the preview.

[51:12] It'll give you the gist of it.

[51:14] Mm.

[51:17] Uh, movies about love.

[51:19] I don't think they've made any movies about love.

[51:20] Yeah.

[51:21] I'm not familiar.

[51:21] I don't think they do a lot of that.

[51:23] I mean, to be honest, this is a movie that a lot of people don't like, but I've

[51:27] talked about it before on the podcast because it can't, I saw it at a very

[51:31] important time in my life when I went to see it with my wife, when we were falling

[51:34] in love and that's the fountain, the Darren Aronofsky movie, and that's a movie

[51:38] that is about a man who loves a woman so much that he spends the rest of eternity.

[51:42] Basically trying to find the way to bring her to life.

[51:45] And so that's a healthy, that's a healthy way to process your emotions.

[51:50] I'm trying to find one where like, I mean, my biggest problem with a lot

[51:53] of movies about love is they don't.

[51:54] Dan just scrolled past portrait of a lady on fire.

[51:56] I'm showing that shit.

[51:57] I love it.

[51:59] Thanks.

[52:00] Uh, the, the main problem I have with movies about love is so many of them

[52:03] sort of actually don't actually show the process of falling in love.

[52:09] They kind of like skip over and expect you to be like, you know, like, and of

[52:15] course, you know, I don't know.

[52:18] It's preordained that these two people like each other.

[52:22] Yeah.

[52:24] Yep.

[52:25] Well,

[52:29] the zoom doesn't cause any problems.

[52:31] No, I, I just, I look, I was doing that on purpose.

[52:35] Okay.

[52:36] You know, so many romantic comedies are like people meet, they fall in love

[52:40] because it's love at first sight.

[52:42] They break up for equally dumb reasons and then they get back together and

[52:45] we're supposed to be like, yeah, great.

[52:47] Um, and I was looking for one that sort of shows the process at least.

[52:51] And I don't know, it's a wacky pick, but it's the first one that came up that

[52:55] met the criteria is, uh, that movie Palm Springs, which is sort of a groundhog

[53:00] day scenario, romantic comedy, where at least you spend time with these people

[53:04] and you understand like why they grow to like one another.

[53:08] Yeah.

[53:09] Um, I've got a couple of based on that, Dan, you've, you've

[53:11] really made me think about it.

[53:12] And that basically we already talked about the before movies.

[53:16] Like, I feel like that's, that, that does a really good job of like, because

[53:20] they're not with each other at the end, you know, they have that, that moment

[53:23] and then eventually comes back, but also like past lives is very much about that

[53:26] to me, like you see them getting closer from afar, you know, and building that

[53:31] relationship, um, even if it doesn't end up in the end, you know, part of the

[53:35] concept of love is understanding that it might not work out and you can't possess

[53:41] someone like portrait of a lady on fire.

[53:44] I, I object to this only from the standpoint of like, for me, the theme of

[53:48] past lives is not so much that these people are like actually falling in love.

[53:52] It's that they are witnessing a different course that their life might

[53:57] have taken and feeling a certain, like feeling about that and feeling about it.

[54:03] The major part of that different course is them being in a loving relationship.

[54:08] With John Magaro, indie movie, darling.

[54:10] Uh, yeah, but that's my point.

[54:12] Like, I think that like, it's a movie about even if you have sort of a, uh,

[54:18] romantic relationship that you like, and you have no interest in disrupting, like

[54:22] there are all these paths that close off to you as you go older and it's okay to

[54:27] feel a little sad about those things.

[54:29] Like, I, like, I, like, I feel like the love there is like the love that endures

[54:33] on the, on the side of the marriage, not this sort of fantasy of something.

[54:40] Yeah, that's fine.

[54:42] It's still love.

[54:43] It's still a movie about love.

[54:44] Okay.

[54:45] It's still love.

[54:45] Okay.

[54:46] Um, clothes, clothes, clothes.

[54:52] Yeah.

[54:52] Og doesn't have clothes.

[54:53] Okay.

[54:54] He's not used to clothes.

[54:55] Why we wear them.

[54:56] Like phantom thread.

[54:59] I was going to say, I was going to say the birdcage cause they were some sick fits.

[55:03] You just want to talk about clothes, good clothes, movies.

[55:08] Um, we've talked about trap.

[55:09] What about pets?

[55:10] The concept of having pets.

[55:13] Uh, I'm not the secret life of pets cause I haven't seen it.

[55:18] And I think it's about pets doing things that pets don't actually give an erroneous

[55:22] view of pets and how they interact with things.

[55:24] What was about, what about that cats and dogs movie where they're like spies?

[55:28] Hmm.

[55:29] Cats and dogs.

[55:30] Yeah.

[55:31] Or are you talking about cats and dogs to the return of kitty galore?

[55:35] What'd you say?

[55:35] I was talking about that.

[55:36] That's the one he was talking about.

[55:37] Pussy galore and off color double entendre.

[55:41] I think I'm going to recommend, uh, we're trying to teach, uh, Og about pets.

[55:47] Um, I think then, I mean, this is a, this is a sad movie, but like Kez, the, the

[55:53] British movie about the, the boy who at the Ken Loach movie about the boy who

[55:56] gets a pet Kestrel, and it's like the one kind of beautiful thing in his life

[56:00] for the time that he has it.

[56:01] Um, that's one about the relationship that can build between a human and an animal.

[56:05] You know, how about old yeller?

[56:07] We just, uh, yeah, yeah.

[56:11] Yeah.

[56:11] Do you sad ones?

[56:12] Like, uh, can you ever forgive me?

[56:15] That's, that's got a really sad moment in it.

[56:19] And I feel like I can take away some other really cool stuff about

[56:22] nineties, New York from, can you ever forgive me?

[56:24] Sure.

[56:24] Yeah.

[56:25] Mm-hmm.

[56:27] Yeah.

[56:28] Okay.

[56:28] And let's wrap this up.

[56:30] Ogg, Ogg needs to learn one more thing and learn about art.

[56:34] What is a good movie?

[56:36] What is the movie to teach him about art and the process of making

[56:40] it and what art means to people?

[56:42] Um, interesting.

[56:44] It's like all these things are like, there's so many facets of the different

[56:47] thing, like if you want Ogg's a complicated guy, if you want like a movie

[56:54] about sort of like what, like the business side of art and like the weird

[56:59] ways in which the art world exists today, there's something like exit

[57:03] through the gift shop, or if you want like sort of more of a, I don't

[57:08] know, a movie about process.

[57:09] I forget what, what's that movie.

[57:11] That's just like someone painting someone for like three hours.

[57:15] What am I thinking of?

[57:16] Uh, manual beer, beer, tuna, or the one I remember you.

[57:20] I remember, no, I remember hearing about it, but I don't remember the

[57:23] name of it, but I know the one you're talking about, I think.

[57:25] I'm surprised Dan didn't already say the artist.

[57:28] Yeah, the award-winning title.

[57:30] I, so two movies I would recommend then, uh, neither of the most, the most

[57:37] accessible, I guess, in some ways it's like there are, I would look at not

[57:42] the whole movie, but the portion of Andre Rublev that is about the making

[57:46] of that giant church bell and just how, um, how much work goes into it and how

[57:51] important it is to the guy who's running the, um, the operation and everything

[57:56] like that, how he becomes an artist through doing that.

[57:59] Uh, but also like, I don't know, like this is a, this is a bonkers one, but

[58:04] like velvet buzzsaw, which I think is not a lot of people's favorites.

[58:07] That's a bonkers.

[58:08] Well, it is like, it's a satire on the art world, but also at the very end of

[58:13] it, the scene where John Malkovich is just kind of drawing things in the sand.

[58:17] He's drawing these designs in the sands that will not last.

[58:20] And he is the one character who doesn't get horribly mangled or murdered

[58:23] because he's just making art for the sake of doing it rather than for the sale of

[58:27] it.

[58:27] And he knows that those designs he's creating are not going to last.

[58:30] They'll go away as soon as he makes them.

[58:31] But the process of making art is so, it's so enjoyable to him that he's, uh, he's,

[58:37] that he's, uh, kind of, he's making art for the reason to make art, which is to

[58:41] make art rather than to sell it.

[58:43] So I think that the, by the end, I found that moment, that movie really, really

[58:46] touching, even though a lot of the other stuff in the movie is, is like all over

[58:50] the place.

[58:51] It's a little silly.

[58:52] I found the movie I was thinking of by correctly identifying the actress by the

[58:56] model.

[58:56] It's a, it's LaBelle Noises.

[59:00] Oh, that's not the one that I said that terribly, but, uh, what about, what would

[59:04] you guys think about Ed Wood?

[59:05] Well, it's a movie about someone who's not a talented artist, but it's so driven

[59:08] to create and is so passionate about it and creates this kind of community of

[59:12] people through the action of making art, even if the art he's making is terrible.

[59:17] Oh, kind of along those lines, maybe something like American movie.

[59:20] Oh yeah.

[59:21] Along those lines.

[59:22] Yeah, American movie's a great one.

[59:23] Yeah.

[59:23] Be Kind Rewind.

[59:25] Yeah.

[59:26] Also sort of just the joy of creating a thing, even though they're recreating a

[59:29] thing.

[59:30] I think that's the, I think rather than, I think that's it.

[59:32] If I w we would want to show Aug something that is about the act of creation

[59:36] rather than about this cultural idea of art, maybe, you know, start them on the

[59:40] right track at least.

[59:41] Cause you know, you know, he's probably like made some handprints in some caves.

[59:45] Maybe he's, he's painted like a buffalo or something.

[59:48] Aug is nodding.

[59:49] Yeah.

[59:49] Oh yeah.

[59:50] Oh, that's nice.

[59:50] So he understands that desire to make your mark on the, on the physical world

[59:55] and to make your imagination visual, but he doesn't need to know just yet that

[59:58] like there's millions.

[1:00:00] to be made if you cut up a fucking shark and put it from all behind.

[1:00:03] He doesn't need to be hampered by, I don't know, preconceived notions of what is good

[1:00:07] or bad art.

[1:00:08] Yes.

[1:00:09] Just the act of creation.

[1:00:10] The act of creation, exactly.

[1:00:12] Okay, well I think we actually have, this is a pretty good list of movies.

[1:00:16] We probably should start popping them in the old DVD player and showing all of these movies

[1:00:20] before mom comes home.

[1:00:22] It's going to take a while.

[1:00:23] Well, you know, let's buckle our freak belts on.

[1:00:26] So this has been a Flophouse Mini.

[1:00:29] We are a product of the, well, we're part of the Max Podcast.

[1:00:33] Yeah, we're a product of ourselves, Stuart.

[1:00:35] Exactly.

[1:00:36] That's true.

[1:00:37] Yeah, we're a small business.

[1:00:38] You know, we're independent art.

[1:00:39] I prefer to think of myself as a person and not a product, but I guess we're all products

[1:00:42] these days.

[1:00:43] Yeah.

[1:00:44] Well, you know, we're incorporated.

[1:00:45] Can I recommend another art movie for us?

[1:00:47] Yeah, of course.

[1:00:48] It's similar to the stuff we're talking about, but like American Splendor is another one

[1:00:51] that I would consider showing, you know.

[1:00:53] Okay, toss it on the pile.

[1:00:56] Dan's getting stressed out about all the movies we haven't watched.

[1:01:00] The movies that we have to watch for this hypothetical situation.

[1:01:03] I want to understand modern life.

[1:01:06] Yeah, I'll throw in the square so he understands what museums are like.

[1:01:10] Yeah.

[1:01:11] I wonder, maybe we just need to show movies with modern in the title.

[1:01:14] Modern Romance, Modern Problems.

[1:01:16] Modern Problems.

[1:01:17] Yeah.

[1:01:18] Yeah.

[1:01:19] Well, that's it.

[1:01:20] Those are the only two.

[1:01:21] Yeah.

[1:01:22] Those are the only two.

[1:01:23] Early Modern Millie.

[1:01:24] Uh-huh.

[1:01:25] Yeah.

[1:01:26] So this is the Flophouse.

[1:01:27] We are edited by Alex Smith.

[1:01:29] He goes by HowlDotty all over the place.

[1:01:31] He's got a new album out.

[1:01:32] Go check it out.

[1:01:33] All over the place.

[1:01:34] All over the place.

[1:01:36] I stand by it.

[1:01:38] I am Stuart Wellington.

[1:01:40] I'm Dan McCoy.

[1:01:41] I'm Elliot Kalin.

[1:01:42] Okay.

[1:01:43] Bye.

[1:01:44] There's a kind of hush all over the place tonight.

[1:01:56] Maximum Fun.

[1:01:57] A worker-owned network of artists-owned shows supported directly by you.

FH Mini 110 - Encino Dan

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