It’s a big day for What Are You Watching as Nick and Alex discuss Nick’s favorite film of all time, Ted Demme’s “Blow.” The guys dive deep on Johnny Depp's career, the chemistry between Ray Liotta and Rachel Griffiths, great music sequences, Cliff Curtis as Pablo Escobar, favorite vs. best films, and much more.
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Hey, everyone. Welcome to. What are you watching? I'm Alex with our own. I'm joined by my best man, Nick Dostal. How are you doing there? Jesse James, are you fucking Jesse James, bitch? Who the fuck is Jesse James? God damn it. I was thinking about who you were going to go with, and I never would have thought that would have been it. Oh. What are you watching? Deep cut right there. That's for the fans. The fans understand? Well, my plight. All I know is that my ambition far exceeded my talents. I'm excited to be here. Blow 2001 directed by Ted to me, starring Johnny Depp. We are keeping our Ray Liotta streak going here by picking picking not only a movie that also features Ray Liotta, but a movie that I would say is very heavily influenced by Goodfellas. You have a first person narrator rags to riches to rags narrative lot of cocaine use. Ray Liotta killer soundtrack, similar editing styles. We're going to talk about what blows about in a bit, but I want to jump right into the biggest selling point of this podcast, which is that dedicated fans of the Pod know. If you go all the way back to episode one, The Blue is Nicolas Diesel's favorite film of all time. So before we get into anything, even what the movie is about, tell me why that is. A guy that ever thought this day would come. I'm so, so excited to quote you. Why? Why Blue? Why is Blow my favorite movie of all time? That was a decent, decent impression. I'll give you like you said, this is we're at a tower. For a time. I'm alive. Was like a nine was a nine out of ten. Jesus Christ. It's easy to get to know. That's just perfect. Well, I guess the only way I can really kind of sum it up. I first saw Blow in my college years. I had just started acting. I had just found my people. I just kind of really found myself for the very first time in my life. And I was watching movies all the time. I was I was just a sponge of everything when it came to acting or film or theater, anything, anything and everything. I was living with my mom and I was in my childhood room watching this movie, and Johnny Depp was my favorite actor at that time. And I had never seen Blue. And then from the second it started with that opening, Can't you hear me knocking? I was instantly just attracted. It's a fucking banger way to open a movie. Go bang your way to. The American Flag logo on the title card, the champagne. No one does that anymore. They used to be big in like eighties and nineties. No one does that shit. I love that shit. No one does. It's what maximalism, you know, everyone's into, like, minimalists, myself included. I've done the minimalist thing too. So maximalist right away. I love. It. Yeah, it just hooks you right away. The movie moves through eras. It moves through George Young's life in a very specific way. That was just resonating with me because I was going through what I kind of truly believe was my first real era of my own life. I recognized it and I'm watching this movie and I'm watching that same thing happening for George Young in this moment, like the sixties, for example. And then we just move through his life. Eras go on. Certain people have left, certain people have stayed there. And I started thinking myself, I go, I think this is what life is. I think this is our our lives are just a series of eras where the people who mean the most to us are here and maybe they're not meant to stay, or maybe they will stay or maybe they'll come back later. I just sort of saw life. And obviously, I mean, the fact that, you know, he's a drug dealer and everything, that's the movie's story. But I was connecting on something a little bit more deeper here. I just really, really felt touched by that. And so I think that's the biggest takeaway that I have about this movie. But I also I love Johnny Depp's performance in this. I love the meaningful relationship he has to his father. This movie really touched a lot of my stuff with my dad, even though my dad and Johnny Depp and really Yoda's relationship were not nothing like my father. But for whatever reason, I think of my dad when I watch this movie. Maybe it's the drugs. It's not a far, far up shot, that's why. But can you hear me now? There's something there, though, that I maybe it's just that the father son relationship in this movie that I just really, really loved. And I'm like, I think of my dad. So, like, there's just a lot. And I don't think there will ever come a movie that will knock this off for me. And every time I watch it, it's still it solidifies. There's never a moment where I'm like, I wonder if this is the time where I'm going to lose my feeling for this movie. Never does, never does. That's the difference of it being your favorite film, because you're not. When something is our favorite. When we love movies in cinema, it is not just what is in the movie or how it is made. It is based almost exclusively on an emotional connection. We created with that probably the first time we watched it or the first couple of times. And that sounds like when you were going through like you were kind of in an era of self-awareness, self awakening, and you know, you're latching on to that whatever reason, we latch on to what we latch onto and call it our favorites. That's all subjective. Like that's up to us. I mean, my favorite is Taxi Driver, and that is probably like the number one movie that gets the most shit in terms of like film bro culture. Like anybody who likes that movie, like just sucks like it. Apparently online liking that movie personifies you and encapsulates you as a certain type of film bro douchebag. And that's fine that people want to think like that. And maybe there are some people. Taxi Driver is their favorite movie and they are douche bag. Like, I don't know the reason why that movie is my favorite is not because it's about like some like vigilante psychopath. It's so much more. It's about when I discovered it. What? The shot of a camera just like going, right? What that did to a guy talking on a payphone and then just goes, right, what that did to my psyche and how that exploded all of this creative energy. And B, we talked about all this before, but yeah, it just all goes like in some people can hear, they can get a little intimidated by that. Like, what's your favorite movie of all time? When I ask people that, I'm not asking for your like Rod, your Ebert examination explanation into what is the greatest film ever made. So what I'm asking, I'm asking, what's the movie that hits you the most? I know some people who fucking love movies know a lot about them and can tell me with a very concise, good argument about why the original Lion King is their favorite film of all time. I'm like, Okay, yeah. And it always goes back to something of I saw it, you know, when I was young or I had this attachment to it. That's almost always the case. We have to have some sort of emotional attachment to it. So I don't judge anyone by what their favorite movie is. And I also don't think that what is in the movie is a reflection, like just because this movie is all about Coke, that does it. That's not one of the reasons that you like it, you know, not at all. It's all about when we find it and how we connect to all the different aspects of it. And then to your point, the real great test of if a movie is going to stay our favorite are the repeat viewings, because this movie is now 21 years old. And if you're still watching it and it's still hitting for you that much, then something is working for yourself because it's not changing. You know, watch a lot of movies that have gotten worse with age. Movies don't change. We change, but they're dated. Whatever it is. And it's so cool to hear, this is why I wanted to do this one. I want to talk about Ray a little more, of course, but I did also want to hear like, why you know, why this movie has so much hold, so much reverence for you. And that's great. Yeah. And you said it perfectly, like usually our favorite movies, whatever hits. Very rarely would I imagine that it's just the story. Like, like there are certain movies where the story is the star, but like, there's nothing about the story of blow that we haven't seen before. Exactly. I mean, exactly. There is nothing new under the sun about below in terms of the story. But what is fresh about it? It's the movie's individual take on that story and the way it depicts its characters and the way it just kind of moves. Yeah, I'm actually we're going to get the plot and the critical reaction to it out of the way early here, which latches on directly to what you just said in terms of this is a movie that lives in the shadow of other movies. Like we just recorded the Goodfellas podcast that does live in the shadow of Jules and Jim. Believe it or not, Blow lives in the shadow of Goodfellas, Boogie Nights. And when I watched this movie and when I still watch it now and when I listen to Ted Demi's commentary for it, never in there do I hear like we were the first ones to do this. We were the ones who did it first. I'm always hearing callbacks in appreciation to other film I mentioned all this because I went back and read a lot of reviews for this. It wasn't that it was critically received like decently, but still to this day it has a 55% on Rotten Tomatoes, which that's like bullshit for a number of reasons. But that number still did shock me. And the general theme of the critical analysis of the movie is this is a carbon copy of Goodfellas and Boogie Nights. And my reaction to that is, okay, I definitely see their influences on it, but Ted to me never said that he wasn't using those movie as influences. So like when did that become not okay to like reference other movies editing styles even like their voiceover styles, their film stock styles? Not only when did that become not okay, but when did that become the main source of contention and criticism? I just found it, frankly, to be very lazy. I thought that in the moment to go back, you know, very broad strokes here. Blow is a true story about how an American guy, a good old American boy named George Young, became a major cocaine trafficker for Pablo Escobar in the Medellin cartel, George Young is played by Johnny Depp. As mentioned, the movie comes out in the beginning of April 2001. Again to some acclaim. The main thing this movie had on it was that it was made by New Line Cinema when New Line was really hit and good and they knew how to market the fuck out of their movies. So I saw this preview everywhere. You heard Black Betty on the preview and you're like, Whoa, I got to see this. So my mom took me opening weekend to the theater. So we're like, See this? My mom? Oh, my God, she loved this movie. Oh, the memories. I would say that I never knew your mom loved this. Oh, my God. She had the fucking soundtrack, played it constantly. She loved the CD case. The CD case was a mirror with a giant line of coke on it. So you would just look at it, be like, Well, it was so great. Oh, man. Ram Jim, this is her music, one of her favorite bands, Casey in the Sunshine Band. There you are. So I love this. Oh, she loved this movie. Yeah, she really, really liked it. And, you know, the movie comes out in the spring. It's marketed well. It makes 83 million on a $53 million budget. That is movie star Johnny Depp right there. When you hear me complain about how we don't have movie stars that is a movie star selling out his movie. And that's why people go to see it and because it good marketing. But again, critics are a little math on it. You know, not only that, like a month after this movie's release in theaters, theaters are bombarded with The Mummy Returns, Shrek and Pearl Harbor. And if that sounds silly to you, I mean, those were huge three huge movies that came out directly after they all made a shitload of money. And like, point is blow just really wasn't it didn't have a lot of staying power in the theater we just recently talked about how April, especially back then, not the best time to release a movie. So I do wish critics were just took it a little easier. Even Roger Weaver kind of went in on it. And I watch it now and I go, No, I don't think that criticism lands for me. Like I see what you're talking about to some degree. But this is not that like, you know, on the Goodfellas podcast, we talked a lot about depiction versus endorsement. So a lot of the critics have said that they're just like glamorizing this lifestyle. And I'm like, did you stay around for the end? Like with the oh my God, yeah. This it's always like, I don't. Okay, did you just watch the first 30 minutes? I don't. It's making something look cool. And then an hour later showing the very serious downfall and implications of that, quote unquote cool thing. In this instance, cocaine, they're showing the full arc of it. I don't know. I just so it's just fun to be doing this. So let's jump in. Let's start right away with the man who made it, Mister Ted. To me, that's Jonathan, Demi's nephew, Jonathan Demi, director of Something Wild and science lambs, of course, Philadelphia. How familiar are you with Ted Demi's work? Honestly, the only other movie that I've really seen from him is The Wrath. Yes. So big friends with Denis Leary. He directed The Cure for Cancer. That stand up special. Denis Leary is the producer on Blow. So you've never seen Beautiful Girls. That's interesting. I never seen Beautiful Girls. Has a lot of that is a risky movie at times, but it definitely feels like a TED to me movie when you go and watch it. I'd be really interested to get your take on that, but the rest is just absolutely hilarious. It's hilarious. Movie with Denis Leary. So good. Yeah, so subversive of and then beautiful girls monument Avenue I've never seen It's 1998 Life in 1999 with Martin Lawrence and Eddie Murphy, where they serve life in prison not not received well didn't make a lot of money blow comes out in 2001 Ted to me this is where you see all of his influences like he's very influenced by John Cassavetes. That's a name that's going to come up very, very shortly, obviously influenced by Scorsese, by what Paul Thomas Anderson's doing. But this is also a guy who has been making movies since, you know, the early nineties, and he's using all of that and then putting it into blow even. And, you know, starting with like film stocks like it's a different film stock when he when George is a little boy and then it changes again when they go to California and everything's all nice and then it changes again. And then it's a very it's a very smartly constructed movie, very well shot, very well edited. And I guess we just kind of it's where we should just get this out of the way now, because in 2003, a decade under the influence comes out, which is a fantastic documentary and in part made by Ted to me about the influence that the Seventies had over cinema. But while that film is being edited, Ted to me passes way. So Blow is technically his last narrative feature film. And it's sad that we lost him young and early, but that also puts a little I mean, that was not long after this movie came out and it was so it was just so shocking because he was young and it puts a puts a different wave of nostalgia on blow when you watch it. And especially especially when I'm listening to his commentary, you know, he the commentaries intercut with it sounds like a long form interview with the real George Young, which George isn't watching the movie, but Ted to me is. So it cuts back and forth and it's just weird to like hear that and think he didn't pass away too long after recording this. Like, it's just, you know, it's sad, but I'm not getting this stuff out of the way early because I going to keep this, you know, positive and light, but just, you know, cheers to Ted to me. Cheers for making a very good final narrative feature film in blue. And there is a I was watching a lot of interviews of people talking about Ted to me and the reverence that they had for him. Well, Denis work and loved him. Yeah. Natalie Portman. Yeah, yeah. Yup. And they spoke to him is not just like how great he was as a human being, but artistically. Like, I kind of feel like if we didn't lose him as soon as we did blow may have just been the start of a career. Totally. That would have really been really been amazing. A directorial debut in that way of like, All right, this is when this is when he's like, that was the movie that started it all and where he would have gone. He also has a very he's very funny and he has a way in his storytelling, our fuck it all kind of attitude to being like, I don't this is someone who, in my opinion, would not have given a shit about like blowback for his movies or he's like, Yeah, whatever, you know, just keep going, keep making the work. I got my people who love me and work with me and are willing to put in good work and I think better than ever that is apparent in blow. I think you see a lot of people showing up for a movie and putting in really good, strong, dedicated work, starting with Johnny Depp, who is the lead all the way down to a bit actor who has one or two lines, who is just really killing it. There's a great deal of emphasis put on everything, costumes, cinematography, everything. You've got Denis Leary as a producer, you've got Ellen Charisse, a female cinematographer. You don't see too many of those. Well, especially not back then. I wrote a it still gets a lot of traffic. I'm one of the one. My favorite articles I've ever written on my blog was Why are there no female cinematographers? And I referenced her very highly being like, This is one who's broken through, like, we need to give women more of a chance to film stuff now that has turned the corner. Now women are being used for the best cinematography Oscar which is great. We still need more of it. But yes, she's doing incredible work here on this movie. And then we have Nick Cassavetes, the son of the great John Cassavetes. And any fans of What Are You Watching know that we love John Cassavetes. He was a co-writer on the movie. On top of all of this, the way that Ted to me uses his actors, you have Ray Liotta and Rachel Griffiths, who are maybe five at most years older than Johnny Depp at the time they were filming this just through the use of make up in costuming, they're playing his parents. You've got Pee-Wee Herman in this movie during the time where he was not the most well-liked person in the Hollywood world. I mean, there's just so much about this movie that is so eclectic that really kind of goes unnoticed and in some ways, it shouldn't be like for for Ellen Kuras, she should not go unnoticed. But the fact that it goes unnoticed that these actors are playing his Johnny Depp's parents, you never once question it. No, never. You never once think it's weird. And Paul Reubens just knocks it out of the park with his performance, where you're never once being like you're taking away from the fact that you're watching Pee-Wee Herman, right? You are seeing Derek for real. It really does do a lot of very, very cool, unique things that I don't think this movie gets enough recognition for in that way. Yeah, I absolutely agree. The starting back with the Nick Cassavetes script, co-written with David McKenna, who wrote American History Ex Ted to me spends a lot of time on his commentary giving Nick Cassavetes shout outs. So that was Nick's line. You know, you never is good when you know, when you're down and up that whole that great little monologue, all those really good, well baked and very organic dialog. It all seems like it came from Cassavetes here. And yeah, you can feel like this feels it moves and has certain bits that feel like they can be plucked out of a John Cassavetes script, just some of the way they absolutely with each other. It's hilarious. As we said, Johnny Depp is the star blow playing George Young here. And as you mentioned, Johnny Depp was like your guy at this time when this movie came out. So I want to know. Talked about Johnny on the part before. But I want to know where does George Young rank among his work for you? Is it his best there? This is. Yeah, this is my favorite Johnny Depp performance. The reason why he was my favorite actor for so long was because I think when I was younger and I was and I think I've probably mentioned this before here on What Are You Watching? I think I was watching his work at an age where he I was unaware that he was kind of touching my actor funny bone. I didn't realize that I was connecting with a human resonance. Like, I would watch his movies and I'd be like, Why do I love this guy? So much? Like, there's something about his humanity that's coming across through me on screen. I it just hits a chord. What's coming through through him is hitting me in a way that maybe I don't even understand about myself. That's the power of acting, I think is is just that it has the ability to touch us in that way, where we can't really explain it, we can't understand it, but it's real and we feel it. So much of this movie that means so much to me is in looks that he has in tiny little line deliveries. In just little moments of a smile that I'm this movie, his performance does it to me. It's like no other performance can. Now again, like acting is so subjective. Do I think that this is the best performance? Johnny Depp has ever given in a eclectic look at his entire filmography? It's just me personally. This is just my thing, and it's hard to say like it can beat Fear and Loathing in Las Vegas because there you've just got a completely unhinged Hunter Thompson just going wild and crazy. And that's I that's I love that performance. But for me, this is my favorite. Yeah, this is it's right up there for me to like there's more leading man character work from him like fear and loathing. Like even Edward Scissorhands. Like he is like the star of that, but he doesn't talk much and it's much more like character work playing off his face. I love that movie. Donnie Brasco is a movie that I've always absolutely loved, and that's like a leading man performance. Like, yes, like a man. And that he doesn't have, you know, knives, four fingers and all any. No, it's not just out on drugs the whole time, like he's playing playing another real guy. But I love Donnie Brasco and then yet blow I love him and George Young as blow his two Oscar nominations like I get it but those were never my favorite performances from him Pirates of the Caribbean, which I know is iconic. Like, I totally get it. And Finding Neverland, I just I always liked it was always cool for me to see him go so far because the first thing I saw him in was Edward Scissorhands. So I had I was like, had him in that box of like the doodle do weird stuff like Ed Wood. It's a very weird performance. Dead Man's. Yes, odd movie. And he's doing all this weird stuff. But then sometimes you play like a normal guy, like Gilbert Grape or Donnie Brasco or even blow normal in terms of like, you know, they're normal people in extraordinary circumstances, of course, but, you know. They're human. Yeah, I think that's kind of what it is. And because even in Edward Scissorhands, I mean, yeah, you look at that and you just see this absolute cartoonish type of imagery. But what's kind of coming out is humanity, even in fear and loathing in Las Vegas, as heightened as he is due to the states of of being that he's in humanity comes across. And I do personally think that we do lose a little bit of that humanity as his career has gone on. I think that a lot of those roles, as he's gone on, have lost a bit of that and have just really just lived in caricatures. I'm not saying that they're bad by any means, but I do think that there is a difference. You know, Captain Jack Sparrow is one of the most iconic film characters that we could actually make an argument that there's ever been. Yeah, I think the legacy of that performance throughout those movies, particularly the first one as that legacy has gone on. I think he is by far the most entertaining things about that movie, those movies. I think he has really kind of gone into entertaining a lot. But, you know, there's even movies like Black Mess where they're certainly not entertaining. That's a that's a very, very different dark performance that I do think he is good in. I don't think that something has come along since this performance. So over the last 20 years that has really hit me. And that speaks for his work in the nineties, too. Right, exactly. Exactly. There's two different versions of him. I'm not sure when the turning point came. I don't want to suggest that it came with blow, but like post blow, there's you know, commercially friendly stuff. And I even miss an Oscar nomination because he got nominated for Pirates of the Caribbean, Finding Neverland and then Sweeney Todd. And I remember seeing Sweeney Todd and like knowing about that story as a kid. And that movie just didn't work for me. And, you know, like the Willy Wonka Charlie and the Chocolate Factory, I'm like, okay, I get it just doesn't really work for me. And then, you know, there have been some misses and stuff. Black marks for me just didn't I don't know. I think the Whitey Bulger story is primed for or just something like there's a lot of stuff that could have I felt been different about that. That movie just kind of missed for me. I think the big the toughest one is probably public enemies to talk about like, yeah, it's not the easiest, you know, I know people love Michael Mann and that is their least favorite Michael Mann movie and they don't like Johnny Depp in it at all. I was never like that harsh on it, but that to me represented a turning point of like, I don't know if he's going to try this again. Like really deeply intense leading man character work where there's no goofy shit going on. But I would argue that I like the everything that came before blow better than everything that came after. So like the beginning of his career up into blow. I like that Johnny more than post blow, I guess, but a lot of people will probably disagree with us and that's okay, you know. And no, I think there is something to be said in in also, in fairness to this post Johnny career, because I mean, what he means to kids in that way is not something to sneeze at at all. I think that that's a very, very real thing for him. I think, you know, you see all of these stories about like, you know, he he brings all of his Jack Sparrow gear with him and just shows up at children's hospitals. Yep. These are decisions that, you know, of a human being is making with their career. And there is there is a weight to the responsibility of what that means. So I don't it's just I think that's just like we want to see real down and dirty human performances that we know we can give because we've he's made a you know his nineties early 2000s work is representative of that and then there just came a point where he chose to go in this direction and I would love to hope that we will actually see some new work from him that. That that's going to bring us in. If we're going to talk contemporary, we're going to that's going to change the conversation a little bit. I don't very I don't know where his career goes from here. I'll just put it that way. He said he's had a it's been a tough few years for him in the spotlight, a very tough few years. And we're not here to. I have nothing to say about that. I don't talk about movies, folks like that. Yeah. No, no, neither do I. We're we are really separating the art from the current situation for sure. All that being said, the main point of that was to see where you're at in terms of George Young. So now we know that's your that's your North Star for Johnny Depp. And probably mine, too. He might be up there with Donnie Brasco, maybe up there with Edward Scissorhands. But come on, let us be clear. Like his character introduction in the first Pirates of the Caribbean is fucking hysterical. I'm not taking anything away from that. Like they're entertaining movies, but it's a different, you know, it's a different register, as I like to say. It's a different gear. We're going to talk a lot about Blow and we're going to break down our favorite scenes and everything. But part of the reason we are doing this, yes, it's your favorite movie, but we're recording it in tandem with the Goodfellas podcast because we did lose Ray Liotta still in mourning. I've been rocking my Ray Liotta shirt here that you can see. How fucking. Beautiful our audience gets it. I've been wearing it everywhere. It's such a good conversation starter, Jim. Parties everywhere. Oh man. By way of that, I want to talk about Ray Liotta as Fred Young and Rachel Griffiths as as Irma Young. Well, we talk a lot about chemistry on this podcast, and that does not mean how well people are getting along. It just means how well they're vibing on screen. In fact, vibing means they're bickering and arguing like an old married couple, like go watch, Blow and watch what Ray and Rachel are doing right away. Right away. And almost the first scene, that stuff like you can direct some of that. But a good director is paying such an expert actor like Ray Liotta and Rachel Griffiths to do work outside to bring that energy into it. And I know for a fact that they were doing this, that they did a ton of work off camera and they kind of came up with the theme of If we are to portray this, quote unquote, old married couple cliche in every scene, let's bring something new to it. Every single time they see us. So like my favorite interaction with them is at the table, you know, at the dinner table. And Barb's, oh yeah. And she's like, look at the ring, you know, lay away all that. And she's been beating him down over the years. You could see it's like wore him out to the point where at this dinner he just once said, don't listen to her, you know, yap, yap, yap, yap. And that dynamic, like you don't walk in with that. You have to really, really work on that in the way that they bounce off each other is it's actually kind of incredible because, you know, listeners know how much I love Ray Liotta. But if you especially consider that Rachel Griffiths is Australian and she had been in some crossover American movies by 2001, some like Muriel's Wedding, but American audiences did not know her well. They didn't know who she was. Blow was released in April 2000, one and six feet under, probably the most memorable part she had was released in June 2001. So my point is, when Blow is released, she's a relative unknown to American audiences and she's holding her own and going toe to toe with Henry fucking Hill from Goodfellas. And she's controlling the scenes. She's the instigator, the antagonist, and Ray just takes it, and it is both. These are perfect and thrilling performances. It by the end, that final walk you see him do out to the garage, Ray. I mean, it's just in his shoulders and it's so fucking heartbreaking in the way. Like, she's just always there. The last time we see her, she's just in the background and like, Why are you still with this lady? But I mean, we know those couples. We know those old married couples that fight and they just they still to hang on, they just keep going. And that the dynamic they have cannot be overlooked. And that is really the heart of the film. The heart of the film is in the relationship between Johnny Depp and Ray Liotta. That's the heart that home base having. That's where he's literally coming home to, like, reset the narrative. The few times. It's just I don't I don't want people to sleep on that. I want people to watch this movie and to take in how fucking good Ray Liotta and Rachel Griffiths are in this. And you know, what are you looking at, Mrs. Grazie. Your son's no prize. Loved it so much. And there's no. There's a really good Gordon. Yeah, there's no, it's. Oh, thank you. It's no it's standing off camera like she's just doing that. And no one knew who this actor was when this movie came out. I mean, of course, people did. You know, I'm I'm taking liberties in saying that. But Six Feet Under hadn't come out yet. That's all I'm saying. And she's crushing it. This was a much better way to put it. This was the first thing I saw her in. And it made me when Six Feet Under came around, I'm like, well, I know if she can bring it. Holy shit. She went up against Ray. But I mean, you just if you just, like, edited this movie and just use the scenes that the two of them are in because they span these decades. And so that's why we're seeing, you know, it's said to me, make the choice of just putting them in makeup. Yeah, wardrobe. Really good makeup. Yeah, it really good makeup because you believe as they get older that they're just that old. But we start in the fifties where they're a young, you know, married couple and who and she's leaving all the time and really early. Looks like a fifties guy, like he like in that opening scene where he's, you know, George Young George, Jesse James, you know, once wants to go to work with him. I should preface by saying that this is by far and away my second favorite Ray Liotta performance outside of Henry Hill. Yeah, that's why in my many. So I wanted to tout it up a little bit because I knew you were going to rip it hard. But then I'm like, Actually, this is in the top five for me for sure. Like it's definitely out there. He's so in. The way that he is a father is just one of the best father portrayals I've ever seen in a movie, and he only has about five or six scenes throughout the whole entire movie to do this. We're seeing him how he is as a father. So he's, you know, defending his son like he's he's got this, you know, this company that he's the boss of and he's like, don't don't talk to my son like that. I'll, I'll I'll sit here and talk to my son for however long I want. Yeah. You know, I guess since I'm clean of duty and buy in a problem. Yeah. And, you know, and I loved one thing that I love about this movie is that you'll be able to help me with this terminology, but like I always talk about colors when we're in this fifties era, it looks like this. It looks like super 16 film stock. Yeah, very grainy. And like the colors are a little washed out, but also a little like more pastel. A little bit, yeah. Yes. Very represented. That's exactly what movies are that color movies at that time looked like exactly. The entire scene of where Ray Liotta is in the bank. And it's got that very green tint around everything. Yeah, that is just a one man show going on for like the next minute and a half 90 seconds where the voiceover is going on in the background, where George Young is being like at the end of the day, he just didn't make enough. So he's gone bankrupt. And you just see Ray's just like, What? What have I? What do I have to do? Anything. Anything we need to do. Then you get the beautiful music. Bye bye. Graham Revelle coming in the score. And he says, like, is like money doesn't it's not real it just only seems like it is and that moment that he has where the young Jesse James tells his dad, like try to explain that to mom good luck. Yeah you let me. That reaction Ray has to that is one of just the most biggest moments of the whole entire movie to me because he's like, Yeah, well now that's a tricky one. Yeah, they both know what they're getting into. It feels like a father relating to his son, and then they're walking down the street together. It's just. I don't know, man. It just fucking gets me. I just think it's so fucking beautiful. Well, he and he talks to him with all that beautiful language penned in part by Nick Cassavetes, in a way where it's so relatable to a kid. Like, you know, when you're down, it never seems like you're going to get up again. It just it's it's very relatable. And, yeah, he's a great dad who, you know, one of Liotta's favorite scenes is when he to visit George at the new house and Belle Cruz is pregnant and it's all one take. And they go and they turn the corner. And he has all those, you know, all those toys, all those cars. And he, you know, he's it's like, yeah, this is pretty good. I got this little import export thing going on down in Miami. Yeah, import export. And Ray looks at me like, cut the bullshit. I know what you're doing. Are you happy? Yeah. Like, that's what I care about. Are you happy? And we've just seen, you know, about 30 seconds before of his pregnant wife doing rails like in the bedroom. Yeah. I don't know if this is happiness, and that's what he cares about. Like, I know you're into some bad shit. I just want to make sure my son is happy. That was one of. Yeah, liotta's favorite scenes to film. And I really. I love every time. Like, he they talk to each other. Like George talks to his dad in a way that he doesn't get to talk to other characters like this do knows who you are. There's no front to put up. Like there's nothing like and he knows what you're doing and he's not even judging you for it. You just hopes like you just hopes you're happy. And there is a beautiful message in there somewhere amidst all the that's why the movie pauses for breaks to do this, to show you that the parents are still around in Goodfellas. We never see Henry Hill's parents again. You know, there's a reason why we're constantly being led back to this home base of father son. That's what the movie's grounded in. It is and even in it goes further when George Young has his daughter, because then, yeah, he's transitioning into wanting to be father that he had. And unfortunately, it doesn't work that well. But the longing that that George Young has to be, that is what's so heartbreaking. And it's also because we've seen what his father meant to him, that when we're already going towards the end, where all that matters to him is his daughter, it comes full circle in that way. So, I mean, really, like, you know, you can that this movie's core essence is really about being a good father. Like there's just so much about to me. That's why it hits me so hard about the father stuff because, yeah, I also felt like growing up, like when my dad would not show up and I was the kid, like, waiting, and then that's exactly what happens to her. Yeah. And, you know, it's just like, oh, my fucking God. And, you know, and what was so great about Ray is like watching. Like, he, like, every time he sees his son, he's just so happy. Yeah, he is. You can tell, like, if he doesn't see if he sees his son once a year. This is the moment of the year. It's never going to get better than. You said full circle in terms of the fatherhood thing. And then Ted to me literally does make it full circle by showing us that same scene like no money, no money. And, you know, in front of the kid at the dinner table, he's like, not yeah, kid. It's like the same exact camera construction set up. It's yeah, it's really, it's, it's the thing that I talk about a lot, the reliving past trauma that like he's essentially just married his mother. Like that's what he did. His mother. Is essentially what he's done. But that's essentially what he's done. He's just married her and he just wants to be his dad and his daughter seems to have a lot of the same sentiment that young George had, like, you know, wide eyed innocent wants to love his parents, but is just getting screwed over. Yeah. We'll talk more about Raine, Rachel as we go on, but I just I wanted to get if we're going to talk about Johnny upfront, I want to talk about Raine Rachel upfront because those are kind of my three favorite aspects of the movie. Honestly, I love Raine, Rachel and there's so much always has, always have, has so much more nostalgia now, unfortunately, since Ray's past. But let's get into our favorite scenes. This is this is your show, my friend. Your favorite movie. I figured a cool way to anchor this would be in this film's killer soundtrack and how, as you mention, it, does have a very good score by Graham Revelle and usually when movies have this good of a soundtrack with that period appropriate music, the score isn't really noticeable. You don't really need a score. Like Tarantino doesn't use a lot of movie score. He has so much cool as music in it. This is one where they're using both really, really well and the musical sequences, I mean, so many are just imprinted in my brain. We can start right at the top with, Can't you hear me now? I can buy the Rolling Stones, how that title card comes in. And then we get something that I always love, which is process. I love process. How are you done? And we get to see them making cocaine and I'm like, Holy shit, I should even be allowed to watch this. Like, this is how it's done. Whoa. And it's so it's just kind of thrilling, honestly. You're like, Oh, okay. I never it is. When I saw that 2001, I did. I had no idea. I had no idea how it was manufactured. And I have a feeling that not a lot has changed, to be totally honest. I still think it's kind of like that. But yeah, it's a great way to establish. Yeah, oh yeah, it's a great way to establish where we are and what about and what we're getting into with. So when, when we first see George Young in the sixties and he's in California, I love this so much because even so much of the cinematography are doing things that you only did in the sixties. Yeah. Like that's zoom ins. It feels like we're living in the sixties and, you know, we said in our Goodfellas episode that I think that Henry Hill's voiceover is probably my favorite voiceover of all time. This is by far away my second. Yeah, because there's an impact in way to some of just the lines that Johnny Depp has during this voiceover. But he's always talking from the past. He's always talking, you know, from some era that's ahead of him recounting all this. And he says three times throughout the movie, these three, it was perfect. And he refers to them twice in the span of the sixties. I find that because, you know, you don't want to repeat yourself whether it's in writing or anything unless you're trying to make a point. And I don't think that any of these were overlooked. I think there is a very, very clear statement of him looking back at his life, referring to moments, time of being perfect because they were they're snapshots. Any time he sees it, it's in a moment where everything is going well. Everything is wonderful. I love the relationship between him and Franco potentially. It very much seems that this was the love of this character's life. Yeah. Even though, like, he does more with Penelope Cruz and all that, that there's a reason why we we don't see any of the of the bad things here. It's that first love it's that that zoom in shot of when they're walking across the beach. That's period perfect that's out of so many movies of that time just really far away and using this insanely long lens to slowly push in as they as people talk, it's in the color of it. It's just, oh, god, it's so. And it's the world is around them. They've got the world right. It's zooming in on their love. And he's just telling her that he's happy and like, that's how you feel. Like the world is around you, but it doesn't matter because you've got this love that's all that fucking matters. And it's just encapsulated to me in this one shot that I just want it to be just the most beautiful fucking thing. The movie isn't split down the middle or anything, but that first kind of portion, that half really feels like everything's happy. It was perfect. He's with Barbara and it feels like those are the weed years. Like we're just dealing a little weed. Yeah, yeah. I mean, I mean, we're dealing a lot, you know, we're dealing several hundred pounds. But these are the weed years. And then with the exception of the, the lead opening in the beginning, which like Goodfellas does too, we see a scene that we're going to see later. Yeah, because we do see George do a bump, a blow in that. But we don't see cocaine in the actual narrative of the movie until the 53 minute mark when they're all doing it, you know, the pool party. I can't feel my face. Bobcat Yeah, yeah. God, it's so great. And the sound designer really amplified the sound of them using it for the first time. Then the second half gets so much crazier, the style of the movie gets crazier. Also, it's much darker bringing kind of signaling the energy of that particular drug, but that early California stuff, the carefree ness of it, just to know, you know, high, high, high. And then bringing back that terrible bag of weed. I just I love everything about that. It's so carefree and fun and chill. It's so calm. And when he does that, the first hit a weedy this bounces up like that. I love that so much because you're seeing I mean, it's a huge moment for him, like the first drug, first drug for George Young two. It reminds me of that picture in scar tissue of Anthony Kiedis, like taking that first hit of a drag when he's like 13. He's like, this is a moment right here captured in time. Well, you're really you're you're really doing your best to take it the nick though so heart strings. Him little Easter eggs. And the duly duly I. Love Julie God I. Love Julie and I love him like he's a part of this carefree world. And you know, we'll get to it. But like when he comes back later on this what I mean, like some people in life, just like you go, you're like years, decades and all of a sudden, like, holy shit. Like it's you. Yeah, it's you. I never thought I'd see you again. I love that you brought up this score in the soundtrack and the sixties soundtrack throughout all of these scenes is just it's a perfect encapsulation of that. But one thing I want to point out about the score, it's probably one of my favorite pieces of guitar music. I love hearing a very single echoey electric guitar. The emotion that is evoked from this simple plucking and sliding of these guitar strings. This music only shows up at the heart of the movie scenes. So when you're talking about balancing soundtrack and score, right, if you're really dissecting the movie, this guitar only shows up in the most important and defining moments of George Young's life. We first hear it when Ray Liotta is telling him about money. The second time that we hear it is in, quite frankly, I think one of the most emotionally like powerful moments of the movie for me is when he's been sentenced to prison for the first time for dealing with and he's outside the courthouse, as it were, doing this beautiful swirling with the camera around. Johnny Depp and Frank are present as he's telling her that he's going to serve two years. And she's telling him essentially that she doesn't have two years because she has cancer. The music just comes in in the moment. We're like, if you watch it, slow motion. Johnny Depp is like searching in her eyes for what she's talking about. Then he finds it, and then all they can do is just sit in this moment of their love and their sadness. And this music is playing. And then it transitions to the funeral. And basically that was the end that. Broke up the group that broke up the fun weed, carefree party. Yeah. That's when that music goes away and we only get that music again is when we're coming to those defining, life changing moments. Yeah, it's really a hell of a score. It's the score that I paid more attention to after you and I met because you two were talking about it. I think there was a first thing you mentioned about the movie, how much you love the score. Now, going back to another scene that I've always really loved, going back to Ray and Rachel when he comes home after he skips bail. Oh, he's having that just that great talk. You know, they do it. He does a toast with his dad for the first time at the window is Beat Your Back, which is how you ended your best man speech at my wedding. Which is great. Sure, I don't do it. I laugh at it. Did I still toast? It was great. And then the kicker that is, you know, the cops show up, George is running around and then when he's being led out of the house by the cops and Ray Liotta is looking into the camera, his eyes are just so like wide eyed and horrified. And then she drops the line. I had to I had to do it in the way that Ray looks at her. He's like, Jesus Christ. And like storms inside just that's such that is a hammer being thrown down of whoa. That's momma's priority here. She's turning her son, and she doesn't give a shit. And we know where where she goes. If you're really paying attention to the last time she's mentioned, the last thing she just does. So George is very fucking mean. It's just so. Oh, yeah. Having him at furlough, it's oh, it's fucking brutal. But I've always really loved that scene and that's really, you know, we've gotten some suggestion that she's not the nicest mom, but that right there, you're like, Well, okay, now we know where her loyalty lies. Oh, is this going to reflect on me? Well, she's always been like, if you think about, you break her down. She's kind of a selfish woman. Oh, she she would leave when she had had it when he was younger, like the bus stop scene or she's she's like, go home, George. Yeah. And, and, and, you know, like where she going to go, like and she always comes back and, you know, essentially that's a mother leaving their son. Yeah. That's a big she's abandoning. Yes, exactly. Big deal. And so when she turns him in, she's turning him in for reasons that like she says, like how do you think that reflects on me. So her motivation for everything is really self-preservation. Yes. Even in the in the probably the happiest scene we ever see her in is the dinner scene when. She knows that her son has a lot of money now. And she's happy. And look at. How much you're. Going with with Ray Liotta and yeah yeah he'll cheapskates gate beets gate and then when you know he is at home and he's like he's not allowed to leave, he gets phone calls. She's just staying in the room for the phone calls, like. And then finally, the last thing we see from her is, you know, she basically says, you're not my son anymore. And this whole so that's juxtaposed shows by Ray Liotta, who will only ever see him as his son. Right. Like that scene when he comes back and, you know, Johnny Depp looks and he goes, are you mad at me? Which is just such a childlike thing to ask. Right. And he goes, no, I'm not mad. I just I don't understand. And even the way he greets them, he's like, open arms. He goes, Oh, my God, look, it's our son. Can you believe it? Like it's just an undying love is unconditional is beautiful. Oh, God, it's so good. Next scene I want to talk about has a lot to do with cinematography. So we're going to give a lot of love to Ellen here because when Diego in prison, you know, sent to prison, what do you end for? George says murder. Ha, ha. Take us in there for ripping off cars when George reveals that I'm actually in here because I got caught with £660 of weed, it's like a great what? He's teaching that course in prison. Like, I'll teach you how to do some drug dealing. Oh, that's great. A premiere chief lesson in cinematography is the scene, the next scene of them in their cell. And it's just that, yeah, it's that gold hot light and all. The only thing they did for that, they just set it up there and gently move the camera back and forth. And then the editor did these harsh dips to black, bring it up again, and it lands on this perfect crescendo of George. What do you know about cocaine? And it's it's a really cool scene, but I always loved the way that was shot. And then knowing how simple it was that they didn't they really I don't know, 53 million is a lot of money, but they're not talking about it. You know, I think a lot of that probably went to the actors. So to get like down and do some really cool shots and some cool stuff, you just have to be economical. I mean, when George gets taken down and all the cops come in and that scene the way the light just kind of shines and we go to slow motion, it's also very it's done on a budget. And I really appreciate how Ted me could stretch his money like that. I just I just love that scene. It's so stylistic even in the performance, because the way that Diego is talking to him is so over the top. Oh, yeah. And it's almost in a way that, like, you know, you never talk to somebody like that where it's so but it's also like hypnotic and inversely, like Johnny Depp is not matching it. You know, he's speaking to him very much conversationally, like he goes, Do you know why you failed? Shut the fuck up. I'm trying to go to sleep. Yeah, exactly. And that's what when it lands, right? What you know about cocaine and it's just then you cut Johnny Depp like like he looks intrigued. So well done. Speaking of music moments, I don't know if my heart ever beats faster in a good way than when black Betty by Ram Jam starts. And they're just you know, they're cruising at he should do the airport immediately all white all white just oh it's so stylized immediately he gets picked up by Pablo Escobar's guys and it's like, Come with me. And then that's always been one of my favorite moments is that trip to Mexico and oh my God, the meeting of Pablo Escobar and his introduction in this movie is one of my favorite things just ever. That insanely long lens we're in George's P.O.V. and he goes, shakes the guy's hand and then boom with his back turn. Then it cuts a slow motion and he's like, Unless you've been living under a fucking rock, that's you know, a loss of it all. Pablo Escobar I love this sequence so much that he's played by Cliff Curtis, who's an amazing New Zealand actor. Mays He's played, yeah, so. Many different types of roles, so many different races, which I know hasn't something that really goes on nowadays. But an incredible character actor. I've loved him in everything. I've seen him in Three Kings. Oh, my God. He watches his wife be murdered right in front of him. Bringing out the dead is a crazy drug dealer insider. As a terrorist, he's smiling and training day. Well, right. Or holy shit. If you haven't seen Whale Rider, he's so emotional in that movie. So good, sunshine. I love Cliff Curtis. But you know Benicio Toro, Javier Bardem, Wagner Moura in Narcos, they've all played Pablo Escobar in The Dude from Narcos is really fucking good. I don't know if he can get better from that. That's fucking incredible. But this is for one scene. What he does here is amazing. And the dude is not Mexican, dude is not Latino. Like he's a New Zealand actor coming in with so much presence and you know, please take off your glasses and just he even does that little fake out like Joe Pesci does to Ray Liotta in Goodfellas. I'm funny how like when he gets out of the car it is you know, he confronts Diego like it is speaking all the Spanish like is it true that he's like, No, I want to work with us. You are, but let's just talk about this Pablo Escobar sequence a little bit. I mean, it's well, one that the shot where we're introduced to him, there's no music, it's just sound. You just hear like the birds and you see the image of him shaking a guy's hand. Because we're watching from the point of view of Diego and George Young. And then right after that, one of the guards just shoots another guy right in there. Sicario shoots the guy he shook hands with. Boom. Yep. And outside of heat in terms of the gunshot sound. And he this gunshot sound is my favorite gunshots that I've ever heard in a movie. Yeah. And what they get right about it is that you you see it before we hear it, because sound takes longer to travel, obviously, than vision. So they see it and we hear that pop and that's like from as far away as they are. That is what it would sound like. And that's a I've heard a gun being fired at that distance. I've never thankfully never seen you one's brains being blown up. But I imagine that's what it would look like. And the the contrast of like the people who have the biggest reactions are him and Diego. Like they turn, they watch, and everyone else. It's just business. Let's just, you know, put them away. And Pablo's just walking out to take a fucking meeting. It's so startling. And then it's. It's followed up by one of my favorite, like, moments of the whole movie where they're where Diego is basically like, they don't want to see me. They just want to see you. So you got to go. You got to go. And if you watch, it's a great I don't know whose decision it was. Maybe it was accident, but Johnny Depp is far right to the camera as you can go because he doesn't want to do he doesn't want to go at all. And they're telling him he has to. He's, like escaping the camera, trying to run away until he finally says fucking finds the confidence, finds like the bravery to just go and do this. That expression of fucking oh yeah has served me so many fucking times in my life. There is a certain time where you just got to say fuck it and go, Yeah, I think about that. If I'm ever kind of come up with something where I need to face some courage, be like, Fuck it, go. He has that little strut too. I love that way. You like you kind of bounce off that little strut. You know what I will say? I watched this twice in the past week to prepare for this because I watched it just straight through. And then with the commentary, I guess I never paid enough attention to when he is meeting with Pablo one on one like that. Pablo doesn't say it, but suggests very strongly like, why don't I just kill the ego, the suits, the problem? Like he steals cars and he he points to the ground of like, you see that I don't like problems, like referencing the guy who just, you know, got his brains blown out. I guess I assume that Pablo meant let's just cut him out of this deal. But he's saying, like, I can just go over there and kill him right now. Then you get all the money. Why don't we just do that? Like, I don't, you know. Yeah. And also kind of suggesting maybe that this guy is a little reckless and could lead to your downfall, which he does in part. But I love it when George is like, Nah, it's 5050. Like, he's my partner, you know? And Pablo sees as as a sign of respect. I just I always really like that scene. And, you know, the, the detail of asking him to take off his glasses, it's really it's really nice why he hadn't taken them off already. I would've been scared shitless. I know. Yeah, well. Hello, Mr. Escobar. I will be scared of his name because I'm El. Pedro, literally. Well, l l but Johnny, I mean, that that's other also good character where he is talking out of the one side of his mouth, the Boston accent. That's all George Young stuff. I like a lot of the stuff, George says. And this was directly taken from tapes that he get hear of. So like the dialog is stuff that was said directly in real life. And you know, once Pablo agrees to do work with them and Diego kind of screams in exaltation, we get, This is my favorite. How do we get what is one of my favorite? It's either this or Ram Jam but Blinded by the Light by Man for Man's Earth Band Coming in like this is a song that's been used in a lot of movies. And the only criticism I had to say about it here is that he should have stretched it and use it more because he only gives it. It's a crazy montage of those still images, but throwing us into that cocaine lifestyle, not with this series of video clips, with a series of crazy ass pictures to show the boom, boom, boom, boom, the rat a tat tat. And it's that that drug can have on your brain is so smart. I just and then, you know, we fade out into that great money scene. It's all the money over the apartment. But blinded by the light that he kind of kept going. And it's always good to leave him wanting more, but he could have kept going with that because I just love that. It's amazing. And it's one of those songs that we talk about where it's like when you see the use of a song in a movie. Yeah, no matter what. I guarantee you, whenever that song comes on, if I ever hear it, I'm only thinking a blow. Yeah, like I'm like, Oh, this is song. But same thing with Black Betty by Ram Jam. Like, there's no way I'm not seeing Johnny Depp with the flowing hair in an all white suit, which is a complete bad ass strutting down. But again, this is also kind of going back to my point of these eras of his life, right? So we now are talking about the areas of the seventies where he's in probably what would be considered the prime of his life. Yeah, looks really, really good. He's in the throes of whatever you want it, however you want to feel about it. But he's in the throes of the success of the business that he is made with his life. Things are going really well and there's like, you know, and that brings us to another like wonderful moment of the whole entire movie is when he meets Penelope Cruz. Yeah. At the wedding. Yeah. When they lock eyes, this screen is on fire. Well, yeah. And he based that off of West Side Story like locked locking eyes from across the dance floor and then seeing and then, you know, walking up to each other. It's very and similar to what I said for Rachel Griffiths, like some people had a relationship with Penelope Cruz, but not a lot of American audiences at this point, and she'd been in like a few things but not a lot. So seeing her and she's so stunning just on the other side of the room like that, it's a great, great moment. Hi. Why are you smiling? I don't know. Yeah. Another thing that makes that scene really fun is that you don't really realize that he takes Caesar's woman because Penelope Cruz is with Caesar. Like, who's George's arch enemy? Like, right out from underneath them. It even smells like Caesar comes up to him. He's like, they want you over here and giant. That's like, okay, yeah, I'm okay. Yeah. Like, waiting for him to go. Is his wife just totally fucking. Also a cool way to economically show how two people are getting into each other so quickly? Are those crazy cuts they do which are sexual in nature? But yeah, you know when the first time they kiss. But Ted to me is like we just shot that all in one room, like on a soundstage with some red lights and that's it. And you get you get it, all right? They're like, there's a little voiceover, you know, they're into the same stuff. But now we know where Martha's coming from. Like, we get who she is, we get what gear. He's kind of she is twisting in him. And she couldn't be more different from his previous love. Right. If you're looking at the span of his of his lifetime, like the loves of his life, she is just like the complete opposite. And he's got that great line. It's like we were young in love. We had the world by the short and curlies. Yep. It's a very, very reflective movie in that way where we're just seeing everything I think even says before. Like, we cut to that next scene where again, it was perfect. This is when it all comes crashing down. One of the most realistic scenes I've ever seen of someone getting shot is in this movie. Oh, yeah, yeah. Just right in the shoulder. But takes it. Yeah, takes it and knows like, let's not disrupt things more. Let me just, you know, because Diego's flipping out there on a drug deal, Diego's flipping out over something that has nothing to do with the drug deal. The drug dealers who don't speak English don't like that because it's usually Spanish. Only in here in the Diego speak English. And yet Jorge gets shot in the shoulder. But the way they do it, like taking out you hear the gunshot and they take out all the sound and just the look on his face really looks like, fuck, I just got shot. But if I don't get this together, I'm going to end up dead. So I got to like, yo, try to save face here. Yeah, it's a really good scene. Yeah. And the way because he's so vulgar, he goes, Oh fuck. It's just got a certain moment of, like, reality to it. The thing is, he's just trying to fight to get everybody out. Everything's okay, everything's okay. Yeah. Diego, kindly show this fine gentleman the way out. Thank you for doing business. Goodbye. Everyone. Out. Like as calmly and professional as possible. You know, in the Goodfellas part, we talked a lot about how maybe Ray Liotta doesn't get enough credit for how well he's portraying cocaine addiction. That jump into the fire sequence. In the sequence when Leonard Skinner adds That smell is playing in Buffalo and he is like just losing it. It's short. But, you know, his daughter's being born. They're yelling at him from downstairs. He's got that suitcase just full of coke that he's like doing bumps out of. And he looks nuts. Yes, totally deranged. But the way that that's cut in those quick jumps and he's like, all right, all right, all right. And every time you just see him, he's more bloodshot. More bloodshot. And then another aspect I forgot to talk about, it's in an earlier scene when the parents come and visit and she's doing the cocaine and she's. Yeah, when she goes down to meet the parents and she's just washing around in the sounds going, Oh, shoot, she's really playing that like she's, you know, spiked up. I'll say, Yeah, but back back to that that smell sequence. And then so he's in the room and it's just like an actor in the room with a prop, a suitcase, just doing it. Come on, come on. Then you get you cut to that fantasy stick shot of, you know, Penelope Cruz is giving birth, that he's just convulsing, standing up. And it's the best mode of my life, followed by the worst one. It is funny, but it's also like, Oh, this is guy had it really bad. Not only was he dealing like this, he was in he's in bad shape, let's put it that way. And God, does he look like shit? Oh, he looks terrifying. Like he looks like a walking corpse, like convulsing corpse. And that's one of those moments where the movie does get very stylized, like in costumes and makeup. Like, it gets moments where it gets over-the-top, but it never leaves reality. And that's one of things I appreciate. Like they're playing a lot. Like, how do we make this guy look as fucked up as possible? All right, we're going to a bunch of makeup on and and, you know, and it works. It all works. And then when, you know, from that point on is really like when you see the father side of, you know, he says it sometimes he goes that from this is the moment where I knew what my life was all meant, you know, and I had nothing. I just wanted to be a good father, like my father was for me. Oh, man. One of the my favorite acting moments from Johnny Depp is when he's in prison again, because Penelope Cruz basically put him there. Yes. She flips out in the car, which is I mean, he has she has at least two flip outs here. When her voice gets to that register, where it's like we're blurring the line of acting. So her version of what about the money, what about all that? When, you know, that full circle scene we talked about, she's like going off on him. And then, yes, that car when she's doing drugs in the front of the car and then tries to climb on top of him, then the cops show up and she does. It's such a the way that she plays it, like yelling at him, Don't ever touch me again when you're the one who fucking instigated this and he's a fucking cocaine dealer, is a brick is kind of like, Oh, my back kilo in the trunk. Even says that when she comes and visits him, when she says, you know, I'm divorcing you, thanks, and I'm only here because you and I knew you it like that. And so, again, it's kind of it's partly why it's partly wine. But no, it's that scene. It's that scene where he's got so much rage, but he's not playing a character that explodes a lot in rage. Like he's a very, very calm like like even in the scene where we talking about where he gets shot, he's keeping it all. Cool, right? Like you can tell, like, that's just kind of how George Young must have been. Like, Johnny Depp is making these choices as an actor to never go into these moments of rage or explosion. Even when Diego, the fucking scene with Diego where he's come in there and and like no more friends. Diego Yeah. Next time it's loaded. Yeah, next time it's loaded. You can feel the rage there. But he never lets it out. This one moment where, well, he sees like Penelope Cruz gets up, walks away, then he sees his daughter and his heart just breaks. And like, those are the moments that really get me where he's just like thinks of somebody as like, Hello, sweetheart, you know? And then, you know, I thought you couldn't live without your heart. And she hands of the phone. That's like the best line delivery of the movie. She you know who that is? It's Emma. Roberts. Emma Roberts? Yeah. Yeah, she's great. She has, like, some angst and some fire back there. Like, yeah, that some dismissiveness. And you're like, Yeah, that's a good actor. And I had forgotten that that was her. And I'm still I'm a huge fan of hers. I love him. Robert So it's so cool to see her feisty and young just giving it right back to him. That's Oh, it's such a crushing fucking line. Whenever someone can use your own words against, that's always the worst. It's like you made me a promise, mother fucker can't live without your heart Where are you been? You know this is all Cassavetes shit to oh all these lines that like hit home. And when Johnny Depp slams that phone into the glass, there's a look that comes out of his mouth that's so visceral to me. Like, it's like an animal, like showing its teeth. Every time I see it, my mouth makes that same like expression because I can feel like that that rage coming out wasn't scripted. That was improvised. You only did it once. Oh, really? Oh, that's scene that's in the commentary. Yeah. And it scared the shit out of everyone because yeah. No one expected. And it was a very quiet scene and he did it and everyone jumped and they were like, Oh shit, that's why you hired Johnny. Yeah. We've talked about, you know, the cinematography as we've gone along to give Ellen Kuras also films Spike Lee's Summer of Sam, one of my favorite looking Spike Lee movies. It looks nuts. She filmed Eternal Sunshine of the Spotless Mind, which a few people may have heard of. She also filmed The Ballad of Jack and Rose, which is a movie you and I both love. We talked about. Yeah, she's and filmed a shitload of documentaries. A lot of documentaries we talked about the different film stocks to match the time period. We talked about the lighting of the prison scene. The cinematography is just so strong and confident throughout, very controlled. A lot of long takes on a Steadicam but it's also frenzied and handheld when it needs to be like in the shot getting shot in the shoulder again. I see Heavy Goodfellas and Boogie Nights influence. I also see her own work on it. Just a really, really good looking movie that is also assembled very, very well. So one thing we've been talking about a lot are the costumes and do you know who the costume designer was for this movie? Oh, yes. One of the is one of the best. His name is Mark Bridges. Yeah, yeah, yeah. Mark Bridges. And he has two Oscars, one for the costume design of the artist. And the second, in my opinion, incredibly well-deserved for Phantom Thread. So he he's on the costume design for every PTA movie including Liquors Pizza, all of them. So the costumes are so fucking good here because they're flashy, like the all white thing. It's so cool. And you're like, Wow, look at this. But then those terrible in the eighties which ever, oh my God, like, they're so good. And you want to at first you think like, you know, he's out of prison, he's walking his daughter to and from school every day. And you think like, oh, maybe it's just George, like, kind of dressing like this now. And they show that great shot of Penelope Cruz with the the blond hair she's smoking. She's she's I talk about fall from grace. You are not living where you once were and the clothes really, really tie in where we are and like who these people are like they probably it looks like they bought them, you know, it Kmart or something like Oh, it's just perfect, it's perfect. This movie's end, this everything that you're leading towards, it's a very, very depressive situation for everyone involved. And yeah, it really does feel like we've we've witnessed a lifetime where. There was a point where these people were on top of the world and it looks really good. Exactly. Yeah. And when we see the reality because the time periods and like again it's not over the even though it does it does kind of border that when we see Johnny Depp walking away from that conversation just asking, you know, to spend more time with his kid and she's like pay child support, you know, let's see what's going to happen. Like you're looking at two people are like, wow, this is what it's come to. They're having child support conversations and he's walking away wearing what he's wearing, looking like how he looks. It's just sad. It's just exactly fucking sad. Little potbelly. Yeah, it is. It's sad. Yeah. And it's not. It's not comfortable. And we, we've been watching a movie where, you know, this is the thing we talked about earlier about it glorifying this lifestyle. That's what I'm saying. Did you stick around for the last half hour, like last 20 minutes? No. Glory here in. Like I think back to that area when I was a kid and I would look at adults that seemed like they were unhappy people. And I would think to myself, I wonder, there was ever a time in your life where you were like like were you always miserable or was there ever like a point where like things were going good, like you had a job that you loved or there was a person, there was people, and but now all that's gone and you're just this. That's what this reminds me of. It reminds me a lot of those sad, like adults that I would see as a kid and just be like, Wow, you're just unhappy. And now this is what these two have resorted to it's just a very real thing. Unfortunately, it's what all of us strive to never have happened. Well, yeah, I don't need to I don't strive for like having hundreds of millions of dollars in my. Well, yeah, no but I'm saying like if you don't, if you don't reach that big, maybe your fall won't be that big. Know I think there's some Yeah. Living life in moderation. And as his dad is saying, are you happy? That's the only thing I care about. And he can't even really give a straight answer. Yeah, you know. Huh? Yeah. Talked about a lot along the way. We've even touched on most of this cast, but let's go in on him. Ethan. Simply who was who I knew well from American History X playing the best friend Edward Norton. Now he's here is two in a totally different dynamic. He's so kind and joyful and loving. But I'm sure you had a relationship to him from the Kevin Smith movies when Blow came out. Yeah, this. Dude is in everything. You look at his IMDB. Have you seen him recently? Oh yeah. He's Jack. Jacked. He's so kind. Oh, he's awesome. Yes. In from all the Kevin Smith movies. Classic stuff. I just love him is true and I love how everyone's accepting of him. You big tuna, does he look like a cop? It's so true. Yeah. No, it doesn't. And speaking of the the love of his life that I like to view her as the great Franka Potente as Barbara. We might remember her from The Bourne Identity. Yeah, yeah. And run. The run. Exactly. Yeah. It's actually. That's why she was cast. Yep. This is a good time period for her. These are all the movies that she was kind of hitting big. She's great in it. And I do love that calm energy that she's bringing to it. Like, Yeah, if you, you know, if you want real, we'd like I can introduce you to my guy Derek. Like, it's fine. Just very chill, you know? Barbie, like, I love her in it. I love her dynamic in the restaurant before the nosebleed you know she's yeah really represents that heart and this is his life is very different. If Barbara doesn't pass away and they stay married. Oh, it's very, very different. Maybe to the point where she's like, I don't think we need to get into this cocaine business like we're making plenty of money from. We can we just hang out and do this, please? Yeah. This huge house. Like, it's a great scene, too. And she loves the house and love it. We'll take it. Oh. I'll take it. So, I mean, he would have done everything. I mean, there's a there's a beautiful line in the video of he's speaking about Ray Liotta when Rachel Griffiths comes back from abandoning them. And he is. But every time he took her back, he loved her. Yeah, God, did he love her? And I feel like that's kind of how felt about her, right? He's like would have done anything. Max per like as Kevin Dooley, who we already touched. It's just so fun to mention Max perfect because great actor from things like, you know, drugstore cowboy, rush cliffhanger maverick the original maverick, the original movie Mel Georgia. Again, that movie has my favorite. Jennifer Jason Leigh, go check it out also and beautiful girls directed by Ted. To me, there's a lot of good supporting work in here, really iconic performances. But yes, seeing Paul walk out from those beads and it's like, hi. I didn't I didn't know he was going to be in the movie. My mom didn't know he's going to be in the movie. And she, like, gasps outloud. He went, Oh my God, it's Pee-Wee. And he's so good. And it like he's so my my favorite scene of his is at George's 30th birthday party. When he comes back and he's all there's a lot of regret in there, a lot of shame. He's very buttoned up now. He's apologetic. And then when he sees Penelope Cruz and he's like, oh, my God, is that her? Sure. £80. Like, I love that. Ted to me gave him a chance because yeah. Like this is an actor who posed Pee-Wee did not have the best. He had a very public nineties and early thousand, very public personal trouble. And it's cool when I talk about Ted. To me, he's like, Fuck it all attitude. Like, Yeah, whatever I'm going to give him a role in this is going to be really good. And he is. And it really, really holds up. It holds up very, very well. You might look at it as like stunt casting. Some people could say that, but it's not. No, it's just really not. It's just an actor doing, a really good performance. That's all. That's all it is. It fits with all of the character actors that were going through. Like, this movie is so well cast. I think this might be the reason why people equate it to Boogie Nights is because you've got this supportive cast that's so memorable. Yeah, everyone in this movie feels like a very memorable piece of it. And I think that's that's got to be where that comparison must come from. Yeah. Jordi mejia as Diego. It's like that's it's his first American film. Again, he had been in some stuff. Penelope Cruz actually recommended him to Ted to me, which is cool again. Yeah. Like so he's just so colorful like there's two ways to get out. One, you can escape. Like, the way he laughs to sell it. He's, like, played with that little brush, but oh my God, when we talked about it. When Jorge goes to visit him and holds a gun to his head, he looks so fucking gone in that scene. So the buy buy the terrible like the unshaven beard, the sweat he does outline right before it. Like he just. Yeah, he's completely gone and it's terrifying. Yeah, it really is. You're looking at a person that's not then at all like that state that that drug has taken them over to the place where in that moment they are not that person. Yeah. You're completely just checked out and then. Yeah. I cannot overstate how important this role was for Penelope Cruz, how important this movie was in terms of her relationship to American audiences, because she'd in good movies before 2001, just not really in America, but open your eyes, live flesh. All about my mother. She plays Matt Damon's love interest in All the Pretty Horses in the year 2000, but Billy Bob Thornton directed that movie, and that movie was just butchered by Harvey Weinstein. I'm reading the book right now by Cormac McCarthy, and I can see all the stuff that was left out. But, you know, it's a decent performance. But in 2001, she's in below Captain Corelli's mandolin and vanilla Sky in rapid succession. Captain Corelli's mandolin was not a good movie, but they marketed the shit out of that and she was everywhere all over it. The movie sucked, but whatever. You know, Vanilla Sky is a remake of Open Your Eyes from a few years before. And she's playing the same role and doing incredible work in both. But that anger, that Coke rage, that she gets to blow, that drinking and smoking, I mean, she gets to be like a fucking animal in that car scene that we're talking about. Don't ever touch me, motherfucker. This has always been one of my favorite performances from her and a rage that she gets to that we haven't really seen from her a lot since. And I just I really like it. She's so strong in this. She is in and she's got that range because she's not in too many scenes. Right. But everyone's there. There's a certain side of her that's revealed. Like, I do love the scene where he comes back and he's, you know, he just got his ass kicked and he just got cut out from the business. And, you know, he just tells them, like, you know, tells her, like, we're getting out, fuck him. And she's very like, she's like right there for him. She goes, Yeah, fuck them. Yeah. And she and it's very sweet, very tender. And then yeah, then it cuts to her. Let's have some fucking photos. This whole huge, like fishbowl of cocaine. You're like, oh my God, the final cast members has rounding out here. Do you have anything to say about the great Kevin as Leon? You know, Kevin Gages. You mean Jesse. James? Oh, Kevin Gage played mangrove and he's which we talk about a lot in episode 57. That was a real doozy. And our deep dove on heat. Yes. Kevin Gage as Leon and then Jesse James as Young George. Those are two completely different actors, that's all. Yep, yep, yep. I have nothing to say about Jesse James as your as young George. He did a great job. But I will talk about Kevin Gage was great in this like he really feels like he was exactly that type of guy. Yeah. I think that's what's great about him is like in heat. He feels like that. Guy is so terrifying as Wayne and he's. So terrifying. And in this, he's not terrifying. But he does look like that guy, like that older middle aged kind of guy who's. Yeah, you want to make a deal? We can make a deal. We can. I'll provide this. I'll provide that. But I think it really all kind comes to that end scene where they've completed the deal. Yeah, they're in that warehouse, which looks like a stage. It looks like theater. Yeah, it does. So. So much of this movie is theatrical in so many ways. Well. I referenced that earlier, but when those cops come in and it switches to slow motion the way they like, clear the stage and they each take your chair. That's such a theater. They do exactly it. It's just it's such a to do. And I love that reveal of that moment, because the the spoiler of this is like, you know, he's been set up he's been set up by everyone that he knows, including Dooley, who is working undercover to save his own well, and Derek. And that's Reubens because he calls head first. They don't show you that, but he's like, I need some work, I need something quick. So yeah, they conspire to. And screw. Them over. And you know, in your on this ride where you're like, all right, he's just doing this one job so he can take his kid, you know? And that's what Johnny Depp says to him. He goes, Last fucking score, last job, you know, get to make a new life for myself. And he goes to the bathroom and I love that. He goes, I feel like a fucking kid again. And then the camera pans back to them, you know, something's up. And, you know, Kevin Gage is sort of like, Yeah, I like him too, but what's done is done. Yeah. Like, now, you know, that's not going to go well and that moment that Johnny Depp has where he realizes it's my favorite moment in film history when a character has realized something. Yeah, it takes my breath away every time when he just goes. All of that energy comes out on that on that line. It just it floors me every single time, you know? It's like what matters. Like, nothing met him except I broke a promise. Oh, God. Yeah. Petition of that didn't bother me. That didn't destroy me. Oh, yeah. And then she's just there waiting. We made our way through most of the movie here. Any final thoughts? What do you think of the end? Which part specifically? So. Okay, so what do you think of that? He basically is imagining that his daughter has come back to visit him. Yeah, it's just in his head. Yeah. Now, because I know some people that see this movie, they get very confused, like, is he does he have dementia does he is he crazy? As he lost his mind? Is thinking too much into it? Just a little magic? I think so. Listen, it's not my favorite part of that is when all of a sudden they're hugging and then it cuts to him behind and she's little again and he's just holding her and she's little. And then he cut back. Yeah, yeah. She just fades away. It's just like he's getting older. And that is a longing that he thinks about every day. Like every day. Love to have a reunion with his daughter. It ain't happening here. But it shows us like if he did get it, how he would react, like how. Know. He would say to her when he embraced her and Charlie the one thing he wants most in life. And my assumption is that he just at least while he was in there, you know, he didn't get it. He did just he did get released and he did pass away. Recently, as we discussed as we talked about in our 25th hour commentary, it's funny because Monty Brogan would have been in Otis the same time as George Young. Man. Because he's 2002. George Young wasn't set to be released until 2015. I'm saying to drug dealers, they're in there. They could have gotten a lot of work done, could have gotten a lot. They could have got a lot of work done. They would have been a huge they would've been a huge team and a team of two fuck ups. That's one of my favorite lines to. Oh, yeah. Now think of my 24 hour sequel, 26 hour Marty comes out with this education that he's gotten from George Young and like he's going to take over heroin in New York now. I don't know. My final thought final question below. Thankfully, some movies you talk about, everybody wants some you can't find anywhere unless you pay for it. Blow is usually around. Right now it's on Netflix. It's usually something. So that goes to say this is an easy movie for people to check out. It's an easy one to recommend in terms of access. So someone hasn't seen it. Maybe they saw it in 2001 and haven't felt the need to revisit it. Why as your favorite movie? Just, you know, sell me on it. As a final thought here, I. Would urge someone to check this out because I think there's just more to this movie than what everyone thinks about it. I think, again, like this, it's not a movie that you haven't seen before in terms of what the content is of the story. There's so much more heart in this movie than I think people realize. And that's that's the biggest thing, like that end scene where George is talking into the recorder and he's delivering his final message to his dad. And we cut to Ray, you know, listening to it, if that moment doesn't get you, like there are certain like tear jerking moments that are it's what film does with it. It manipulates your emotions. But like, that's one of those ones where this movie is chock full of moments, of moments of emotion that really, if you let them in and take them for what they are, cut really deep and in a beautiful and not beautiful way. I would encourage people who who haven't seen this to be open to watching the movie for those things, not necessarily the story of. A drug dealer coming to rise and fall that will be there. That will be the ride. Pay attention to what's going on in between. Well, I think that's a note to the critics when this was released, could have could have done them a service to kind of take that in a little bit, because there was a very surface level read to a lot of the reviews and, you know, yeah, this can happen because they're writing them so quickly after they see them. But if you go in, it clicks in for you in like minute ten. This is a Goodfellas knockoff and Boogie Nights knockoff. So I'm just going to look at it surface level. I don't know. It's just not fair to me. It's and it's also, again, kind of lazy like there is more to the movie than just carbon copy knockoffs. And I that's the final point I want to hammer home because unfortunately, unfortunately, there are a lot of people out there who base their movie watching decisions off of like, let's say, Rotten Tomatoes scores. And this is not a good one. There's a lot of Rotten Tomatoes scores that are bullshit. It's also a lot of like critics reviews that just don't age well. And I think this movie is aged well. I think the loss of Ted to me and now Ray Liotta makes it again more nostalgic, not upsetting. Just it's just kind of sad. That's all really sad, actually. But if you are a fan of Ray, I promise he's giving a great, great performance in this. It is not as much to do as Henry Hill, but there is a lot of excellent aged work here. And this wasn't an old dude. They go watch identity two years later like he's in shape. Is that cop like he's he's in good shape like this isn't. Yeah but he just the ages and it's in his shoulders and it's in a soul all here in his voice. It's so good. He steals every single scene like he really does. I mean, those are arguably, arguably, every scene that Ray Liotta is in is the best scene of the movie. Yeah, yeah. Like I would make an argument for that. But, you know, this isn't an interesting movie for me because people will ask me like when they don't know, like what my favorite movie is and I say it, I get the exact same reaction. They'll go, Really? But not in like a dismissive way, like in a way of like, that's your favorite. Like of all the movies, you love this favor and I give them my personal reasons for it, but they all say the same thing. They're like, You know what? I'm going have to go and check that out again. Exactly. I think a lot of people have seen this movie once and maybe judge it for its surface and. Not necessarily. Gone back to it or revisited it. And I'm saying, yeah, there's a lot of things that make it very rewatchable it's a lot of fun stuff to it and there's you know, just killer soundtrack, great acting. It's just, it's a good ride to go on and definitely has more depth in whatever the critics were pitching in 2001. Yeah final thoughts are like let this movie in more than than you may have before or if you haven't going into it just let it in it it knows what it's doing in you're in the hands of a really good director and at the very end of the day if you don't like the movie for its content or all of that, you are going to watch a very, very captivating performance by the movie star of his time. Yeah, absolutely. So we're going to move right on to. What are you watching? I'm going to go first today, fucker. Wow. I actually saw all this, this one for the Goodfellas part, and I had a whole little blurb written about how I was tying it to it. And then I remembered and rewatched Jaws and Jim and that as strange as it seems, that definitely fit better into the Goodfellas podcast. So I just gently moved. Sexy Beast, directed by Jonathan Glazer, also released nine years below 2001 moved it right over because Goodfellas slash blow these are movies about a young guy trying to break into the drugs life and sexy beast is about an aging gangster trying to get out of the gangster life that has tons of style. A great very, unique soundtrack, great acting from Ray Winstone, Ben Kingsley, who's just a force of nature. I really, really love sexy beasts. And it's something it's a low key one that I quote a lot just in daily life, the most obscure references to it. But this really this also feels like a movie that was influenced by Goodfellas similar to how blow was in different ways. But, you know, a lot of people talk about birth. It does well on Twitter with Nicole Kidman under the skin with Scarlett Johansson. But if you've seen those and you haven't seen this first sexy beast, go back and watch it. This movie is great, and it's one that I revisit probably once a year. I've been in love with this movie ever since came out, so that's my recommendation. Sexy beast. Excellent recommendation. Yes, sir. You do what you do. Pull of the most obscure quotes from that movie. I think they're hilarious. Yes, yes, yes. You're going. You're fucking going. All right. So for the first time ever, I'm going to go second and I'm going to ruin. First on Vortex. Who in first on Vortex who recommended antichrist. Perfectly talking about vortex. You went recommended that week. Shit. Oh, all right. So I am doubling down on Jonny I'm recommending a movie from his early nineties career that I think is one of the reasons why he is the actor of that generation. Benny and June from 1993. Wow. It is. A cut. Sweet, quirky movie about two very eccentric characters finding each other in a in a simple world. I don't want to say too much about it. I highly recommend. It's a it's a it's a really good example of what nineties movies were doing at that time. You know. It's funny about this movie to me is I remember hearing about it and getting teases and getting confused. And when I finally checked it out, I watched Henry and June, which is, oh, an incredibly different experience. It's rated NC 17, starring Fred Ward and Uma Thurman that I remember. I was young and being like, I'm just Johnny Depp in this and he is not. But yeah, Benny in June is like a very good, like physical comedy. It's very it's very unique for what for what we come to know as a Johnny Depp performance. This was the movie I think I watched most with him. I would put this movie on loops. Oh, yeah. I would just watch it over and over and over again. And I just it's delightful. God I haven't seen it in so long. I genuinely since I was a kid, so I might have to go recheck that one out, but. All right, here we are. It's your show. Anything left before we sign off? Every movie of all time will never get another chance to talk about this film on the podcast. I. You know. Yeah, no, there's there's no way that it'll ever happen again. Shout out to Dennis Leary. That's how over at that. Great. Yeah. Making it happen as a producer putting his weight behind it. And we know you know, I've seen him in interviews. He was completely heartbroken when Ted Timmy died. So, yeah, shout out to Denis Leary. Shout out to Ted, Timmy. Rest in peace, Ray Liotta, rest in peace. We love you. We miss you. There's a lot of fun doing these deep dives on Goodfellas and then below. It's a lot of fun to dove into. Ray still going to miss the guy. I'm still going to be rocking my Ray Liotta shirt here for as long as I can remember. But as always, thank you for listening and happy watching. Hey, everyone, thanks again for listening. You can watch my films and read my movie blog at Alex Withrow dot com. Nicholas Dose Tor.com is where you can find all of Nick's film work. Send us mailbag questions at What are you watching? Podcast at gmail.com or find us on Twitter at W AIW Underscore Podcast. Next time we're going to rap about everything we've been watching this summer. New movies like Nope Rewatches. We're even going to get some new TV in there. It's going to be a lot of fun. Stay tuned. Say her name. I can never. Say Franka Potente. Yeah, but talk about her. I mean, introduce us. Talk about it, say it. The talk about it, sort of I'd say it like in German names and I'll give them.