Wes Anderson is more than his aesthetic, and Asteroid City is more than a beautiful postcard. This film begs this question though, is there more to life? Then, Celine Song's Past Lives! 'Past Lives' is a Korean force of a movie, an emotional tour de force that you will never forget, but you have to watch! Asteroid City and Past Lives movie reviews and deep dives, join us!
What if there's a whole new universe waiting to be discovered - a universe created by the enigmatic Wes Anderson? Get ready to get lost in this episode as we navigate the tightly-woven visual tapestry of Anderson's 'Asteroid City', decoding the intricate relationships of its characters and the complexities of a play within a movie within life. Listen in as we engage in a hopefully thought-provoking debate on the auteur that is Wes Anderson, and marvel at the performances Jason Schwartzman, Scarlett Johansson, Tom Hanks, Steve Carell, Liev Schreiber, and so many more *cough, Barbie, cough.*
But our cinematic journey doesn't stop there. We venture into the emotional depths of Celine Song's 'Past Lives', as we examine its powerful portrayal of love, relationships, and the ordinary. Hear our analysis of the film's Korean cultural influences, its portrayal of a complex love triangle, and how it subtly avoids clichéd narratives. Join our discussion on the profound differences in loves, romantic and otherwise, and the amazing Korean concept In-Yun. Also, Teo Yoo gives one of the best performances from a leading man, maybe ever. Do not miss this film.
Life is a series of choices, but what about the life we don't choose - the 'ghost ship life'? We share our personal reflections on this concept and how it has influenced our own lives. We wrap up our conversation by expressing our admiration for the transformative power of movies and how they transport us to a different world. Don't miss this episode - it's a celebration of cinema and an exploration of life's intriguing possibilities- fate?
Your 'what ifs' build a life on their own, but you can only view it from the shore. And these two films explore both sides of that coin, please enjoy them and then listen to this episode- might be my favorite one yet. Remember, feel a movie before you attempt to understand it.
Wes Anderson is more than his aesthetic, and Asteroid City is more than a beautiful postcard. This film begs this question though, is there more to life? Then, Celine Song's Past Lives! 'Past Lives' is a Korean force of a movie, an emotional tour de force that you will never forget, but you have to watch! Asteroid City and Past Lives movie reviews and deep dives, join us!
What if there's a whole new universe waiting to be discovered - a universe created by the enigmatic Wes Anderson? Get ready to get lost in this episode as we navigate the tightly-woven visual tapestry of Anderson's 'Asteroid City', decoding the intricate relationships of its characters and the complexities of a play within a movie within life. Listen in as we engage in a hopefully thought-provoking debate on the auteur that is Wes Anderson, and marvel at the performances Jason Schwartzman, Scarlett Johansson, Tom Hanks, Steve Carell, Liev Schreiber, and so many more *cough, Barbie, cough.*
But our cinematic journey doesn't stop there. We venture into the emotional depths of Celine Song's 'Past Lives', as we examine its powerful portrayal of love, relationships, and the ordinary. Hear our analysis of the film's Korean cultural influences, its portrayal of a complex love triangle, and how it subtly avoids clichéd narratives. Join our discussion on the profound differences in loves, romantic and otherwise, and the amazing Korean concept In-Yun. Also, Teo Yoo gives one of the best performances from a leading man, maybe ever. Do not miss this film.
Life is a series of choices, but what about the life we don't choose - the 'ghost ship life'? We share our personal reflections on this concept and how it has influenced our own lives. We wrap up our conversation by expressing our admiration for the transformative power of movies and how they transport us to a different world. Don't miss this episode - it's a celebration of cinema and an exploration of life's intriguing possibilities- fate?
Your 'what ifs' build a life on their own, but you can only view it from the shore. And these two films explore both sides of that coin, please enjoy them and then listen to this episode- might be my favorite one yet. Remember, feel a movie before you attempt to understand it.
Open the pod bay doors. Hell, I'm sorry, dave, I'm afraid I can't do that. Here's Johnny, can I help you? Yes, my name is Bob James Bob Make your lives extraordinary Wrestling.
Speaker 1:No Bob too. No Bob too. When there is no more room in hell, the dead will walk in. Welcome to. I Watch More Movies Than you, and please take that as a challenge. What else on earth can you spend 10 bucks and then leave the planet for two hours Only movies? Come join us as we experience, explore and journey through the greatest art form in history. Then here we go.
Speaker 3:Welcome back to. I Watch More Movies Than you. You got, ken, you got.
Speaker 2:Rob.
Speaker 3:Guess who's back? Back again, bobby's back.
Speaker 2:Telephone.
Speaker 3:We don't have any for now. Our listeners do not have friends. Listen, we're going to come at you guys with Wes Anderson. First of all I've ever heard of him. Wesley Anderson from the University of Texas, austin, remakes with Luke and Owen Wilson, shot Red Rocket before you were even born.
Speaker 2:Doesn't make sense.
Speaker 1:But you know what I'm saying, right?
Speaker 3:Wes Anderson. I always find it surprising, like telling people that he's a Texan and they didn't know it.
Speaker 2:Yeah, he doesn't seem like a Texan.
Speaker 3:He does have an estate in Paris. Yeah, me and him, you know.
Speaker 2:You know what I'm saying. No, I don't. I don't know what you're saying we're friends. I'm joking In my head.
Speaker 3:Wes Anderson's Asteroid City. Deep Dive Look, we're going to do Review and Deep Dive We'll announce when spoilers are coming. Yeah. Then Bobby, Bobby, Bobby Bobby. You know what I'm doing when I do that. I don't know. Stalling.
Speaker 2:Yeah.
Speaker 3:But I just remembered it's Celine Song's Past Lives, direct Toral debut. Direct Toral debut, which is, which is wild, wild.
Speaker 2:Because they're talking about this movie as a best picture contender. Yeah, back in February at Sundance they were. Yeah, apparently it was the best thing at Sundance. It rocked the crowds and for it to be it was, you know they had. Ever since COVID they've done well. Let me restate During COVID they did an all virtual Sundance. Since then they've had some titles that are virtual, some that are not. This was one of those that was not and yet it still had so much buzz about it.
Speaker 3:Oh, maybe because of that or maybe that played a part.
Speaker 2:I'm sure it's part of it. I'll tell you what, though. I know we're not there yet, but we've got some movies come out of South Korea that are just like, oh, knocking it out of the park.
Speaker 3:Yeah, Bong Jong-ho. Like I'm so glad I got exposed to him. Yeah, I'll admit it took parasite, but then I went back and watched every single movie with members and murder host and phenomenal filmmaking in that country. Yeah, I couldn't agree more. Yeah, so we got Ashway City in Past Lives.
Speaker 2:Yeah, we got two really unique movies here.
Speaker 3:And I wanted to preface the episode with the ideology you guys have come to understand that we operate from is RIP. He lived 99. So you know, save your tears. But director Robert Bresson, who is not a Nazi very inside joke, we thought we got our quote from the funny we look at and he like happens to be a Nazi. It'd be our luck, but he's not he said I'd rather people feel a film before understanding it.
Speaker 3:Yeah, listen, the critics are diamond, diamond. We love them all. I'm saying you could go get your reviews, you can go read them, watch them, tick, tock them. You know, god forbid. But we are much more interested in our realities being transformed by going to another perspective and just leaving this planet. When we watch a movie, yeah, it is a darn near spirit. Some of them are a spiritual experience. It's one of the most magical things I've ever encountered and we would much rather feel a film before we attempt understanding it, and that guides us. This is going to be an emotional episode. Yeah, there's no doubt about it. Both of these movies, asteroid City and Past Lives to Me are two sides to the same coin, meaning exact opposites.
Speaker 3:Oh, right, yeah A lot of ways, a lot of ways.
Speaker 2:Yes.
Speaker 3:And we're going to get into that. But this episode is going to span grief, love, what could have been all sorts of really, really heavy topics as we explore through Asteroid City and Past Lives. I'll be honest, I'm very excited for this one. I am too Need it too. I feel like it's neat because, like we both, and Bobby and I, he's back, by the way.
Speaker 2:I'm back, baby. Wait, did I go away?
Speaker 3:Just that one.
Speaker 2:Oh yeah, that's right. That's how you did that Something about Christmas.
Speaker 3:What.
Speaker 2:So there's something about Christmas, that episode, yeah, I know Halloween.
Speaker 3:I hope everybody's getting ready, although we did take a diversion with this episode?
Speaker 2:Yeah, but it's important, though I think if we're going to cover these, we can do it now.
Speaker 3:Yes, a hundred. I did not want them to go get away from us and we don't.
Speaker 2:I've mentioned this before, but people, we don't talk about these movies with each other before the pod, we do it on the pod.
Speaker 3:Yes, tim thing is, it is, this is what the pod is now Right. We're talking after the theater. Yeah yeah, yeah, yeah we don't?
Speaker 2:yeah, In a way, the pods existed way before the pod. Because we have these conversations for two hours in the theater parking lot?
Speaker 3:afterward.
Speaker 2:Sometimes, sometimes in the parking lot, Nick.
Speaker 3:Yeah, yes, yes. Made watching Mario weird, but now a hundred million people get to hear.
Speaker 2:Now a hundred million people. Wow, a day those numbers.
Speaker 3:That's sorry, that's crazy.
Speaker 2:Sorry.
Speaker 1:Trump Right Tucker.
Speaker 2:But, then what I was going to say is the only thing we said about these movies prior to recording is that we both feel like they're deep and complex.
Speaker 3:Yes, and that can go either direction. Yes, and I actually liked that you said that, because, fair criticism we can talk a little bit about Wes Anderson, as we're going to get into Ashwood City first is sometimes he's emotionally hard to reach. So, yes, we'll talk about our favorite ones. I love Wes Anderson.
Speaker 2:Yeah, I do he's so much more than these AI mid-journey creations that people are completely missing the point on.
Speaker 3:But fair criticism and slightly, I think it's because he's being actually vulnerable and honest and that's who he is as a person is. He can be hard. His characters can be hard to connect with emotionally, yes, and I mean like there's like a there's a layer of sarcasm, there's a layer of it's a play.
Speaker 2:There's a layer of these realities. Wes Anderson movies have become this, and this will be part of my review, so I'll kind of come back to this ideology, I guess. But Wes Anderson movies are a genre of their own. That's how unique they are 100%. If you haven't watched a Wes Anderson movie, I want you to picture something that you can like somebody like Tim Burton or somebody like not to her.
Speaker 2:Quentin Tarantino, where you could walk in the room where one of these movies is playing and, without knowing the film, you can watch the film style and say like, oh, that's Tim Burton, oh, that's Quentin Tarantino. There's not that many directors that you can say that about. No, like you have great directors like Christopher Nolan or or Del Toro or somebody like that, and I don't know that they quite have the like, like obvious fingerprint, like you know, nearly trademarked. Yeah, a Wes Anderson film, maybe the most obvious that it's a Wes Anderson.
Speaker 2:Like reading pop up books. Yeah, yeah, really. I mean you can tell by the camera angles, because it's usually very straight on. It's very it's very, it's very 90 degree angles, very like perpendicular from each other. It's bright colors.
Speaker 3:Yeah.
Speaker 2:It's set pieces. It's going to love them for it. Miniatures it's miniatures. It's it's quirky, fast paced dialogue.
Speaker 3:Yeah.
Speaker 2:Dry, often dry, and there's no way to describe it. You have to watch a lot of dead pan. You have to watch a lot of dead pan. That's what you're saying. It's kind of hard to connect with the characters, because I think that's where it's sitting. Actually, it's not.
Speaker 3:It's like fights that back a little bit. Almost think it was his response to that criticism a little bit.
Speaker 2:Well, there's been. So there's been criticism that his movies don't really have deep meaning. Yeah, it's very surface level. I don't think that's a lie necessarily. I think, I think they each have their themes. Yeah, and this movie, ironically, tries to literally tell you this there's not a point, there's not a meaning, but there's a lot of deep level that there is, like this may be the one movie where he's saying there's not anything meaningful, but there actually is.
Speaker 3:Kind of similar to his own criticism. We'll get into it.
Speaker 2:We'll get into everything, and then we can dissect it.
Speaker 3:So we are going to review and deep dive discuss whatever you want to call our asteroid city Movie by Wes Anderson, obviously Written by Wes Anderson and Roman Coppola. Writers Jason Schwartzman, scar Joe, scarlett Johansson, tom Hanks and his Wes Anderson directorial debut, along with Brian Cranston, edward Norton, jeffrey Right, jake Ryan, grace Edwards I mean come Maya Hawk, who played a fantastic teacher, liv Schreiber.
Speaker 2:Amazing To the Slutton.
Speaker 3:Yes, jeffrey Wright.
Speaker 1:Yes, who's a newcomer to?
Speaker 2:Wes Anderson as well, I love.
Speaker 3:I love him. Yeah. Sophia Lillis, who was Bev, and it chapter one yeah, and guess what? That's what she said, steve.
Speaker 2:Carell, steve Carell, willem Dafoe, michael Scott, we got Willem Dafoe.
Speaker 3:Oh, yeah, yeah, yeah, yeah yeah. He always has to make. I mean, who else could get Willem Dafoe to come in for, like what? Five minutes of screen time?
Speaker 2:Right we talked about this when we talked about Oppenheimer that Nolan was one of those directors that even A-listers are humble enough. They just want to be a, they just want to have a piece of that pie. They want to have done a Wes Anderson movie, they just want to be a part of it. And that's the same here. And that's the great thing about Wes Anderson is that with time he's gotten such renown that you have a lot more A-listers. Anybody was signed up for Wes Anderson 100%. I mean a couple of these characters or, I'm sorry, a couple of these actors are only in yeah, I said that a minute ago, did you?
Speaker 3:I'm missing his main guy, jeff Goldblum. Adrian Brody, adrian Brody, he's gotta be in it.
Speaker 2:Adrian Brody's in it. Yeah, he plays the director, and Edward Norton plays the writer. Yeah, and who else Do you say Jason Swartzman?
Speaker 2:Yeah, yeah, he's in most of his movies it's stacked. It is stacked. And you know what's weird? I haven't ever thought about this until my wife pointed it out. My wife gets nervous when there's a cast with that many A-listers Feel crowded for her. Well, because she's noticed that a lot of movies like that it's like they're trying to distract you with good actors because it's not a good script. That's not the case here, I don't think, but that happens a lot.
Speaker 3:That's a good point.
Speaker 2:It does 100% Ever since she said that it kind of like shattered the glass Fast X. I sort of think, yeah, Fast X for sure. All those A-listers.
Speaker 3:Yeah, it doesn't say that. It's weird that Oprah's in that movie. Yeah, and Queen.
Speaker 2:Elizabeth, I was surprised.
Speaker 3:Yeah. So they brought her back Asteroid City to give the people the promos. If you don't mind Very meta movie, I'll go and tell you there's a lot of layers to peel back on this bad boy. It's a none. Yet Following. Let me give the plot summary. Do you mind, rob? Go for it Bye-bye. I'm playing a writer on his world famous fictional play about a grieving father who travels with his tech obsessed family to a small rural Asteroid City to compete in a junior stargazing event, only to have his world view disrupted forever Again. With Wes Anderson, one, I don't think you can actually spoil his movies, but we'll call it out when we get there. And two, I don't think that like it's almost like the premise sets the stage. But I mean, if he's not about characters, I don't know what is. It's almost like everything else is incidental. Yes, character interactions.
Speaker 2:I think it's character interaction. Yeah.
Speaker 3:Yeah.
Speaker 2:Maybe before jumping in, and I have a reason for asking this question. First One so that we can name other Wes Anderson movies that people might connect. What are some of your favorite Wes Anderson movies?
Speaker 3:I'll give you my favorite.
Speaker 2:And I've got my favorite in mind. I'm interested to hear yours. Mine is the Grand Budapest Hotel. No, that's right.
Speaker 3:And I think that's for most people. I'm obsessed. That's a safe answer, but I'm obsessed.
Speaker 2:Yeah, that's the criterion collection behind you yeah.
Speaker 3:My son was born. I held him and watched it 15 times. Love that movie. Great winter watch.
Speaker 2:Yeah, my favorite is the Ruletide Bumps. Great, great great Wes Anderson movie.
Speaker 3:Yeah, yeah, that's really up there yeah.
Speaker 2:They're punching in the same way. Now, you haven't seen. Have you seen Moonrise Kingdom?
Speaker 3:No, that's my blind spot.
Speaker 2:That's it. That's the first one I ever saw.
Speaker 3:That's excellent, it's great. Yeah, it's great.
Speaker 2:And that's got a weird cast. He's got some of his regulars Like people. Bill Murray is like a regular in his movies. He's in that, but Bruce Willis is also in that and Edward Norton is also in Moonrise Kingdom and they're all secondary characters, because it all focuses on two children. Yeah, that's insane and it's fantastic.
Speaker 1:I needed to see it. I would love it.
Speaker 3:I can tell.
Speaker 2:Okay, the reason why I say that I saw Life.
Speaker 3:Aquatic.
Speaker 2:Yes.
Speaker 3:Fantastic, mr Fox is up there. Yeah, that's a good one. Rocket yeah, I mean his.
Speaker 2:Now Red Rocket is my blind spot. I haven't seen.
Speaker 3:Rocket I haven't seen.
Speaker 2:Ilar Dogs? Oh, I haven't either. So those are the two big ones that I haven't seen. The reason why I say that is because We'll cover it when we do the West End. Yes 100% blurrandscom. This is my wife's first Wes Anderson movie.
Speaker 3:Oh cool.
Speaker 2:I don't think this is a good one for the first. I agree with that entirely. For the first, I wish, I wish I had shown her either Grand Budapest or Moonrise or Life Aquatic, something like that Royal Ten of Moms I wish I would have shown. Or, yeah, I wish I would have shown her one of those first.
Speaker 3:I because I do think you build up to this one.
Speaker 2:I think so. Earlier I mentioned that Wes Anderson movies are just kind of like a genre All on its own. I think that sometimes that's a good thing and sometimes it's not, because at what point has Wes Anderson leaned into the fact that he's his own genre? So is he playing to himself or is it genuine, or with, yeah, I think this movie maybe somewhere in the middle of those questions.
Speaker 3:Is it so stylized it lacks emotion? Yeah, I would argue Asteroid City packs more of emotional wallop that if you've seen his films know his criticisms. See what's addressed and get to the themes, then it's given credit for by the casual, if that makes sense.
Speaker 2:I agree with that. I do think there is. I think there's a lot of themes and metaphors, allegories here that maybe aren't present in some of his other movies. Yeah, I think. So, that being said, I think this one got like the word French dispatch. Yes, I think this movie got a lot of mixed reviews and it got a lot of mixed audience reactions Not not his best. As far as you know, tomato meter, that kind of thing.
Speaker 2:Not that I like to follow yeah it's it's it's hard to follow, in the sense of at the end, I don't when I've. When it first went to credits, I sat there and I thought I don't know what that movie was about. I had to think about it and multiple people from the cast and the director have said you need to watch it more than once, and I respect that. However, I did give it a second viewing. I haven't, I've only seen it once yeah, I watched it just a couple of nights ago.
Speaker 2:I'll show my wife. Oh, did she like it? Yes, she did, she did.
Speaker 2:Lacey wasn't sure Not a huge fan of it, yeah, and again, that's where I think maybe that wasn't the right West Anderson movie to show. It's not super approachable, it's not, and I think I think part of my I'm gonna get all the criticism stuff out of the way. First is that I think that one if you have to watch a movie more than once, I don't think that's fair. I think a movie should be able to stand on its own viewing. Now I do. I do appreciate liking the movie more and unraveling it the more and more you watch it, like the shining.
Speaker 3:every time I watch the shining, I get something different out of it. That's a great point.
Speaker 2:But the first time I saw the shining, I still loved it, and I still understood it and I still followed it and I think I think I could watch this movie three more times and probably like it three times better than I do right now, right? However, I don't think it should have to be that way, because I've watched all his other movies, at least once, and feel good about all of those, at least the ones I've seen. So then, pausing. So, people, this isn't a spoiler. Yeah, you already mentioned it.
Speaker 2:This movie is about a playwright who is writing a play called Asteroid City and so you see, most of what you see is his play, but it kind of fourth wall breaks almost, and you see some of his life and the director's life and the actors playing the characters surrounded in this, like movie within a movie, and they definitely these characters are almost archetypes, like Jason Sportsman's his character the war photographers almost cobrick Ian. Oh, yeah, he's grief. Yeah, he's grief incarnate. Yes, I think so. Yes, 100%. I think what this one thought, and then I'll move on to the things I liked about it.
Speaker 3:If I'll give a brief, like little premises, so they know the oh, yeah, yeah where these people are.
Speaker 2:Yeah, they're in a desert, yeah.
Speaker 3:Yeah, then they get stuck in the desert. They have a bunch of genius kids, so his families are there from all walks of life, failing not a failing actress, but an actress that thinks she's failing at motherhood and scar Joe Jason Schwarzman, who can't even tell his own kids that they lost their mom. Yeah, bill Murray or Bill Murray? Bill Murray is not in the movie Tom Hanks. Yeah, that's kind of a crazy emotion. Yeah, who's the granddad?
Speaker 3:Yeah, you know what I mean. Yeah, yeah, lost his daughter. Yeah, and they all get to this tenor. There's a lot of other cool little characters. Yeah, this town. And then they're locked in this town. What is genius? Kids are trying to reach the stars because they get quarantine and they may or may not be visited by the namesake Asteroid City. Mm-hmm, we'll get into the spoilers of how that plays out. Yeah, and you get to see all the kerfuffle around that. You know. I thought the gentleman that you love was the guy from solo until I watched it again. What we got that plays Montana. There's a little cowboy character.
Speaker 2:Oh right, I thought that was the guy from solo. Oh really, it's not.
Speaker 3:Is it? No, can't pick it with me. His name is Montana in this. Yeah, and I just read it. I actually don't. It's a Rupert friend. Oh, yes, he has been in stuff. He looks a lot like the guy who played solo's. I can't remember it's not Ansel.
Speaker 2:Yeah, it is. It is Ansel, like Bert, yeah, I think. I don't know what his name is, but I think it's.
Speaker 3:Ansel yeah, it's Ansel something, and but anyway, so then you get this. You know you get this literal meta You're watching a movie about people writing about a play and then telling the story about it, and then you have a troupe of that you know that, are there and stuck as a result you have, excuse me, you have a movie that literally says to you I don't know, I mean, and we'll get into it.
Speaker 2:Literally they say I don't know what this movie is about. And they basically said it doesn't matter.
Speaker 3:Is that about? Is that? Is that not the? Is that not a theme? We?
Speaker 2:don't know what this life is about and does it matter? It is. I take that picture. I'm a photographer, I think I thought that part to me felt heavy handed.
Speaker 3:The whole photographer part.
Speaker 2:No, no, no, no. The what's this movie about? And like almost trying to play into that, I think what the movie is really about is we don't know what. We don't know what life is about.
Speaker 3:Yeah, 100%.
Speaker 2:And and once you start looking through the lens of this movie is About life, just the broad spectrum of life, it's a lot more enjoyable. However, I didn't get to that part until the end.
Speaker 3:It is more Because the whole point, the whole time.
Speaker 2:I'm just thinking I don't know what this movie is about.
Speaker 3:My Hawk sells it as the teacher and they still have to have class after a certain. We're going to spoil Spoilers.
Speaker 2:Yeah, just spoiler alert.
Speaker 1:Spoiler alert.
Speaker 3:Spoiler alert. Spoiler alert. I don't, I would argue this movie can't be spoiled, because you see it in the trailer. Alien visits people yeah, hilariously, so yeah. And then Maya has to teach her class of elementary school kids, maybe 10 something, and she's going over the solar system and she gets to this point where it's like I, you know, I don't know anymore. Yeah, and I think she really first of all wanted more of her.
Speaker 1:Yeah, magnetic yeah.
Speaker 3:Yeah, very charming, wonderful actress. I can't wait to see what she does. Her parents are obviously amazing.
Speaker 2:Yeah, huge oh yeah, tell them who her parents are Ethan Hawk and Uma Thurman. Uma Freakin.
Speaker 3:She looks like both of them, and she absolutely does and I think she might have their chops.
Speaker 2:Oh yeah, I think I think she. I think she has a potential to be bigger than either one of them.
Speaker 3:Yeah, and I'll tell you what I mean. I know Uma Thurman is awesome too. I need to see more of her.
Speaker 2:Yeah, it's fun. I love Ethan Hawk and it's so funny because I'm a huge Uma Thurman. Yeah, I thought so, yeah.
Speaker 3:Yeah, do Ethan Hawk to me. Just by the way, the next movie we're going to talk about reminds me of some of his roles in Before Sunset, after Sunset, but does it the length letter movies?
Speaker 2:Yeah, the before trilogy. Yeah, yeah, yes.
Speaker 3:But sinister True crime yeah.
Speaker 2:Yeah.
Speaker 3:Obsessed Drunk. Yeah, I mean.
Speaker 2:Yeah, I wish Mia Hawk was in this more. A lot of people will know her from Stranger Things if you don't really repair this movie, yeah, big time. She came in and Stranger Things.
Speaker 3:And what was that?
Speaker 2:season three or I can't remember Robin she plays Robin.
Speaker 3:I wanted I hired death count in the last season of Stranger Things. I'm still mad about it.
Speaker 2:Hey, I need, I need one of those daggum kids to die. You know what I'm talking about. I need main characters to die, but they won't do it. They don't have the Nards.
Speaker 3:Speaking of Nards and Death.
Speaker 1:Wes.
Speaker 3:Anderson's Asteroid City, if some of my take away. So that's, that's your playground. You see these people that it's always somewhere geographically beautiful with Wes Anderson, yes.
Speaker 2:Yeah, oh, speaking of which, I want to do one of my favorite, absolute favorite things about. I feel like I've been saying set design a lot lately when I'm talking about movies. But there's a pretty minute they're in the middle of the desert, but this is a play. Right, this is a play. So you see, edward Norton, who is the writer of Asteroid City, he's writing this play, and so when you're in the Asteroid City storyline, you know, at this point, you know it's a play, you're watching a play and they're in the desert, and I'm sure you noticed, but after a certain point the background all looks flat.
Speaker 1:It looks very. I did not notice it Go back and what?
Speaker 2:it looks very flat in the background, so you almost feel like you're on this huge stage. That looks like it looks not real. I can't not supposed to look real. Oh yeah, a hundred percent. So like, if you want to, at some point your eye hits like it's not real anymore and you see kind of a not. It's not so obvious that it looks like a painted scenery. But, it definitely gets, it definitely gets flat.
Speaker 3:See, I just, I can't that guy, I just love it, I love it.
Speaker 1:Yeah, it's just it adds a lot to it and his other love his humor is very quiet.
Speaker 2:I'll say there's a part of the movie where I paused. I was laughing so hard. Are you serious? Yeah, yeah, it's when I'm trying to remember.
Speaker 3:A great movie opposite Oppenheimer, by the way because there's a bomb test on this and it's like this little poof in the background.
Speaker 2:You know, there's a, there's a, there's a interesting theory. Well, I'll get into, okay.
Speaker 3:Yeah, do your thing, do your funny scene.
Speaker 2:The scene where Edward Norton. Edward Norton is talking to some. I can't remember. Maybe it was Adrian Brody who played the director. I can't remember who he's in the scene, but he's trying to know it was the. It was the. It was Jason Swarthman.
Speaker 3:Okay, he killed it by the way.
Speaker 2:Yeah, so there he's talking to the writer about his, about his role.
Speaker 3:Right.
Speaker 2:It's all black and white. You can. You can tell when it's not asteroid city timeline or something to play Astro City, because they're in like a black and white.
Speaker 3:They change the aspect ratio.
Speaker 2:Yeah, they change the aspect ratio, it all looks more real, yeah, when it's so. He's talking and he's trying to. Jason Swarthman is trying to move the the window. He's like it sticks, it sticks and he just breaks the window, he just punches the window. I laughed, so it's the quirkiest little humor, yeah, and that was a great.
Speaker 2:Steve Correll plays I love that he plays this guy who works at Astro. He has all these like little cabins Wanted more of him to. Yeah, and in Astro City, and he's not used to people being there, but now there's all these people and he has to. He has to give one person a tent because the cabin burned down. It's right beside and it's right beside, yeah, so it's like just in between two years, and almost every line he has starts off with yes.
Speaker 1:Of course I understand that he noticed that he goes into his.
Speaker 2:He. I want to listen to a movie where Steve Carell's in the front.
Speaker 3:Yes, I think that would be fantastic. He's got everybody in this is good. I love that. I mean because it does, and none of them are like it's not, it doesn't feel stuffy. Yeah, I think an unsung hero. Obviously, schwartzman is amazing. Yeah, not Predator. What's the good? What's he playing? Opposite Wolverine oh Liv.
Speaker 2:Shriver, he plays the saber tooth.
Speaker 3:Yes, yeah, and he was excellent, he's cotton and screen, oh yeah. Yeah, he's cotton. That's what you said earlier. Yeah, yeah.
Speaker 2:He's so good in this, he's, he's.
Speaker 3:he has a son is one of the genius kids right the stargazers who always says dare me, do this.
Speaker 3:and then they get in that. They get in that bit of dialogue where he's had enough you know they're all having their cocktails and get right out of the cocktail machine. Yeah, that was interesting. But he has that awesome scene where he finally has enough and he asked his son why do I got a dairy to do everything? Do you remember that? Yeah, I thought that bit of dialogue and I'm going to consult my notes here. I didn't take any on it, but I thought that that scene was amazing because it had his son kind of think. I don't know, I guess just to get attention so somebody cares?
Speaker 3:Yeah, you know and I thought that was neat, I think. I think I think what's interesting laid bare in this movie, and maybe I'm having an over romanticized reading of it. Well, no, I think because like in the third act. Why do you make pretty movies? Do you want somebody to care?
Speaker 2:Yeah. You know, there's a there's a part in the movie that made me realize that maybe part of what this movie is about is maybe blurring the line between I mean in a literal sense, for this movie is blurring the line between actor and character. But we're also told point blank in this movie even if you don't know what you're doing, just keep doing it.
Speaker 2:I just keep going forward, and I think there's a. I think there's a. I think what part of the movie trying to say is even if you're like I mean, keep going. That's one thing, but it constantly talks about the stories work, but yes but also you're. Maybe sometimes you blur the line with your authentic self and the self you're putting out there.
Speaker 1:Oh, yeah, that's kind of where I took. That's why.
Speaker 2:I think you saw the real world and the play in the scene that did that for me. There's one scene, there's only one scene, with Margot Robbie in it.
Speaker 3:I love this.
Speaker 2:And it's got to mention her, yeah.
Speaker 3:So how do you get her to come on? Because it's West, because it's West and you got Barbie to come yeah. For just a couple of seconds.
Speaker 2:So Jason Swartzman's character, you said it earlier he has to tell his kids that their mom died 30 weeks prior. And there was a scene where the actor the the actor that's playing this part in the play- in the movie and the movie talks to Margot Robbie, who's dressed like this queen.
Speaker 3:Oh, it's beautiful. They're both on the balcony, it's snowing, looks like downtown New York and she was the one who was supposed to play his wife in the play.
Speaker 2:It was a who dies. It was a scene that got cut, and so she's doing some other projects. That's why she's dressed. What are? He says a line and it sounds like it's a mistake, but it's obviously not a mistake. He says you're the wife who is supposed to play my actress, that's amazing, and I that's a good one.
Speaker 1:It was just like you.
Speaker 2:Ok, the lines of blurred.
Speaker 3:Yeah.
Speaker 2:And I think that yet there probably is some kind of commentary to that in Hollywood. But I also just think, think that that's like a. I mean, we were talking earlier about life and jobs and my favorite parts about doing this podcast about that product, what we are and what we've been and what we're about to do with. Both of us have had like kind of shake ups in our careers and like we're doing different things and crazy coinciding.
Speaker 2:But, like there's a. It's weird that I'm mentioning the show, but did you watch Boy Meets World?
Speaker 3:Yeah, there's an episode to paying you.
Speaker 2:Yeah, yeah, so there's one episode where Corey's dad is just really at a loss of who he is. He feels like there is, he, he's a, he works at a grocery store. He's like a manager at a grocery store or a GM at a grocery store, whatever. And so he he. He doesn't want to do that and so he's blur the lines between. He just keeps calling himself a grocer because he's blur the lines between who he is and what he does.
Speaker 2:And at the end of the episode someone says like because he fixes the problem, he goes. Well, how did you know to do that? And Corey goes because he's dad and he goes. Yeah, that's mostly who I am.
Speaker 1:That's a good, and that has stuck with me.
Speaker 2:That hit me because, yeah, because that's mostly who we are, you and me, yeah, and I think the movie is trying to say it's so easy to blur, make yourself what you do, right? Because our main character is a war photographer and he comes off very, uh, not cold, stoic, almost Stoic.
Speaker 3:Yeah.
Speaker 2:And I think, maybe because of what he does you know Wes Anderson.
Speaker 3:Is he Wes Anderson? Maybe Let me, can I piggyback? Yeah, I love that you picked that out of this, because one of my favorite things I learned in school was an American lit class and it was transcendentalism. Henry David Thoreau, ralph Waldo Emerson You're not a farmer, you're a man farming Too. Farming. Your identity is not in what you do, and I adore that you blur that line. Some things can happen, you know, but you're not. You're like. It's like CS Lewis said, when you're interacting with people, whether you're screwing them over or loving whatever you're doing that with immortals.
Speaker 3:You know what I mean, because obviously I suppose believing in God and truly believe that. And just I mean, we're not ants, aren't you know, drawing the monoleesa? It's not happening in the animal kingdom.
Speaker 1:Right, we're set apart.
Speaker 3:Yeah, you know we believe we're in God's image. Wherever you believe, you can tell humans are different, right, and I think it's incredibly important, even if you're, like we said this was going to get emotional. But if you're listening to this, caught up in a job, don't like it, don't whatever, do not reduce your identity to that thing. Right, it's so easy to do. Yeah, especially for Wes. Think about it for Wes Anderson.
Speaker 2:Oh, yeah, like, sign me up with that identity. Yeah, okay. So one of the things I was going to say is like it's weird that they Oppenheimer and this movie does kind of touch on the atom bomb. I heard someone now this was this is not my own, this is not my own analysis.
Speaker 3:I don't still have it.
Speaker 2:And I'm sorry whoever.
Speaker 3:Good art steals baby.
Speaker 2:I'm blanking on the guys YouTube, but he was. I just saw this video pop up and I just had to watch it, If you find it.
Speaker 3:I'll put it in show notes.
Speaker 2:Yeah, I'll find it. But he was talking about how Christopher Nolan's Dark Knight trilogy and and interstellar he threw interstellar in there being a perhaps a peak of Nolan, and then he mentioned Gran Budapest as being a peak of Wes Anderson and how it's interesting how both have kind of gone back to not simpler I don't want to say simpler movies, but kind of like how we talked about with Hitchcock doing those vertigo and psycho and North by Northwest.
Speaker 2:Yeah and but. But we talked about how maybe North by Northwest was a little bit more commercial commercial.
Speaker 3:Yeah, 100%. So kind of that's a good way. Yeah, so, even if it was inventing and defining, yeah yeah.
Speaker 2:So so they've kind of gone in a way like Nolan and Wes have kind of gone back to that a little bit and both of these last two could have could be a commentary on, and he, this guy talks about it so much better than I do yeah. But he's, I'm sure, basically he had a commentary on. It's almost like saying like I I don't know that I can go bigger than I've gone in a way, Like I've kind of said a lot of what I'm going to say and it's interesting, that's fascinating A lot of artists do that, though.
Speaker 2:A lot, of, I think a lot of artists believe they hit a peak and they don't know if they can talk about it.
Speaker 3:Maybe they do, and it's okay too, and maybe that's why.
Speaker 2:That's why I think this movie could be his response, like you said earlier, his response to people saying like well, he doesn't have a lot of emotion.
Speaker 3:Interstellar, was that for Nolan? Yep, they said the same thing about Nolan, and Interstellar is like here you go Cry for two and a half hours. Yeah, you know what I mean. Again, a lot of dad vibes, yes.
Speaker 1:Yeah.
Speaker 3:You know, which is such a wonderful love to see and interact with in film.
Speaker 2:I love where you, where you, came at this movie genuinely yeah, and it's weird because it's not even remotely my favorite one.
Speaker 3:It is not mine either.
Speaker 2:It's, I think it's, I still very much enjoyed it, though I do want to watch it again. I don't know what's what I'm going to repeat viewing too.
Speaker 3:I had two space IPAs the size of my arm. When I watch this in theaters on opening day. So, I had to rewatch it. I'll put her to you that way?
Speaker 2:Oh, I remember what day you saw it, yeah.
Speaker 3:Yeah, I'll put her to you. That way, I went to space too. Almost I had to rewatch it oh.
Speaker 2:I'm sorry people, that's the insides of the yoga.
Speaker 3:Yeah, Well to say you are. We'll leave her there. Five star review. And ask five star review and say emergency room. I'll tell you on the next episode if I get a couple of those.
Speaker 2:But I had to rewatch it.
Speaker 3:Yeah, obviously aesthetically charming. I wanted to see, even on my first watch, the little theater. I was in the bigger one, but like it was a small screen was enchanted. We all laughed together, Everything at the same, like he had them under his spell, and it makes a lot of sense. It was opening day. Yeah, that's his big hitters. Yeah.
Speaker 1:That's his fans.
Speaker 3:I wanted to. I heard someone I might have been shot on the big picture say this is a Wes Anderson hangout film, which is interesting I wanted people to at least take. From my view, what I took is more than a postcard aesthetic. Although he didn't nail that, there's one of the most impressive shots I've ever seen, where he's panning left or right and he shows the entire city with like 50 layers of things happening, perfectly staged, perfectly blocked. I mean just the colors were contrasting perfect. It was one of the most impressive things because he would do long shots in this where he'd just go left or right, up to down. All this was created.
Speaker 2:All these stages were made.
Speaker 3:It was so pretty I think. Some things I took were first of all, one you can't really get around is because I think it goes more than service values religion because, Tom Hanks and Swastikin. I forgot about that. Yeah, I think it's more. I don't think Wes Anderson was interested in saying I believe in God, your name. It was more Protestant and he was more than that. It was interesting, he was existentialist.
Speaker 2:There's a to elaborate that your point. Jason Swartzman's character is sitting down and he's explaining to his three daughters that oh beautiful.
Speaker 3:His son and three daughters. His son and three daughters. His son and three daughters.
Speaker 2:His son and three daughters yeah, and he's explaining to them that their mother passed away and did so three weeks ago, and here she is in a Tupperware container. That's such a Wes, I know. And one of the girls asked is she in heaven? And he says something. I'm trying to be exact, like he said, not for me, because I don't believe that, but you are a Piscopalian, yeah. I don't even look at that, because that's yeah and then when Tom Hanks comes into the picture, he references being a Piscopalian.
Speaker 3:Yes, he goes, which doesn't exist for me, of course, but you're a Piscopalian Because let's say she's in heaven.
Speaker 2:Yeah, what's interesting, though, is that they don't. You're right. It is interesting because this is somebody who just sees war, so there's this like undertone of, maybe, atheism. Yeah, he is, he says it. What's within that?
Speaker 3:His son goes into that.
Speaker 1:Yeah.
Speaker 3:Yet Tom Hanks and the daughters still represent this hope, this belief in God, and I think that Wes plays with it in a way that, first of all, it's amazing, there it's grief. So he's showing you these two avenues to take your grief and what that looks like, yeah, grief is a big part of it.
Speaker 3:Yes, I think, existentialism and contemplation of it. Like you got stars the ground, they're very much in just a desert. That's what's on, you know, display there. Heaven, alien, you think you know this reality. All of a sudden, this one event happens and Maya Hock trying to teach her kids the next day she's like I don't even know anymore.
Speaker 2:Yeah, Do you think that there was room in this movie to kind of was there a play to COVID here, a little bit Like once they see the alien?
Speaker 3:they were quarantined.
Speaker 2:They're not allowed to leave, so they're quarantined and at that point school's trying to happen and Maya Hock's character just does not know. Like he said, how do you go on teaching about the solar system and planets and space and avoid the elephant in the room, which is that they all just saw a very quirky alien come down and still in a you know, you played the alien.
Speaker 3:You called him quirky, right?
Speaker 2:Yeah, jeff.
Speaker 3:Goldblum.
Speaker 2:Oh, I saw his name on the cast and I was like I don't remember him being in it. I didn't know that. This is so random One of my other favorite parts. So the narrator is Brian Cranston and he kind of exists outside of all of it, even the Even though, talking directly to us, he's narrating, he's telling us that there's a writer and a director who is making this play Asteroid City, so like it's almost three layers.
Speaker 2:Yeah, one of my favorite moments because when you see him it's always in the black and white setting and he's narrating everything. And one of my favorite moments is I think it was Scarge of standing there and they kind of pan to the side and Brian Cranston is standing there in the color like Asteroid City shot. He's a staring straight, yeah. And he says wait, am I not in this part? And she says no and he just walks off. Yeah, like that's so weird. It's so weird, I know.
Speaker 3:Yeah, part of it, because, like he's, I think he's, I mean, I think Wes Anderson is saying this is art, this is a play, this is a movie, it's all of it in one and doesn't mind breaking those walls and you, knowing that's the medium you're in, yeah, you don't really suspend your belief because he's already telling you it's fake. That's true, and I think it's neat too, because part of inspiration for this and because he goes to Americana 50s, 60, you know what I mean Is there's an interview he gave and he's on Andy Weier, but he wants to talk about that era and he said he was so fascinated, him and Owen Wilson, with Marlon Brando, james Dean Montgomery, cliff, elias Kazan, marilyn Monroe, who Scar Joe?
Speaker 1:a little bit modeled after. I think this is more.
Speaker 3:And he says they really loved those movies. He thought it was odd they love movies from the 70s because, but the 50s was really the center of it for them All his movies kind of have a timeless. Yes.
Speaker 2:He's like you can watch Moonrise Kingdom, for example, and not have any idea what year it takes place on.
Speaker 3:That's neat, you don't know, that's kind of cool. It's timeless. Yes, I like that, tim.
Speaker 2:Burton kind of does that too. Yes, not all, but a lot of people do no, yeah, I'm with you.
Speaker 3:I completely agree. And he was kind of blown away by 50s, like New York stage, he thought it was its own special thing. Yeah, and he likes the interaction of theater to film. But I think that comes across in this. It does, yeah, it gets weird.
Speaker 1:It gets heady.
Speaker 3:But I put it in my notes. I was like I thought it laid bare to that time period. I also think he kind of tackled the American dream and show some questions with bagged Like now we look back at that era as the American dream. He takes you to that and he's like are you sure?
Speaker 2:No, I think it's a lesser theme. That's why I can see that Art subjective. Someone I don't remember the author, but someone wrote a book called Referring to the 50s it was the 1950s that never were because it's the way that we proceeded to be in sitcom and movies and that all that, all Americana, chased the dream, but maybe how that wasn't exactly accurate. That is ignoring all the dirty parts about it.
Speaker 3:You know yeah, like it's probably pretty decent because the boomers were just doing it Right. We had this giant boom, or their parents.
Speaker 2:But, like that time period, we see the pristine cars and we see the suits and ties and the dresses and we see all that but we don't see.
Speaker 3:maybe all the bad stuff about it 100%. All the racism and all the 100%, all that, all that gritty stuff, all the same struggles we have now in your family unit. Your job yeah, 100%. He said he did use Paris, texas, as a visual reference point for Astro City, which I thought it was neat. That's a movie on my list Big time.
Speaker 1:What movie.
Speaker 3:It's called Paris Texas.
Speaker 1:It's actually called that.
Speaker 3:And it's a yeah, oh, I haven't seen it, We'll cover it because I think it'll be right up our alley. But I put to that again. I was going to watch this no matter what to West Anderson film. But I also thought I asked myself as a substitute, as prior films, and like I liked it. Like all of a sudden you're faced with on top of everything else. You're no longer alone in the universe. I have to change my lesson plan and I thought that was bigger than just her changing her lesson plan.
Speaker 3:And the theme. Whether I contrived it or I picked up on it, I don't know. I'd have to ask a West and we got him. Oh good, it's been a while since I've said that.
Speaker 3:Yeah, you know what that felt like. So is, how do you accept you're not alone in the universe and your play in life and can you allow yourself to, and what does that look like? And I think that that doesn't necessarily mean I mean like, what? Like if you were to go to a group of people or something? What if you realized God's real? What if you realized you know something outside of yourself? Or what if, even in a way, you had your searching for that, because you do need a meaning outside of yourself? Yeah, and you get all these people. I just think you ask I actually think the movie I'm asking those an ambiguity on purpose, but I think the movie asked all of that.
Speaker 2:Yeah.
Speaker 3:Yeah, I did too, and I think it even then puts on, you know, laysbury like other people's path, where there's Tom Hanks to Episcopalian or something you know and their paths that kind of let them that, but then you get this. It is. I mean, it's a layered movie. I know that I would probably need to watch it 15 more times, yeah that's very late. And because then you have this whole acting trope that's there is not just the Stargazers.
Speaker 2:Yeah.
Speaker 3:And then the amazing little and there's so many little scenes stitched together that are just really charming and great acting, and that little, the Stargazers doing the memory game, but they're also smart.
Speaker 2:Oh my gosh, keep saying the names. Yeah, yeah, oh yeah.
Speaker 3:I would have shot them all, I'd have been smoking and ask someone to play poker. I wouldn't have been there, because I'm not a genius, but it's a great. Tell us when this did, but it's a. I really did enjoy it. Like I said, I had to watch it again for obvious reasons, but I'm watching it with Elena and run. I threw that through Laysbury. You did just do it.
Speaker 1:There's a lot.
Speaker 3:I did, I did. There's a lot here. I think it's a fun movie. If you like Wes Anderson, you've already seen it. Yeah, if you don't, just know it's tough to approach, I would. Yeah, I would streaming.
Speaker 2:I would say maybe check out one of his other movies first.
Speaker 3:That way has a movie come out on Netflix this year. It's a short oh it's in a row out doll book. Oh interesting, yes, literally in October. Are you familiar with all?
Speaker 2:Yeah Well, wulka. Yeah, I think it's a big FG or whatever. Yeah, the big FG. It might not be Big FG, the big FG.
Speaker 3:It's only 37 minutes long and I love how he works. The wonderful story of Henry Sugar, oh, interesting. But the reason he said that too is cool, because you talked about like real complete stories being best on the big screen.
Speaker 2:Oh yeah.
Speaker 3:But that he thought this would be. You know, that's why, it's kind of neat. He like kind of took a dig but he's still going to do it. Him and Roll a Doll is like a match made in heaven.
Speaker 2:Yeah, no. So you're saying he needs to be the one doing.
Speaker 3:Charlie's Chocolate.
Speaker 2:Factory. Yeah, we've had enough of those, we don't need another one, but he would have been the one to do it. Oh, I'd be fascinated. He would have been the one to do it.
Speaker 3:I wish he'd do something. I do want my next Wes Anderson like subvert all expectations come out with like an ugly movie yeah, Sci-Fi.
Speaker 2:Yeah, I'd love to see how he would handle a horror movie though. Oh, you know why I thought that? Because when the alien landed, it's so quirky and so strange looking and it's not gross and it's not weird, but it's kind of creepy.
Speaker 3:The alien. Yeah, it's a little creepy. I almost kind of found him funny and cute he is.
Speaker 2:That's the thing. Is that like he looks just human enough that it's?
Speaker 3:bothersome. Look at him. There's leather like sex suits that you're wearing right now.
Speaker 2:Sorry people, I can pulp fiction. No, I'm not. What'd you say? I can pulp fiction.
Speaker 3:Yes, have you seen pulp fiction?
Speaker 2:Yes, you ask me that every time. Well, I just don't feel like you talk about it enough.
Speaker 3:I know I love it, I adore it. I have it behind you. This is a cool collection. This is a Medega that I got in the state cell.
Speaker 2:I love pulp fiction. We got to talk about that movie one day, yeah.
Speaker 3:No, no, no. Pulp fiction is incredible. I've watched. I've gone down some rables on pulp fiction, how it's really about time periods of music.
Speaker 2:Going through some really cool theories on pulp fiction. What do you think is behind the bandaid? The bandaid, the suitcase? Don't know why? I said oh, because you got a band on the back and said we gotta save it?
Speaker 3:I don't gotta save it. Let's talk about it after this. Okay, I want to know, because we'll forget about it next time yeah we'll probably probably talk about after. This is how we go. But yeah, wes Anderson's asteroid city, I say, watch it. I'm a feeling you're gonna be a little more cautious with your record, I'm a little bit cautious Only if you're not.
Speaker 2:If you haven't seen a Wes Anderson movie before, I think get your feet wet with something else before you dive Into this one. I yeah, that's, that's so watch, uh, big mama's house Watch Grand Budapest, that's probably. That's probably the most approachable, approachable one that he's done. Still amazing moonrise kingdom life aquatic.
Speaker 3:Quality gets a little weird. For me it does. I think I actually like this.
Speaker 2:Um, I meant to say the Royal Tin and Bombs.
Speaker 3:Yeah, watch watch.
Speaker 2:The Royal Tin and Bombs is pretty straightforward. It's fine, it's themed that you already know, you know.
Speaker 3:It's interesting attack making stuff like this. Yeah, no, I mean shout out Texas, nothing against it. I'm just saying like these, you know, I mean these are. So our tour. I would in almost like European, yeah, and style and some design choices. So we got Wes Anderson's asteroid city. Hey, bobby, hey, what's your favorite scary movie? I'm kidding, we are going to get into past lives. Came out Sundance, debuted in January. People are talking about it. In February got Oscar Best picture, buzzed. Then we will let you know if we believe that. If we were gonna tout it, we're gonna shout it from the mountaintops of South Korea or New York City, right or Monterey Hall, but this is directorially debuted by Celine. Song stars, gretta Lee to you, john McGarro, moose on our, which is the young, or? But we'll leave her there.
Speaker 3:We always encourage you go the IMDB, but these three Take up most your screen time. Yeah, bobby, I have been wanting to cover this movie I got I'll do give you a little for the people in the industry. I got this movie on a hard drive at my movie theater and no key to watch it.
Speaker 3:Oh, okay to him Wow. So it just sat there taunting me. I try to make a pitch to my booker. We should get it. It'll sell some tickets in our area, downtown location, etc. And he said no, wow. He said no, it wouldn't. And I was right, did make a. I pushed for us to get what's that fake? That faux documentary environmental move, how to blow up a pipeline I was wrong with in Selma, you know. So again, people get cultured.
Speaker 1:Yeah, start there.
Speaker 3:But I have wanted to watch past lives for a very long time where afterwards cities on peacock this movie you do have to buy for 1990 To watch it had a very limited theatrical run. A24 is the distributor, so I'm surprised I didn't get a little more theaters. To be honest, yeah, very profitable company lately, but there's always more than meets the eye to that too when you really get into financials. So you know, I'm sure they had their reasons. But past lives to give the people, because this one genuinely we'll announce when we spoil, yeah, but this one People may actually not know the premise to. Yeah.
Speaker 3:Good, yeah, go for it, it does matter a whole heck of a lot in this particular film, but, right again, it's subtitled. This movie comes out of South Korea, but I love that summer. I'm an IMDb, I don't love that summer. But basically, people, nora and Haesung, two deeply connected childhood friends, are rested, apart from Nora's family, because they immigrate from South Korea. 20 years later they're reunited for one fateful week if they confront notions of love and destiny.
Speaker 3:Okay, so we're not gonna do the thing where we just it might be a little more beneficial here where we do the thing where we walk through seeing my scene. But the the gist, if I can give people, you know, as you have these, they're in elementary school and they like each other, you know, they genuinely do. Then, potentially middle school, maybe they're 12 and she is too big for South Korea, right, greta Lee's character, nora, she wants, and her family does, they immigrate to New York City because she says you can't get a Nobel Prize and being Korea, and so you get this incredible shot where she's walking in the same frame. She's walking up the stairs, he's walking down that way in beautiful, beautiful South Korea, mm-hmm, and you get this departure and literally to completely different directions. I want to say this right off the bat, bobby. Hmm, that I Cannot believe. This is a debut for this no I know I'm not lying you it for me.
Speaker 2:Yeah, she had a group. She definitely has a grasp on Genius level stuff. Story, tell it without, without, I would just we're just behind the camera.
Speaker 3:This is exactly this is old-school filmmaking people. This is shots holding way longer than you're used to. Silence used, empty space used.
Speaker 2:Yeah, no, you're right. And, on top of that, telling a story that that, literally, in some form or fashion, we all have experienced. Right, like maybe not exactly the immigrant and Leaving the country, but having this One that got away, or having this, even if it's not romantic, it was just this life of like what if my life had gone that way? Right, like what if my life had been With this person or in this country or doing this thing, or if I chose what? If I chose the family over a career, or the career of the family? Like what would life be now? So you have a very, very relatable story.
Speaker 3:I you know it made me think of Do you want me to give the premise? Give it all real quick, and then we'll kind of break it down. Yeah so childhood sweethearts kind of separate lives. He searches her, her dad's a filmmaker. He searches her out on his IMDB. Basically they then connect 12 years later on Skype. They're each doing their own thing. Then they make it turn because they could not visit each other for over a year and a half.
Speaker 2:They said yeah, she said we need it, we need to stop this, and then maybe floors him, he has yeah maybe, maybe done the line. Yeah, never know.
Speaker 3:Right one of those things 12 years later, she's been married for seven, yeah, and he just broke up with a girlfriend, yeah, and they reconnect. So but one of the thing, one of the themes okay, and I know this one will be a tad quicker, that people do not take that, as this is less Anything than asteroid said yeah yeah, no but this movie From a filmmaking perspective, if I may yeah, yeah.
Speaker 3:It lets you sit in scenes. That doesn't happen in modern theatrical releases anymore. It's only an hour and 45 you sit and see, yeah. Yeah, it's your time, you sure do she this, this director. Some of the some of the coolest framing I've ever seen, some of the most dynamic blocking I've seen. Since spill the blocking is great, it's incredible.
Speaker 2:There's some, there's almost some, and I had I need to, I need to go back and study it more, but almost hitchhik level, yeah, like there are some scenes there To me reminded me of vertical.
Speaker 3:Obviously, love has its fingerprints all over. Excellent movie. There's some vertigo s scenes. Yeah, there really is.
Speaker 1:There's a shot of the bridge in New York with the Carousel underneath and it looks just like the shot of the Golden Gate.
Speaker 2:There are some scenes where her husband the way he's centered in the frame, keeping them apart from each other physically? Yeah, putting them on opposite sides of the frame.
Speaker 3:Yes.
Speaker 2:Like dark really interesting to put him at the center when he's not the main character.
Speaker 3:Yeah.
Speaker 2:There's also this struggle with, like her, duality right, because she's losing what she caught, like her Korean this, right, like her, yeah, her Culture, because it's the Pulitzer right at first, and then it's there's no bell prize, then Pulitzer, then Tony, yeah, right, yeah, that's assimilating into the American dream.
Speaker 3:That is so funny. You know what I mean.
Speaker 2:Because like, because, because it's not about the greater good kind of thing. Not that art isn't good but, like you know, yeah, a Tony, although a great accolade. Yeah, it's not the same thing as a Nobel Peace Prize? No right, I found that very interesting. That's a great call yeah cuz I yeah the. The one of the shattering scenes for me is Is Towards obviously the end and there's a, there's a part where you go and say spoiler, yeah, yeah spoiler the winning spoiler.
Speaker 3:Spoiler again. Because you, I mean, do you? Should we just say the ending and then like should I finish?
Speaker 2:Yeah, yeah, yeah, yeah yeah tell us about.
Speaker 3:Tell us about the rest, okay, and then we'll definitely get into it. You text me otherwise, yeah, but One of the things I think, one of the cutest things I say is he the career. So, okay, one of the coolest concepts right away. So we're given this, they reconnect 12 years, then sky, then their adults, she's married. Right, lives happen, but there still is 20s and 30s. I love that she focused on that. Yeah, yeah, one of the coolest things. So he comes back there for a week in New York City. Yeah, husbands there, everything, yeah, one I write off the bat to the husband what are you doing? Right? I thought I mean the lack of guardrails there, right? It's how there's no need for any of this. Yeah, talk to that. You could bang this out over Skype. Yeah, you know, you could have, I think, open communication there, guarding against certain things because, let's be honest, like, why open a door To this and not protect your marriage?
Speaker 2:Yeah, I thought the whole time like I found the husband like this isn't, like this is. This is strange.
Speaker 3:No, and in her part too. They could have really talked through this. Yeah, I think they could, but you wouldn't have the movie. Yeah, so the Korean Past, little boyfriend, but childhood friend right played amazingly.
Speaker 2:Yeah, you know you.
Speaker 3:Oh yeah, he did more with his eyes in the third after this movie. Then I think most actors do their lives.
Speaker 2:Yeah, no, I know it, he's perfect.
Speaker 3:He played a play. John K song. He played it. I mean incredible performance incredible and truly. He keeps calling himself. He comes for this thing and they're talking she's like I married this and that and she has how's your girlfriend? He's like well, we're not together anymore, you know. And he is got this. And this is very Korean, is very high context culture thing, where he thinks he's too ordinary for he's to make more money.
Speaker 3:I mean I can go everywhere, but you know, yeah yeah, and what I think this movie plays with is this idea and his idea of ordinary. But then what Nora sees, where we're, things that ignite life and even question rationality, income, money, nor is it all is love. Love is what makes it all worth it. Yeah, like Robin Williams said in that, post that. Oh, it's a side we stay a little engineer, that's all great.
Speaker 2:Yeah, stay alive for poetry, yeah, right.
Speaker 3:Yeah, you know, for love, yeah. And then there's some amazing shots. As, during all this, we're gonna get quick, we're gonna be a little quicker, go watch past lives. I'm gonna go say right now it's amazing, but yeah, it is. There's one scene. It's left. There's a shot. The right Side of the frame is a building. They both take up 50% and it's a hundred percent, both paths and lives when you can be mundane. The, whatever the idealized version of my name be real anymore Mm-hmm, but always can be layered shots, frames within frames, the light and dark on opposing sides. This director is an artist.
Speaker 3:Again, horrible mistake on the marriage to even let that in but, I, Just think this you this is a very, very layered movie where you get incredible feelings from everybody, even the Husband, arthur. Yeah, I wasn't sure what his role would be, because movie opens up with someone people watching them at a bar, guessing the relationship status.
Speaker 2:Yeah, what's Brave about the movie is that any movie with this formula More often than not would take the easy road and make Arthur the bat like the bad guy.
Speaker 3:Make the husband love triangle.
Speaker 2:They do the love triangle but but they would justify so much more than they would justify Seeing the two people in love put together and they will find a way to make the husband the big bad guy. Maybe he was treating the whole time, maybe he was whatever. And they don't do that. They don't do because life is not that.
Speaker 3:How real were his insecurities, oh husband, or purse curies. When her childhood friend comes in, I mean he says it flat out like he's here for you.
Speaker 3:He even says I think the husband's masochistic. First of all, telling them to hang out alone and all that stuff yeah, never again. But I get it. But I'm doing this in monologue where they're in bed and he's basically downplaying himself. Again, not sure masochism is that insecurity. You start back because you know, probably on a level you're wanting her to say you're wrong. Yeah, but she says he's saying all these things like our life is boring. You met me at the artist retreat and all that. And he you know he's the childhood sweetheart comes back, all that and she goes. You're forgetting the part where I love you, oh, you know. And he says that he's trying to almost convince her that she wants more and she stops him with that line.
Speaker 2:Yeah.
Speaker 3:But it goes, it goes, more it goes, it goes. Great Like I love that the movie highlights how ordinary things can have such gravitas, because one this director. Oh, and how beautiful this film is shot.
Speaker 3:Yeah, and looks and score and the incredible performances. But Also there's a red door mood for love. Already said that. But the bar dialogue is fascinating. She'd go back there at the end, right? Yeah, you go back there and the three of them are the bar. The husband's actually on the right side, they're left. She's in there talking to him. The husband can't speak Korean, elementarily rudimentary. He speaks a little bit of Korean and they're talking and it might be the last 10 or 15 minutes of this film, some of those powerful Scenes and moods that you feel. Go talk about how. What a movie makes us feel that I've seen in cinema in a long time. Yeah, the husband. So they're there's talking and I'm trying to speed it up here to give the people this. Go experience this movie.
Speaker 2:Yeah, it's um you. It's really beautiful.
Speaker 1:There's a we do it, do you want to tell them the ending?
Speaker 2:Yes, okay.
Speaker 3:So then they're all talking and you start to catch the vibe that in this dialogue both to you are jung hong song and Nora there's a concept that you need to understand, first a very, very Korean concept, okay, and then I'll give it kind of a comp American thing for For it, and I'm trying to remember what it's called. Great, I'm glad you're prepared. I actually do have it written down, which is crazy that by written down I mean typed in my notes. This movie does do a great job of keeping it's like resolution hidden, though Like I thought this would be telecasted, yeah, and as soon as I saw it, because Elena was gonna watch me watch, I go cast and I hate movies. We're just cheat. I hate movies.
Speaker 3:With this I'm not saying one of them, other, we all do, although we did announce spoilers, but like this movie subverts all that. It's way back, yeah, it's way more complex. Yeah, um engine Engine. So this Korean belief engine I apologize for the mispronunciation they talk about all the time is that if you pass somebody on the street, you may have in past lives interacted, right, mm-hmm. So if your friends with someone in past lives you may have interacted, yeah, it may have been romantic, it may depends if you have feelings for someone you probably have been with or will be with in a life, but it's a past life for a future life. So engine is incredibly important in this because basically he comes back. This is Jim and Pam, if Roy didn't suck yeah 100%.
Speaker 3:that's what this movie is the office reference and yeah, big time, and then and then in the end, right, so they go through that. They're at the bar some of the best dialogue I've heard in a movie very, very Guys, it's gut-wrenching. Yeah it's a good reason, the husband you feel for him. They're talking, but then Junghae song gets to the point, basically, and he is his handsome, perfect looking ex-Korean military.
Speaker 2:He thinks he's nothing and the husband's fine too, yeah, he loves her.
Speaker 3:He sees that Junghae song sees that and he recognized. He gets to a point where he basically said and this is and this. Then we get to when they walk away, but Look, I loved you. I'm not gonna that I did. But the you I love is also the you that left, and if you weren't that person, then I don't love who you are. Oh.
Speaker 2:How do we know? And how do you, yeah, and how do you know? How do you know that you still know someone 20 years later?
Speaker 3:Yes, yeah, there's some leaps, yeah, so we get to that. And then he's very complimentary of the husband, even says, I think, mean you have junglin or whatever I said earlier and which is super interesting you know, that's true or self-deprecating husband but he was saying that he's saying, and because he obviously felt some sort of appreciation, that I can close the chapter on this girl.
Speaker 3:And I also know she's happy because when you really care, yeah, that does matter. Yeah, I mean, if you've cared at any point about someone, there's some sort of peace knowing they're all right. Yeah, you know, even if it's not now, I say that Not in like, obviously, marriage capacity. It's you and her. You're doing, we're doing this life, we're doing this thing till dad is so beautiful, but you know what I mean.
Speaker 2:Yeah, yeah, no, there's this, there's this. I'm gonna misquote it, but it's the. It's the thing that just ripped my heart out. It's had it. He were to wait. He is what you're talking about now, but he said your. Is it possible that this is a past life? Yeah, and that there's a future version of us? That's together.
Speaker 3:So she says I don't know.
Speaker 2:Yeah, here's my, here's my little personal connection, right.
Speaker 3:Oh, do you remember real quick? Yeah, hard to really to piggyback really fast when he's talking about, you're the one that leaves. Yeah, my story and our Indian in this life. Yeah, he has to Arthur or someone who stays. Oh, wow, and that's how he thinks that. That's why that life they're meant to be.
Speaker 2:Yeah.
Speaker 3:No, yeah, and Arthur singing is glad he came was kind of wow, it's a very emotionally doubt. Yeah, we handle with care and craftsmanship. I cannot believe this is a direct world debut.
Speaker 2:This is not. You're not it. I'll give the ending to. Then, if you want to get into your, yeah, I don't go for it, yeah well, because it's amazing where they go out.
Speaker 3:They all go back to their house, the married couple's house. She's like I'm gonna walk him to a Zuber Mm-hmm, great long shot of that. And they just stare at each other. Nora and jung-hung song stare at each other waiting on the Zuber. They do more with their faces, I promise you yeah, I've seen.
Speaker 2:Yeah, it's the actors of movies I've seen and this quiz wild it's.
Speaker 3:I can't even like. I started watching as like how is a? I Wanted to laugh and say this is silly, why? How are they able to do this with their face? How's the director able to do it with everything that led up to this moment? And you think they're gonna hug or kiss? And that's when they give your dialogue.
Speaker 3:He's the past lives and there's an awesome thing where his knees is. What do you think about in the future? Could we be, you know? And he says she goes. I don't know. He says I see you. Then Whoo, I thought was interesting, I know it like he was a hope.
Speaker 2:It's cuz the movie almost makes you think that he is getting closure and I think in a way he does. I think in a way he does in that way she does, but there's also part of him that's like I. I'm never gonna shut this door all the way.
Speaker 3:He does tell the husband earlier to come to Korea. He just kills him. No, but then she does this long left to right frame this long One shot. Walk back. Her husband embraces or opens their little gate, yeah, and she balls her eyes out, yeah, over another man to her husband's chest. That is, that's a yeah. I have complexity feelings. I, on the surface, was like what's going on here. Then I challenge myself some a man, I know you have to fight for your marriage. Yeah, you have to protect it. Yeah, I know people are coming for it. Yeah, like you've seen the divorce rates.
Speaker 2:You know, yeah, and I say that with absolute no, I know you're right, you're right, it's hard, parents, everything it's hard, it's brutal, it's very and and I'm a I'm a remarried person and the divorce rate for remarried people it's insane, really. Yes, it's a lot worse.
Speaker 3:I challenge myself, so just getting mad at that scene, to dig deeper, cut through the layers. And maybe that she was just releasing so much emotion, going all the way back to emigrating in the goodbye, that she was just releasing it to the safe place of her husband, mmm, and maybe there's some sort of vulnerability there.
Speaker 3:Yeah that isn't romantic. Necessarily right, that makes sense? No, I think so, but I think the movie does a great job of keeping his resolution hidden. I told you that you get promised a cathartic release. You get something better. But I wanted to say this, and then I will tell you this okay One. It's beautiful that Jung Hong-sung loved her for her and for her to stay should have been a different person. Mm-hmm, is this the only romance ever? We didn't want to end up together.
Speaker 2:You know that's. What I was gonna say is that you don't root against any of these characters.
Speaker 3:That's great. I did refer. I'm a guy. I rooted for marriage. Oh yeah, don't get me wrong. I really, I really for marriage, but like complex care, but they say it's so complex because oh, lovable with that would taking the marriage part of it.
Speaker 2:Yeah, please out. Yeah you know, I've been that guy Jung hey song.
Speaker 3:Yeah, yeah, so like, oh, so easy to root for him it's so easy to root yeah and and.
Speaker 2:A Lot of times in, like love triangles, you can even get mad at the central person like. There's even times in the office where I'm like Pam, yeah, oh, 100 and and it's so.
Speaker 3:I've got mad at Jim, I get mad I get mad at you for the kiss.
Speaker 2:Oh, oh yes 100% yeah, there, and start off that way, though there is so for you, for you to not feel that way about Nora.
Speaker 3:Nora.
Speaker 2:Yeah, for you to not feel that way about Nora is Special in a movie that you know.
Speaker 3:You don't, you don't have it. No, I know you said the director took that off the table.
Speaker 2:Took it off the table Because you've seen the version of this where the woman's awful or the man whoever's the central person is awful and she has to go make her apologies and she has to fix it, or the husband's a bad guy, or the current boyfriend is a Roy is a bad guy none of these people are and none of these bad and or the other guy, the new guy's like a snake in the grass and it's none of that.
Speaker 2:And and you feel just as bad for her because she not only is she in the crossroads between these two people, if you want to take the romance out of it. He represents her old life in Korea, her, her culture and her husband represents her Assimilation into yeah her new west, yeah and yeah the west so she even said being around jungle song made her feel less career 100%.
Speaker 2:So, so it's weird how it is about. It is a love triangle. Yeah but it's it's so much more because her whole identity is at stake. That's why I think it's so important that the husband of the that the I'm blanking on his name the husband is our other guy Jung.
Speaker 3:Hassan okay he Jung.
Speaker 2:He says that. He says that line about what you said about. You know the the one I love left, or? What yeah, like, like. In this, she has this, she has this duality that I I don't know because I'm a, I'm a white guy that was born in America, but I'm sure that anyone who has. I just had a, I just had a cousin and congratulation to them. He just married Him and his wife just got married over the weekend.
Speaker 2:She's from Peru, she just she just just got here, like last week, and I Can't I? Can't imagine the duality.
Speaker 3:I love that you focus on that, because my, I was my head in the clouds romance.
Speaker 3:Yeah, really, I think that's where you're go first, but that's a great theme and I thought can I tell you this too? I love that you said that because I think I do think it represents. There's a quote I heard forever go me and Elena talk about all the time Cheryl Strayed wrote Books. Have you heard of Cheryl Strayed? She's an author. No, what American lady I'm just gonna give you? But she wrote tiny, beautiful things, torch, brave enough, and wild Wild is the famous one. They got made to move Reese Witherspoon.
Speaker 2:Yes.
Speaker 3:I've seen the movie.
Speaker 2:Okay, have you really.
Speaker 3:I have not, but she's the author of the book. Okay, she has this amazing quote I heard on an interview maybe with Tim Ferriss or something, I don't know how yeah, or Neil Gaiman, was there something?
Speaker 3:but she said I'll read the quote where it comes from. Now I'll take the concept. I think this movie is this. I think one of the themes she says I'll never know, and neither will you, of the life you don't choose, mmm, we'll only know that, whatever that sister life was, it was important and beautiful and not ours. It was the ghost ship that didn't carry us. There's nothing to do but salute it from the shore, mmm. So she introduced a concept to my life years ago and I've never even read her work. But, yeah, this interview called like your ghost ship life. Well, you're doing yours and you look over there at the sea and that's the life that you'd have made. All these other decisions, wow, that that's this movie.
Speaker 3:Yeah that's this movie.
Speaker 2:That's I. If it's cool or a share personal please.
Speaker 3:That's my stuff.
Speaker 2:No, before I ever even saw the movie. I mean I've talked a little bit about, but my life has been wild the last few years. I got divorced, remarried, I have a baby, we're in the process of moving, like it's changing jobs, changing jobs, everything. My life looks a 100% different today than it did three years ago. Yeah, I mean everything has changed. Um, hey, you're still an eight and a half in half nine. Um, yeah, sorry people um, so have you watched scrubs? Okay, you have a seizure over there. Scrubs no.
Speaker 3:No no it's a.
Speaker 2:It's a like a hospital, like comedy and. I've never seen and he the main character Once to get like. He see, he sees the janitor like Going to the bathroom and he's like that sin bad. No, he sees something. He sees something on like on him, yeah, and he's like a lot. You need to get that. You need to get that checked out, like that could be cancer.
Speaker 1:Oh, I see, and he gets it checked out and he goes, he goes.
Speaker 2:I got great news it's benign, he goes, yeah, benign, nine and a half, okay, so no, anyway, the series, the series like. So my life's completely changed my wife. I met my wife 16 years ago.
Speaker 3:That's crazy.
Speaker 2:Um, I met her at a birthday party. I am I immediately wanted, wanted to go out with her. We went on one date and Nothing happened. That hot, that is a yeah, nothing happened. Yeah, so that's 16 years ago. I mean, you went to see all South Korea. I was 18 years old. We went Obviously different ways.
Speaker 1:Yeah, I stayed friends.
Speaker 2:She I moved two hours north, she moved three and a half hour herself, and we I mean we when I say we kept in touch. It was like I posted something on Facebook. She commented, she posted something, I replied to the story.
Speaker 1:It was no, I mean, we didn't nothing, yeah it was it was.
Speaker 2:You know she'd come home. The first few years. She, if she came home, we would a bunch of friends would get together and we'd hang out or whatever. We went on our own ways. She had her life, I had my life. My life Kind of fell apart and and her life fell apart and eventually we found each other again and it just I mean it happened like Domino's fell that is an amazing peril to this film we oh.
Speaker 3:I I got very emotional at 18. You weren't at the right time 100%.
Speaker 2:I, I Care to torch for her, for her, for I mean in some ways maybe the whole time, but like we weren't each other's lives. We moved, we both moved on. But to the point of marriage and everything yes, and and, and unfortunately my marriage ended, for you know, I mean, we both good people, we just had to go right nothing.
Speaker 3:No, I know God no.
Speaker 2:Yeah, and, and then we both found each other again, and and we uh this path before I, before I watch this movie. We were driving through our hometown and we passed by a house that I used to rent. Like right, I was like right at my house in college.
Speaker 2:Yeah and I won't share the exact memory because it's just too convoluted, but I I told her that I was talking, I was cheering with my wife a memory from like years and years ago Okay, like 13 years ago when she said something to me that just it made my heart fall out of my chest. She said something, not To me, about me, mm-hmm, but just she just said something about herself and her life and where she was and I had the thought I have Got to let her go, I have got to get over her, because it's never, ever, ever gonna happen. That was 13 years ago.
Speaker 2:I said I've got a stop daydreaming about a life that I'm never gonna have and then we went our own way and blah, blah, blah and After, after you know a single again, I saw her post something and I thought I'm I'm a lost cause. I'm never gonna hundred percent be over this woman and then, and then. I'm living. I'm living that life that he was talking about. That I never like I thought that it was a past life yeah, you thought in, you know whatever, but we I had no idea I wouldn't do this movie cold, we believe this is it. I had no idea what this movie was about.
Speaker 2:I'd say thank God for that, yeah and as soon as I realized what it was, I was like oh yeah, this is, I feel, so much this movie.
Speaker 3:I. That's a incredible parallel. Yeah, man who finds a wife finds a good thing in favor from the Lord man, you found a good one, and that's crazy because in this life you have a. You have a past. Let me look back to your youth. It feels like a different life.
Speaker 2:It does. I was just talking to someone today that I'm 34, the 24 year old me, I. Those two probably wouldn't even hang out you know I'm like I am not.
Speaker 3:I'm a different person yeah, yeah, yeah, that's, I mean thank God yeah, no, 100% yeah but that is a incredible parallel to this yeah. I mean that's. I mean, like I said, thank God, your ghost ship. Life was a negotiate.
Speaker 2:I have. I have not used that phrase.
Speaker 3:I love that because I didn't know what that was.
Speaker 2:I have told Lacey several times that I feel like. I feel like this isn't real. I'm living the daydream. Yeah, the other.
Speaker 3:The real means looking at yeah, make sense like yeah, yeah, I'm over here and I'm gonna wake up, you're living what easily would have been a ghost ship, and probably is for most people.
Speaker 3:Yeah, I think about it too that we have the things we prayed for, yeah, that we got these we've been blessed with these amazing women are alive, so it's amazing relation, you know, and they're worth fighting for. Yeah, and that's what makes this and thank you for sharing. Yeah, seriously, yeah, incredible parallel. I'm so glad you guys are, yeah, together and happy and have a little baby.
Speaker 3:It's so awesome to see it's thank God but that's what makes this movie so resonant and powerful. Is there's not a soul on earth? It doesn't relate to it in some capacity yeah and no one has ever not thought what could have been yeah, everyone.
Speaker 2:Even if you don't have that, it seems everyone has related to them romantically? Yeah, it could be, it could be anything.
Speaker 3:I had to thought, it scared me to my bone when my wife, when we met officially, is a church and we were dating very intentional, you know, and everything is praying about it, and one of the first points of contention we had was there was this potential internship she could take.
Speaker 3:That was out of town she'd have to move oh well, and something I said while watching this movie with her and something always be, as I personally don't understand, like when he was calling himself ordinary and he's anything but this life is anything, but it's a miracle, mm-hmm. And when he went pardon me him, him in the movie, but when, when? That we were presented with that and I still share. I still have this thought to this day. There's not a job, a profession or something where I just go and make paper money to exchange it for things mm-hmm that I would choose over over this.
Speaker 2:Yeah not, not a chance. I know, I know it's not a chance, it doesn't hold a candle.
Speaker 3:Hundred percent doesn't, things don't touch it, yeah, and I'm so glad. I think God we came, she didn't go, yeah, and it could have changed everything, I think.
Speaker 2:I think about that too, because where I met Lacey at that birthday party, I did not want to go to that party yeah talked into going crazy and even I got dropped off at that party. Yeah, cuz my car was in the shop, someone dropped me off and I almost didn't get out of the car. I almost told them just keep going, I don't want to go to this.
Speaker 3:I'm not saying that that goes throughout the rest of your life. Yeah, that that one, change that one yeah, that butterfly effects.
Speaker 2:There's a version where that guy didn't get out of the car.
Speaker 3:Yeah, and that's why that's another part of you know I personally spent I was working. A lot about today, like with my faith is I don't think it's an accident no, I don't think so and I don't know my life, you know yeah but one moral of it, like like no love is way too rare.
Speaker 2:Yeah, don't, don't go choose the job over the girl yeah, it's like a good will hunting you know, see about a girl, yeah, go see about the girl, yeah, you know for sure.
Speaker 3:And but this movie, man, I'm not gonna ever forget it. No, I'm glad I had to buy it so I can rewatch it. Yeah, yeah, it's it's past lives. The real deal. Yeah, it really is. Do you think this will be talked about in the Oscars best?
Speaker 2:gotta be. Yeah, I hope it doesn't get sidelined into like an international yeah, that happens. I really want it to be, when it's not not always. I mean parasite wasn't.
Speaker 3:I know parasite definitely has a bigger commercial appeal than this right, but I mean so many movies in the Oscars that don't have commercial appeal right now. I think it's this an Oppenheimer battling it out oh yeah, those two will definitely be nominees yes, and scream sex and scream sex, yeah, and and when are the poop?
Speaker 2:blood and honey?
Speaker 3:oh yeah, show up and a Thursday in October. Yeah, that's about to get topical. Yeah, so we got guys. We hope you enjoyed it. Bobby, thanks for sharing. Yeah, have probably the best story that you go along with. This love that you busted that out. I would probably cry in that movie. I would have thought about that during.
Speaker 2:I did, yeah, I realized I got I got teared up, yeah yeah, what a powerful film.
Speaker 3:Yeah, again, we're way more concerned with what it makes us feel, mm-hmm. We hope that this communicated you guys. We hope you vibe with it. We hope you share us with people. Leave that five-star hitter and go watch past lives. Yeah, it actually is worth the $19.99 yeah, and go watch Astro.
Speaker 2:City yeah there's a lot, there's a lot. You know it's a heavier episode, but it's good movies, yes, and I like that we got.
Speaker 3:We got back to our roots in this episode. Yeah, we didn't get to record last week. Yeah, everything crazy. Yeah, it's all wild out there, but we came together, yeah, brothers, and we're able to do this. Talk about life, and these two movies did a great job of two sides. The same crazy coin of this life great double bill yeah, great double bill. Astro City and past live. Now you better get ready for some Halloween hitters, though.
Speaker 2:Yeah, horror movie everything we just said is going out the window by emotions.
Speaker 3:Yeah, bye, bye, emotions hockey the film critique some heavy skin, their head cut off some sweater potatoes all sleep. We go to him now. We got put that on a t-shirt again $10,000 a t-shirt. I'll make ten of them. Sweater potato outlines. But listen people, past lives, movie review, deep dive, astro City, like SEO, we guys hope you really, really enjoyed the ride. We're hope you're enjoying the ride of life too. Thank god for it. Every day is a gift and I think about it too. And now, with the kid change dynamic I wouldn't have mr Petitke that's actually.
Speaker 3:Yeah, I wouldn't do not sign me up for that no, absolutely not or to God. Man, we're very blessed, but there's a blessing to watch these awesome movies. Got some awesome escape, got in our feels and took us to some levels and some emotions that you know I haven't really experienced in a minute. So incredible filmmaker. I can't wait to follow. Celine song and South Korean movies are hitters right now, so watch, watch watch it watch it.
Speaker 3:Watch international film, watch foreign films. We watch more movies than you. We love you guys. Five-star review, if you please, if you enjoyed it. Share us sharing, sharing probably even a bigger deal. Who? We're just trying to live the dream folks, but go out there and watch some movies. Hug your mom as we love you guys. You got Ken, you got Rob. We watch way more movies than you see it.
Speaker 1:People, sorry, people weiner open the pod bay doors, help. I'm sorry, dave, I'm afraid I can't do that. Here's Johnny. Can I help you? Yes, my name is Bob James. Bob, you welcome to. I watch more movies than you, and please take that as a challenge. What else on earth can you spend 10 bucks and then leave the planet for two hours? Only movies. Come join us as we experience, explore and journey through the greatest art form in history. And here we go.