Watch Steven Spielberg’s WWII masterpiece right along with us. Alex and Nick discuss the lasting importance of the Normandy sequence, movie tricks, Tom Hanks’ career, Spielberg’s best films, the great supporting cast, terrible Oscar mistakes, the best war films ever made, and so much more.
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Hey, everyone, welcome to. What are you watching? I'm Alex. Withdrawn. I'm joined by my best man, Nick Dostal. How are you doing there? Private dirt. Oh, turds. Contrary to the disrespect that I just received. I am honored to be here. Yes. Saving Private Ryan commentary. We did it. It went really. Well. We are recording this intro after the fact. We are going to keep this very, very brief because this is a long episode. But I put this movie on just randomly a few months ago and I thought, I don't know, I think this could make for an interesting commentary. It'll be a different vibe for us. We can release it right around Veterans Day, which we are. And it was a good opportunity to talk about Spielberg, which you pointed out we hadn't really done a lot on the podcast yet. So yeah, I mean, is whether there's no other. Way to slice it. Steven Spielberg is one of the greatest filmmakers who's ever lived and he has not really come up much in our conversation. So it was Veterans Day here. It just seemed like this was a great idea. I never thought we would have done this, though. I never thought we would have done a commentary on this movie. Right. I kind of sprung it on you. A few little tips before we get going here. If you like watching movies with a beverage of some kind, you can have a fun game where every time we say an F-bomb, you can take a sip or a drink. Because we were up there, we kind of make fun of that a few times. There are some talking gaps. Nothing crazy there. I mean, like 25 seconds maybe at most, like even right around like the German machine gun section when they're in the field. There's some talking gaps around there when they get to Rommel. We did record this together, which was great. It was so fun to just hang out and do this in person. And finally, there were some minor audio issues that won't be reflected in the recording. They were all on my end in terms of how well, which is to say not well at all. I could hear you on occasion. So that leads to some very interesting conversations about a rocky Nick Nolte. I made you mad. At what. Point that Derek the DaVinci. The German machine gunfire so you just listen for there but seriously we record these so they will hopefully be able to stand on their own. But if you have the opportunity to sit down and watch it with us, I promise we keep it lively, entertaining. I mean. If you think about it, you could really start the movie. Here. You could start the movie right here, which is what people are going to do that will make sense in 3 hours. So when you hear the beep. Is when I hit play in three. To one, do test for me. Test, test, test, test. Sounds great. Yeah. All right. Stop yelling at me. We're back. Another commentary, the third. What are you watching? Commentary is going to be our longest episode in podcast history. And what are you watching? History. That's true, isn't it? That's going to. Be our longest running commentaries or is the longest? Well, I'm actually I think a lot of people might agree with this. I'm thankful that we have this on little like rest before we get into the heat. You know, it's kind of nice to, like not jump right into the thick of stuff and we get a little grace period here. Saving Private Ryan. Why did we pick Saving Private Ryan? I watch this. As you know, one does just randomly. It was on it's always on one streaming service or another. And I watched it like three months ago and I texted you and I said, I think this should be our next commentary because, you know, pretty much everyone's seen it. It's always around. And if even if someone, like, hasn't seen it in a while, you, you kind of remember what's going on and, you know, like, yeah, it's pretty difficult to forget, but here we go. How are you feeling? I'm feeling good, man. I'm excited for this one. This I'm so this is a movie that I would have never really thought that we. Would have ever done. And it's a perfect movie to do for Veterans Day and. Yeah, I did. I you know, we are timing this kind of specifically with Veterans Day. I do. I'm sure this will come up in conversation. I work with veterans every day. So this this movie and a lot of really good, you know, war movies and movies about veteran PTSD mean a lot to me. There are some not so good ones, but this is one that is just a I mean, this is like objectively one of the best movies ever made, genuinely. And like since 1998. It no one's going to argue with you if you're like, yeah, the last great movie made with See Brother, you know, like I've had older generation people talk to me about that and you know, it makes sense. It's just it's a movie that's in everyone's kind of conscious and I'm, I'm glad we're doing it for that reason as well. I am too. Hey, speaking of, when you work with veterans, do you get a chance to talk to them about movies, like about war movies specifically? Hmm. Tricky. Yeah, that's a it's a tricky thing because it depends on the generation we're talking about. But we're I mean, we're like 2 minutes away from explaining for me, kind of giving my reasoning as to why I don't think a lot of veterans that I have met personally don't really like to talk about these things and maybe don't like to see the movies because they don't want to revisit it. So every veteran that I've talked to, Saving Private Ryan about, every veteran who has seen it, World War Two veterans, my grandfather was in World War Two. This you know, this opening scene is as real as it gets. Oh, that's. War. That's what it is like. That's. That's what they all tell me. I've never been in war, but that's what they tell me. I've spoken with people who were literally at this exact sector on Omaha Beach that they are about to be at. And they watched the movie and they went that that was a documentary. Like that's what it was like. So if I if I have a rapport with the veteran and I sense that they like movies, I will bring it up and just, you know, I want to talk about realism or I want to talk about once a day like but yeah, when it comes to war films, it's as far as World War Two goes. It's always Saving Private Ryan, not as many people. It's seen there will be blood which came out, you know, like four months after this movie. The ones who have that I've talked to think are like, here's you break. You mean the thin red line? What I say there. Will be. Blood cheese. I guess in. The thin red line. Saving Private Ryan is always ranked very highly in terms of realism, in terms of what it was like, which we kind of talked about this like Platoon for Vietnam, really kind of gets to that experience. But every veteran I've ever talked to who has seen this movie absolutely loves it and appreciates it. And I've talked to a lot of World War Two veterans. So here we go. We're not really talking about the movie. We're going to get back to this scene. I do just remember this because this is a huge, huge, huge we know now because we've seen the movie that this is Private Ryan and he is not there for the spectacular events we're about to witness right here. Wow. We're going to this 25 minutes are going to go by really fast. It's going to be a lot of talking, but it will calm down. But this is on. I kind of want to talk about like Saving Private Ryan came out this summer in 1998. Like every people knew it was going to be tough. Like it had that reputation. And then, like, I didn't see it right away. I was young. So my parents in want to take me right away. And you heard the stuff. So I went on like, you know, this is back when movies were in the theater for like six months. So I went on like week three and I just will never forget I was 13 years old and I will never forget the room like the sold out room when this fucking wall goes down on this ship, on this boat right here, it's the I mean, gasps. It's like it's really it's I don't know. It's really incredible. It's I actually saw this movie in theaters with my dad and. Oh, wow. He he he was not he was not a movie guy, number one. And he was not one for violence. He, he, he, if. He liked a movie, he liked comedies. And so I dragged him to go and see this. And I don't know how old that was in 1998, how old we were on that time. You were probably 12, 12, 13. And and so I remember I was not bothered by what I was seeing here. I was more kind of just like, oh my God, yeah. It was like a jaw dropping. I wasn't bothered by it. I was just like, Holy shit, this is I've just never seen anything like it. I had seen Great War films, The Deer Hunter, Platoon, Parts of Glory. I'd seen that stuff. I don't know if I'd seen Parts of Glory 1988, but here it is. That's a great. Help. To kiss the cross like that, because that's going to come back. Yeah, no one knew who Barry Pepper was in 1998. I mean, not really. Oh. Oh, my God. I mean, they're just picking them off like this is if you've seen any of the photographs or documentary footage from D-Day like this, it just looks exactly like this. Like, it was great. Yeah. And they were coming in like it wasn't sunny or anything. That these are the most horrifying shots from the Germans. Yeah, it is. Those are the scariest. The next one is the worst like that that random both the just opens up and they like crush them all they despise them all out. So look, God. We have to go so fast. So there's so much this. That we're watching right now. One of the like just objective best sequences in film history is not. Yeah, go, no, go ahead. Go ahead. I in my opinion, I think this is if someone was to ask me what's the best scene or sequence ever put to film, I think I give it this. Yeah, no one's going to argue with you because it's it's so profound. And like, what I want to remind people of is this is I mean, watch every Spielberg movie. Watch them. All right? Now, he's never done anything like this before, since like this is him in cinematographer Janusz Kaminski. We're like making up styles. Like, we've seen this style replicated, obviously a ton, but I had never seen someone at least when I was 12 and now that I've seen like so many more movies, this is one of the first mainstream examples I can think of of like they're changing the shutter speed and the camera. So that's why it looks really fast or choppy there. It's overexposing the light and like letting a lot of extra light in. Sometimes all these cinema cinematography tricks that I just never seen before that fit like, so well. Oh, God, that one's brutal. Oh, that's my dad. When we were watching it, like I was saying, I wasn't bothered by what I was seeing. I was just more like just yet jaw dropped. But he was bothered. Yeah, he. He was screaming. I remember he would do this thing where he would, he would keep like, like like grabbing my shoulder and then being like, all right, all right. Right, right. Yeah. Like he's asking you. Yes. He's like it was totally he was checking. It out himself the whole entire time. I think it's again, we're going very fast here. I'm just trying to hammer home this scene that everyone is familiar with, but I'm trying to hammer home the fact that like a normal Spielberg movie would cut from Private Ryan's eyes. They're in that cemetery, too. Oh, that's the worst. So to this, Tom Hanks is is like his match cut when, you know, and we would just skip this whole battle that's a that's a very common Spielberg movie. Like we skipped this battle. He's in the cemetery and now he's here, you know? And now the battle of Normandy has just ended. And now they have this mission that's a Spielberg movie, that's a two hour Spielberg movie, adding, this is what makes this not 2 hours. That would be like a two hour or 25 minute Spielberg movie, adding, This is what makes it iconic and legendary. And, you know, when we're 67 years old, people are still the way you and I are talking about the scene. Yeah, we'll still be doing it. And that's the power of the sequence. Like, it's really it just goes for broke. Like, there's no there's no false moment. There's no, like, sense of hope. It's you're with him, which is really smart. Oh, God. This was one of the ones picking up like you. Like, just, like, not even really. He doesn't even look like he's in pain. No, he does like a double, triple take to pick it up. Yeah. He can't. Spielberg cast a lot of veterans who are amputees, so, like, oh, I don't know about that guy specifically, but I would imagine he didn't have like an, you know, like an army in real life and then going and looking for it, which is, yeah, this is a cool sound thing that happens when he's just like, you know, Captain Miller is not okay. This is like, yeah, teacher from Pennsylvania. Like, he's he's not all right. And I think yeah, I think if regular folk like us are watching war movies, it can be a little lost on the fact that, like most of the people like in this scene, not not like the characters, but the way they're depicting it, most of these soldiers are like 20 years younger than me, you know? I mean, like, imagine that, like, just. I can't know. I just can't fathom Tom Sizemore, Peak Sizemore. Sizemore. Really, really plays well off Hank's like they make such a great team and he even, like, dare I say, is able to inject just a modicum of humor into this, like we're in business. Oh, yeah, stuff like that. It's like he has these they have this rapport right away. It's going to come up like your mother would be very sorry if she do. You did that. They just have this. Well, Sizemore is one of the only breaks in the movie in terms of humor throughout the whole thing. Like there's something about him that it's just it's not like he's being funny, but there's a certain thing about him. That he's like a weather dude who's like, This is nothing new to me. Like, this sucks. I'm probably going to die. Yeah. Edward Burns and Vin Diesel have Summer good one. Like. Yeah, they do. Yeah. Yeah. Which again is very antispyware, but. Oh, my God. So that's just like, I don't know if I'd ever seen that in a movie before. We see that all the time now, but someone's like, guts and intestines hanging out. I don't know. If I'd ever see that. And that's him, like, punching and going. Yeah, this shit so real, like, yeah, you know, I'm going to stay with Hank's for a lot of this, but, like, this is this is real. It is. I what's so crazy that we were talking about earlier about this 25 minutes of this movie is that this serves no purpose to the plot. That cannot be emphasized enough that what is happening right now is like never referenced again, no movie. I mean, they talk about it like under an Air Force scatter all over town and it's like he's talking to Dennis Farina later for the debrief and it's reference. But other than that, like this, this scene doesn't actually have anything to do with the movie. It does need. To be the other Ryan brothers or at least one other one died here. We know that. But like, we don't see him die. We don't hear about that later. And that is the that's what you have to like if you're I don't know if you're really concerned with these things like that, beginning when we fade out from Private Ryan's eyes and fade into here, that is a cheat. And you have to accept that. And like, my whole stance is like, who cares? Yeah, like, it doesn't matter. Like. It doesn't matter because the payoff at the end. Yes. That trick that is played like who. Yeah. Who cares. Like exactly. Because it's just, it's a silly little thing where all of a sudden you're like, Oh, that wasn't Tom Hanks the entire time. That was that was Ryan like it. I think that moment of how you feel about that as the audience is worth the trick. Yeah, I want I want people to go back and watch when he realizes that his buddy that he was helping like that his you know, your bottom half has been blown off. And then we go back to Hanks's face. That's like a long one. Or for this sequence, this is another long winner. So now he's going into like it's been really hectic and now we're sticking with like this point of view, these long shots that lasts for a little longer. I mean, again, we're talking very fast, but like, if you go and break this sequence sound shot for shot, everything's perfect. Like, oh, yeah, matches up. All the continuity is perfect. Oh, my God. Just watching these guys. How long. How how. Long did this sequence take to shoot? Do you know. Who it was? Not easy. It took a very long time. Like weeks? Yeah, weeks. And they, you know, brought everything out. I don't know when in the schedule they shot it. I would. Jesus Christ. You hope they did it first. Like, oh, my. God, it's. New. Imagine, like, because I mean, how long was the shoot? Like, three months. Four months. It's like five huge movie. Yeah. So if if you see this, like, coming at the end of the schedule, like, that would be hell. But I definitely I know it took several weeks and they set everything up and they shot it on the actual beach that happened. I think, you know, I'm going to spit out a lot of trivia here that I've heard along the way. I hope it's not half ass like it's back to me. Yeah, yeah. Now we're getting kind of get picked up with all the other some of the other crew that will be with us throughout. Yeah, it's a great way to of men it's a great way to actually get to know your ensemble all by watching this because I mean, obviously we're with Hanks, but we're familiar now with Sizemore, where we're about to get more familiar with Barry Pepper and we associate the kissing of the cross to him. Yeah, it's just a it's a great it's like a great badge to kind of be like, okay, that's this guy, okay? This is this. Guy. Oh, it's genius. Like, it's perfect. And now we're meeting like, Vin Diesel, Ed Burns, who, like, no one knew in 1998, like watching movies. Giovanni Ribisi right here, is a medic. This is really like, to me, the first kind of how futile this all is. Like when they, um, they're about to shoot this guy that they're treating and, you know, and Wade here. Oh, that's great. And the blood of the camera on. The camera, the medics canteen just got shot out. We go. Oh, Jesus. Bill it. Right there. Yeah, that's the utility of war. What is. Yeah. And the way he responds, I also want to it's not only the violence in this that is so unusual and new for Spielberg because he hadn't done anything like this before or really since. I also pay attention to the language. It's sometimes because the language can be very crass. Oh yeah. I thought you like it in the ass. You know that stuff. But this is how soldiers talk then, like, yeah, you know? And Spielberg doesn't really do that that much. And that's another thing I appreciate about it. And in Spielberg, this is actually crazy because he's not a name that we bring up very much on our pod. Yeah, it's true. I we did like best and favorite a little bit ago, but like it's he's kind of he's just one of those directors that like, he's you just assume, like you like him, like, yeah, you have one or two that you love and then the others, like it's Oh yeah, I like that one. But yeah, I mean, it's funny. It's another reason why I thought it was good to do this commentary. Yeah. So we'll talk about Spielberg. Yeah. Because, because at the end of the day, he, he is. Already has cemented his legacy. But he is one of the greatest filmmakers who ever do it. Yeah, that, that's just what it is. But there's like a sentimentality to his movies that I think is kind of uniquely him. Yes. Yes, absolutely. And even this is like I'd say this is one of the more sentimental war movies and not this scene. But this is what's so profound about this scene is that it's crass. Yeah, it's in-your-face. Like there's nothing sentimental, nothing. You see, now that we're getting closer to people, they're bringing they're like, kind of overexposing that light a little bit, and you can see it creeping up on the top of the bottom. See that? Like it'll become more pronounced. But see, like when I was watching this movie for the first time, I didn't know Barry Pepper. Like, I didn't know that was him, but that dude would be me. Like, in this conflict, like, taking it all in. Yeah, like, I just have to move another step. Oh, man. It's still. It's it's it's it's hard to. Oh, I love. Looking back. You bastard. Oh, man, that's war. And, you know, and the the the the other remarkable thing about this whole entire scene is that you're following everything. Like you understand whatever watching, even though you don't know what this equipment is, you you really also feel the the victories of how far just getting to this point on the beach. We have to get out of the water. We have to get to these like metal barricades that we set up for protection. Now we have to get over this thing. Yet you're tracking it the whole way. We haven't had a wide shot yet. Yeah, a wide shot is we wide shots come up but we haven't had a wide shot to take everything in. And which is kind of crazy when you think about how much like how long did it take them set this up. Oh my God. Production design it to go out to the beach. Oh, my God. Like. And then you're not even going for a while because you're just in there. I love this senior medic priority. Yeah. It's like she's going through all the bodies. That's what we do. It's a great tap on the head. I just. I don't know why it's always rings to me. Double tap on Rebecca's head, man. It's so simple. But, yeah, he's gone. Yeah, yeah. But you're right. You track everything without, like, a wide shot and without, like, no one. When you watch this for the first time, like, you don't know what they're. You're like, okay, they're moving up off the beach. Yeah, like this and that. And then they have to get to these things. Okay. And the camera, you feel like you're the soldier. Even though we're on Hanks, he is our hero, for lack of a better term, for the scene. But it looks like we're another soldier right in the middle of it and just looking on at what everyone's doing. Yeah. And that one scene that I called out, it's like kind of a long one. Or you can, like, hear his voice like, come on, come on, let go, move, move. But yeah, it's like whether it was supposed to be literally him. I love that moment when the sergeant just sighs more. Just, you know, try to get the Amir closer. Yep. Goddamn armor on the beach. Yeah, he's a he's low key. One of the best actors for war movies like him and Black Hawk Down as well. Black Hawk Down is great. He's literally doing Duvall in Apocalypse. Yeah. Like he's not afraid of anything, but. Yeah, no, he's, I mean, you know, troubled actor, but he when he hit, he hit. Oh, yeah. I love him. Yeah. Movie. It's this is a really important part because he's all these people he's sending up to go try to take this out. Die. Yeah. So all these people sending up, he's like, come on, come on, they all die. And we hear this later in the church part. But this is like exactly like why they're taking him out. So you see, like, yeah, those are names we don't hear again because they're all about to die, right? So it's like when it's moving this fast, it's like, boom. But then when we get to that church scene, when everything's still like, Hanks knows the exact number of men. Yeah. He's that have died under his command in like. Well, yeah. Oh, yeah. And they all just go and then the kind of the great twist to that is when he sends pepper here and they think Pepper dies and son sighs, Where is it, mother line? Your mother would be very mad. Yeah, and that's. He's. There is second commentary we've done with Barry Pepper. This is yeah yeah. Welcome back to the Matt Damon Barry Pepper commentary series here. They're both in this one. There it is. You're like, boom, here he is. Here he is. We got it. Oh, that's the dude from the boat. I'm just smart. Yeah, we did. Matt Damon, The Departed, Barry Pepper. It's funny that our other bill to this one. We'll have to see who as we do this, who keeps making the list for most seen in our commentary. Yes, exactly. Yeah. Yeah. So, I mean, they. Go like that and that's like that and that's a shot. We haven't seen this whole thing. Right, exactly. They still were right up. And this is something to pay attention to. I love this. We go down girl on the different religions. This guy here is about to be in Latin just praying. I mean, that's the brilliance of this, is that honestly the brilliance. And then it comes right back to the bag. Oh. In Chile, that can happen like it can, you know, and it just, I don't know, tracking all this stuff. It's so crazy. It's hard to not just watch the scene. It's very. It's very. Good because. We're like, watching it. Yeah. They go. It's enthralling. Yeah, it's. I mean, it just moves. It goes so fast and no one was ready for this. Like, I had certainly never seen this in a movie. And now that I'm older and have gone back and watched movies, just that was like your first semi wide shot right here. Yeah. Yeah. And it's so fitting because we've now actually gotten up the hill. Exactly. We're with them on their journey, like we're guessing. But we didn't get a debrief before. Like, no, got to get out of the boat. You got to do this. That's what the rest of the movie is for. This is a. Very, very simple mission to follow. This is complete chaos and confusion, which I mean, if you read anything by anyone who was there, this is what it was like. Yeah. Confusion and hell and chaos and I mean. And how fast it also had to have been to. You got to keep advancing. You have to keep moving. I mean, he says that at one point, like, stay here, you're dead, man. And that's, you know, keep moving, get rid of all this stuff. I love it. I don't know why, but I just love it. I they know that they're like, yeah, boom, boom, boom. And they jumped down. Coming up. It's like such an oddly gratifying experience when they set this fucker on fire in that shoot. Let him burn. Like, you're like, Yeah, yeah. Like flamethrowers. Yeah, they're. I mean, they're cooked in there like this. I can't believe. Like, forties. Yeah. I mean, serious. How dangerous is that frickin weapon? Yeah, seriously? Yeah. Yeah. I mean, he. It just encapsulates everything right there. It's like, what more do you need to. Oh, man, when we're doing, you know, and there's a few things coming up here that I don't know if I just want to highlight. I don't know how obvious they are, but like there's there are a few, there's one in particular war crime that's about to be brought up when like. Look, I was for supper. Oh yeah. It's witnesses that and it's not you know, sitting well with him. And I kind of appreciate that. But again, we're like, we're going really fast. Like any other movie, any other movie. This is your opening 25 minutes and the rest of the movie is about this, like the fallout from do you lose? Like what? War crimes are committed. Like that's what it's about. This is to use this as a genuinely like a throw away. Throw throwaway sequence. As the beginning of your movie. It's, it's I don't know. People hear me say a lot in the podcast like, wow, them at the end. That's the adaptation thing like yeah good ending while them at the end. But it's odd when the best most iconic sequence in your movie is right in the beginning. And that it has nothing to do with anything. Else. Yeah, yeah, yeah. So here's like kind of a war crime and you know, they make light of it because if someone's surrounding without a weapon, you have to take them in. You can't kill them. That's like that's that's the way war goes and the way that they're kind of mocking it. I liked it. We get to see this just this read on Hanks's face. It's like disdain observance right there. Yeah, he sees it. And now you see, like, creeping in the bottom up, you know? Yeah. Another thing I want to say is like a big difference between Saving Private Ryan and like any war movie made today. And there have been some good ones, 1917, two good war movie, but that is just riddled with special effects. And riddled. With, you know, stuff that they're solving and post and this, that, like, yeah, this is great. That light thing we saw, like, that's in-camera. All this is in-camera. It's kind of interesting to track when the different people cry. Like we saw Ribisi slash Wade, the medic kind of cry already. And then here we get Adam Goldberg, who's going to cry and everyone kind of breaks down in their in their own way. And it's the first time we've really seen this guy to like, yeah, exactly. Like, we don't know anything really about him. But just based off of that and obviously the what was going on at that time. I'll tell you one thing I'm doing. I didn't even plan to say this, but I'll tell you one thing I'll do. I will never, ever refer to, like anyone in this movie or any veteran is like a coward for whether they're crying or whether they decide to not engage and hang out in the stairwell. We'll get to that in 2 hours. It's two and a half hours ago. You know what? I want to know what's in this water that results is shaking. What's you got to bring a little light into it. If you listen very carefully. Tom Sizemore is about to say it's quite a view. And yeah. When Hank says yes, it's a really good kind of his Forrest Gump voice, he goes, Yes, it is. But now we're done. Now now we're here. And it's like, See. This is more of the match to the eyes. No, no, no. This is a match cut. Yeah, this right there is a match cut to the private Ryan eyes on, you know, in the cemetery in present day, whatever it's supposed to be, present day ish. And then here's where we're really getting like, I'm not kidding. If you like, watch all of Spielberg's work. Like, if you start at that opening cemetery and then you like Crossfade to this or just where Hanks's eyes were and you match that, cutting his eyes and do this, it's a fairly standard Spielberg movie. Like, you're like, oh, this is wow. It's a battle the went really wrong. Okay, now we're zooming in on Ryan and if you just start the movie here like it's a movie that works, it's a movie that's coherent, it's a movie that's 230 to 25. And I don't know if it has the legacy that this movie has. I mean, it doesn't it's still a very good, serviceable film, but it's not like we didn't just get to witness what we witnessed. I mean, really, we we we get we this is the most important part. Yeah, exactly. Right here because of a Ryan. And now that's such as Spielberg shot right there. Oh, my God the light. Have the video Kaminsky just all over this is really the only time we see women in any. Kind. Of significant way. We get, you know, when Vin Diesel tries to take the girl there's a that's a girl and her mom is there, too. But this is really the only, you know, isn't it? Just like, I'm sorry, this is terribly obvious. Can you imagine they all. Had to pan type these. Like, there's no like print in word and you print out like a couple thousand copies. Like, maybe it happens now and you're just plug in and play in different names. Yeah, you're just copying pasting. Yeah. And now like no every single one of these it's great use of voiceover narration. Oh yeah. Yeah. The voiceover of them like reading it. Do you know the cameos are about to be hit with. Oh I know. I mean, at the time it was a cameo. It was like a probably a huge supporting part for the actor. But now we look back and we're like, Oh, cameo Betsey, a very now famous actor with one arm and then a very famous military consultant, Dale Dye, who's been on a lot of movies. A lot of movies was in Platoon. I mean, he's been on like the he's the military technical advisor for all of these movies. And then some people thought it was a good idea to start casting him, cause you got that really happy voice like Dave. You'll know who he was. I don't know how to. Kind of how. What's his name? Early Hermie. Lee Hermie from Full Metal Jacket. Vincent, you know. No, those. Are the army. Are hardly army. Yeah. The drill sergeant. Yes. And he was like a real drill sergeant. Yes. And then they just put him in the movies and then he got his acting career. He literally got his. Okay, so what we kind of reserved over that's Bryan Cranston was with one arm yeah that's Frank Young. This is Malcolm in the middle. Oh, my God. It is. Yes. That's Bryan Cranston. Wow. That's so wild. He looks young, doesn't he? Does young. And there it is. Tough day now. Yeah. Now we're getting our plot going. Like we don't need to describe the stories right. But it feels like I remember seeing this in the theater and like a breath of fresh air during this. Oh, you don't mind it at all, because one thing we're going to like kind of ease into the movie here, he's into Spielberg and everything because now we've kind of calmed down, but it's like, yeah, now we're now it is kind of presenting itself to be like a, a fairly standard, elevated and elevated standard war film, which is like there's a mission. We're going to send 8 to 10. Guys to do it. And then we're going to try to resolve it. And by the end there's going to be a result for it. So it's very standard. It's it is that first thing that really sets it apart. And I don't know if we captured the power of that well, when it happened was so fast. But it's just you can't say enough about it. You can't. You can't. Like I said, I really do think that, you know, the donuts, that's just the best scene sequence. That's that I think I've ever seen. You don't think there's a better sequence than Shakespeare in Love Death? Oh, that earned it. Best picture. You don't think so? You know? Yeah, you know. Yeah, you know, you look back and. Yeah, that's what won over that. I remember so many scenes from Shakespeare in Love. No. No, no. I just get that that's a win scene award. That's not the Oscars fault. Why, Harvey, you ain't seen about that anyway. Yeah. Her the beat she takes on. Like it's like she's figuring out it's real. Yes. I mean, just in the collapse to the ground, like this and then look at the right in the foreground, like the sun's everything like this. Isn't I love easy. You know, like this doesn't just happen like that. Like the way she gets to the ground, like, there is just so believable. And I. Don't like. People to be like, oh, you know, but no, it's not like that's a. Choice. Oh, my God, it's so. And I'm. A sucker. This is a weird thing to say, but I love scenes like that that are shot through doorways. Yeah. The Searchers. Yeah. It's all. It all starts with the searchers and goes back. Yes, I do, too. Absolutely. So Dale dies all the way to the right with the way I hear listeners voice. He's like, You have to go where he was trapped. Maybe I to. He's been a technical military technical advisor on something. He had a cameo in Entourage as a military jet. While I think he was in, he's like the senior senior command in a band of brothers, you know, when they like bump up. That's right. The dude, they bump and he's like, you cannot go out there. Yeah. Yeah. So he's I mean, he knows he knows the do he knows what it's like. So he'll be on set and like try to, you know, there's a very intensive training before Saving Private Ryan where they pull all the guys through this very intensive training and they didn't bring a demon on to try to like isolate him, you know, so he came late. But Dale Day was a guy who, like, coached all that is how it goes and it's loving this guy playing George Marshall is great though, to. Oh, it was very smart. I mean the shooting schedule allows but to do that where they purposefully didn't let Matt Damon on set for a long time. Yeah. No, that's right. It wasn't. I don't know how. Much it was if it was on set, but it was during pre-production. They were like, We're not going to like everyone else has to go through this two week intensive, grueling thing. Like basically for two weeks, all the actors, including Tom Hanks, like, had to go through this training of what it would be like to be a soldier. And they're all like bitching and complaining stuff. It's like, dude, you're an actor. Like, come on. Yeah. But they intentionally did not bring Damon into because when you're doing that, the main point of that isn't just to, like, get the skills and the resources, it is to get cool with each other. Or. Like, hey, maybe this actor and this actor like each other bring that into the movie. Yet Tom Sizemore and Edward Burns like hate each other in this movie. I don't know how they were in real life, but I'm saying like that two weeks had you have time to foster that ended up in its history. Yeah you're building you're making you're you're creating that history for each other and that stuff does like you. All of a sudden, if you didn't have those two weeks as an actor to kind of like build those relationships in that rapport, then you because you just do like you, you get to like certain people, you get to connect with them. So when you're in scenes like there's like little inside jokes. There's. There's just moments that you can tangibly or not tangibly, but you can feel come through the screen. And there's no way that that didn't happen. There's no way that how life works. Man Oh, this line delivery. Hell. They're. It's great. Lot of like, conviction in this guy. Like, oh, yeah, like what? Like, how do you know that? Been like, you know, three days and I mean, even starting here, like even going from. The cemetery. In France to right here is like very standard for Spielberg. You know, it's we're get I mean, because here the plot starts I mean the plot it's been like teased with the letters and everything. But here is where it gets in motion. Rest in peace. Dennis Farina, I. God, I love you, I. I just love him. So much, and I miss him. I thought he was great. And he was everyone. Everyone just sitting here, shave and eat and sandwiches, everything. Have a coffee. Everything's all good. What's the big deal? You got to wonder if they just went through what they went through on the beach. Yep. I also want to say, like, talk a lot about line readings, line deliveries. I don't even know the word for this, but the the the look delivery watch how farina holds on hangs here he. Holds. On him. Hanks is looking at the map and friend is like kind of reading him like are you cool it it's a it's a few seconds too long and it's perfect not there you'll see it it's for free. And his coverage it this is the stuff that gives me chills right here. Boom. Yeah. I mean, it's like, I don't know, like, that's so it's just so perfect. Like, is everything okay? And if I mean, if you really listen to the words that Hanks is saying, like, how many people they lost, how many are injured, it's like terrible. And he's just. It's just statistics. Yeah. It's a tough assignment. Yeah. And that's why you get. It, like, okay, yeah. I got another one for you. Yeah, look at that. Our casualties. It's got him on a little piece of paper. Oh. Oh, you think. More than 35, honestly. But, man. Yep. No shit. Cool. Thanks. Great. Yet in the constellation. Oh, perfect. So yeah we've already our obituary from that that dismissed insurance. So so now it's like. He did so much with not a lot. Yeah it's yeah like he didn't have many lines and you're right with that with that look there there he was so present and so committed to everything that he had to do in that scene. Yeah, and it all works. We never really see him again. We don't. We do not see him again. We don't see ten dads in Paul Giamatti like they all of these one one scenes and then they're gone. And they weren't the biggest of the big biggest. You know, it's like huge now, right? Like, you know well observed it. But he wasn't that in 1998 and I'm really trying to hammer home how fucking not that anyone needs to hear this, but how impactful that opening sequence is. I also feel like I'm cursing a little too much. Because you're watching military stuff, so tone. It back a little bit now. Never get to meet all the guys. I just love them. They're so yeah. We get to know all of them their own way. So well, even if some of them have like somewhat so. Yeah, that is. Not like a Spielberg thing to add. That has to be had birds adlib. I mean, that's just a great. You can start the movie here really if. You I mean yeah now well now we're get now we coming back to. The episode. I think Jeremy DAVIES was in like some indie films before, but I, I hadn't seen any of these like I didn't know any of them. And he's the way that he just announces himself with his idiosyncrasies. Yeah, genius. And I mean, you know who this guy is, right? Right. We've, like, known a guy like this in our lives. Like that well intentioned, smart. Love it. Yes, sir. Yeah. Yeah, yeah. You can. You just get everything you need to know right away. Yeah, just the clumsiness. And again, it adds like a. Just a slight. Touch of humor, which, you know, we need. Yeah, it's all. It's just so profound. I love it. Yes. I got good news for you can get rid of all that crap. It's great. It you can see, like, Tom Hanks is like slightly amused. Yeah yeah. And he's he's enjoyed like, no one knows how to play a scene better than Hanks. I mean, of this, you know, it's like he gets everything that's going on, like, okay, here we are, we're good. And he he really I. Feel like everyone gives Tom Hanks the credit that he deserves, but it's always sometimes I always I never forget. But it's not until I'm actually watching him that I'm like, man, if it's really are one of the greats. Yeah, he really is. He really is. He was I mean, he was such a go to for like you need a lead a reliable. Yeah like here it is not going to do anything like crazy. This is great. This is such a kominsky shot. Yeah. When they rise up and do in the foreground, they do this in Munich on like the stairs. Yeah. It's just. It's like it's a, it's a classic war shot or they're more movie shot. But look how crisp that grasses sparkling. Yeah. Put a little rain on that. But yeah. Tom Hanks. I mean. There's nothing he can't do. He's always believable. He he can be the lead in a war movie. He can be the lead in a romantic comedy. And it all works. Yeah, like fancy little fuck. Tom Hanks did not win the Oscar for this performance. It would have been he would have been the first person to win first actor to win three in a row. They waited till 2012 for the Steven Spielberg directed Lincoln, in which Daniel Day-Lewis got his third Oscar. But it was a hotly contested thing at the time. Who won best actor for this and this year. You know, I started this I. Shouldn't f yes. It was a it was a bad year. Roberto Benigni. Life is beautiful and life is. Beautiful. Perfectly fine giving you foreign film. Oscar, you're good. That's when he jumps on the chairs. It's all good. It's fine. Fine. That you have your moment. You got Nick Nolte, the affliction. Nick Nolte, his best performance. You got Ed Norton, American History X, Ian McKellen, Gods and Monsters. Tom Hanks, Saving Private Ryan. Like It's the weak link won that year in my opinion. And that was we can credit Harvey Weinstein for that. I guess it's going to be seen. I mean. They distribute it. This is like this was the big Weinstein thing is they brought all that. That's how life is beautiful and Shakespeare in love with things. But anyway. Edward. Burns God I love him made two movies Brothers McClelland and she's the one and you know this same story about like he handed the brothers McLoughlin on VHS slave to Robert Redford in an elevator, and he watched it. And that's how so Spielberg, like, knew all that. And that's how he got his role in this. Like, Oh, it's a guy. It's going knows how to, like, do it. Like, I'm going to give him kind of a shot. Vin Diesel also like wrote, produced, directed, starred in a movie that no one has seen. I believe it's called Schrader. And Spielberg, I think somehow saw that. And that's what got him his role in this. So, you know, leave it to someone like Spielberg to cast like all of the like I didn't know who any of. The know there all of us. Dudes were in 98, and now I know who they all are, you know. Oh, my God. It's so good. I love it's. Like put me in my with an Adolf. Hitler. Continue, Jackson. I mean. God, I believe him, right? Yeah. Well, I mean, that was the thing. I think if if if you killed Hitler back then, that was it. That was the end of it. Would end it. Yeah. It would just be that would be it. Hanks plays. I mean, the dynamic between all of them is really good. Like they all know that he's the captain and he's like, you know, right here. He goes into, like, his little sarcasm. Like, it's just it's great. He's very relatable. And I always thought it was really funny to watch, like, Tom Hanks is, like, the most relatable, like, movie star ever. And yeah, the big crux of this performance is that, like, no one knows who this dude is. Yeah, no one knows what he does. No one knows his family, anything. And I. I really love that because you're trying to guess, and you're like. I love him the way. DAVIES really embodies this character so well. Like, you feel the fear. Yeah. You feel like as his confidence builds, you feel that. Oh. Yes. Great. Let's just hang on a leaf for like this. Another thing I want to say about this movie is that because it does include that opening sequence like it's movies 2 hours and 50 minutes. And with that, with series Spielberg, you're going to get some, you know, like some breathing room. Yeah, some lag a little bit. And that's okay. Like, I don't want that with every movie, but I think it's totally fine with this. And the way he introduces us in sequences or scenes or how long he holds something, I mean, I don't know. I never mind. It. No, not at all. There's not there's not any wasted moments in this whole movie. And some military turn. Sure. It's funny. My college roommate, my freshman year college roommate, knew he loved movies, but he knew as much about guns as I know about movies and as much about, like, military vernacular. So he'd be able to, like, tell me everything. So that's how I learned to, like, flash thunder means that's. I remember asking him, like, why don't they give every soldier, like, an automatic weapon? And he's like, Welcome to the American military. Like, they didn't make enough, so they just they just gave captains automatic weapons. Like, I don't know. Remember. I used to play a computer game called Medal of Honor, and it was it was a it was a war World War Two war game. And you got to know, like, the guns from that video game. Right. And they use them in this one, in this movie. And it's of like, oh, this is that's the gun from Saving Private Ryan. Exactly. Which is stupid because they're just being authentic. You know, it's like. Oh, that's going to. Be in Saving Private Ryan. No, that's the gun from World War Two. Yeah, exactly. Aside from Saving Private Ryan, that's Paul Giamatti. They're on the left. Yeah. With their enemy. But it's. Those details. It's like I think it's Vin Diesel who's about to take a few bites of different apples up here. It's Paul Giamatti's knee. It's so it's this these little details. Yeah. Like adding in, making them feel like real people and putting them in a real circumstance. I guess those are probably peaches, not apples, I guess. And then, I mean, in in. In some ways this is like a as they go on this mission, it's it's not unlike a horror movie in which you're like picking one by one. You're picking them off one by one and taking them out. And we never know who's going to go what's just so fascinating is how they all go. And here is going to be Vin Diesel as capasso. This is going to be his death scene. And it's just so like I mean, it's the best thing he's ever done. It's like the best scene he's ever acted like. He's incredible in it. It's for my dad. Oh, my God. Oh, man. Who? Yeah, exactly. Yes, sir. When you examine what this film is about, like sending 8 to 10 people to get one man, like, it's really. I don't know. It's crazy. And they probably there's a sense of like, I would think I would rather be doing this mission with 8000 people than I would be storming beaches over and over and over, you know? Yeah. So I think there's something like, Oh, this would be good thing. And then they all. You know, die. It's like this. There's nothing easy about this thing here. There ain't nothing easy about war. And it and what's great is like the whole entire time, like, as the movie goes on, it's just questioning the, the morals of it, too. Like, is this worth it? As as the more adversity they face, the more obstacles, the more challenges, the more death. Is it worth it? Like and it's never a question that needs to be answered. No, but I mean, I do think I think that's where the title comes from, is that it's kind of like when they're put in that position on that bridge hangs pretty much as Sizemore that's like is this like, you know, I want to know your opinion, you know? Yeah. What if Saving Private Ryan was the only thing we got on this whole god awful shitty mess? Whenever I see rain in movies where you can, like, see it on camera. Yeah, that was shot in film. I'm like it was pouring like it as the raid so hard to pick it up on camera it just I always think that like. Oh, I love it. You know? And it's it's always I was I was on set once where they used a rain machine. They're huge. They're huge. I wonder how they, like, work with the sound because they're so loud. They're so loud. And because you can only cover like a little bit of ground with it. Not much at all. Yeah. So. So you have to be like like in this scene right here with with the rain, like you have to be so specific about how much and like where the camera's going to be. So that way the rain is fully immersed in it. Yeah. Unless it was really raining, which could happen. But if not, anytime you see rain in movies like. You, you can't move the. Camera anywhere because it's like, imagine the Truman Show. Yeah, it's like The Truman Show when it's just pouring down. Yeah, it's not that specific, but it just holds up like a little, you know, like sprinkler. Like it doesn't cover a vast area, like, at all. Exactly. And I would imagine that there was no rain or maybe they caught a day with rain. But I mean, you figured this sequence took at least like, all in all. Five days. Yeah, exactly. I mean, it's definitely not okay. So if it is raining like you have to, you. Have to match. That. Yeah, exactly. Exactly We're going about to get a Tom Hanks F-bomb. Very rare. Doesn't happen a lot. So, you know, you waited for that to use that. Oh, this is just so devastating because we know how this is going to go. You know? Oh, man. So devastating. He was on the ground before we heard the shot. It means it's far away. Oh, cool thing to talk about. It proves there perhaps might be a little compassion with this sniper because, like, Vin Diesel is, like, down, and he's trying to hold up this letter from his dad, you know, and he decides not to shoot him. But this was definitely one of the most like talked about scene. And again, I've seen this in movie since like American Sniper kind of did something in this, but I never seen just like going through the scope like this, like I never seen anything like that. It was nuts. Oh, man. Yeah. This is the, you know, the infamous letter that goes from person to person. Whoever gets the letter. Does, you know? Yeah, that's. That's a great shot. It's fantastic. I always I always like how we get. When we were seeing Barry Pepper, his point of view, we always kind of see a very similar camera angle. Mm hmm. It's just another element of, like, getting that familiarity with the characters. Like, you associate certain camera angles with that person. Mm hmm. And because he is, like, he established so much just with the Normandy scene, when you go back to it, it was sort of like, okay, yeah, I know why we're seeing this. Right? Right, exactly. Oh, man. I can't. I can't even imagine just like, wrangling all this. Uh. Yeah, like you were saying earlier, like dangerous young kids. Yeah. I mean, yeah, like that. I don't know the average age, but, like, you could enlist when you were 18. And, you know, a lot of men in 1941 after Pearl Harbor who were younger than 18, just and listen, like lied about their ages. And that's I mean, it's just crazy to think about like seniors in high school were there in war. Oh, man. Yeah, it's great. Just silence. But yeah, the sounds, you just hear the rain. But, you know, he he has a beat here like he get it's a head shot right there and he doesn't. And I, I don't know. There's just something about that. I always I guess I always appreciated. It's cool to give him, like, a little he's not a monster, you know, they give him, like, a little compassion, which makes it kind of hit a little harder when he eats it. And I mean, it's just such a great shot. You see the muzzle flash and then boom! Oh, my God. Again, this is another one that's hard not to like. So I just want to be quiet, you know, to watch. It's like, boom! Oh, God. And the shot was silent from there, too. Like, it's all, all just very, very specific and and great choices. Oh, fuck. Oh, man. Well, that's what happens. We. You don't follow orders, you know? Yeah, definitely. You shouldn't grab the kid. I mean. They take taken prisoners on occasion, but they can't, like taken kids and stuff. Yeah, I love how the kids smacking him. Like, why did you do that? Yeah, exactly. Yeah. What are you doing? What are you doing? Oh, man. So moving here. This isn't I mean, we talked about Tom Hanks a little earlier. Where does Saving Private Ryan rank like where does it fit in? Like your, you know, Tom Hanks. And Tom Hanks. Yeah. Oh, man. Like in his performances. Do you think it's you know, is it upstairs one of his best man? God, I mean, it's there's so. Many top ten. Top ten. Well, I would fucking hope so. I mean, God. The man's got, like, is going to make 50 movies. Well. He has a lot of scale. Lot. This is. Yes, definitely top ten. But you think top five for. You, Philadelphia is always number one for me. Captain Phillips. Just for that scene alone. Yeah, that that's enough. That's like. Yeah, force. Yeah, this guy. This would be my top five. Definitely. Like, I don't know where I love this line. Fuck. Ryan. Yeah, already. So yeah, it would. Be in my top five because what he does so well here is that he is the embodiment of the everyman. Like. Yes. And I think that's his intention. That's I, I remember hearing about this in 98. I don't know how much I don't know if this is accurate or how much credence is to this. But the whole like when. He. Admits who he is, like, I'm a schoolteacher. Yeah, teach English composition. That scene was apparently much more detailed in that monologue was much more detailed and a bit longer in the script. And Hanks was like, I don't think we need to do that. Like, I don't think Captain Miller would do that. Yeah. And that might be something that would, like, help you to win the Oscar. But the fact that he's like, I just really don't think Captain Miller would do that. I don't know. Yeah, I appreciate that. And, you know, it is something to think that, you know, if being someone who is just an English teacher, it just so happens to be very good at something for war, you know, like he's a captain for a reason, like they put him on these missions. But really, you're just a schoolteacher. Like, there's just something about it that's. Oh, this is great. I love that because it again, illustrates, like, the randomness, all this and how you were never safe. Like you're never can ever be careful. You can't ever let your guard down. There's always something else. It's one of the this is like one of the few times they actually all the Americans we were supposed to confide in, they seem scared. Well, not Barry Pepper, obviously. He's, like, ready to go. And he's, you know, he's trying to translate. He's Cuban and everyone boom. And he, you know, no one can hear him. Right. And that's a great choice to that actor to sit down like that. Here we go. Ted Danson. What's it said that Ted Danson? Ted Danson Think I would have to go with that? Ted Danson Oh, man. Ambrose We have a line from Bored to death or is like this is not our training from Connecticut. I think. Yeah, Denis really got the short cameo. GMAT and Ted Danson are at it for a little longer, but Danson is not going to be in it too long. Boom. Yeah. McGill And it is. All right. So if we're going, we want from Tom Hanks. Where does this rank for you in more movies? Yeah, that's a tough question. I mean, my the best war film I've ever seen. Came out. Three or four months after this one, which is just insane that that happened. But The Thin Red Line is my favorite war film for I don't know, it's mean it's a personal choice. Any number of reasons. I really think better than any war movie that puts you into the psychological hell of what it must have been like to be in war. This is a very, very fine war picture, and there is no scene in any war film that rivals Normandy. There's just no no, this is not. But over. Yeah, over old thin red line. And I guess this would I mean, honestly, it's probably number two and it's just. Really absolutely. Bonkers that they both came out in the same year. This year. As you put this number two, as in your war movies. Yes. The second in terms of like getting everything, I think certain war movies like Paths of Glory get to the. The bullshit of it all. Yeah. What is this in like talk about futility, like all that of it. I think certain war movies, like, hit certain aspects different. That's Nathan. Nathan Fillion and. Yet. Another one. Host No, I'm sure they're just fine, but I yeah, this is just a really good like all encompassing look of like a war story. I don't know. What about you or just Private Ryan? Rick I mean, I had gathered so many. I really, really love Black Hawk Down. Yeah, that's a really good one, too. But Black Hawk Down, I'm not taking anything away from that movie. I love that movie. That movie lives in the shadow of Saving Private Ryan in terms of like, things the way it's shot. Yeah, certain aspects. But yeah, Black Hawk Down is perfect. Very big fan of. I mean, he got yeah Apocalypse Now Platoon Full Metal Jacket I that's one of those ones too where one of the realest most with and we talked about that on our Stanley Kubrick episode where Matthew Modine is like they're getting ready for the raid. Yeah. And it's like I'm there ready for the ship and it's that. Little moment like that. Well, I mean, like Deer Hunter is in like my top ten of all time and that and now we get into like a tricky thing of is Deer Hunter. Is Deer Hunter a war movie? A war movie? And I think I've always said Deer Hunter is the best movie about home. Yeah. And I know that's not the whole thing, but, you know, it's split up into pretty like distinct sections. And I don't as an all encompassing war movie, I don't Deer Hunter fits it best. But if we're just talking about like war picture, like the experience of war, you know, we don't see anyone like come home in Saving Private Ryan, right. Or thin Red Line, right. So yeah, I think these just like the experience of war, the battle, the conflict. I love this. Yeah, this is a big follow. This. That's a tough scene to for a one off for an actor. Oh, yeah. You're going to come in. Edward Burns is so pissed at this whole thing. Yeah. Yeah. Another like big challenge of this movie is how many times do we do the false positives, right? Yeah. We got to weigh in. Like, how many times do we do that? And they do it just enough so that when we discover him, like, it's brilliant, like, yeah, they do it. Yeah, it's all shot. We're, like, panning over, you know what we talked about Hank's. A little bit. And war films. I mean, where is this for, like, Spielberg for you? Oh, yeah. That is, like, harder. That is hard. It. Why is that harder? I don't know. I think it's harder because he's. Had. He's been doing it since the seventies. Right. And he's he's reinvented himself. So many reinvent. It's not the right word. He's proven to us that he can. So many different things so many times. Yeah. It's like, I can do this thing, I can do this, and it all just works. Yeah, that's 100% true. Like, he is, like, the most eclectic director in that way, because he can. He can do it all. Mm hmm. I think just by. Way of just that opening scene and then the whole rest of this. Yeah, okay. I think I would put that in top five of silver. What's one? Catch me if you. I know that's. That's fair. I it because I. Think. Skin tone I it's like I think. Oh no yeah we talk about. Yeah okay here's what we're going to do favorite versus best and we just did this. But like I know your favorite is Catch Me If You Can, but like, what do you think is his objective? Objective best? And there are a you put it or you can put like Jaws who's going to argue with, you know, Schindler's List Saving Private Ryan, E.T. honestly, like those are three Raiders of the Lost Ark. Like, no one's going to argue with you. I think is I think it's E.T.. Wow. I think it is because that that movie just. Hits a certain way that that I think, like that that's one of those movies. The feelings that you get from that movie, only a movie can really do that. It's funny that my my favorite is E.T. and you think that's his best? I best. I don't know itself. It's Schindler's List. I think Schindler's List, honestly, is I think what he like did they're like no one, had done that. Yeah. And no one had done this with the war film either. But like. Yeah. I mean, I remember talking to my dad about Schindler's List and he's like, that was the first movie where we we got to see what was like inside. And, you know, it's not documentary, it's not real. But we just we didn't know. He didn't. Know. And then he just goes there and I do like to bring that movie up in relation to this one, because that movie is not remembered for as unflinching as it is, and it really is like it's brutal, but well, I guess the overall point is that. Steven Spielberg Good. Director. Yeah. Co-Director. Good director. Yeah. And it is a bit of. All right. Yeah. See, I love this part. Like we're calmed down a little bit and here's where he's really revealing, like, yeah, it's not it's not easy on and like you, you make logical decisions like so this one person dies so I can save three and. Yeah, I don't know. You weighing human life. Yeah. And he just knows the number. Oh. Ingenious genius. This is going to sound simple. Okay, so we just got the Tom Sizemore there. We did not cut to him when he said how many? Yeah, you know, you don't need to you need you need to keep it on Hanks like that's very, very important is to cut and when not to cut when certain lines can be off camera and not sweet source 94 under his command and he lost I think he said 35 on D-Day and I assume that was under his command. That was at least people he was responsible for. So that's like a third of the men he's lost, like in his life, you know, under his command have been five days ago. Yeah, it is not even a week. This is yeah. This is what's and that's it's a it's a tough thing to talk about, but this is the thing I think a lot about what this is that like when you you know, it's fight or flight like when you respond to active trauma, it's like you're either going to I mean, you can stay still, you can fight. And we saw that on the beach. We saw it in that opening sequence. That's like, you know, like it's like getting punched in the face. Like if you get punched in the face by someone you were told to trust, like that wound on your face is going to heal. But that, like, emotional scar of like, what the hell is? This. I thought I could trust that person that's going to hang around a lot more. And I just I, you know, the men who came back from World War Two, which is that's like the good generation, like they made the boomers like that. It's a quiet it's a great generation. I just can't imagine the hell they went through. And I've talked to a number and it just, you know, watching someone die in front of you, whether it was in 1944 or 2004, it doesn't change. It's still going to be hard. And I think about that a lot when I watch this. It's a really interesting scene. It goes on. It goes on for a long time. And I don't mind. I mean, we get to like know them, but I always I always love it's like hiding, like pretending like he's not awake. I don't know. I just. I love that story. Yeah. That always, like, resonated. Like, I've done that in certain. I think everyone has. Yeah. You just have that super. Dumb for you know. Yeah. That's why the most brutal killing of this movie is when Adam Goldberg there gets stabbed. Yeah. Oh, that guy that I actually I have a tougher time watching that than I do the entire Normandy scene. Yeah, because you haven't been shot before. Nor have I. But you've, like, sliced your finger open, cutting, you know, chopping something or cut like we've all done. We all know what it feels like to get sliced. Not that deeply, not fatally, but we all know what a blade feels like. And that's why it's like. Boom. And just the guy's like, she's like, Yeah, no, it's okay. It's just like, it's an element of reality. Yeah, exactly. That's what makes it real. Like, you know, we're not sitting here saying the Normandy stuff is like. Oh, no, no, that's not. The relatability of, like, smaller violence like that. Like, I think the harshest scene for me to watch, even in something like No Country for Old Men, is when that block hits. BROLIN Oh. Yeah. And it's like, oh, my God, I for some reason, I just know what that would feel like. Yeah, I don't know. I just know it's brutal. Yeah, but now we're getting to know all the guys. I love that. Jackson Barry Pepper just passed right now. He's, you know. Yeah. Clear, conscious so good where the. They do well in war. I guess he does. I love when we when we get out of this church I also love on this show a little tension. But you know, the dictation of the letter. From. Vin Diesel's letter to his dad and then happen again when we leave the church. That's a really cool shot. They're like walking along the the terrain, the bombs going off. Think another thing that like. Watch. Modern war movies and stuff like they don't maybe this is a digital thing, but they don't have like a color palette. I'm sorry. You know, we're doing commentaries there, so we're getting little geeky and technical. Like this movie is like mustard, yellow, green, stark blues, a little bit of white browns. That's like. Hey, no redness there. There's no like, no one's wearing black, you know, there's no bright greens, no bright blue anything. And if you watch something like even like Hacksaw Ridge has like amazing battle scenes, like it really talks like this. Battle scenes are great, but I'm looking at and I'm like, What is that green screen back there? You Know. And to do that, you got to like pump it up. It's bright. And it was the same kind of thing with 1917. And again, I'm not taking anything away from Nick. I'm not taking anything away from Mel Gibson. Right? Oh, no, no, no, no. But I'm not taking anything away from those movies. But there's I don't know, there's an authenticity here to this one that just it makes it feel more like lived out like Saving Private Ryan. If someone's like if someone goes, what's the color you associate with it so great. Yeah Absolutely. Yeah. Like it's just a gray, like, drab movie. And they were doing all that shit in-camera camera. I mean, you can send stuff off to the lab and tell them to, like, overexposed, but it's crazy to think they were just doing this all in-camera and not changing color and post, not making it brighter and post. I don't know. That's the film versus digital argument, I suppose. Yeah, I think it's just crazy that now film is primarily just used as almost as a way that just shows it dates it like they use film now to kind of show, oh, this is, this must be a movie from the nineties or something like that or yeah, period where film was the way that you saw it. Oh yeah. I mean we, we've talked a lot of about this like I don't know what directors we have left who are going to want to, I don't know any 30 something directors who were like, you got like, you know, and. Levinson. Shoes. Well, I mean, okay, he didn't shoot Euphoria season one on film because he couldn't and he did season two. That's okay. Okay. So that's fair. But is he just going to be on TV? Is he going to be movies? Because like we Guy Nolan, PTA and Q.T. They're the only ones shooting on film. Yeah. And they are like the the three A-list directors out there. And it's, you know, they're not the only ones. There are others. But I'm just saying, like. I don't know. I don't know when they start making movies God forbid is filmed is going to go away soon. It's going to go away. If you if. It's just used for as a device. Right. Right. And if you pay attention closely, like I actually I believe it was during the Normandy scene when you can see like that light poking through at the bottom of the frame and in a few shots you can see it like flickering and it's flickering. And that's literally the film going through the camera. That's what that flicker is, because the light is just on the edge of the frame. And you could you could try to recreate in digital. But really, when I watch it in something like this, it's a quote unquote in-camera like mistake that just works and it just works. Yeah, I don't know. It's a love that you this is a. Guy what's his name? Leland or Soul or. Something like that. I don't know his name, but I know every movie he's in because, you. Know, every movie been on. No. I mean, he is also another great movie from this year that he was in. Do you know what it is. In 19. 98? 1998, I don't know. But he's the lost victim. Seven. Yes, I know he is. He 1998. Throw it to me. Throw him some bullshit. Yeah. No, now the great very bad things. Fuck yeah, yeah, yeah. That's a. Great call. No argument. Yeah. He actually in that movie. This is a weird one off tangent. Yeah. It's not going to go to long because I want to get back to say brother. All right. The I love a good son of a bitch delivering it in the movie and oh no, fuck, I screwed up. It's not even son of a bitch. It's Jesus Christ. Never mind. He didn't. I told you you only. Had a few times. We've done it. Done? It's done. No, no. I know. It should be. Like even we were talking about today with a in Hollywood, a ginger haired fucker. Oh, yeah, yeah. Fucker. That's a great. Fucker. If you pick it right, you can. That's good to know that he has a good quote. He's got it. He's got the best Jesus Christ delivery I've ever heard in a movie. That's what I meant to say. I'm I'm a big fan of single fuck delivery. It's like there's a there's a scene in Memento. Like he gets into the hotel and it's like, not his hotel and he's like, Oh, my drunk. But he gets in the shower, it's dad's hotel as soon as it starts. And he's like rubbing his hair and he goes. Fuck, yeah. It's like, Fuck, yeah, a good. Single fuck delivery is that is that is really good. Do you know the best single fucked delivery in the history of film, you know. Yes, I do. I know what you're going to say. But eyes wide shut. God, yes. Right. That's right. That's right. You're doing good today. You're doing good. Damn it is. Prove me wrong. Is there better? No final word. Final word and final word of a masters geniuses career. Yeah, yeah. All right. So this is on. I do like this scene because it shows like, it's kind of easy to look at dog tags and be like, Yeah, these are just dog tags. But it's like, no, these are all actually a person. Yeah, it's cool to see them all. Cool. It's not the right word. It's you don't don't use. It's kind of. Profound to see them come to it at their own degree, like, look at this poor bastard, you know, boom. And then Ribisi, the first one to call it out, and then Hanks comes up. And that's what's so cool about this is like, you know, this movie does cheat a little bit. We talked about that like it's a cheat in the beginning is that is Matt Damon Private Ryan at that France cemetery and then we you know we cut to things he is like Matt Damon. Is in any of these. No, that's a cheat. Yeah. Yeah. And a lot of. Just calling out Ryan's name. Anyone know Ryan and then someone does like that? Yeah. It's not that unbelievable. No, it's really not like it could happen. It could be. Look at his genius. Yeah, it's French. Yeah. And the whole airborne coming in, it's like. And you need that guy. You need the voice reason to be like. Yeah and I love even how you like. You see, Hanks gives like like he almost falls in line with the the the amusement of it initially. He definitely does like it's like, hey, whatever, you know. And then he's kind of getting it like. Yes, yes. It's funny. And they're all walking by and just takes and if you're, you know, if you're paying close attention, like Private Ryan was in the 101st Airborne, they got dropped in a wrong place. So, you know, it makes sense that, like, some things could connect, but even the actor comes up. No, James friendly to deaf guy. He's been in stuff too. Like he's good. Yeah, it was just great. John Williams score for its subtlety. It is. Yeah. So so we know we know you know star was like Empire Strikes Back we know. But this one, it's really good and it's subtlety. And I actually write to the score a lot. Do you. Really? I do. Oh, I do. I don't know. Why? Because it's nice and subtle and just one, two, three, four. It's five people in shot. It's not easy. And Hanks is in there earlier. I love this guy. Yeah, I think so. Yeah. Yeah, like. That's its movie's never shy about showing you, like, the randomness of war. Like, a guy gets hit, he's on Normandy Beach, he gets hit in the head with a bullet, and he survives. Lucky bastard. A helmet off dies like this. Yeah, that's Scott. Oh, probably. Remember the Titans. This is big thing. Yeah. Ha ha. No, he's a great actor. I love the way Hanks plays this. He's like our. Give me pen. Give me pen. Oh, I love that. I hate pencils. Pencils are no good. The only thing good about pencils that you can erase. Yeah, that's it. That's it. We make mistakes, do you? If you make it. If you make a mistake on a pen, do you do one single cross out or do you like draw all over the word? And so it's just like a big kind of like mess. Ah, there's a few ways to answer this. I appreciate you asking me. Number one, I have the handwriting. Of a fucking serial killer. Serial killer who's, like, drunk, like, it's just it's no good. Like, I can. I took notes during don't worry, darling, because I knew I was going to do that review for the blond iPod and I read them. I should have brought them here so you can read it again. That's like in the dark. And I'm just going off like, not really writing what I'm watching. I'm just trying to take notes. And that took me a couple of hours. To figure out what I was saying. And I was like, Oh yeah. That's right, that's right. Men in red suits, men in red suits. Red suits. So yeah, but if I'm using a pen like it's, you know, you got to use a pen like on a card, something like writing someone a car. Do you ever mess up a card? Oh, yeah. You you just can't you got to get well. I mean, what do you do if you. Oh, oh, well, it's like a block. And I just make a joke out of it, like, all out, like, make a little block out of it. Oh, so. Okay, so you double down and just kind of make it into something. Call myself out. Yeah, you got to call yourself. Hmm. Yeah, I'll. I'll do a scribble over the entire word. That's what I mean. That's what I. Mean. Yeah. I hear they're all kind of tracking his shaking, which is interesting because it's. What does it what does that mean to you? The shaking. Does it do anything for you? The shaking hands? Yeah, because it is. We can admit it's a thing, right? Yeah. I mean they they sure. A lot. A lot. Yeah. Independent almost with like a little water and you know. Yeah. It's almost is as as shown as the the face of the when they when they swipe their hand on the person's face and face off. John Travolta and his family do that thing. Know, it's like saying it's shown. I know what you're telling me. You're seeing it shown at much. It's not. Shown now. It's showing the the hand the shaking of the hand, I think, is showing just as much. But shaking of a hand is a very normal reaction to like horrific PTSD. Oh, yeah. Waving your hand down. Someone's fucking face, like. Makes no sense. And every would agree with that. So thank you for that is it doesn't answer my question at all. For Syria, but my answer I get back to it. But like in yeah cause I'm going to I actually do want to focus on this things. It's a really good scene. All right. But to answer that question, no, it actually do anything for me. Yeah. I wonder if it did in 98, though, I think. I don't know. I mean, I don't have anything against it, but I'm like, okay, he's I guess it's good to show that it's affecting him a little more than he seems. I like this scene a lot because this is really the only time we see Tom Hanks like a dick, you know, like, yeah, he's over on. He shut up. Maybe you should shut up. This is a very. I don't know, such. A weird thing to talk like. It's a weird way for me to set this scene up. This is I'm not trying to alienate anyone when I say this. I hope people understand it. But I think this is such an inherently masculine scene about how they are all responding it. And it's like something kicks up here within Hanks. Like, why? Why? Our objective is war. Like, why is you being so tough and so hard and you know why? Why, why? It doesn't. It's just the way that it goes. And yeah, you can't explain war. You can't explain people like. Yeah, I mean, just the, the tenseness, the tightness, and no one agrees with him, not even Sizemore. Sizemore is always his right hand man. Sizemore is always on board, and they're like, We're here to save Ryan. Like, we're not trying to take out this this thing. Like, what is the point of this? I just some I don't know. I love that dynamic. And he's the first to go. Yeah, I don't know. I've always really appreciated that. And what's going back to like the Oscar stuff like this isn't this is not a one note performance at all. No, it's kind of criticized by that because this this performance not win like any awards. Bonine Sweep like everything. It wasn't Golden Globes or anything. And look how like they're getting the 5:00 shadow right like. The. Beard is getting like, I don't know, it just looks worse. Who's going left? Yeah. No volunteers. It's bad idea, boss. Yeah, you will. Yeah, it is a very subtle performance. And then we were. It's not flashy or showy. Yeah, thanks. And I remember he was talking about this in in inside the Actors Studio. James Lipton. He was he was the first person on it twice. I remember that. Yeah. So far. So it's so. Intense. Him talking in his first episode, him talking about Philadelphia. Is. One of the most moving things I've ever seen in my life. Yeah, just weeping. I miss you. I miss it a lot. I do too. I do too. Why isn't inside the Actors Studio available anywhere? Anywhere like I have. You can find it on YouTube. You can't do anything. That's it's a gold mine for actors. It's the only time. It's it's the best you'll ever get at listening to an actor talk about their process and whether you want to call it pretentious or whatnot. It was it was pretty podcast. So I mean, they're essentially like just podcasts. They are saying exactly like. Why isn't anyone turn those into podcasts? I don't know. Anyway, this is cool because we, we, we are completely assuming the identity and the point of view of Jeremy DAVIES. Now it's like we've totally switched and you know, it's like, hey, you're the you're the linguist, you're the typist, whatever it is, just you stay back here and we get a really cool like. Oh, that's great. Oh, man. Backyard and. I just love the shot when it's, like, done and they're yelling for him like Upham bring bring ammo up and bring bring supplies. Bring this in. He jumps through the fog. This is such a good scene. But you see him kind of like I mean, not it's not fair to say I was going to say this is Upham sequence, but it's not. It's Upham and Miller's sequence. Blake Upham really comes into his own here. Like, you know, he not befriends, but he empathizes with the German soldier. Yeah. And all that stuff. How do you feel about the guy they are going to capture here and? That Tom Hanks. Let's go. That that's the one who kills Tom Hanks. How do you feel about that? Well, before. Like oh, sorry. Before we get there, I just want to point out, like, one of the things I like about this, you. Know, I want to talk about 2 hours from now, I don't want to talk about. This. Now is through like the fog here. Is because. You see it there and then white are you going. To let me talk white. White boom. Because I let you talk now. I had to wait till he came through, man. Yes. I won't say another word. When he was when he was and he was watching him, I always get the. Feeling like he's like, what if they all die and I'm left here? I'm like, because because he's all alone and he's watching everyone. And that was a very tumultuous situation. That could have been in his head. That's a good call. Like, what the hell am I going to do? I mean, it's hard or something, but yeah, exactly. He's a writer. But how do I feel about this soldier that I mean I mean, you just got to kill them all, man. You can't. You can't. You can't take on that chance, because you could always say, like, well, what if I let this guy go? What if he comes back and kills me later? You know, how can you guarantee that guy won't kill you later? Kill him first. That's True. I mean, you could. I don't know. There's a different way to like you don't necessarily have to just, like, walk that way for a thousand paces. I don't. Know. Anyhow, this is this is such a tough scene because it's like the medic. Medic can't die. Like the medics got to save people in the way that he's coaching them through it. Like what is it with you know. Yeah, with my legs. It was my liver. My liver. And they, you know, it's kind of an agreed upon thing here where they they essentially kill him with too much morphine. And that's not spelled out. Like, one thing that's really great about this movie is that it just never spells anything out. Not really like, yeah, I mean, you know, the mission and you know how they all feel about it, but it's not like heavy handed us with expository dialog. No, we're just like there. But this is oh god, this is so brutal. When the medic is. You know, tell us what to do. Uh, it's exactly what I would say if. Because two, three, four dabs that you're toast, pretty much you're just falling into like a. Do you think he was asking for that because he knows he's. Yes, yes. Yes, I do. I do. And I think that's why they're all reading it here, you know? He sighs or Hanks is the only one that really offer that. So there's probably two. Yes. And then you'll see Sizemore when he does another one, he has his tough time with it and he, like, spits out the cap. But they're all on board, you know? Give him another one. Yep. See He can't walk. You can't look, he covers it like it's I mean, he's done for look at him. It's banging for his mom. She's just oh, fuck. Yeah, yeah. Passing a letter and like in Jeremy DAVIES Upham is like the I don't know, kind of the the heart in a way or like, you know, he's the he's the sensible one. But Wade was also too and now he's gone. It's like, what do. I don't know what to. Do about this. And things kind of get a it's. One of the things that Tom Hanks said on that Inside the Actors Studio is like you had to find some kind of like it's your go to thing when you're acting with your character. Like you always have an anchor in that way. And I get the feeling watching this, that anchor, that weight that he has is all the men that died underneath him. And that is one more. Yeah. And, and so like that when you were talking earlier about like, why is he snapping right here? Like what is it about this day? Because in more like, you know, like there is no like react however you react, certain days will be certain days. And I always kind of like in thinking about how much it affects him, how many men have died under him that like he carries that in his body. You can see it. He's very. Yeah. And he doesn't want to reveal like personal aspects of his life. You want to keep that between, you know, with him. And we even see that like when Matt Damon's like, tell me about, you know, the Rose Gardens, whatever. And he's like, No, no, that's me. So what we're about to see here is like the most that he's going to reveal, but it is kind of like the breaking point, like they all just look bad here. Like this is like kind of. Yeah, God, what is happening. Is really interesting. I didn't understand this when I saw this in the theater. This is why it's good to have a my dad around for stuff when I was younger and now love my dad, great teacher. But I didn't realize that in like 1944 like men. You did not cry. No. Like you didn't show the pride you didn't like. That's not what men did. Like you contained it. You did this. And when I saw this, like, for the first time with my dad and, you know, we're not, like, talking to her in the movie because we're like in the movie and it's sold out and everything. And then after and then after. This was the scene that rocked him the most because he's like you that just, like, didn't happen. Yeah. And it's not this angle. It's when we cut to a little closer and a little underneath of Hanks when he, like, looks over his shoulder and you can really see he's like, Oh, my God, are there any of them, like, looking at me? Yeah. Oh, my God. It's just it's heartbreaking, but, yeah, it's like weighing on him. And I don't think it's any surprise that after this this to me, this reaction is all like, why did I do this? Like, why was I like this? Like, like. You know, did I get Wade killed? It kind of backs up your point. Like you just kind of another got killed. Mm hmm. Meaning get him killed, but, you know, under his command. And that's it's like this is just. All because he made a decision that no one wanted to go and no one. Wanted to do it, because let's just go around this show. When he looks over, that's an actor cry. It's an actor cry. A lot of actors, really good actors are good at acting crying. But those tears aren't. They're just tears. And I told you that before and I'm alive. I was like, I need tears. I don't. Oh, what a dish. Betty Boop, toot, toot. Oh. It's brutal. And all these guys are, like, kind of sitting around, not Upham, but everyone else is, like, you know, digging his own grave or someone else's grave. We're going to put him in there. They all think he's going to go. And it's letting this guy go is the impetus of this whole huge arguments about to happen, like Tom Sizemore kills Edward Burns, Tom Hanks has to come clean about who he is. Like, it's really it's a really good way to force exposition, you know. Like it's like. You don't have someone I don't know. It's kind of a thing like what is what is Captain Miller do like but it's a bad it's a bit it's grown up. It's this it's a thing. And then yeah, you know, astute moviegoers would be like, this is going to be revealed to us or else like, why would they be talking about this? And there's so many ways to do that and to force exposition through conflict is always, in my opinion, like just a really good way to do it, like sitting around a table. We're not sitting around a board room, like we are forcing exposition through conflict. And that is not very easy to get right. But yeah, it just so works here. I don't know. It's kind of reclaiming Hanks. I mean, like his humanity here to me and his, like, independence of his own command. Like, no, I can, because only one of the dude wants to let him go. Like, you know, all these other guys that were just ripped to shreds, like they don't look at Edward Burns like he's ready for it. Brooklyn, New York, he's ready. He's like, okay. Oh, god. I don't want to put too much, you know, stuck into this. But I did hear that Tom Sizemore wasn't having like necessarily the best of times while they were filming this. You know, he's an actor who's been through his problems and he was getting like drug tested every day. That that mean the only reason I mention that is because this argument he's about to have with Edward Burns feels like real. Like I actually feel like he's going to shoot him. Like, you don't when to shut up. You do know how to shut up. You oof! Here we go. Everyone's coming to their own. Yeah. I love the way Hanks looks at Sizemore when Burns walks off, you'll see it. Robin, get back in line. As it real doozy. Oh, well. I love this competition. Get off me. I mean, yeah. Like, it's just so believable. Oof, there it is. That look, I just love that. There it is. This is. And then you get the cross cross up and then you have Barry Pepper. Yeah. And Goldberg, I have a sixth sense for these things, so. And then just look at Hanks. This is why you cast movie star. Yeah. Thanks to just holding this in his command and he's like, Oh, I have an ace in my in my back pocket. It's just I'm going to get real with these fellas. I'm gonna tell them who I am, where I'm from, and that's what I'm going to do. And it's like it's on his face, like, oh, oh, this is what I to do now I know how to shut up You know how. To shut up oh, yeah. But I want to say that 300 school teacher this season. No, while it is, Hanks has seen the the perfect little like punctuation on it. It's Tom Sizemore going I'll be doggone it's it's just perfect I'll be doggone like it's like oh my God, like that. That is what it is. Pennsylvania is. Where is the teacher? I hope I said Pennsylvania before. I think I think you did okay. Well, I think I did. I love that. Like, holy shit. And then that look like my favorite scene in Saving Private Ryan. My favorite single moment will come toward the end. I'm just going to because it's in my mind. It is when we know that Edward Burns does not like Matt Damon does not like. Yeah. And hey, asshole, two of our guys died waiting, you know, coming out here, and it's very clear. And then right before the Germans show up, Edward Burns kind of looks at Damon and he and Damon's, like, spacing out, and then they lock eyes and birds, gives him a little nod, like. You know. It to me that night. It's like we were here, were together. Like, I don't necessarily like like you were like, why? Why I'm here. But you also did lose three brothers. I feel all that. And we're no matter what happens here, I'm defending your life against the Germans and you're going to defend mine. That's the way it's going to go. My favorite movie in that, like, I mean, you know, 2 seconds that just so this this whole speech like I mean that's it's about done now but this was like written two, three, four times this long, which would have like that's what the Oscars love. Yeah. Yeah. And like you do all that and you get to this big thing and he nah, I don't really think that's how it would be. I think it's very cool. I think I think this whole entire speech was it was it's good at the length. It is. You know, it's very logical to like, yeah, he just breaks some facts. I love how he says like, I'll even sign the paperwork. Like I'll even put it through like a coca I'll even sign. And it's just that detail of like, oh yeah, it would, it would take a lot of paperwork to like justify why he's going go. Yeah, no. Yeah. But I love that, you know, and he goes back alone and he's the only one to bury Wade and they all fall back in. It's kind of a good a reset, you know, narrative reset of like we weren't cool and now we're all kind of on the same page. We all know the deal. We all know the shot. Of the silhouettes. I know. So great. Yeah. Yeah. It's kind of got lost in it. Dana Well, it happens because now we have a little, like, a little, you know, just a little we're working our way to I guess they're going to Rimmel, you know, wherever that main final battle is going to be. We are working our way there. And I love this is this is where do they discover riot? It was just this is like the only kind of chuckle in the theater. I remember people being like, oh, well, because, you know, like I was I saw Good Will Hunting in 1997. I was like, what, 11, 12? Like, my dad loved that movie. He really wanted me to. So I like he really wanted to take me. So I had like some relationship with Matt Damon. But it's hard to explain to people now. Like if you if you were watching this movie in 98, you'd be like. Oh, yeah, I think. I think I know that guy. It was just enough. To wear like you recognized him because he'd been in the press and stuff. He'd won the Oscar. So you recognize him without necessarily being able to place him. But it wasn't a movie star part like it's, you know, honestly, one of the most ingenious bits of casting that I've ever seen. Yeah, he just. I don't know. The way that happened is that a Spielberg cannot cast, right? He couldn't find Ryan. And then Spielberg's friend Robin Williams was filming Good Will Hunting and had his buddy Spielberg visit the set and met Matt Damon. And that's how it all got started. Wow. It's that crazy. It's just, like, absolutely nuts. No, it's perfect casting for it at that time to do exactly what you're saying. He was like the IT guy at the time because Ben Affleck like it doesn't make sense. No, it doesn't make he's not. I know they grew up in the same neighborhood, but like Ben Affleck is. And we love Affleck. But he's not enough of a. all-American. Boy to be that he looks to, I don't know, see, like movie star ish, like, you know. Matt Damon had the perfect look for it, especially at that time. He was so young and kind of like, doe eyed and and and he was enough of a star where there was interest to be like. Oh, he's right. Mm hmm. Mm hmm. And he's not in for very long either. Here. It doesn't feel like that. We'll we're. Going to. Yeah, we'll talk about that later because we'll talk about him a little later. But I mean, even here, this is all been one shot. Yeah, it's all been a stealth one. Or I call it stealth wonder when it doesn't. It's not drawing attention to itself. We know Max Martini right there isn't Kevin Phillips. He's the guy who takes out everyone in Captain Phillips like you saw that guy on the left is in the rage carry to be we got mad too I just love that it goes one and then we know that all the guys like what the fuck but that's that's really like the randomness of war like yeah it is. It's all it's all right here. Part of me has to wonder, like, they found out who Ryan was in that field. Like what happened between here in the field? It's nothing. Yeah. We'll just follow you to your town, and then we'll break the news to him. Yeah, we got. We had the conversation, but you guys go ahead. We'll be we'll we'll follow on. But what's funny. Is how he's like already had this conversation. You know that guy who with Nathan didn't get it. It was now now when he delivers this news, it's so much more let's just boom. Right there it is. Your brothers were killed like this. And then so I think let's. Explore what's coming up here a little bit. Like how do you feel? I think it's a source of contention about how Damon's Private Ryan just rejects, like leave it and, you know, I reject being the the rescue of this rescue mission. Yeah. You tell my mother that I was here with the only brothers I had left. So, you know. How do you feel about that? Do you think they. Well, I think there's there's probably an element to like like a bit of. That that that mentality of being a man of like, well, I don't want to be a victim here. I don't want I don't want to like yeah, like I want to do my job. I want to do this for my brothers. I want to do this for all of that. Like, what? Am I going to leave now? Mm hmm. I can understand. It. Yeah, it makes sense. It never. It struck me as, like, unfulfilling narratively. Because you want him to be like, sure, let's go. And then we'll to skip across wherever. Like back. Yeah, back to safety. But of course, you have to add the tension. So yeah, I just some people like William Goldman, the famed screenwriter, wrote a rather scathing review of this movie, actually, like shortly after it was released. And this was one of his biggest complaints about why don't we just cut, like as soon as Private Ryan says, no, I don't want to go, and why don't we just cut to the German tank showing up in like it's not of bad criticism. Like, I get it, you know, because then we miss these 20 minutes of all this talking in private. Ryan, tell him this like, silly story about his brothers and stuff. So it's an interesting it's an interesting road to go down. But here's Edward Bird's this moment. I love this. Two guys that are already. Burns always has a bigger gun and he's always, like holding on. It's capable of that. I love this. He registers the. Name. I think it's a good thing that like in disagreeing with Lynn Goldman's review on it because this is this is the having this stuff, this dialog, this back and forth. This is the crux of the movie. It's the tension, the main thing like. No one expects. I didn't expect that you're like kind of mad at him. Like what? Like all these guys came here for you. Like you're supposed to leave and just go back home. You have a ticket home. He's, like, now staying here to fight? I don't know. I like it. I get. Just production design of this bridge and just the way everything is laid out. Like it feels like you're literally in like this bombed out city. Like, it's incredible. I mean, everything is just so again, like, he's not cutting to like, there's no helicopter shots or anything like that. There's no ultra ultrawide. We're just right here. But you see all the smoke going in the background and you just see all of it. It feels so lived in. I love Hanks's like he like his head nods back and forth. He's like. Okay, yeah, yeah. Not the reaction that he expected. It's what we got. Yeah, it's a great shot. This contemplates. He's like, Okay, as some movie stars are for like you, you hold the camera on them for a little bit. Going right? Everything. Seniors. Yeah, we're not even seeing his eyes. It's like all the head movements there. Like all the gestures. This is a great moment between them. All right. So let me ask you a question. How many Oscars do you think? Just the number, Saving Private Ryan one, 1998, the year before Titanic one like 13, 12, 13, took them all. How many the next year did Saving Private Ryan win? And you know, it didn't win Best Picture. Yeah. Two, five, two. Yes, God damn it. Supposedly it should've taken like ten or 11. Well, no, it should have. But I thought if you were to. You think it won? I think it. One sound. Okay. And. And director. Unit. Yeah. One direct in cinematography which is good. Oh so there were two, there's one sound now but two sounds back then, you know, editing and mixing. On that. And editing, which is good and then that's it. Like, that's crazy. Crazy. That's, that's. This just doesn't add up. There's your great title line delivery. It's always nice to add in a title title line. Do you like that too? Do you think that's something a movie should do? Well, it's a good question. This is a little false. I'm not going to lie say the way the way Saving Private Ryan was delivered. There is a little force, but I think. Yeah, well, that's a really good question. I don't mind like a good title line delivery when like you don't expect it, but when they're just dumbing it down over saying it over and over and over, you're like, what? I'm always, you know, most fan of the single word titles. I made a few of those myself in those are not being made to like have the words said over and over. I mean, go maybe do that. But yeah, title line deliveries, I think can be can be. Oh, okay. Certainly it can be abused. But I'm you didn't ask me this but if I if I'm if I'm being asked, I like more of a that it's hard to explain like a more I want to say abstract but concrete which are two things that match. But like for whatever I'm thinking of irreversible. And like. That's like that's never said but. No so perfect. It's perfectly just so perfect. But I do I actually think Saving Private Ryan is like a perfect title. It is. Perfect story. I think. I think they because the way like the wording of that Tom Sizemore monologue it's yeah you can feel that they had to like fit it in and but I don't know that's okay. Imagine this. He mentioned the name wasn't Ryan. It was something else like like Saving Private Mike saying. Well. Last name Mike would be weird, but no, you got to go weird like because square. O is a big house. Saving private I don't know Nev Delek or something like that. It something crazy. Yeah. It's got to be a first person name. Sure. And every time one of these like abusing the title, it's like rocky. It's like, Jesus Christ, how many times you going to say his name? That's funny. I got, like, the tiniest little chuckle. Would you say, Oh, my God, I watched the fucking movie up. Oh, wait, what? I would say no, but you have. To find the edit. No, say no. Say it. Say it again. I did it. It's like, oh, a max martini. No It was like as they. Were talking about it, that's like abusing the title. It's like Rocky is like, Jesus. How many times you going to say the guy's name? Funny. Funny. Oh, yeah, yeah. But that's name movie. We talked about this like name. No, I know. That was a joke. I give a fucking joke, there will be blood. But they never said they never said bullshit. Yeah, yeah, I'm. The sick, sick man. But like. I walked there. Once upon a time in Hollywood, it's like one of just one of the best. It's never seen the movie, but one of the best reveals ever of, like, a title. And you see what the. Yeah, yeah, yeah, yeah. Yeah. Right at the end. Of the movie, as we all know, as we all know. He doesn't seem too. Keen on this. So this is like very kind of dirty dozen vibe. Like, you know, they got a mission like. The music film. The music. Yeah. It's very horn heavy. It's like, All right, here we go, here we go. But then what's. I can't what's different, but what I. I just. I didn't expect everyone to die this. You know, I mean. There's three people live there. Yes. Private Ryan Slash Damon, there's Edward Burns and there's Upham. Yeah. Who is like the empath of the group. And I just when you're watching this, I didn't I know. I just didn't expect all of them to get taken out. You know, in hindsight, I'm just going to put this out there. Putting Jackson up in that bell tower is not a good move, because that's. Not. Hard to figure out. Oh, there is a sniper up there. Let me point a tank or whatever it is and just pointed at that. And that's, you know, I mean, that's what happened. So but I don't know. I feel like it could have been better positioned, maybe not because he's a sniper, but he should have had it. I'm going to do like a couple of kills and get out of here. I don't know. One guy took off his sock and didn't have another one's, which is going in his boots barefoot. Yeah, that's. Think I think that's kind of a for a few because they're just putting the dynamite in the sock. Sticks. Sticky bomb. Yeah, I know. But we're coming up here to the look that I want everyone to pay attention to when that Edward Burns gives Damon where it's like a there's just so much communicated in that now. It's like, here we go, you know, here it is. Something else we should talk about before it happens, because it happens really quick. I want to get out of the way now. Get out of the way. How do you feel about Earn? This is it clear? Do you did you understand. When you saw it? You know how Hank says Private Ryan, you know, earn this. Yeah, earn it. I never. Had a problem with, like, the work, but, like, a. Lot of. People still have an itch. Oh, yeah. Oh, yeah. That. It's unclear. You can understand what he's saying. What does it mean? I mean, when I heard it when I was 12, I was like, Oh, he means. We are saving your life. Yeah. Like you need to this in whatever you do. Next post. War like I got it but yeah I guess I guess it's a little I don't know. I just I didn't think it was like a lot of people had problems with it. So I take it you don't. No, no, not at all. I, I like it. FUBAR it's when they describe we breezed right over that, but that was a kind of ongoing bit that Upham didn't know it. FUBAR. Yeah and he thought it was like German fucked up beyond all recognition. I was I was fucked up beyond all repair. But I mean it could be repair. Maybe they both felt. Like recognition is more mental repairs, more physical, like we can't repair what we're looking at. Increases. Take it easy. I guess we just talked about TV's recently in the favorite at 27 because a rescue dawn yeah I mean it's it's crazy to think this is the only rescue dog is like nine years after this which in the grand scheme of things isn't like I'm not that long I just think he's so I love him so much and I think he I don't know he could have been in a few more prominent roles that, you know, that he could have been better. And Roger Ebert said when he reviewed Gus Van Zandt Psycho, he's like, imagine if Jeremy DAVIES was Norman Bates. Yeah, actually not that cool. Like, I love Vince Vaughn, but like Vince Vaughn, it's Norman Bates is it's okay. Jeremy DAVIES could be like good even Solaris in 2002 you get he's like this he's got. That skittish thing to him. I don't know. It just works. So this is an. Interesting scene that I want to talk about because now we're going to jump around a little bit. We get a Edith Piaf and all this stuff, but when we land back on Damon and Hanks, I mean, I didn't realize this, but apparently that the story that Damon is going to tell with all of his brothers and she fell down the ugly tree and hit every branch that's all improvised, which is. That's right. It's an improvised story, which is I guess, my I guess what I'm trying to say is, is Private Ryan, we're saving. Yeah, no, but I think I'm joking. I'm joking. But I think. I think they kind of want you to feel a little bit of that, like, yeah. In Hanks's face, because he says, you know this Ryan better like invent the longer lasting light bulb, better be worth it. And he's talking to this this kid who's like 18 years old, telling this, like, really it's a really dumb story. It doesn't add anything to anything, but it is the story of like a 15 year old, which is probably how old he was when he experienced that. So I, I don't know, I just I, I frankly have never had a problem with anything in, in this movie. I've just heard like criticism about it after. But it's always just work for me. Like I said, it does breathe. It's definitely long, longer scenes. But how do you feel about Damon's, you know, story that he's going to tell coming up. Yeah, I talking about right. For all yeah. For all those reasons that you mentioned I think it's good because yeah he like that's just who he is. Because he's not like a perfect like American soldier boy, you know, like, no, this is a guy worth saving. He's kind like a a like a goof, a little bit of a douche. Of, you know. Yeah, yeah. I like this is the camera's a little bit of a dumb ass. Mm hmm. Yeah. Sort of shit. Yeah. Really Again, we're this is you're you're the guy that worries that people have died for everybody. Okay? All right. Yeah. Jesus. Fuck. Yeah. Now, my question is that coffee scene we just saw where Tom Hanks couldn't get the coffee out. The espresso maker? Yeah. When you? Feel like that's it. What do you mean? It's fine. It's just. It's funny. It's a little tension. He's like, Oh, I'm trying to. I mean, thing is massive. I wouldn't know how to work that, would you like? Yeah, but do you. What is he doing? It's needed. Yeah. I think it's a little funny. It just, it, it gives a little rest. I think I'd rather have him fiddling with the coffee machine than Private Ryan's monologue. If I'm being honest, like, I'd y. Oh, yeah, yeah, yeah. This is improv. Ryan's movie Silence movie. I don't I don't give a shit about what he's about to say. I don't. And I think I don't I can't say what Spielberg's intention was, but I have to assume that part of the idea here is that, like, this is not the like the golden that we hope to rescue. This is probably isn't the guy who's going to invent the longer lasting light bulb, you know, at least not tomorrow. He's just kind of a dim kid. Like, this is why I brought the point earlier, way, way earlier. Like in the normally scene. Like, these kids. Were like, they're 18. Think about yourself. When you're 18. Mm hmm. Now you're watching, like, intestines fall out and, like, and all this stuff. What, you don't. Like the coffee scene? The. What's water? The coffee scene? You don't. Like? I was as I was watching this, it's sort of like, all right. What's really funny, though, I mean, he's a little frustrated, if he could if he could have gotten a full cup of espresso out of that. What changes there it would have sometimes would at least matter of course, he would have lived he would have. Run faster. Yeah. Yeah. It's a little bit. Of coffee with that caffeine. Mm hmm. Yeah. So I. I think this is, like, kind of an easy, an easy scene to write off, because it's just I know one of those scenes. But I do think this is intensely important because, you know, Tom Hanks just said my wife in the rose bushes all this. And he and Damon here is about to go in this like story that I mean, I remember seeing the Snopes 12. Like, I didn't laugh. I didn't think it was amusing. And then it cuts to Tom and like, he's he's doing like a polite chuckle, you know, like, I'm chuckling because you just told that story. But to me, like, even there, he's like, okay, like, is this what is what we're talking about? Yeah, not like, hey, like I oh, my God. Like, I can't thank you enough for, like, doing this. Like what? Yeah, I'm. I mean, he just. He even. Seems like. I mean, you know, Hanks laughing. It's, like, kind of funny, but it's not the it's not the depth, I think. Captain Miller was hoping for from Private Ryan. And then as an audience, I kind of see this and I get that. That's my whole point is that. Audience Member I watch this and I go, This is a kid like he have any deep experiences. Like he doesn't have anything to go off of these as a kid. Yeah. Yeah. He looks so tired, too. Yeah, it does. I mean, the beard is, like, really working, you know, like it. I don't know. His face just looks white. No supporting actor nominations for this. You get one. Who do you pick? One supporting actor nomination. Private Ryan. Who? Who do you pick and why? I think I would go with try. Jeffrey DAVIES. Jeremy DAVIES. Yeah. Yeah, yeah, that's fair. I was going to go with Sizemore, but I think Davis is like a good kind of subtle number to like or number one for supporting. Yeah, he's really good. I like that. I love Giovanni Ribisi in this. Do I love that he's so you know we, we learned a little about him teacher all this stuff but I love that. I'm just saving that for me. Let me alone. Our best actor in 1998. Give me who you want to win. Roberto Benigni wins for Life is beautiful. No comment. Tom Hanks in private Ryan in McKellen Gods and Monsters. He's playing James Whale. By the way, I've never seen that famous director, James Whale. He directed Frankenstein, Nick Nolte affliction. That's Nick Nolte, his best performance. And Paul Schrader's best movie. And then Edward Norton, American History X If you were an Oscar voter at the time, who would you vote for? Well, I've never seen affliction, so I feel like that's got to be something I need to see. You say. If you say it's Paul Schrader is best movie that says a lot. It's not even it's not only his best movie that he wrote and directed, it's Nick Nolte, his best performance. James Coburn won the Oscar for it. Yeah, he is intense. Namely, Nick Nolte performance. I mean, what we laughin. Would you say? I go, yeah, I know you've said that twice already. Oh, sorry. Yeah, yeah. Down. No, we'll watch. I won't watch it. Okay. But the phone was really good in it in a very non Willem Dafoe performance. It's great. Okay. One of the ones you've seen. Of of the ones that were in there, I would go with Edward Norton. Yeah, that's very private. My vote is. Hank's number two. Hank's? Yeah. Yeah, my number one. Nulty. Yeah, kidding. I'm not his best performance he's ever given. Did I mention I think he warrior. But I know the affliction is affliction is the most realistic depiction of a volcanic alcoholic that I've ever seen. Who've volcanic volcanic. I hate that word. Explosive. The bridge, the. Alamo. Opens the guy with the ammo. So he always has to be there with the ammo. Yeah. Oh, boy. But what's cool with. Establishing all this is that we don't. I Don't know. Like, I feel like in a movie now, we get, like, helicopter shot, drone shot, wide shot a. Map maybe, but. This is what we're doing. But we're just listening to them and we haven't like, we have an idea of where things are and we know like, okay, bury peppers in the tower and this person's here, this person's here, this guy's running. Okay, like, I get it. Like, you just get where everything is, but it's not. It's not 100% fully clear on purpose. It doesn't want you to fully identify with like, oh yeah, because they don't know either. And I just, I don't know. I feel like that's something that's lost more and more movies like. Me to explain everything to everyone. We I don't know. Well it's because also when it happens, when you actually see what, how the movie unfolds, you're putting together the things that you know and then the things you're seeing and you're like, Oh, okay. And those revelations are, I think, are more impactful than if you just yeah. If you knew everything. Nick Nolte is so good in Affliction with Christ every day. That movie. You know who else is in that? Who's fantastic, this basic. Oh, I love Sissy's face. Oh, she's great. She's great. It's not this love interest. You know, I was thinking it was, you know, going back to the whole. Oh, you're thinking now. I'm thinking. Okay, this is. That's rounders. That's a rounders line. Oh, you're thinking. Yeah, that's right. That's right. That's right. Well, tell me what you're thinking. It was, you know, going back to the whole opening scene. Yes. It really start the movie here. You think we could start right here and simmer, Mel? We make a nice little Steven Spielberg short film, Saving Private Ryan. Half like. Now here, my dad's coming up and I look, I mean, the sound here it is. This is this is it. Look at this shit, Ryan spacing out, and he wants to connect with him. Burns does look at this. I get it. That's the heart of the movie to me. Yeah. I love Norm D. I love everything about this movie. That, to me is my favorite 5 seconds in the movie. That's just it's. Like, Yeah, I get it, I get it. And this is I mean it. I mean, we shouldn't skirt over like how amazing this final battle is. Like, it's really good in this town. It lasts for really long. It lasts longer. It's oh, wait longer. Yeah. No good way to start. Oh, man. It's fucking terror. And then my favorite down shot in this battle is when we assume Tom Hanks, his point of view, and he's looking at Ryan and he just like, got it. He's in like a fetal position and just, like, screaming and sobbing, fetal position, sitting up. It's Oh, my God, it's so. But then this is the genius of Spielberg because he started like he has set up this sequence. You know what's happening. You know what. The good guys. Are supposed to do. You know the bad guys are intending to do. And then he still put so. Much else into this. Yeah. We're going to see. Personal deaths of people that we cared about. Yeah. Who's the toughest death for you in the movie? Oh, Adam. Just like the character or whatever. Oh. Oh, okay. In the whole movie. Giovanni Ribisi. Oh, it's brutal. Yeah, like that. That, that one. That might be. Might be. Yeah, it might be mine too. Because you like kind of accepts it, you know? Give me more. Yeah, there's so much. There's. It's a very layered death scene. The hardest one to watch is Adam Goldberg. Oh, that's the heart. Yeah, that's how I want to watch him. Certainly in this in this battle. That's my that's the hardest one. Boom. Oh, man. Here we. Go. Just like Connor. What's that? Ross That's a rock. Shoes can't, you know, this is still like. Okay, so they're setting up. I like that. They're setting up kind of early on here that the Americans like, they know what's up there on the offense. They can do it like they they got it. It's good. And then we're about to see some snafus here. Like, I don't remember who it is. I don't think it's this guy. But some guy holds on to the bomb too long. Yeah. Explodes. And then they bring out. They're all okay. Well they're well. Yeah. He held on too long, which is like terrifying. And then they bring out that I'm sorry, I don't know the exact caliber, the gun, but it just starts butchering them. You know, the Germans bring it out. It's like. Do do, do. Do, do. I mean, those bullets are like bigger than my hand. Like, they're massive. And that's again, it's just all really good storytelling. I wouldn't even know where to begin. Like shooting something like this. I mean, I know you get. You've got like we're like, how do you start? Like, how do you go? I mean, you would have to I know Spielberg's process in terms of like storyboarding all that stuff, but you'd have to like plan some of the stuff out. I mean, you have to. But it because too many special effects, too much money is riding on like yeah. Like you like you have to plan so much where you can't like fuck up too many times. No, no. And that's what so like, throw the best compliment you can give a movie is that you're watching it. It doesn't feel like they did any work. Like, yeah. And it's like, no, someone sat behind this and like, yeah, and color corrected it and sound makes it all that. But it never feels like that. Like you never feel, oh, that was a choice. Like that was an editing choice. The only choice, the only big like choice in it is the beginning when it's Yeah, you know, not Private Ryan, but other than that, I mean, I don't know, we're just really in it. And I'm, I'm really taken with this time we're watching it about the lack of like establishing shots to connect us with where we are because the soldiers don't know. So why the hell should we? Sticky bomb at work. Thank you. Bomb and production design too. It's just out of control. Like this is such a detailed, torn up city. And I. Mean, there's like. Again, like, it's just the end. You're on such a grand scale with this. This is really, really remarkable. Like when you really kind of think about the the making of a movie. Yeah, like, none of this came easy. Like, it's all. It took a. Lot of thought and a lot of to say that. Like, it's just. I mean, they had to create this whole shit, like, all this rubble, like all of it. That shit from scratch. Exactly. Nuts. Like there's there's. No towns that exist like this. They're like, all right, we'll just go here. No, this is all fucking made. Oh. Oh, that's a great shot. Yeah, it. Really. Is. Like that shot. Well, Cliff Booth for you. Shot? Yeah. Yeah, it doesn't, asshole. I love what the gaffer is, I guess, you know. So. I mean, this movie, like, he's a fucking. By 1990. Eight standards like $70 million was. That was a good chunk of change by today's standards. That means like nothing low budget movie almost. This movie was $70 million. And me watching it now, I'm like, with 70 million Saving Private Ryan, I'll say that you see every penny on screen, you know, there's nothing wasted, something extra. Here because boom. Oh, damn. This is a great shot. This actually reminds me in 911 where we just saw that smoke coming up. Oh, yeah. On the streets. It's brutal to 2 seconds. Boom. Yeah, right. That in that tank. All right. Here's a. Question. What's your favorite like gun moment? Gun moment in a movie? In this movie? In any movie? My favorite. Moment. In any movie. I know. Jesus Christ. I mean. The question I don't have like a favorite gun moment. I love when one Ben Foster pulls out that automatic weapon in hell or high water on the highway. And he's like, got this shit and just boom, boom. I mean, this is a really good moment to look at. You see those bullets spit out, like, so fucking big. They are. I mean, it's ripping them to pieces like that. Would oof. Yeah. I mean, favorite gun moment movie. I mean, maybe Saving Private. I could think of it. The fuck do you mean? Favorite gun? Moment. Moment with a gun in a movie. Any gun? Yeah. Jesus, it's pretty broad frame. Yeah, yeah. Okay. What's your favorite gun moment in any movie? Terminator two. Which part? When he. So it's the end chase scene when they're on the the helicopter and then the trucks. Yeah. So so T-1000 is driving the truck and Arnold finds a way onto the truck and he's got his like machine gun. And then he just sort of like. Oh, he stands under the hood. In the hood. It just like in there. That's a fucking great call. It's just so sad. It was like I. Just bought that 4K, like, Blu ray. Yeah. And because that was the first time I was able to listen to commentary. And during that scene, Cameron's like, Do you know how we drove a helicopter under that freeway? And the other guy in countries like how he's like, we put the helicopter under the fucking freeway. Like, that's a. Fucking answer. No, that's great. No, that's a great moment where you just lighten them up. Yeah. Yeah, that's great. I mean, the gun moments in this movie are really good, like. Those and these. Are great. Yeah, because his scope, it's like, you see, he's taking in wind and distance and we see him fail a few times. Yeah. You know it's like. But this is what I'm saying. Like you're the expert sniper. Like, how the fuck is the tank not supposed to get out? You start cursing again. A lot of was cursing. It was nice. Picking it up again. He's got one focus, right. You said like many episodes ago, not many a few ago, that you curse more than I do. That's just emphatically not true. You know, on this podcast. I don't fucking think Harper going down. Uh, very Tupper. That's what I mean. And then everyone has to see that go up and they're like, Whoa, okay, he's gone. No. And then again, Tom Hanks That's another one on the tally. Favorite gun moment in a movie. Yeah, I know. Scorsese knows how to set them up really well. He did it in Taxi Driver and Irishman. It's like the guns on the bed like this. But this one will do this. But this, this with this and that. That's nice little honey right there. That nice little honey is that nice little honey right there? It's a honey. Is that what the guy says when he says. Oh, yeah, yeah, that's nice, honey. You're right. Yeah, yeah, yeah. See, you know what that dude did in real life? I watch movies. You know that guy dead in real life. So guns, deal drugs. Oh, bad. Documentary about it. But yeah, he's like this nice little honey, nice lady. All right, I'm going to put my smiley hot take it this commentary. Anyone who thinks Upham is a coward for what happens. I don't agree with you in any capacity. That's all I can say about that. I've never met a single person in the military who has a problem, not a problem, but who questions. I'll say the decision he makes because that's the the fog of war, you know, how can you determine what someone's going to do? This guy is not he is, by all intents and purposes, a quote unquote soldier, but not really. This dude isn't like combat ready. This is one of the biggest talking points in the movie. And yeah, he's he's a you can fill in the blank. He's blank, blank, blank you know, whatever. But I think ultimately, like, he's a coward and he doesn't do anything. And I don't I'm lived through it and tell me. Yeah, exactly. Yeah. Lived through and tell me how you feel. Yeah. I haven't lived. Through it. So lived through it and tell me what's up because I've my stepbrother like a important person in my life did was in Iraq, was in Afghanistan. And, you know, go through it and tell me how you feel. That's all. So he doesn't have a problem with this scene? I'll put it that way. I'll put it that way. But saying it's like, what's right? Is there anything right? And war. What's right, what's wrong? I don't know. Jesus. Yeah, yeah. So chaotic. I mean, the people killing them are probably young to God, you know, they're all. Just young. Man. I this is going to be so hard to watch. And one of the very few, if only hand-to-hand combat. So that's the only, I think in this movie I think. Yeah, think it is and it's very good. What makes it so great is you hear that guy just gasping, you know, get shot in the neck and you hear him like straining over it. And he's always in the foreground. The everything about this scene is just so brutal. The guy is so real. It's I mean, we can I've yeah. I mean, I've been in situations where, you know, like no IVs were involved, but, you know, it just it's like what we're talking about. Like you and I have never been shot, but we've been like, pricked by a little thing. And I don't know you're going. For that thing slow. We go in. I love this one. They start a Hanks and Damon's. There is. I love that. Yes I just around the corner it's. Like is it God? Sergeant Horvath just got the wind knocked out of me. Yeah. This what he's doing right here is not cowardice. It's. Oh, look at that. Look at that. Camera's on. Oh, yeah. Where's the DP? See? On the ground. Where's the operator? That hurts, because we know what that would feel like. When I look. When I watch a movie, it hurts more to watch a papercut than a gun. Oh, yeah, for. Sure because I've got my I've gotten a papercut and never seen this as his fatal flaw. He brought it out. Yeah. And he gets his weapon taken from. Well it's brutal. First time I saw this movie and get I'm young I thought this guy doing the stabbing and this guy walking down was the guy they let go. Yeah. Oh, yeah yeah. I thought that was him. This is not that guy. But the guy who shoots tanks, that is that guy, you know. Terrible bear. If if memory serves, he's saying something relatively like nice and peaceful. They're like, it's okay. It's okay. Like this is happening. I don't think that's an exact translation, but it's not like. Yeah, shit. You know, it's it. Same with the thin red line when they're about to shoot on. Well, that would be a spoiler. Hello. Say hello. But The Japanese guys are yelling like I don't want to do that. So maybe there's. Another. Yeah. I'm just saying, like, why not give everyone a pistol. They don't give the a pistol. They give them rifles. I get this. I get this. Do you think he's, like, a coward for doing that? No, I'm not going to put that label on it. I mean, I've got my feelings, obviously bro. Yeah, like, I, like, I, I. I understand. Like he stood. Yeah, I understand why he did or didn't do it. I mean, I wish he did like, but I'm not going to call him a coward. I feel for like this. Like, like, like that. That that sucks. Like he's got go with his life with that now. And even like, I mean, the deed is done. Like, you needed to step up when Adam Goldberg was getting stabbed. Yeah, like now that you haven't, like, there's no need to like there's. Yeah, I'll set out. Do you find. It believable that he kills the prisoner in the end? The former prisoner in the end. Yeah. You think you would do that? Like lead to it? I definitely do. I think, yeah. That's this personally kill. And he's like, I know. I love the scene too. He did the nice Chuck. And what's cool is that Damon is doing he's doing the tapping, then passing it to Hank's because the cat's in his throat. And then you'll see when he gets a little too riled up and he throws it himself right here. So, I don't. Know. It's just those details, you know, the private passes it to the captain just like there. But that one time he didn't read. I always remember that the read from that, from the blood. I don't know why. Oh, man, that's a great shot. Yeah. Jesus Christ. Oh, my God. It's insane. Yeah, like this is. And I'm. This isn't normal for any young person to have to go through. Really, for any person. It's just like. I don't know, it's not the way to be. Oh, God. I can only think about his sciatic nerve right now. I mean, that just feels like such a perfect German. Just like out of the tank. It's like, I've got this, I got this. It. Oh, snail. All right, get the bazooka soon. As for Embiid great call back. He hasn't said that since Normandy. Yeah. And now his greatest enemy, Robin. And now they're together because that's what war is like you are about to go next year. Yep. Oh, in that shot we just saw when they're crossing the bridge, you have that bell tower perfectly in the background where Barry Pepper had his feet. Shakespeare in Love, our next commentaries on Shakespeare in Love. This is Alamo. Alamo. Get off, get off. Oh, boy. Oh, damn, I love this. So he goes. I just got the wind knocked down of me. Oh, fair to Scott. That's a great catch. Fire burns. It's like, boom, I got you. Yeah. And then what's so incredible is in the next time we see him, Hanks is like, Mike. Mike. And it's that. Yeah, it's. Yeah. I love the Black Hawk Down. How he, like, always steps out in front of open fire and doesn't give a fuck but is that I in Black Hawk Down one time Sizemore just steps out in to open fire. And he doesn't move. It's just like devil. Here we go. This is the first time since Normandy we had this, like, sound kind of slow back. Oh, yeah. Oof! And he's just, like, out of it, like. Oh, man. Like, I've showed off. People Saving Private Ryan for the first time, like at home, you know? And that's that's always a fun experience as a show. Oh, God. I love that. He just looks like a scared kid. Which, you know, Mike, Mike's gone. Oh, God, it's perfect. A lot of people had issue with, like, Tom Hanks shooting the pistol at the tank and then it explodes. Clearly it's the plane, you know, that is doing it. But I thought that was just a little too I remember that getting a little flack and I'm like. Now. It's it's right here. It it's like he has to that shot right there was like kind of a to me it's going I have to myself here for. I don't know the. Mission here is is there a guy it makes you wonder like, why the fuck didn't they just blow the bridge earlier as. Another. Well, I. Was going to say that too. I was like, Why not just like fall back all the way there and then wait for them? But I suppose there'd be too many. Too many? What people. Like is. People. Americans are Germans. Oh, you mean as opposed to Britain and that would be the end of it. Why not. Blow the bridge before the Germans even show. Up? Yeah, they couldn't cross. I guess because you can have a legit fight. I don't know. Wouldn't make for as much of the movie, but yeah. That. Like, the bridge could have been blown, like, I don't know, a little bit earlier. Like, get everyone over here. If you're not over here, we're going to. Everyone's got to figure it out. Got their place. Figured, huh? Dying so well? Oh, yeah. Look at him. Shock. Dying. Yeah. I don't problem with this at all. If you think this pistol blows up the tank. I mean, come on. Yeah, well, it's. A plane, you know, angels on our shoulders like that. But that's what's so cool about it, is that he's just. This is. This is it. This is less last ditch. His last. Yeah. Then all he. Has is a pistol. Yep. That's so he's just going to go out and whatever he's got. Yeah. Which, which you see like his surprise it kind of mirrors a Patrick Bateman surprise when he blows up the police car. Yeah. I can't believe I'm just like, how did I do that? Don't tell me I'm wrong. Look. Look at and look at the way Hanks. Look at the gun or just contemplate stuff. He's like, What the hell? Oh, there it is. And it showed. Up just in time after my entire squad got out. All right. So when you saw this, did you think, like most of the guys I'm being introduced here were like do I think Hanks is going to die? No, I didn't. You know, because I yeah, I, I. I thought that the. Opening guy in the movie was Hanks. Yeah. And that's the trick. And that's why I don't really mind. I love this. Listen to listen to his voice up. So. Okay. Yeah he moves his hands to. Look at the light creeping through on the. Sides and everything that's happened yet he's like, Yeah. I think it's a big moment that he, you know, does that. Oh yeah, that's huge. That's like that's his character arc, basically. Yeah, yeah, yeah, yeah. You got to think to like think. Let's let's do a little. Empathy exercise. You are James Francis Ryan. Right. And like this all happened. So you get home, it's like 1945. Cool. Like you start starting your life and then, you know, they go, I think a few people have trouble with the ending. Like, Tell me, I've been a good husband. Tom It's not I don't know. But people have trouble with that ending. I would just urge you to, like, try to put yourself in this guy's shoes. Like he goes, he's just like a soldier. And then he finds out brothers are dead, and all these people came to help him. So, like, I don't know, just imagine what that would do to your psyche. You know what I mean? Because they all die. Yeah. I mean, just two of them don't die too, that you don't know. Well, but like, they all die trying to save you. And it's it's kind of like that's why I think, urn, this makes sense. And that's why I've never had a problem with like, the older Private Ryan going like, did I live a good life? I don't. I think we need it. Honestly, I don't think we need it. But I don't have a problem with it because here it is. Is that confusing? No, not at all. To 13 year old me, I was like, oh, I get it. Earn your earns life. Yeah. You're 18, 19. Like you have this, you know, urn. What's happened? It's a lot of pressure, though. That's what I'm saying. Like, imagine him, like, 40 years later having to go through all this and. Yeah, it would. You'll never actually feel good about your life. Well, that much is. Oh, sorry. It's like I could feel good about it, but you'll never know what you accomplish. It'll never be enough to have this. As a rescue me term survivors. Remorse? Yeah. Which was not really popular until I remember it wasn't survivor's guilt. Yes. Sorry. Thank you. Until like post 911, but it had. I don't know, is the. Child for it. Toward war two veterans came back in the I don't know if it was spoken don't know if it was agreed upon. I don't know what. But they basically all just, like, didn't talk about it. Like you didn't talk, met a family, you got married with kids. You started a business. You work for business. You like you tried to do what you could to, like, perform the American dream. Yeah, this. Is what it's for. Like, you're a veteran, you're this here. Do it. But it's just. I don't know. Because of my work with veterans, it really makes me think, like, you know, mental health, mental illness, having trouble dealing with horrific things. It's been going on since the dawn of time. It's really nice that people are talking about it now, but it was always the case and it just, you know, kind have been easy. You know, as we've hammered home that that beginning shot like is a cheat. It's just a fucking great morph cut like this is crazy. Like, he takes his time with it and it the fact that he takes his time, it really kind of you buy it that it's him. Yeah. You really. Do. Yeah. You can. Really start the movie here. Just right at the end. It's just a five minute short film. Just an old dude going to go in the cemetery. Are you asking me again? I'll fuckin take you out. I've been to that cemetery. Oh, really? Yeah. Yeah. Guess where. It is. Near The Exorcist. There's no right. You're an asshole in France. I haven't been there. I have always wanted to go to the Normandy beaches. I just love history and I mean probably partly this movie. Do you ever go if I was like, I'm going to the fucking Normandy beaches, like where it was would go with me. It's just the beach now. Yeah, we'll do it then. Take you. Go on like a movie European trip, get all out of the way. What else can we cover? I never want to dress like this when I'm an old man. Well, that's like a nice way to dress. I know, but they still do it like that, since it's that that shirt with that kind of windbreaker jacket. It's light and it's elastic. I do. You can stretch windbreakers. A classic grandpa move in the khakis. I can't have that. So you don't. Have a problem with the cheap? The cheap, the. No, no. I don't either. I don't either. I think people get a little hung up on it, but no, I don't care. Do you have any problem with these scenes with like with the cemetery scenes? A lot of people have issues with them. Like, I don't like. This cemetery scene. Yeah. That's how the movie started in this. Like, he's about to ask his wife, like, tell me I've been a good husband. Do you? Yeah. No, I know. I think it's I think it's great. I do. Too. It's been weird to me that people have, like, criticize this because, I mean, he just wants a little validation, like, has it been worth it? Like, have I been good? I don't know. I didn't mind this at all. Maybe he should have asked instead of, like, you know, like he's demanding. Mm. You know. Have I lived a good life? Yeah. Am I good man? Say you are. See? See, she was forced as obligation. Yeah. William Goldman always said it would have made so much more sense of this guy, this old guy who was like Edward Burns, and then maybe like Private Ryan walks up behind. And so it's like a league of their own where all of a sudden they all just come back. And well, I mean. Well ish because that was for like a specific event. But yeah, I mean. If you want to make narrative sense, he makes a good point. Yeah, it is Private Ryan and he wasn't there for 75% of the movie we just watch. It's very rarely. Give a shit. I you know, it's all it's all good. I mean, really, if we wanted to start with that narrative, the movie would have started as soon as they met on the tank. Yeah, that's right. I mean, you did have some back, so I mean, the movie could probably start right here, I think. I think the movie I start. Right. Miller's grave. Yeah. And then cut right to credits. Yeah. I think we all got it because. It's like we get it. Jeff on an iPod. Oh, June 13th, 94. So he only yeah. So like not even a week since June 6th from Normandy. That's how long all that was. Yeah, exactly like a week long. And then. Wow, we did it. Starts with the flag, ends with the flag and the. Flag starting in same way when Goldman did not like that. He didn't like that either. That how do you have a problem with that and. Maybe one other movie that does that, though? I mean, he makes a good point. It's like, no, the movie does that where it's that heavy handed, literally American flag. Day and the American. Flag maybe. But like 1917 ends with the same shot. Yeah, yeah, but it's not a flag. Not a flag. Because it's not about America. It's. It is. No, it's not. It's not about America. A lot of. Jesus. It's such a good movie. Yeah, it really is. I mean, want people to watch it. Watch it again. It's like slightly different perspective of just, you know, understand how young all these guys were, you know, Jesus like they were God so young. I mean, this, this is like this is movie making its finest. When you think about it, though, like, this is not I mean, we've got our directors out there, but like you get a script that's this and then you have to go and make what we just saw. Mm. Like, I mean Jesus Christ how it's mind boggling to think that this, that this movie was so well done and so competently made and, and it is what it is. Today. In Shakespeare in Love. One, you know. Yeah, this will. It'll just go down. It's one of the, like, seminal American films of our lifetimes. It just. Well, yeah, I don't. I don't know if anyone else will do it quite like this. I genuinely don't I don't know if they'll do it like, you know, void of special effects of all that stuff. Like, I don't know, it was a lot of fun to do this and to watch it just kind of all in one sitting and see it through. Brian Crass Look at that. Like, There it is. And Nathan Like, it's. Such a yeah. Paul Giamatti Look at that. We're like burying the yeah, the credits. The main credits just started, but I think I'm good. You good? Yeah, man. I mean, if you want to call it. What else do you have to say? I mean, the the the the movie. Could start here. The movie could start here. Look at that, Captain Dale, die united, Marine Corps, retired. Kind of get that in there. They're retired. Well, yeah. Maximilian Martini. That's a name right there. Maximilian Million Martini. You know. Yeah. If if if my name was Max, I'd want to be called Maximilian. Did we settle on, like, what's the best? Here we go. The set we're going to. And what's the best serious Spielberg movie? Oh, I think I think. It has to be either this or Schindler's List. But you know what I mean? Like. I mean, I think we all. Like Empire, the Sun. Munich, Lincoln, there's more War Horse. Oh, boy. The Schindler's List. Yeah, I agree. Yeah, I think I agree. Which is there's nothing more assaulting than the Normandy sequence in Saving Private Ryan. I think that I think that goes without saying. But as a full document, Schindler's List seemed. Yeah, it's just. Yeah, it's really profound. That's it. I'm good. You're good. Thank you, everyone, for listening. Holy shit. We made it. Saving Private Ryan. We did it. Hey, it's Alex in real time. All on my lonesome. As these credits go out here, hope everyone had fun. Happy Veterans Day to our veterans. We appreciate you. Leland Orser is the actor whose last name I couldn't get right. The guy from seven in very bad things. He has 91 film and acting credits. Nick has not seen all of those. Nice try. He actually had a starring role in this indie falz from 2014. Cool little movie. He's great in it. Ryan Hurst is the name of the actor who played the deaf guy. He was indeed in Remember the Titans, but also got so much. We Were Soldiers, The Ladykillers, The Walking Dead and Sons of Anarchy teaser for Next Time. Well, we just finished recording a massive podcast on Quentin Tarantino and we had a lot of fun doing it. This Saving Private Ryan commentary was indeed our longest episode to date, and this Tarantino one may. God. And may run even longer. Oh, my. We'll see you back here for that one. And as always, thanks so much 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 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 is our epic Quentin Tarantino podcast. We talk about all the movies favorite characters, favorite needle drops. We have a ton of fun with this one. Stay tuned.