173: Saturday Night Fever (1977)

John Badham’s “Saturday Night Fever” is so much more than a fun disco movie. Alex and Nick break down the film’s hilarious dinner conversations, John Travolta’s thrilling dance scenes, and the movie’s unexpected sequences of real life. 

Early in the episode, Alex shares his radical theory about “Pulp Fiction” that he’s been afraid to share for years.

Part 9 of the WAYW New Hollywood Film Project.

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Three days Monday and no paid days Monday. They replaced us Friday Saturday and then broke on Monday. Using whole income office in a way that money all weekend. This way you paid on a Monday. You got money all week. You can save a little. Build a future for the future. No, Tony, you can't fuck the future. The future fucks you up. I'm on my. Well, you can't tell by the way I, you know. I'm a woman's man. No time. Hey, everyone. Welcome to. What are you watching? I'm Alex out. I'm joined by my best man, Nick, though. Still. How you doing there, Barry Gibb? This happening is happening. What the hell is that? That's when the guys. Orgasming in the car and they're all watching. Yeah, it. Yeah. Hi. Welcome to. What are you watching? You know. What are you watching? Oh, boy. This is going to be a fun one. Jesus Christ, yeah, you're Barry Gibb, you're the lead of the Bee Gees for me. How you feel to be here? Yeah. I didn't know who that was. Saturday. Yeah, he's the lead of the beat. I didn't have anything good for this one. You will? Yeah. I mean, you missed an opportunity. I mean, I mean, I gave you a game. Give me a Tony. Yeah. I'm not I'm not cool enough to be Tony, but it's Tony. It's Tony. Yeah, exactly. Exactly. It's kind of, that's the question the movie is asking, I think. Is, is he cool? Is this guy actually cool? Saturday Night Fever. Welcome back, everyone. Welcome back to the New Hollywood Film Project. When I looked at 1977, I immediately went Saturday Night Fever. There are one of the biggest movies ever made. Came out this year, and it's still it didn't matter. I have been in love with this movie since the first time I saw it. I have such a fun when we talk about, you know, the first time we saw it, it's going to be a lot of fun to talk about, but if there are people who saw this, you know, episode pop up and they're like, oh, they're doing this, isn't that like silly disco movie? Bro, that's a huge reason of why I wanted to do this, to debunk a lot of, you know, if you have the wrong idea about the movie, trust me, it is not the movie you think it is. If you if you've seen it, you know this movie fucks, bro. It really does. This thing really does. Awesome. This is so good. Oh my God, I am so excited. This is I, I love this movie I am so do I fucking oh I love it. It is so big. You're exactly right. It is not what you think it is. There's so much depth to this movie and it is really fucked up. It's really a messed up movie. It does not seem like it would be. And, I was floored the first time I saw it. Sorry to talk about it. Do we. How do you want how do we want to do this? Who wants to go first? I'll go first because I undoubtedly saw it earlier than you, I think. And this is probably the earliest spoiler spoiler warning I've had to give, because there's no way to really talk about the power of this movie without talking about the final 15 minutes or so. 20 minutes, because you think this movie is going one way. Frankly, you think this is leading up to the big dance competition, and they're going to go out there and fucking kill it and no brainer unanimously win. And from then on out, it's like, nope, this is not what you think it is going to be. I think it's easy to think that, like the plot of this movie is, are they going to win the dance? I don't even think, yeah, that's just a loose thread to keep everything together because there's so much more, bigger things that are happening then that dance. And I love, love it. Yeah. So the first time I saw it, I came to Greece first. Greece was released the next year, starring John Travolta, PG rated musical massive, massive, massive hit with instant appeal. You can show it to anyone. So that grease was just on TV a lot. So I remember seeing that really young. The thing with Saturday Night Fever is that it played perfectly on TV because they made a PG cut of it. So for years this it's not that hard. You just take out all the bad scenes. There's a kind of happened. Well, just toward the end though, if you just take that stuff out and you remove all the sexual content you can make, it's not as effective of course, but you can make some pretty easy cuts, and you have a pretty lean to, a movie that can fit into a two hour block on television with commercials that it's PG. So that is how I saw it for a while. And then when I was, God, it had to be 13 or 14. My dad rented it and we actually watched it. So we watched this together, and I was blown away at those cuts. And what was included and realizing this is not PG, this is not grease. This is a hard, r gritty fucking street movie in Brooklyn. Like, so that's how I saw it was this discovery. And then ever since then, ever since an early teenage teenager, I bought the movie and I've been the guy champing it to everyone going, this is it. It's not a disco movie that that is in it. And frankly, those scenes are really awesome. But it is way more than that. Way more. Yeah. That was one of my, first impressions of you was early on we were talking. I had not seen it because I, similar to a lot of things, I had the exact same stereotypical viewpoint of this movie, so it never even occurred to me earlier in my life, because it's just not my thing. Like, if it was that silly, like, I don't like grease. I don't like any of those types of movies. I thought this was that. So there was never an interest for me to see this. And then you casually just dropped how awesome it was and I just let it slide. I let that shit go. I was like, this guy's pretty cool, but he just said something real, real wild about Saturday Night Fever. But you know what? You know, everyone's got their things. And then I remember, this was last summer. I was having an audition come up where, I needed to do a really, really authentic New York accent. So I was like, hey, what are some, like, really, really authentic voice in New York movies? And you start rattling off a few and you were like, well, Saturday Night Fever killed it in that audition, by the way. Didn't get the part. I had really long hair. I wasn't right for it. But. So anyways, put on Saturday Night Fever to watch it for these accents that you were talking about. And I remember you didn't even really try to sell it. You you didn't try to be like like so hey, get ready like know. So it starts and I'm I'm enjoying myself. I'm like, all right, let's see when all these musical numbers are going to hit. I didn't even I thought it was a musical. I didn't even think that it was a straight Zach Culkin movie. My fucking god. I became hooked into every beat of this movie. Everything that you want to experience watching a movie. I was I was a complete sponge. I was at the mercy of everything this movie was doing, and I was loving every second and then shocked as certain scenes, language moments. The language is rough, even if it's, oh yeah, there's still some dialog in here. I'm like, yo, big time, that's Norman Wexler, baby. We talked about the surf go part. I'm like, hot damn about not even halfway through it, maybe one third of the movie. In my first viewing, I had completely thrown out any type of research I was trying to do. I was just sucked into the movie, and when it was over, I couldn't believe the ride that I went on and how much I loved this movie. And then over the course of the next two weeks, I just watched it over and over and over again because of the accents. But I was just watching it too. So I've seen this movie probably like eight times, but I hadn't seen it since, like August of last year. It just punched me in the face again and I loved it. I even text you, I go, I love this fucking movie. This movie is so good, that I love here at all this. And it's like, well, you know, I'm going to get to the director, the star and everything. But my first note in the outline, like in the breakdown of the movie, is that you're 62 seconds in and it reaches icon status with Travolta strutting down the street, stayin alive by the beaches. And it's so iconic, his feet matching perfectly to the beat. And you're like, yeah, okay, I've seen this before and I've heard this song and it's like, all right, here we go, here we go. And it immediately puts you in good hands and just never lets go. And it lets you know early on that you are in for an authentic ride. And yeah, the language, even when I put it on yesterday, I'm like, damn, this stuff is still tough. And it was tough for a movie in the time as well. And that was one thing Norman Wexler said, because he was like hanging out in these groups. And he goes, this is how these guys talk. Yeah, like to change it is. I'm not going to do that. I'm not going to dumb it down and change the language. And the director, John Badham, agreed. It's good that they didn't. It's good they didn't soften it because it helps set the movie in a time and place so well. And, and, and even now, when you do see it, I think it is important as well, because the movie, even without the language, cuts to the bone. And when you are hearing that language, it just really reinforces the fact that we're really dealing with a certain type of environment here. And, and that's such a huge part of the movie. And if you were to do away with that language, then you're kind of doing away a little bit of what John Travolta's character as, bless that character's heart, he's trying to get out of it. I think. I think by the end of the movie, I think he's trying to really escape his environment. If you don't have this type of language is harsh and is kind of shocking and crude as it is, it's a part of that. And I think that's largely what the movie's about, is that we're following this kid around. And for the first time over the course of the movie, we're going to see him realize it. Like, what are these Saturday nights leading to? Yeah, what the fuck is the point of this? I can jump forward 18 years and still be in the paint store. Is that what this is? And I'm still living with mom. Maybe I meet a woman. Like what? You know, and we're seeing him. I don't think he's ever had these feelings before. You know, he's just been working at the paint store, working for Saturday night. That's what you're doing. And and this is always something that is very crucial in terms of writing. Oh, you know, this takes the cost, of course, over a period of time, but it's always the question of like, why today? Why is today the day that something changes? I think you're 100% right. This is the first time that this character is faced with any of these thoughts and feelings, and I think that's one of the most profound aspects of Travolta's performance, is that you're literally watching him in certain scenes. Be confronted with ideas that are new and strange, and you can see him not understanding and not reacting well. And then in the next scene, you can almost feel him like even though there's no dialog that speaks to it, you can see like these ideas are weighing on him, sort of like, yeah, oh, that person said this. And like, I don't know, like, you can feel this character's being thrown in all these different directions and he's reacting in ways that are unhealthy and healthy at times. Like it's a it's a he's truly going through it. Yeah. Yeah. And he's being confronted those some of those new things he's being confronted is that, the golden boy brother who became a yeah. Doesn't want to be a priest anymore. He comes home and he's like, I'm not, I'm not feeling anymore. And Tony, John Travolta is like, And of course the parents don't react well. And then he meets a new lady. He's used to like the Annette's of the neighborhood running around or throwing themselves at him. I know she's, it's heartbreaking. And then he meets a quote unquote woman of class, or at least one pretending to have a little class. Yeah. And it's. Yeah. Like, do I do I want to be involved with the Stephanie's of the worlds or the Annette's of the worlds? This is, I think, all the thing, you know, how long do I want to live in, mom and dad's house? Like what? You know, these are all the things that he's being confronted with. And to him, it really matters. Because this is his entire world. These few blocks and Bay Ridge, Brooklyn. Yep. Oh, God, it's so good. It's so good because there's flaws everywhere. Yeah. Want to talk about the director really quick, John and the characters and the characters. Not the movie. Yeah, yeah, the other characters. That's why I love flawed characters. And yes, they're deeply flawed, as we'll get to. John Badham, the director, is sort of a journeyman studio director. He made 16 films in 20 years and then switch to episodic TV. This is the kind of director a lot of people probably can't identify by name. But hey, all but guarantee you've seen a few of his movies. Some of them are really famous. His first with the only one I haven't seen, the bingo long traveling All Stars and Motor Kings. It's about a black baseball team during segregation. It's a comedy I haven't seen. The next year he makes Saturday Night Fever, his second movie. He replaces John Gleason. So the Serpico and Saturday Night Fever episodes we've done here, kind of. They're related by Norman Wechsler, the writer, and that John G. Was supposed to be the director of both, and he was replaced kind of late. So Badham takes that on. He goes on to do Dracula with Franklin Jello, whose life is it anyway? We talked about that movie on the cast of Eddie's Pod. Apparently Richard Dreyfuss was so zonked on drugs, he doesn't even remember making that movie so crazy. Blue Thunder, the LAPD helicopter flick with Roy Scheider. Fun movie. WarGames. Very famous movie. Yeah. He directed war games, American fliers, short circuit stakeout, and another stakeout. Bird on the wire with Mel and Goldie. The Hard Way with James Woods and Michael J. Fox. Point of no return, drop zone, which was. Yeah. Love. Drop zone. Yeah. Nick of time. Real time thriller with Johnny Depp. Yeah. Mean his last one is incognito. Forgotten about thriller. But yeah, just a you know, he burned his way through the studios and had a decent career. And he's still doing television, but I'm just, whether it was going to be Alverson or him, I'm so happy that whatever the combination of talent arrived at making Saturday Night Fever, it's perfect. It's a perfect cocktail. It really is. It really, really is. And then Travolta I mean, he's born in 54, and by 75, he's cast in the popular sitcom Welcome Back, Kotter. That show runs for four years and makes Travolta an A-list star. He has a small but very crucial role in Carrie the year before, he lands Saturday Night Fever, which gets in nominated for an Oscar. He is. I did not know this before researching this episode. He is so famous while filming Saturday Night Fever that thousands of people would line up on the street just to get a look at him, and they would. They had to read. They had to change their entire shooting schedule to film in the morning or film at night. And if you look, Badham does a great commentary on the 4K. If you look at, like when they're in reflections windows or you look and in mirrors in exterior scenes, you'll look at blink and you'll miss it, but you'll see, like thousands of girls just standing off camera. I can't imagine how hard it is to act in those circumstances, but that was the power of TV back in the day. Well, the the, I don't know her name. I'm sure you do. But the actress who plays Annette, she's got. Oh, yeah. A story of how they were in, like, the makeup trailer. Her and Travolta, you know, getting ready for the day and a bunch of fans broke through like the barricades. Oh, you knew that Travolta was in that trailer, and they just started rocking the trailer until the police came and got everyone out. Like, nothing like that. No one got hurt or anything, but, she was just sort of like, this is scary. Like. And then, then they. And then and then they were shooting in the car and a bunch of fans broke through again, and they started, like, jumping on the car and and like, all the actors, like they're separated from the crew because they're all in the car. And Travolta just is like, go, go. And they had to speed away. So they're running off the set and they're trying just to like, get away from all these fans. I did not realize he was that famous. I didn't that moment, I yeah, I thought it was grease. I thought, yeah, I knew he got nominated for the Oscar for Saturday Night Fever, and I think that because, you know, the Oscars are in like February, March. And then that would have parlayed right into grease being released. I don't know when it was released, probably in the summer. And so he's like peaking right then. But yeah, I no idea he was this famous from playing Vinnie on Welcome Back, Kotter. But of course, after Saturday Night Fever, he does go on to be in grease Urban Cowboy Blowout. He falters with the Saturday Night Fever sequel, Staying Alive, directed by Sylvester Stallone. It is not good, and because of that, his career gets rough. He makes three Look who's talking movies in just a few years, and then Quentin Tarantino rescues him from moderate obscurity by casting him as Vincent Vega in Pulp Fiction. And that's Travolta. I mean, you go look at the man's 80s. It's not. I mean, from going from that level of fame to where there's reportedly 15,000 people on the streets of Brooklyn in 19 and freezing 1977 76 just to get you. Can I see him? And then they're mobbing the set like to be in just a few years, being relatively obscure because of one, you know, bad hit. It's crazy. And then it happened again. Like he. Yeah, exactly like it did after the after Pulp Fiction. He had a great run in the mid to late 90s and then dude, I battlefield Earth. But yeah, Battlefield Earth kind of like took him down again. And then it became like a weird thing. Like, I even remember in 2004 because I'm a giant fan of the Punisher of Thomas Jane, John Travolta, I love that. Oh, yeah. But yeah, I remember it's fun. I think it is. But even in 2004, John Travolta being there was something that people were like, oh, that's weird. Yeah. Like they're like all of a sudden just became this sort of weirdness to him being involved. And and I mean, I don't I mean, there's a lot of, you know, talk about his personal life and things like that. But I didn't think, especially at that time, anything like that transferred over into the work. I agree, I don't think so. But there, there was just this sort of overall like, oh, and then and that hasn't gone away. It really has. And I think, yeah, he comes back with Pulp Fiction and then he just goes on this absolute tear. I mean, not everything is good, but like like silly but Broken Arrow phenomena. White Man's Burden, like No Burden is not a good movie. Like it's just not a good movie phenomenon. I love Broken Arrow, I love Mad City. Okay. Face off. Amazing. She's so lovely. Okay, a civil action. I think he's really good. Yeah, and Red line has one scene. I like him in Primary Colors. It's like these are big deal. John Travolta movies. Even the general's daughter, he's the star like he. And then he's got he's got all this cachet. He's. And he decides to put all of his money and credit and his weight behind Battlefield Earth. And it is one of the biggest bombs and that is Hollywood. You do Stayin Alive, the sequel to Saturday, Saturday Night Fever, and Hollywood goes, nah, screw you, man, you do Battlefield Earth. This, you know, kind of glory project. It is not good in any way. And Hollywood goes, nope. And then, yeah, from then it's a struggle. Like he's not. If he is leading movies, it's like go watch Get Shorty and then watch him play the same character ten years later and be cool. And everyone loves Get Shorty and like, no one ever is ever talked about. Be cool because it's not good. And yeah, that is still gone that way. Where every once in a while he'll come back and he'll surprise us with something. He's great as the main villain in the remake of The Taking of Pelham 123. I actually do like him in that he has some funny moments with Benicio del Toro in The Savages, but like, no one's. That's right. Yeah. And then there's just like, nothing. And I mean, I liked him, in The People versus O.J. Simpson playing Robert Shapiro, but I don't know, maybe maybe he can still maybe come back and surprise us with something. But Travolta, man, when he was on, oh, he had it. He just had it. And there's a one of the reasons why I love Pulp Fiction so much is that Tarantino is using Tony Manero, like he's using Saturday Night Fever in the goodwill that that performance still has in people's mind. It's not that long ago. 77 to 94 is not that much time really. It's not that much time passing. And Tarantino says when they showed it at Caan, Pulp Fiction, and he was walking up to the dance floor with Uma Thurman, people in the audience were like, oh my God, he's going to dance! Yeah, like he's gonna fucking dance. And he did. And that's what it's this great, like honoring film history with Pulp Fiction and Saturday Night Fever. It's all connected. And they one day. Oh, well, did they? If you listen to the recording, if you listen to recording, when Butch is going back to his apartment, it says the trophy was stolen from Jackrabbit Slim's. That's what it says, really? And I swear to God, if you turn up your volume, if you go listen, when Bruce Butch has to go back and get the watch from his apartment, he walks by an apartment there, like last night at Jack Jackrabbit Slim's. Someone stole the trophy. So did they win, didn't they? This also, I, you know, I don't know if. Wow. Like, 25 minutes into the Saturday Night Fever pod is, I don't know, I still I'm workshopping it a bit, but I did catch a, glaring massive, huge error in Pulp Fiction like five years ago. And I've been researching every single avenue to see if my theory holds. And I think I'm right. I don't know that it's a whole podcast. And what do you mean? You can't just start saying this and then just fucking, like, let it hang. When are we ever going to talk about it? When else are we ever going to talk about it? Bear with me. Fuck, I need to. I wish I could find like, I took whole notes on this. All right, I figured this out. In Covid, if you put the movie in chronological order. Okay? And and overhearing that little thing becomes crucially important if you put the movie in chronological order, the implication I believe, is that Marsellus wants Vincent Vega, John Travolta to take his wife Mia, out on the night of the fight. The fight with Bruce Willis is happening. Your ass goes down in the fifth, my ass goes down. So Vince is going to be taking Mia out to whatever they're going to go to. Jackrabbit Slims. It's all that. Are you sure that's supposed to be the same night? We know it's the same night because of this fucking recording on the radio. Because of overhearing this. Because the day after the fight is when is when Bruce Willis realizes my fiancé left my watch at the apartment. So as he's walking into his apartment, he hears that last night there was a robbery at Jackrabbit Slim's, and they stole the trophy. So the Jackrabbit Slim's dance event happened on the night of the fight. Okay, okay, okay. We have to agree with this. Well, the only reason I'm not agreeing, because, like, is there a possibility that, like, it was a knife night and someone actually did steal the trophy? That's so stupid. You don't you don't know. That's so many mental gymnastics. That's including something in the movie that we didn't see. Ten. Tina would not do that. Yeah, it doesn't make. No, no, no, that doesn't make any sense though. Okay. They're referencing their night that they were at Jackrabbit Slim's. Okay. How does the Jackrabbit Slim's night end with uma Thurman Mia almost fucking dying, being injected with a shot of adrenaline to the heart? Yeah. John Travolta takes her back. They have the pub tomato, baby, tomato ketchup. She walks. But, you know, I might be petrified. She looks still half way to dead. Yeah. She goes back into the house. He blows her a kiss. We fade out. Yeah. If that is happening on the night of the fight. Jump to fight night. After the fight, a few minutes later, we see Vincent Vega walking down the hallway with the other body, with the other bodyguard who works at the bar. They open the fucking door. Ving Rhames is there. Uma Thurman is right there looking normally. Shit, yeah. And he leans in and whispers, John Travolta does and goes, hey, how are you? And she goes, good. I never thanked you for dinner. If you put the movie in chronological order, him dropping her off at her home all fucked up happens about 30 minutes before she says that to him after the fight. There is no fucking way. Someone who OD'd on coke and heroin and got an adrenaline shot to the heart would be up dressed, makeup on, looking great, ready to go down fucking town. They do not live downtown. They live in the Hollywood Hills. She's all the way downtown like a just a little bit later and her husband has no idea. Now that that is like, you see how passionate I am about it. But the only now when I've done research, everyone I found, everything I found timelines that have put it in order. But no one has called this out. But every timeline I found agrees that Jack Rabbit Slims happens the night of the fight, and if that is true, then she is fucked up by the end of the Jack Rabbit Slims night. So that means she made it from the Hollywood Hills all the way the fuck downtown. This like within minutes of each other. Well, what does it make? What doesn't make sense is because. Because when they open the door backstage at the fight, what is it that they walk in on? They their fighters dead. The fighter, they the fights already happen. The fight is done. Bruce Willis is fucking not Bruce Willis. Vig Rhames is fucking pissed. I don't care if you have to go to Indochina, you find this motherfucker. So yes, you know, and then the guy goes, I will take care of it. And it's like that. And their fighters dead and then me is there smoking a cigaret. If Jack Rabbit Slims night and the boxing fight happened on the same night, there is no fucking way in hell she is getting downtown. Also like Vince looks fine too. That is also so. The implication is that Vince dropped her off at the house and then when he leaves, he gets a call on his cell phone. This fucking asshole Butch just. He screwed us. He threw the fight, and you got a kid. You got to get downtown to the arena right now. And he's all fucked up from the event as well. And he gets down there. Now, the only the only, criticism or the only thing you can say to, combat me is that there's a day in between that we never said that that's what it has to be. But. But then you never see it. Well, then that radio broadcast does not. Then it doesn't say. Then two nights ago it says last. Then. Then I see it. I can't give. I hear what you're saying. I absolutely hear it, I respect it, but if you watch it with me, I'd be able to point out to you and I'd show you and what helped is I put the movie in order in my editing timeline, and I was like this then, then right next to each other. But there is no concrete outside of a radio broadcast that we're hearing off screen. I cannot give that radio broadcast the absolute permission to make this fact. It's not enough because I do, I there has to be a day in between this. I never thought to be honest and say, you brought this up until you brought this up. I in watching Pulp Fiction as many times as I have, I never once assumed that fight night was the same night as jackrabbits. I never once thought that. Me either. I thought it was the next night, but they never make any of this clear. And if it is the next night, there is a blank anonymous day in the middle of Pulp Fiction that they just delete where nothing goes on. Apparently nothing that we don't connect with anyone in the story in that blank anonymous day, because that means that Jack Rabbit Slim's, let's say, happened on Tuesday. And then the next night is the fight on Wednesday that time and in between is not accounted for at all. That's okay. Well, not really, because it's a really tight narrative that's just kind of twists it up a little bit. And to have like, hey, this because the script isn't like, hey, 72 hours past, it's usually framed is like, this is a day and a half or two days in Los Angeles with a bunch of criminals. Not like it's 12 hours with them. And then we take a break for 24 hours, and then we come back for 12 hours. When I tell you, like, I've seen the movie upwards of 250 times, and I've scrutinized this so much, I'm just saying it. Go look at a timeline, go look at YouTube like people have done this to death and everyone says they happen at the same. Tarantino says that they happened on the same night. I've seen him say that those things are happening on the same night, that that is why Marsellus wants Vincent Vega to take her out. Take her out for a night in the town, because I'm going to be busy with my fucking thugs down at the at the arena. I still love the film, don't get me wrong, but if you put that thing in chronological order and it leads me to believe, is that why it's not in chronological order? Because that that is a flow that when you butt up against it, it doesn't work. You someone can also come back and say, well, maybe the fight ended. I've like broken out the times of this and tried to be like, all right, what time could each thing have happened? There's no way in the same night you OD and then you can get to another area town looking, looking clean, you know. Thanks for listening, everyone. I wish Saturday night fever. I wish we never talked. I told you I didn't want to do it. I told you all you want to. You said, now you're rubbing your head. Because I'm telling you, man, I'm out here fucking making great points. I'm just stacking the points of stack. Oh, that's the that's the problem. That's the problem. I'm telling you, I've thought about this so, so much. The reason why it really doesn't work is because that level of care that John Travolta asks her, like when they're trying to be secretive, and she even says, I never thanked you for last night. I no, no, no, no, no, she didn't say that. She says, I never thanked you for dinner. But he is asking, concerned, like, are you okay after that? You're all fucked up. Yeah, yeah. But then she thinks she's dinner. She's still confirming that that already happened. Yes. Because. Oh they because they. It's not like he takes her out to lots of dinners. This is the first time that he's taken her out to a dinner. So that means that that has to have taken place after the odd. And it's all there in the beginning of the movie, when they're dressed like the volleyball players and they go to Marcello's bar, Marcellus is paying Bruce in the fish. My ass goes down. That's the payoff for the fucking fight tonight. That's the payoff for the fight, because Vincent is taking Big Man's wife out tonight to does Eric Stoltz during that whole entire scene. Because I know he's freaking out. Like, you bring this, like, you know, like this odd girl tonight. Does he ever mention the time? No, no, they're not like, hey, this is Wednesday, this is Thursday. No, no, no, this is like you bring up, you bring this on like 2 a.m.. This actually, actually, I do need to look at my notes because I thought I had passed out. Like, what time the fight I was looking at, like the poster for the fight and trying to see what time it started. Like, I have done this, but even if it's the same night, there's no way, there's absolutely no way you get you owed and then get a shot of adrenaline and then can be anywhere and looking what moderately presentable that night, I don't know. I think it's possible. I think it's possible. I think it's possible that that you could you could put on a bunch of makeup and, and do the thing and show up the way that you need to. I'm thinking more what time could it possibly be? Where is the year you come back to this fight? Because like, okay, let's say let's say because when Bruce Willis jumps out of the out of the down the thing, he's in the cab, it's nighttime. Well, yeah. The main fight is happened. So let's say the main fight started at like, I don't know, 10 p.m. it went for a couple fucking seconds because he killed him. Yeah, yeah, yeah. And so you're out of there. And then this is what I mean. Like, it is not the middle of the night. A main fight would not start at 2 a.m.. It wouldn't. And no restaurant, no dance competition is going to start at like 2 a.m.. I'm saying these things are happened, like, at the same exact time. Yeah. I'm thinking if we were to even this, disperse it out. Like dinner probably ends with everything, because that doesn't look like a place. It stays open late. So let's say they're out of there at 9:30 p.m. Max. They. You're home at ten. You're home at ten. You ordered. You could probably within 10 to 1030 be in that whole situation. I'm driving to your place. She's odd man. I'm coming over. Boom. Right. And she's adrenaline in her. I'm saying, just for argument's sake, all of that could happen in 30 minutes in LA at that time where? Shit, you find her od'ing on the floor. 1005 you're in the car, coming to you real time. Boom. She's got the thing in her 1030. They're driving back to her house. 1030 it's still not enough. Even if it's 90 minutes, it's still. You would look. She looks. She can barely fucking walk. She can. There's no way you're making it downtown and fooling your husband and fooling everybody that you're, you know. Okay, this is why I want to talk to Tarantino so bad. It could be. Could be two. It could be. It could be 2 a.m.. There's no way a fight would end that late. I've been to many, many, many, many fights that a card would not start at fucking one. Am. Granted, if you're watching a fucking West Coast fight in the East Coast, that could happen, but they're in LA. I'm just saying I knew this was going to. I've been wanting to talk about this for years, but I mean, I, I gave up because I didn't know if I could ever definitively prove it. And now, like, I could feel myself, I want to open it all back up. I have documents I cannot explain to you that I have pulled my chest. I have quotes from Tarantino saying that the events happened in the same night, and I'm like, well, he just said it. He just said the odds happening the night of the fight like I have, you know, I have like an annotated list. This is let's get back to Saturday Night Fever. I can't get back to it. I can't get back to it. I'm tired. I'm sorry. Everyone, go rewatch Pulp Fiction and tell me that I'm wrong. But I mean, when I tell you how many times I've seen the movie, I re-edited it to just. It was a Covid project for me. Not that hard to change. You just changes like one little chapter on. It's very easy to put in order. And when you do, there's either this giant gap in my timeline where I go, wow, a whole day went there and no one ever references it. Or much simpler, Occam's razor. Those events are happening at the same time, and somehow they both make it all the way the fuck down. They're independent. Who picked her up? Did she drive? So, like, one of Marcel's goons came to the house and got her? I'm saying. Or the the very easy explanation is no, Alex, there's a day in between, and Tarantino just never shows it. And that's. I have never. I have googled that endlessly. I have never once heard him mention that. I have never heard him mention that there is this gap of time in the movie that is never referenced. I am going to retreats from everything that you just said. I'm going to block it. I'm going to go back to my happy place where I believe that there was some day in between here because that makes me feel better. Okay, this this is going to be a complete, disassociation. I'm going to I'm going to choose to ignore. I warned you things that I've heard, and I am going to make up my own reality. Thank you for your time. And, we're going to move forward. Yeah. We should be dancing. All right. No. Where are we at a minute more. Still a minute one. He's strutting down the street. We have now. We did yet stay alive baby I like he's got the shoes, the jacket, the red shirt, the can of paint. I love seeing the two tall. Give me two. That's good. The slice of pizza, literally on top of each top. Have you ever seen. I've never seen it the other way. I've done cheese to cheese before and like, I've smashed it that way. But I've never seen, like, a two. Fold it up pieces. Yeah, I can't imagine it's enjoyable. Like it. It seems like you're kind of. Yeah. But yeah, it's more like efficient. He's like, yeah, I got to get got 2 or 3. Yeah, yeah, 2 or 3. Jesus. Imagine three of those. I love the girl that he they checks out because they, they share a look and like I really wonder if that was like I don't know if that could have been planned, but like the extra like she looks at him and then he like stops looks back at her and then he goes to go and do it. Then he decides not to because she doesn't look back a second time and he keeps on strutting. I wonder if that was like a genuine moment between him and the extra that he just went with, or if that was actually. I mean, it feels directed. Yeah, it feels very real. Like it could be an accident, I don't remember. Yeah, I think I think bad. He mentions that in the commentary, I don't remember wait to show up prepared. Yep. Well, I've been spending too much time debunking Pulp Fiction. My second favorite film. We're not we've we've already moved on. We've. Oh, we don't start. Sorry. We you know, we we're getting we're getting a look at Tony Manero here. He's 19 who works at the paint store. His boss likes him. His customers like him. He says things like, oh fuck the future to his boss. And it lets you know where he is at home. God the hot. The home scenes are just fucking aces, man, I love this. Every single scene. Every scene at that dinner table. Oh my God, it's perfect. He's got the nagging mom, the angry dad, cute little sister, the silent grandma, the priest brother that the mother adores. His picture hangs above the the dinner table. And then here we go. Get ready when we're in his bedroom. This is Boogie Nights. I mean, Boogie nights. They he, Tony has the Serpico poster, which I love. And then Dirk Diggler, actually. So Edie Adams at that point has a cervical poster, but the 360 that we do, I mean, this is this is Boogie Nights. It is exactly 20 years after Saturday Night Fever. And I just love it. I mean, even down to the underwear and you know, doing the whatever kung fu karate, I love it so much. Then we get to see him putting on his you his, uniform. You know, that's exactly what it is. That's exactly what it is. Yep. Got it. He's dead set the shirt and everything. And then, I mean, we're just like him walking in the dead. He's. I already got the shirt on, like, this is. I mean, this is just iconic shit. We just fucking fade to the dinner table, and he's got this, like, table shine sheet. Yeah, it's draped over him. And it is such a good gagging. Yeah. This first scene we got to talk about this scene, this dinner table. I mean, anything that I mention. Well is this the very first one or. And the very first one is when it gets, tense and they're slapping. Yeah. Why you ain't hit my hair. But then the wife slaps the the mother slaps the father husband and like, in the hand. And. Yeah, it does not go well. Yeah. And and you and you get the idea. Like all of a sudden with, like, the dynamics are all there, like every single bit of it, you know, that the, you see the picture of the brother is there, they're talking about him. And, and then like you even hear, like, I love the father because he breaks into the room, you know, he's joking with him. He's like, you know, your mom's spaghetti is never very good. Essentially, he's what he's getting that he's like, I'll see you down there. And then you realize that this is a very unhappy man. Like, this is this is a mother work? Yup. Out of work. They're trying to save money. And he's like, what do you mean use for pork chops? Like, we don't have that. And so you're getting all of this exposition that you need to know done in the most organic way possible, because it's just the way that the family treats one another is how you get all this out. The smacking, the the. Finally the grandmother stop at Manja. Manja, which is the most Italian fucking thing ever. I love her so much. Dressed in black, barely jokes. Yeah, just. Yeah, but you get it. You feel it. Oh, yeah. Yeah. And then. Yeah. And then you get the, the, the hair. Oh my God. You know, I work on my hair a long time and yeah, it's my hair to my hair and and and you could feel like that's just his such. It's it's genuine truth. Like he's like he's so upset. He's like really hurt. Really hard on my hair. And it sure washes so stupid to. Okay. Right. Come on, man, Japan just got eat. I got more pork chops. More spaghetti. What do you mean you got more pork chops? I'm out of work. Yeah, well, as long as we got a dollar left. Me. Goodness. How about. Yeah, I might even get a job myself. I can, you know, 25 years of construction work. I always have a paycheck for six, seven months. I'm out of work. And all of a sudden, what? You hitting me and talking back? Talking about getting a job and hitting me, all right. No hitting, no slapping at the dinner table. Okay? That's the rule. He was one was hit. One pork chop, 1A5. It's disgusting. Right? Sick. We just washed the hair. You know, I work on the hair a long time, and you hit it. He hits my hair. Because he's gearing up. For what? He the only thing he is the king of. Yeah, because as we're going to see in just a few short minutes, when he walks into 2001 Odyssey. What a day for a club. Oh, what a day. He is the fucking king. So yeah, it can make the whole life difficult. But I genuinely do love how with the dad there, the violence is right there. Right? I mean, you, you see every, every everyone's face falls and you see it, you know, happen like it could turn and no one really knows when to back down. And then the mom seems to get a little nervous, like, okay, no hitting everyone, no hitting. And you're like, oh, God. Like, this isn't. Yeah, this. It feels very authentic, like a very authentic environment, which is what the movie's striving for exactly, in every sort of way. Like, that's one thing when we get to like the questions of the movie, this movie is all about environment. It's about the like when it's in your way, when it's stopping you, when you're thriving in it. And like as you're talking about, like when he walks in here, one of my favorite shots is just the the point of view of the camera. Like you're walking into it. It's exactly what it feels like. It's fun. It's alive. It's electric. He's getting these kissing girls as he's walking in everyone else's name. Oh yeah. Yeah. And he's got, he's got his entourage of yokels. Is he his. He is. Four yokels. Fucking Bobby, goddamn it. Yeah. Like in this first scene. You don't. They don't have any. There's no individuality. Not yet. By the end of the movie, there will be. In the movie, you're going to know these guys. You're going to know who the real shitheads are. Yeah, you're going to know Bobby. Oh, you're going to know Bobby. Yeah. It's great. It's just a great setup. And then, like, they've got their own table where girls just literally flock to Travolta and they ask to do anything for. And can I wipe your forehead like that? Yeah. Can I wipe your forehead, please? And, like, you get the idea that to you, you got to have, you know, you got to be audacious for a lady to even approach him and ask him to dance. But if this man agrees to dance with you, it is an honor. It's an honor of Saturday night. So you better be able to keep up. And yeah, 15 minutes into the movie is when Annette, played by Donna Pascoe, comes up and it's it's burn, baby, burn, Disco Inferno, and they're just great out there. And you're like, all right, cool. And another really smart thing about the movie is that it's not it is not going to give you its best dance scene right away, and it will build up to it. And then it's not going to end with its best dance scene either. It's going to kind of peak in the middle, but you don't know that when you're watching it. But it's just it's slowly like building up. But I mean, I have a note here, like, for his dancing. I don't like this shit is fucking remarkable. He is a remarkable dancer. So graceful, so confident. And I get chills watching him. He's having fun. Yeah, I mean, I, I live for the dance scenes in this movie. They're so great. But yeah, this first one, you know, dancing with the net. This one he spots Stephanie. Classy girl. Yeah. As you said, like Annette will shortly introduce a quote unquote plot, but it's really just like to throw us off. It's like, hey, there's a dance competition soon. Do you want to partner with me, Tony? I think we can win it. We'll get some money. This gives the movie a narrative motor, but it's just a character study about a kid trying to figure it out. That's all. And it's so brilliant because it fuels her entire character. Like she is a very, very real part of this story where she loves this man. Like she. Yep, just like everyone else does. But she truly does. Like she wants to be with him, and she seems like she actually cares about she actually genuinely. Yeah. And and you know, and then we get even in dialog like she's just always trying. He's like, I, we went out. I'm done with it. Like he's like, you talked about marriage, sister. You know, your second marriage sister and like all this and that and and he's like, I got bored with it. And that's a girl from the streets and that's his streets. His his streets and, and, And you can see how she still is trying. She's like, well, maybe we still could. And he's just not about it at all. But he, she then she then she goes, well, what about just dancing? And he's like, all right, just dancing. That's it. That's all you want to do. All right. We can do that. And this sets up the stage for, you know, you should see all the hope in her eyes when he agrees to do it. And and then we get like this very next scene where these guys just fucking like, oh my God, I bring these, this fucking, this barbaric system of, yes, this barbaric system. One guy is allowed to bring a girl out at a time to their car and you, quote unquote, make it. You're not allowed to take too long because you got to let the next guy use the car. Yeah. What the fuck? Yeah. And this is what this is what the people who made the movie were observing, like, this is what was going on. Who and and, you know, and I mean, it's wild. It's wild and it's and it it honestly achieves a lot in this scene because one, you are like, oh my God, that is barbaric. Yeah. But in the way that it's posed when we first see it though, it is still in good fun. Like that. Oh, fun. It's all fun. It's one of my favorite reactions of the whole movie is when when they're both trying to get the guy. I was like, you've been in there for like 20 minutes. And then he is. He's like, it's happening. And it cuts to Travolta, who just sort of like, stands straight up and looks at his friend like, we're here in this now. Like we're we're just it's just his reaction to his friend is so fucking funny. I love it. And, yeah, it's all designed to be like, this is every single Saturday. This is what it is, and it's what they work for. This is what they live for. It's just. It's for the fever of these nights. Yeah. I mean, he's not even done. He goes back into the club, he dances to, he gets the whole entire crowd dancing to in unison to night fever. And like, the more great dancing, the editing, like there's such a fluidity to it where you're like, all right, this is our first Saturday night of Saturday Night Fever. And it was a success. No one got assaulted, no one got harmed. There weren't really even that many bad words said, like, it's, you know, it was a pretty good night. And we get the vibe that, like you said, this is how it goes. Yeah. He's charming, he's charismatic. Yeah. And and it's. And it's not an act either that that is who he is. Like there, there's, there's so much of a part of the way Travolta plays this character where this guy really is a good guy. He gets in his own way through all sorts of reasons, but it's just layer after layer. But it's all truth. Like, that's what I love about this performance is like, there's just never a dishonest moment. And maybe his behavior isn't great and a lot of choices he makes are not correct. Well, yeah, they're all honest. And it's just it's really great to watch. So I want to point that out. Yeah. Yeah. And then I want to talk about one production design thing at the club. I wouldn't have even noticed this. And it's just right there, John Adams like, yeah, look around this club. See how all the walls are shiny. That's Reynolds wrap aluminum foil. We went and bought just rolls and rolls and rolls and hung it up with a lot of Christmas lights. That's our production design. And when you look closely, you're like, oh my God, that's just aluminum foil all over everything. It's hilarious. That's crazy. Yeah, I mean, you don't have a lot of money. You got to do it. But yeah, the next morning he's waking up, he's all hungover. And, you know, another calling back to our Sidney Lumet, Al Pacino. He walks out. Al Pacino added, said to the grandmother, I love that. He's got like his underwear and she was like half naked. Oh, God. God. And then, yeah, as you were just suggesting, suggesting the next scene, are these five idiots playing basketball. And this is an important scene because we really get to realize here, these dudes fucking suck like these. They are they are not intelligent. They do not respect women. They are unabashedly racist. Yeah, openly homophobic. And we are a bunch of fucking losers who live for the disco on Saturday night. And that right here becomes so clear to me. And that's what, like, if there was no nuance to the movie and these guys are just racist and homophobic, I'm like, okay, but you see, as the movie goes, Travolta realizing Tony realizing this is not, come on, man, this is not all that it is, right? Yep. He's got that moment where he's sitting like on the car after we've encountered all that, where it's like, I don't even know what he's thinking. But, you know, it's just sort of like, add this, isn't it? Like this. This isn't exactly it. And then you get like, you know, the $4 raise, which is a great fucking scene. Because you realize, like, what he's, you know, he's trying to save up money so he can, you know, buy a new shirt to enhance his Saturday night, Saturday nights to keep going with it. And, and then we meet the person that comes into his life that kind of changes everything. Yep. Miss Stephanie, she does. I love when he tells his dad about the raise, and his dad just shits on it right away. And then when he gets up from the dining room table, Travolta is like, you asshole. And he means it. Oh he does? Oh well, yes, a volatile household. He's like, because he's like, you've never told me anything good about me in my entire life. Never. Like he's like, you talk like I've heard two good things about me in my life is like, my dancing and, this race and this race. That's it. Yeah. In my whole life, this is the only two that anything's ever said about me. So he's getting a lot of attention. But where he needs it the most, he's getting none. Yes. And he's been and he's. And he's also we're also kind of glaring over the the brother to where he's, he's looked at as the, the by his family as the fuck up. Oh Tony is. Yeah. Guess the brother can do no wrong. Yeah. Please. Yes, father. Frank can do absolutely no wrong. Yeah. So, yeah, Tony is the fuck up. Absolutely. So that's what he's been raised to essentially believe is that that he's he's less than he's no good and he deep down thinks that and and and then he's also praised it on his Saturday nights for being the greatest thing. Exactly. He's in the next scene, he's walking down the street to rehearse with Annette and this woman. Just this is a great performance. She is so heartbreaking. He's like, what are you waiting out here for? And she goes, I wanted to watch you walk down the street. I like the way you walk. And he's like, oh, get out of here. She's so honest and like, genuine. She fucking loves him. And I love his actual reaction is he goes, oh shit. And yeah, it's. And it's like, shit. It is. Because he does realize that, like, you know, he's here to dance and that line was sort of like, oh, God damn it, she fucking wants it. He's still she's still pushing this. She's still like she's after the shit. Oh, shit. You just walk straight past her, opens the door. It's just a ghost. Since when she went inside? Well, I wanted to watch you come down the street. I like the way you walk. Oh, shit. Pony, I'm. Listen, I, I've been thinking. Maybe I'll make it with you. That's what you call thinking, Jesus Christ. And then. Yeah, they're tried to rehearse, and that's when he spots Stephanie again. And, you know, he's trying to work its charms on her. She just dismisses him right away. We go home. That's another thing. Like, these scenes are short, like we're moving, moving, moving. We'll go. It doesn't matter. Like, we were just at home and he called his dad an asshole. And then we went to rehearsal, and now we're back home because brother Frank is home and he don't want to be no priest no more. And this is sent, you know, the household into a further tailspin. And it's I love these scenes between them because, you see, like, he's the only one in the family who, like, talk so well to Tony. And like, your dancing is really incredible. And I just I love this actor. I think he plays it great, but it's I love that when it comes. Of course, mom is all upset. She can't even talk. Yeah, but then a great scene. The first, well, kind of date with Stephanie, where they go to coffee and she fancies herself as this Manhattan sophisticate, but she's put she's all playing to. It's all, you know, I've got to order my tea with lemon. And she pronounces vivacious wrong, which is just one of my favorite little moments. I love this little scene. This upon my last viewing of it. And I'm not saying that's my favorite scene of the movie, but it was my favorite scene of this last watch. Yeah, the writing of this scene is excellent. It's excellent to everything that you're talking about to to the way that these characters arrive together because she's agreed to dance with him right at this point. Like, she like that is going to happen now because he's like, yes, yes. She's like, I'll dance with you. That's it. Okay. So so it's exactly what Annette is trying to do to him. He's now trying to do to Stephanie, like, hey, do you want to like, maybe make it and do it? And she's like, no, I'll dance. And he's like, okay. And she is putting together this version of herself that she really desperately wants to be, you know, and, I mean, I've had so many fucking conversations like this and, It's oh, boy, it's fucking I can, I can hilarious. But but her truth is like like she's she does want to go. She wants to grow. She wants to go to these next places. She's listing all of these things. I had dinner with so-and-so. Do you know who they just, you know, names, you know, wants Olivia. Yeah. And all of this. And, And Travolta's reactions to this are. This is why it's such a great scene. Because the acting is funny. The writing and the acting and the directing. This is just a perfect scene on so many levels because due to what they're ordering, it's so good. He orders a burger and a coffee, and when he eats that burger, he's a fucking food. And he orders, he orders for her. And he goes, we'd like a lemon with some tea now, and I'll take a cheeseburger. It's like, yeah, yeah, and get out. But he's himself and his and her reaction to it. She's just one by one. Like you can see her clocking all of the things that she doesn't like. Yeah. You you, Sir Tony are everything that I'm trying to not do. Yeah. And not be. I don't like your voice. Even if I sound the same. I don't like the way you shovel food down your throat. Even though I used to. I drink tea now because I'm more refined. Like she probably started drinking tea a month ago. You know, it's great. And as much as he's being himself, he's actually trying to vibe with it because, like, he's lying when she says, you know who Laurence Olivier is? He's sort of like, you know. And then I believe with all my heart that when he goes, oh, yeah, that guy, that's a lie. There's no it's just like when you're on a first date and you're like, oh yeah, oh yeah. That's yeah, yeah, I have seen that. And no, he has no ideas. No idea. And, and then this scene does this thing that is the best fucking thing I think in writing you can do. And it's perfect for her because we don't know yet that she doesn't really have anything together either. But she does have enough sort of knowledge of who, where she wants to go and what she's seeing that she calls it out perfectly, she says. And the line is, you're a cliche. You're nowhere on your way to no place who? This is part of the revelation of the movie. Like, has he ever thought of that? Or he's actually need to be slammed with this in the face and then go, oh yeah, and she doesn't say it in a way that's mean, right? She's basically clocking that like, yeah, what you said. Like we lived completely different lives near everything that I don't really want, but almost in a way where I like you enough to where I'm gonna hit you with this because. Because any other place would be like, I'm not going to give you to give you the time to actually tell you how I really feel. But she lays that line out. He doesn't get pissed. He's he's hit by it. He's like, oh, you know. And then he tries to salvage it. And then, you know, it's this scene. It's just perfect. It's a fucking perfect scene for everything. And and then we don't really see him get pissed off and act like a child until she tells him that she can't walk him all the way to her home. Yeah. That's so. Yeah. So. So it's been the buildup of everything. It's been like a date where I'm like, I don't know what the fuck you're talking about. You're not exactly anything like I've ever met. You've kind of insulted me. But you're making facing these things that I don't really. It's a it's a boy that's been told something that is going to end up doing exactly what it does, where it feeds a little bit of his growth, but he's having issues with it. So he fucking kicks a trash can. And exactly. You know, it's it's perfect. It's so it's so good. Everything you know fuck it bro. Bring out the list. This is a way why w n d anti MP. There it is. It's a Nicolas docile. Nope. No perfect Saturday night fever. Here it is. It's happening. You should have dancing I love it. Breathe slow. Oh, yeah. Also, around this time is when he admits that he gets this high from dancing and. But he knows that can't last forever. And he wants to find something else that gives him that high. And yeah, I love how worked up he gets when he can't walk her home. Oh, God, it's so perfect. Yeah. Kicking the trash can. Some other stuff going on in the background there, buddy. One of his yokels there is jumped by a gang, apparently, so that, you know, we got that little runner in the background. We're back home. There's another dinner fight. The parents are blaming Tony for Frank leaving the church. Like, what the fuck? Like everything. They just dump everything on him. It's like, oh, my God, it's crazy. And then, a real heartbreaker for me when he. When he ends it with Annette and says, you know, I've. I don't want to. We're not going to be partners. I found someone else. And she starts crying and she is devastated. She's just devastated. This girl, you know, and and and you brought it up earlier like she he's doing to her. What, Stephanie's doing that like. Well she. Yeah. Yeah, yeah. And he later has that whole monologue where he's like, everyone's dumping on somebody else and, and it's just this passing of the buck, but he doesn't even realize he's doing it to. And Annette is just the one that gets shit on for everything. Everything. This poor woman by. Oh, My God. But then after that heartbreaking scene, I mentioned this next scene all the way back in episode five. Favorite movies, scores, movie soundtracks. Oh, yeah. Because when Tony and Stephanie begin rehearsing to more than a woman. But tavaris. I think that's how you say it. Apologies. If not, they start in one room, but it's not big enough. Yeah, so they got to move to the main space. He's so fucking excited. He's like skipping around. Hey, do you know the tango hustle? Yeah, yeah, and they are off, and I get chills thinking about it. It's. This is right up there with one of my favorite dance scenes in all of film. This rehearsal, cutting to the fucking low angle when they kick. And, we're going. It's poetry, it's motion, it's love. It's just dance. I mean, I a great, great dance scene. I love this number. I like this more than the final dancing of the competition. A lot more as if I felt that way. Let me show you. Step. Okay. The last one I was to show. Okay. I take your hand like this and come. I want you to do. To keep just. Okay, I got this. Let's go. Hey. You. This is good. Yeah. Do you. Do you know the tango hustle? You have to try to tell me shit. If you're more than one. Oh, dear. I always wanted to look for someone like me. And I let this really feel itself reflecting off. And what do you think? When Titanic completely ripped it off with the. This one? Well the swinging. Oh yeah. Yeah, we're they're literally just holding the camera operator and swinging around. Yeah. I did think of Titanic. I also thought of because I want this scene to keep going forever, but it just fades. It doesn't cut. It fades and fades. It fades out. Just like the dance scene in Pulp Fiction slowly fades out. That's. No. It's nuts. Look at that. Let's look at that. I brought it back. Tag. I'm tag in right away, folks. Check. Okay. Yeah. That rehearsal I love it. And then pretty shortly after that, we're bringing father Frank, former father Frank to 2001. I love it all the guys are hitting him up. They're calling him father Frank. You hit him, Bob, for for advice. And he's like, Jesus, guys, guys, he just wants to be here. Watch his brother dance. Well, this is sort of. I actually kind of think that, you know, in a lot of ways, this is where the movie starts to unravel, I think because because now we're starting to like the stakes have been continuously being up to a little bit more like we find out that their friend is in the hospital. Yeah. Now we find out Bobby has gotten his girlfriend pregnant. And I love this little subplot plot because this character is just completely eaten up by this. He does not know what to do to save his life. This is the biggest problem that he's ever had, and it's a big problem. But he does not know what to do and he is freaking the fuck out. And you can tell it's such a good performance and then no one cares. Yeah, yeah. And no one cares. And Travolta is bringing his brother so he can show himself. And his brother sees it like his brother is like, enamored by him, by John Travolta. He's sort of like, wow, I can't believe it. He's really the he's he's a god. But then he just fucking ducks out because he can't. He can't. He's here in an environment that's not his. He's being bombarded by all these people bringing up things he does not want to talk about. He realizes that this is not his place. It may not be the church, but it's not here either. So he's off. Yeah. I mean, well, first, before the brother leaves, I mean, who approaches their table, but a very young Fran Drescher who. Oh, this friend Drescher. Yeah. Yeah. Who wants to dance with Tony. Any humor, sir? And then I'd love this. They're out there. This is incredible. He just. Oh, my God, they're dancing. She's not good. And he goes, oh, forget this, you should be dancing. Starts blaring and he just fucking sends it. So everyone watching it. This is some of the most impressive shit I've seen in 70 film. Travolta in real life, was terrified about these scenes and went to Batam. And it's like, I'm never going to be able to do this. Like he had to lose weight. He had to keep weight off. And God, you just watch him go. Like when he puts his hands behind his head and he's like thrusting at the same time. I was like, what are these moves? And then again, the money shot of when it cuts the low angle dead center disco ball above his head and he just does, you know, thrusts his hip hop it. This is iconic. Shit. This is another this is another one of our movies in the series that has, like, we just did. Serpico doesn't really have any of those big moments, but this is like, this is one of those moments. This is, you know, is it safe? This is chicken salad sandwich. This is, you know, whatever. All of it. Just the banjo. It's right here. Oh. Forget this. Look out the concert room. He's taking over again. All right. Go. Why don't you take it? Don't go away. I'll be right on to the I don't know, don't take me. I don't know what to do. I can't take. Go back! Hey, you said. And we're not. You know. And the best part is, is like the they're the the cinematography of this. All this choreography is you're seeing his whole body. All of it for for like two minutes or longer. It's longer than two minutes of just solid dancing. Even even when they change the angles, you still see like maybe that the most you might cut off the ankles, but you're seeing all of his legs, you're seeing the hips, you're seeing all of it. And we're not getting hit with a lot of cuts either. So you're very wisely your choreography of this, and you're seeing his body in motion. And anyone that's not just sort of being, like, impressed, to say the least. But maybe, like you, maybe you're not having fun or I don't can't imagine how you wouldn't be. But if you're not like, damn, that's impressive right there. And it's just. And you see this smile on his face, oh, he's loving it. Love is just absolutely in his element, which Frank identifies. But yeah, Frank is getting hit up a lot for advice, so he cuts out. It's not his scene. Annette's back. She's got rubbers. And she is. She's so desperate now she's like, can you just take me to the car and I can be one of the girls in your system and like, let's just do it. And the reason why she did that was because they had tried earlier. We we were very in depth with all these scenes. But yeah, she they tried to hook up and he disrespectful was like, are you on the pill or you want a diaphragm, you got the IUD, you, are you on anything. And she's like, no, I'm just like, oh fuck this. Yeah. And so yeah, bless her fucking heart, she just comes back with a handful of condoms to be like. So now can we now can we. Oh my god. And he just looks here, he goes Jesus Christ and that and just blows her off. And she's left there holding these condoms with more shame. And I mean they go they go to the car. They're trying to they're trying to get frisky. And then John Badham says he goes, you know, we don't whatever. I'm just going, I'm going to I Alex, I'm going to use some language here. Just bear with me. But when troll two gets angry and, you know, kind of throws her off and goes, oh, forget it, just give me a blowjob. Yeah. That term hadn't really been said in movies before. Not by someone up. Vinnie from Welcome Back, Kotter is saying blowjob in a studio movie, and that was a huge deal, according to John Badham, that term. And it's just like Julie Christie in shampoo when she was using that language. Believe me, by 2025, this may seem very tame, but it was shocking at the time. And it's I mean, yeah, just discarding her again. And then, of course, all the yokels come up to the crew back. Yeah. Well, that's the thing is, like, you know, in it, in the, in the way that it like, I'm sure even just using the actual word then was shocking. But even when you watch it now, it's the, it's the dismissiveness. It's the exactly. Oh my God, that that's what still remains to be shocking and appalling. Yeah. It's like why you need the harsh language. That's why you needed it. Yeah. Yeah. Because you because you're really being flawed. Like I'm like, fuck dude. Like, that's so mean. And, it's. Yeah. It's why? Yeah. Exactly. Right. Exactly right. Why you need it. And then they go for the first time to the very Vernoff. Oh, did I say that right, folks? I don't know. Vern. Also narrows Bridge really just to fuck with Annette. You know, they're playing all these guys doing all this stuff and I I know, but I will say I do love when a movie quote unquote, like casually sets up a location like this. Yeah. And this is all fun, like a date toy with Annette. But it's fun. When we are back at this location for a second time, it is going to be anything but fun, and it's just a great little foreshadowing, that's all. And there's a very, very great I mean, not a great moment at all, but I think it's actually very truthful because, you know, no, no character in this except for maybe Annette that she might be the only one. But there's no character, wisely, that we look at in one specific way. And we get it with Bobby in this one scene, because up until here, we feel for Bobby the entire way, until we get that one cut of it's still crudely our being mean to Annette, and you cut to Bobby and he just kind of mouth's like, you know, stupid bitch. And because now you realize that as much as you might care for his dilemma, there's still a part of this guy that exists in this world of these types of guys. That's just the losers. The it's it's it's an ugly, ugly quality to like, they could have very easily just cut that away, but they could get in there so they could just keep that little sliver like, hey, we know this guy is going to pull on the heartstrings a little bit, but don't forget he the fireman. It's the environment. That's what it is. And that cannot be forgotten. And and I think the reason why we don't ever get that from Annette is because she's a victim of the environment. Absolutely. As much as Bobby might be a victim in his own way, he's still a product of it. And, and and that's why it's relentless. It's just a relentless reminder of these little things. It's great. Yeah. Oh, absolutely. Yeah. And I mean, and now we're like, we're cooking. We we do what? We've set up a lot of these things like, hey, the competition is looming. We know all these characters. Bobby's got his own little thing, and now you know, he's Frank cut out. He's left home. And he love that. He he decides in all of his wisdom to take Stephanie to White Castle with his yokel boys. Like, how do you think that's going to go? I never thought about this watching this movie, but I was actually getting some good Will hunting this time. Like, you know, brings Minnie Driver with the guys, and they're all kind of introducing. And he meets, like, the more like, obviously Matt Damon. That movie's a genius. And Tony Manero is not. But, you know, meeting the more sophisticated woman trying to get out of his eye, there has to be some connect. This has to be a movie reference point for them. But it's just I love that scene. It almost feels to me like, I don't know if there's ever anything that's actually said about the way that that comes up, but it almost sort of feels like that was almost her idea, because she's putting on a really good face, like she knows what she's because she knows that, like, he's the only one that she's interested in, not even dating wise, but like, spending time with. But she'll be like, all right, I'll handle being around your friends. And she's really the star. She's black hole in stories, just like Minnie Driver and good lighting. That's what made me think of it. Yeah, yeah. And the friends are the one. And we're. Travolta's embarrassed. Travolta says. Get off the fucking table. Stop it like he knows, because at this point he's now rubbing up against his problems with his environment. And this is a big core reason of it. And she's the one that's pointed it out. So it makes sense that he does. Would probably never really want to introduce her to this because it's sort of like, no, you're the one. I don't know this yet, but you're the one who's trying to actually give me the ideas of how to get out. I don't want to bring you into it. So here. But here she is, and she's giving it her all she is. Yep. Putting up with the nonsense. She even tells Bobby that that abortion sounds like the move. Yeah, it does. I mean, they're just like they're being so direct or just blowing him off. No one's giving it the care deserves the Bobby. Yeah. You know, dilemma. Yeah. Yep. And then Tony so stuck on Stephanie, he let himself get fired from his job just so he can move her into a her, you know, apartment in Manhattan. There's some blowhard guy there, and that's it. Like, everyone's trying to, like, live up to someone else, and there's some blowhard dude there that you get, and he's just constantly correcting her the way she's always correcting Tony, the way he's always correcting Annette. It's a it's this cyclical thing, as we're saying, environment products of it. Yes. This was the line that I wrote right at this scene, where he tells her that she that that he got fired to do this. Yeah. No one ever really hears anybody in this movie. Yeah. He just says it all casually and she's like, oh, yeah, I got the whole day off. Yeah, exactly. Exactly. Like she's affected. Like you see a moment where she's like, oh shit. Well, that didn't happen to me. So, you know. And then she takes him to this house where she is clearly engaged in sexual congress with this, this blowhard, with this blowhard idiot, and, and Travolta plays that scene so fucking well because he just stands in the middle of it dressed like a fucking, you know, like like, you know, disco star, you know, probably looking like an idiot to this guy, this blowhard, of course. And and he's so insecure because he's also so young that he's just standing there awkwardly, like, at least he's staying in stillness. Like they're having this conversation, you know, he's like, what books you should have read and and she's uncomfortable because she realizes, oh, this John Travolta's into me. I don't think I want to date him, but he's into me. And I have just now used him completely to help me move. And now it's awkward because what did you think it was going to be, sweetheart? Yeah. And. But it's all played so well, and then they just speak to it. And this is why I love this next scene. Because this is when she breaks down and we realize she has got nothing together. Exactly. And if you've only seen the movie once, this is when you're figuring it out. She's trying to get to a place nobly that she wants to be, and this helps her. And it's just like, yeah, what was I supposed to do? I'm embarrassed. I'm ashamed. But what she that's when he, you know, easily could have been like, you're just like all the rest. But he's like, all right. No, no, no, it's okay. Forget about it. Forget about it. Let let me take you to this place that I'll make you feel better. He's choking. Whether he's making her feel better and he cares. He cares about her. It's really sweet. Yeah, I laughed because I thought of you. Because I know what one of your favorite expressions is. Dumb fuck. And, I do like it. And when he's talking about the guy who falls in the cement and he dies, he says, fucking dumb fuck. I love dumb fuck. Yeah, I do, I do, but it's it is. It's like they're sitting on the, the bench with the bridge in the background. It's it's like this. It's really the last bit of, kind of sweetness. The movie's going to have worse because. Yeah, I mean, he does go back to the paints or gets his job back, but then you know that his boss is like, hey, you know, the other guy's been here 18 years. You got a future here, toady. And he hears that like, oh shit, am I going to be, you know, 40 working in this paint store? I mean, you blink and you could be that. And then he goes, I think he's all worked up about that. So he goes and picks a fight with Stephanie, a little fight and he blows off and that again. Then him and his buddies go find the group of guys that jump their friend. Everyone gets the shit kicked out of them, only to find out what? That they probably fought the wrong guys. Yeah, and this was the biggest inspiration for Gas Bar in a way. For irreversible. That's a joke. Oh, shit. Well, I mean, I'll tell you the the kind of work, you know? I mean, you know, hopefully at this point, if you've never seen Saturday Night Fever, you've stopped listening. So you could go and watch it for yourself, because that moment of when, you know, I mean, you've got so much because you got Bobby who completely cowards out. And that's a part of the scene as well. But you know, where everyone is now ashamed of their friend as like these all men where it's like, I look differently on you now because of this, but that's just a part of what's playing in this scene, because we realize that they that when we realize as the audience, as they do in real time, it's like, yeah, that I said, it probably might have been those guys, man. They're all pissed. They're all pissed. Voltage dispersed, and you just it's such it's such a good fucking scene. And the way that they're all huddled up together around that, that hospital bed. Oh, my God, you know what he is. You know what? He was? He's a dumb fuck. He's a dumb fuck. They all the all of them all all of these double fucks. All. Yeah. And then it just. And now, now we're on really the downward spiral. Nothing is getting better here. We're on the movie nights like everything. You know what's out? Very funny you should mention that. Yes. Yeah, absolutely. There you go. Because, I mean, the last part of the movie that I have here is the dance contest, and, you know, it's all beat to hell. I mean, he can still move, but he looks like he's been in a, you know, gang on gang fight goes, the club goes 2001 Stephanie's waiting. And, you know, you're watching this movie and you're like, all right, we've had some bumps in the road, but these two are going to go out here and kill it. There's going to go, yeah, like disco is going to take off the lights and they're just going to win it easy right. But then Batum immediately starting to subvert expectations. And the writer and everyone involved. Yeah they dance to more than a woman by the BG. This time they rehearse to the version by the Tavaris which I prefer. Thanks for asking. And they take it nice and slow. It's smooth, easy, graceful. Now what? You expect it all like they're not. He's not going for it the way we've seen him do. They're rehearsing it or they're, doing it at a slightly to me, slower tempo than when they rehearsed. It doesn't look as impressive as when they rehearsed that kiss at the end. We wonder if this dance, if this is more about winning a competition or becoming a couple. So it's like, oh wow, they kiss. Great. Then this Puerto Rican couples next and they just smoke it. They fucking crush it. And they're out there like killing it. And I love the shots of Tony going like whole, oh my God, they're good. And you see him like they're better than us. He clocks it right away. Right away. But because they're in Bay Ridge, Brooklyn and it's Tony Maduro's disco, they win. And he knows it's rigged. He knows it's all bullshit and it's wrong. He knows it's such bullshit that he just snatches the prize money and gives it to him. And the trophy. Well, I love that. It's the it because he. What he. I think what he sort of realizes in that moment. Maybe it's not a realization, but it's a reaction. Is that because of this, everything in his life has been bullshit, is how you think, how it feels. Yeah. Where it's like, has everything. Everything that I've done this is none of it's actually none of it matters. Because if what's real is that this was real talent that was better than us. And they're only giving it to me because they're Puerto Rican. They don't belong in this area. And I'm the king of shit here. I mean, nothing really in this scope of it. And that's what it's what he's face to face with. And then he, Yeah. And then we've got we've got 15 minutes left here, folks, and this is when we're going to take a real big turn. And I will never forget watching this for the first time. The R-rated version and seeing that dance go that way. And I'm like, wow, so is this, like, it's kind of, we're just going to be left in like, this bummer mood? Oh boy. Because Tony and Stephanie go to the car, he tries to force himself on her. She needs him in the balls. Good, good on her. And she bails. And it's like, okay. And now in the background on dance competition night because in that is not performing. And that has been getting really trashed with, other yokels and everyone's in rough shape and they start driving toward the bridge and Joey, one of the guys, and Annette are having sex in the back seat and by it seems like it's going okay in the start, despite the very awkward setting. But in the end, she doesn't seem pleased. And then another guy, double J, gets in the back seat and rapes Annette in front of everyone while she's crying and he's laughing. And right here in like 30s, the movie has descended into a complete fucking nightmare and it's terrible. And you're like, yeah, oh, whoa. And then I can't even say what what Travolta says to her when they park and other guys are out of the car, it's so like, you know, you talked about the decision, you can be this or you can do this. And he tells her, now you're this. Like, how do you feel? And it is fucking devastating. It's one of the most devastating scenes of the 70s to me of just like movies here, every time I watch it, you put your head down and you're like, man, this is this shit is real out here. There ain't no fever on this Saturday night. Like, this shit is no man. And then it just only gets, you know, it only gets worse. Like Annette's freaking out. Is she going to jump? Bobby? Poor Bobby falls to his death. And we're just in this, like, horror film now of lost youth and. And the one scene that we didn't brush on for Bobby was like, as as John Travolta is using his car to go and take Stephanie to help move, he, all all Bobby wants is like, oh, that is Bobby's car, right? You're right. Bobby's car. Yeah, yeah, it's not his car. You know, he's like, so you're going to. So he's like, well, I'll call you. You're going to call me, you're gonna call me tonight. And he's like, yeah, I'm going to call you. And he doesn't call him. No. And, but and and this is what's finally eating Bobby up so much is one he's already got that whole entire, abortion, girlfriend situation that he doesn't know what to do with. Then his completely Damascus by himself and in front of his friends, by being a coward in the fight and doesn't know what to do with any of this. Now he's out trying to prove something by dancing on the bridge and trying to be a jackass, and he fucking falls. And everyone's worried about him and he dies and and then. And then there's another fucking line, as Annette is now crying in the arms of the man who just assaulted her. Yep, yep. And, and Travolta and the other friend are just in disbelief on the bridge. The cops come and they're asking what happened, and there was no murder or anything. And, and then he's like, was it possible is a suicide? And also because there's ways of killing yourself without killing yourself. Oof! Oof! Man. And then he just walks off, can't take it, just walks. And then and then we get this last scene, I, I think it's the best way you can end this. I didn't know where you were going to go with that. And I totally agree. That was not my thinking the first time I saw it, but it's this perfect little coda of like, maybe there is. You know, we've just spent two hours watching this 19 year old kid screw screw around with his friends, but maybe he's finally realized that it's all rigged. It's all worth nothing. So, like, can I begin again? Whether that means with her, whatever. But like, where does this all begin? Its we're starting a new with him in a lot of ways, and the only person that is healthy for him is Stephanie. Yeah. Well one I mean she I'm glad they address it by her saying I've never let a known rapist into my apartment so they don't let it go, I love that. Yeah. It's perfect. Like you kind of you need it because he needs to be held accountable for how shitty of a person he can be. She realizes maybe, that that was the absolute worst of him. You know, she basically tells him like this, this is not going to be that. Yeah. And then I love it because like it seems like an innocent conversation like hey can you be friends with a girl. And there's more to it than that obviously. But he even he's even like I can try. But I think it's also more than that. I think it's more like, hey do you think that you can actually change? Yeah. Can you open yourself up to not being the the king of what you thought you were? That turned out to be bullshit and he even says it. But that's why I think it's a good ending is because there is there's hope, but it's only the hope because you're choosing to leave what you know is wrong, and you don't know if this is going to work either. But you know you can't go back. Yeah, and I agree. And that's where it ends. And I think if before we jump into I think it might be a good way to do. It's a nice segue. What are the questions of the movie? Can you break out of your environment? Is it possible that you're stuck and is not the first or last movie to do this? But this is just a really, of course, unique way to show it. Absolutely is. That's what I have. I go, does our environment define us? What happens to us at the cost of the things we think we want? Are we destined to only achieve to a point? Will there always be a ceiling to our lives? Can we break certain limiting, outdated beliefs and structures? And then, honestly, I this is the most simple one is can we actually change? Yeah. Can we change? And I and I think that all these questions I think exist in the movie, but I think that very last scene, I think that's what it's after. Yeah. It's like can you change I love that I don't know, I mean yeah, he doesn't really either. I don't think so. Yeah. Well yeah. You know there you go. And then we just kind of it just ends and we fade. And it's just then here you go. There's no it doesn't end with some big musical number or big music playing. No kiss. Yeah. No kiss. They're not together. It's a happily. Yep. And it's fucking perfect. It's absolutely perfect. I fucking love it. Oh, that was great and cool. Way to segue bringing your questions there. But let's get to these categories. Everyone's favorite parts to it. What's your favorite I'll go first with this one. What's your favorite thing that makes a new Hollywood movie? It's it's really those last 15 minutes. They're just so real and unrelenting and haunting. It's very difficult to watch how one random night can completely derail a few lives, but it's just it's not meant for shock value. It's just letting you know that, like, this is the world. This is a real world that exists, and these are the dangers of it. And I really love how unflinching the movie is. It's yeah, I kind of have the same thing. I the first thing I said was just for just two words. The language. Yeah. I think that's a part of what makes it a new Hollywood movie. But then it's also it's just the brazen, unapologetic behavior of these characters down to when they're the most noble that they can be to where they're they're most depraved that they can be. Yeah. To your point of like the last 15 minutes, we're just watching the worst of it. Yeah, right. Yep. But it's all just the way everyone's behaving. And that's a testament to the writing. Yeah, absolutely. Is this John Adams best film? I've watched them all. Except the first one. No question. No, no question. Yeah. Is this John Travolta's best performance? Oh boy. For me. And just like we were talking about with Pacino, there's old John. There's young John and old John. It's it's got to be this for me. I mean he's great in Blow Out, but I just love him as Tony and then you know, older John it's pulp obviously. But I agree. But if I had to just give one regrettably say no and I give it to pulp. Same. But you're right. You're just like older and newer, and this would be absolutely the best of of him is young John Travolta. What happened to them is kind of telling here because Karen Lynn Gorney, as Stephanie and Donna, Peace Corps, isn't that they, you know, they were in TV. Karen Gorney was not really in much. They were both in individual episodes of The Sopranos. I looked it up, Donna Pascoe, and that was in an episode of The New Girl. So that might interest you. Yeah. Oh, see, you might have to go check that one out, but it would they it wasn't, the only person who had a big film career after this was Travolta. That was it. You know, none of them else. And, yeah, that's just the way it goes. But what? Yeah. So you probably don't have anything to add of that. Sure. What happened in that? All right. Favorite favorite scene? My favorite scene is them rehearsing to More Than a Woman by the tavaris. Oh, my God, I love that scene so much. I'm going to go with the lunch scene. Oh, nice. And here and, and then, and then, honestly, any one of those tables, dinner table scenes was so good. My favorite quote is the hair quote. You know, he hates my hair. I love that. That's so. Yeah. I'm going to go with, it was the line that, I mean, it's it's a very, very pessimistic, cynical line, but I loved it. You can't fuck the future. The future fucks you. It catches up and fucks you if you ain't planned for it. Amen. That's really early in the movie, too. Yep. It's super early. Yeah. Double feature pick for me. We already talked about it. Boogie nights, same Serpico poster in the bedroom. Disco music. Also, you think Boogie Nights is just going to be this fun movie about porn in 70s LA, but once we hit the 1980s. Nope. Darker than hell. Yep. So that I think is where it goes. Yeah, that was that. Be mine. I got, you're gonna you're gonna love it. Saturday Night Fever, magic Mike. It's awesome. I mean, it's perfect. It's great that another one where, you know, that they were watching Saturday Night Fever and using it as a template for things, even their relationship. Exactly. And you got to start every night fever first, because magic Mike does have a bit of like, of, of a hopeful ending. So you got to end the feature with the, with the more hopeful one. Good advice, good advice. What else did we consider from 1977? This one? This was one of the years this thing just jumped right out at me. So it was always in first place. But sorcerer would have been great because I love that movie Eraserhead. But we did Lynch. Close encounters was a big movie that year. Annie Hall I considered. And then, of course, the biggest movie of the year and one of the biggest movies of all time, Star Wars, which would not interest me at all to cover in the series. No, but we've already covered one of mine. Okay. Got opening night from John Cassavetes. Yes. Yeah, that's right, Slap Shot with Paul Newman. I was thinking, let's go about, going to mention that one, too. Yeah. Oh, great. Paul Newman hockey movie. And then continuing the James Bond tradition with sir Roger Moore, the Spy who Loved me. Oh my God, there you go. And then the number one movie to close out 1977, Pumping Iron with Arnold Schwarzenegger. Do it like the bodybuilding movie. Oh, it's such a fucking good movie. Fantastic. It's hilarious. You know, you just mentioned slapshot, so bear with me, folks. I'm going to take it out. Take it back to our what are you watching recommendation on Serpico, one of which was Blue Moon, the new Richard Linklater. Did you catch that? In one scene, Margaret Qualley is introducing him to someone, and he introduces himself as George Hill. And your heart goes, yes. Don't. Yes. Don't make movies about love. Make movies about friendship. That's supposed to be George Roy Hill, who did Butch Cassidy sting and slap Shot, and I got a huge kick out of that. I thought that was hilarious. That's all. Yep. I told the court that. Yep. All right, Dwight, see you. What has he got for his folks? I don't know. Oh, yeah. Here we go. So this also isn't, this isn't this isn't this isn't a home run. Certainly not Halloween. Nothing will ever be Halloween. That hot take is for last place. Nothing will ever beat it for last place. Listen, John Klein is with me. So you're up on an uphill battle, my friend. He thought it was perfection. And. And you know what? That means something. Yeah. So an audience of one yourself. But the best one. All right. And I saw what I wrote for this. Is that for anyone who's never seen this, this might be the most shocking surprise of a movie you'd ever see, because that was mine. I mean, it's got to be right up there because, like, you sit down for a slow, brutal horror movie, you know, that's going to lead to something. You're like, you know, that I it's funny you mention that. I actually was doing some, googling there. I went to google.com earlier today and was trying to find out, like, what are some like rug pull movies like this, but not like intentional where something I don't know, big happens or, you know, I'm just trying to think of it. And it kept bringing up Boogie Nights. But yeah, this is something where it is going to turn. There's just no way. If you've seen the DVD cover, I'm looking at my 4K right here with him. You know, with the white suit. There's no way if you've never seen the movie that you think it's going to go where it does. So that's a good take. I like it. Yeah, that's it. All right. I was shocked, shocked with like when I was saying in the beginning of the episode, like not even a third of the way into the movie, I'm like, what am I watching? Yeah. Now, what is this? This is. And now we go in like a crazy. Is this, like, amazing? Is this is this truly amazing? And then it just. And then is the more and more things go, I go, what is this movie? I know in all the best way. So all the best way and all the best way. That's why I mean, it's a shocking surprise. That's a good take. I would rank that one higher than the Halloween one. Halloween. Still. Still the best one for last place. You're you're just. Listen, I know you don't hear this too much, so I'm just going to tell you like how it is because you need to hear it. Okay? You're wrong. Thanks. You're just. I hear it every day. Just wrong. It's okay. I'm married one day, one day, one day. You'll you'll you'll understand. And then you'll. I'll get my apology. And I, I'm not only the I'm not I. I'm a patient man. When I, pronounce I will, Pappy own Papillion or something. Hey, I own up to it. I'm wrong, I'm wrong. I'm wrong about stuff. This one will come out right. Okay, cool, cool. Oscar nominations got one, which is nice for Travolta. Should have gotten more. I would've given it costume design, cinematography, art direction, editing. Like these are all reasonable things. Writing, writing. Oh, Jesus. Legacy. This is a cool fact. Prior to the release of Thriller by Michael Jackson, Saturday Night Fever was the best selling album in music history and still ranks among the best selling soundtrack albums worldwide, with sales figures of over 40 million copies. That's a hit. That's crazy. That's a hit right there. Hit BGS, baby. That's part of its legacy. The simple shot of him walking down the street to Stayin Alive that lives forever. Yeah, him dancing solo. Just that. That money shot of him. The camera's low disco ball that lives forever. This is kind of rare. You don't really often have a very famous movie critic that says, that's my favorite movie of all time. And Gene Siskel said that for most of his life, Saturday Night Fever, it's my favorite movie of all time. I don't Roger Ebert never said that. Like, you just never really heard a critic come out and say that. I like that. I always remember that about it. I just think that's a cool thing, and that's a cool thing. And then it is that there is a sequel to this film, folks. It is called Stayin Alive, and it is directed by none other than Sylvester Stallone. It was it's made in 1983. I've never seen this film. I spent $3.99 a lot of money for a movie this bad. Renting it I before we could record, I fit 50 minutes in because I paid for. I'm going to finish it. But this thing is like this is terrible. It has a 3% on Rotten Tomatoes. Massive. But oh, and as we discussed, it did, sent him into career jail for a little bit. And it was the calls that so skip that. Don't ever seek that out. There's no reason to there's just not. I'm so glad you like this movie as much. You know, you're like, we're both so pumped about it. I'm so glad we got to talk about it. And this episode encourages one person to see it. And then that person reaches out and they're like, whoa, her movie was crazy. I never expected that. Then. Yep. And yes, we've we've done it. That's that's what I'm hoping for. You know what? You should do that just because for anyone who's seen it like the spoilers, are you? You'd want to hear what we'd have to say about it. But I almost feel like maybe before we get into it, we should maybe give, like, a disclaimer. Well, I was like, like three minutes in, I said. I said, this is like the earliest spoiler warning. I can put it. Yeah, I know, but but then they're going to hear the pulp Fiction thing. We want them to be with it. All right, I got you. I got him with it. All right. What are you watching? What do you got for us? Well, I don't have any now because we covered both of them in the last one. We'll just pick anything you fucked. Do what you used to do, and you used to look at your fucking DVD. I could just pick anything you want to see that you're not going to watch. Oh. Oh, yes. Okay, okay. Well, I mean, you're not going to be happy, but, but but I'm going to bring it to the camera that nobody can see. This is the very next movie that I truly do intend to watch. Superman. It's a movie that you got. Oh, this is great. This is great. I did after we did our 1996 pod. I was like, you got to see Lone Star. So I sent you. Sent you a copy, and I really would love to know what you think about it. You know, you I I'm not going to say anything. I just really think you'll like it. I really do know that's. And I and I haven't even read the back. I haven't read it. I mean, I saw, I like, I literally saw like a picture and I was like, no, I want to, I want to be blind into this awesome. All right, there we go. Got a report back. No. Real quick. It's a different sort of what are you watching? When I got sick, when I was starting to feel better, I decided we've talked about it, but I decided to drop Gangs of New York, Martin Scorsese's Gangs of New York into my editing timeline just to see I have two goals. I'm going to take out every bit of narration and every scene with Cameron Diaz that does not feature Dan Lewis, so I'm not trying to be that. I felt like those are worthy cuts because they feel very Harvey Weinstein coded. The narration in that movie is useless. Everything that said in the narration are either these Bible verses that you don't need, or it is stuff that that you're going to hear in dialog down the line. It's really bad. It feels like a post-production thing. Cameron Diaz I don't think the movie needs a love interest, period, that she's very miscast. It doesn't work. When I did those cuts, just boom, 50 minutes out of the movie, gone and man, this big cruise is now. I had some work to do because I had to smooth some stuff out the movie uses crossfade to a lot, so that helped me. I don't have control over the individual audio stems, so it's not like I could like if I could just just mute the narration but keep everything else up. Yeah, it probably be a little longer because there's some cool establishing shots when he's narrating, but I just, I hard cut everything and it's kind of cool. Now, the first time you see Cameron Diaz is when is in their little bar after the butcher has been shot and he's sitting there, and then Leo and Cameron Diaz hook up that night. But I cut out all that. You don't even notice. It's hurt and bad, so I like it a lot better. It was just a it was kind of a fun thing to do, just focusing on, I call it the butcher's cut because, you know, Bill the butcher, but also because I hacked the shit out of the movie. And it's really interesting to watch, you know, that that's a long sit. That's like 245 to 50 that movie. And to watch the one hour, 45 minute version of it, I don't know, it was just it was a cool experiment. And as I learned, it did not make it a great movie. It didn't make it a perfect movie. There are still inherent flaws within it that taking out an hour didn't help. I mean, mainly Leo's performance, I did. I even took out a few of his extra things that I didn't think we needed because it's still real tough. But as I learned and Mr. Scorsese, he that I always knew this was the movie he wanted to make forever, Last Temptation and Gangs New York. These were his passion projects, and the only reason he got to make it is because Leonardo DiCaprio let his agents know that I want to work with Martin Scorsese. I will do whatever he wants next. And based off Leo's fame, they got gangs in New York greenlit. So? So yeah, so it was just fun. Gangs. New York Butcher's cut is just kind of a fun thing to do. But I don't know if anyone's ever thought about that, like I could. It's not that I'm trying to improve upon Martin Scorsese and Thelma Schoonmaker. I'm just seeing, you know, you're just messing around. It's just fun, that's all. This is a guy messing around. Just a guy messing around. All right, that's it. Saturday Night Fever, we love you is a lot of fun to talk about. Pulp fiction. Open a can of worms in there. Can of worms there. My God, gangs in New York for all of it. Floyd staying alive? Not like in real life. I mean, the movie. Stay alive. Everyone stay alive no matter what occurs. Find us on socials at y w underscore podcast. But as always, thanks for listening and happy watching. You care. Hey everyone, thanks again for listening. Send us mailbag questions at What Are You Watching podcast at gmail.com or find us on Twitter, Instagram and Letterboxd at Wide W underscore podcast. Next time, what do you think? 90 minute solo episode on this Pulp Fiction theory. There is no phantom missing day in that movie. You see, Bruce Willis go to sleep, his fiancée, his girlfriend's brushing her teeth, and then he wakes up and she's re brushing her teeth because she just woke up. There's not, like, a missing 24 hours in there anyway, anyway. No, seriously, the Why New Hollywood Film Project is going to round out its first season. We did a soft launch of the series with the French Connection 1971, but that wasn't technically branded as part of this series. So we are going to end with something fun, a different sort of episode. We're going to take it back to 1971, but do some other stuff as well. Stay tuned. Want to stick with your time to back up, and you better make your stay the night. Stay the night. Us say thank you to everybody. She to stay the night. Stay the night. Stay the night. I got to stay the night. I guess so a pawn, a cement. And he slipped off, you know, on the upper part of the bridge and, you know, fell in. The block.