The Grand Budapest Hotel / Russell's Reserve Single Barrel Bourbon ft. Patrick H. Willems

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In 2014 director, Wes, Anderson
and Star Ray finds gave the

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world, a tale of the search, for
a faint.

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Glimmer of civilization in the
midst of a barbaric war in 2022.

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We take a return trip to
Kentucky, to spend some time

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with the master of turkey.
The film is The Grand Budapest

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Hotel.
The whiskey is Russell's

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Reserve, single barrel and more
view them both.

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This is the film and whiskey
podcast.

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Welcome to the film and whiskey
podcast, where each week, we

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review a classic movie and a
glass of whiskey.

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I'm Bob book, I'm Brad G and
this week we are looking at the

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2014, Wes Anderson.
Buddy, The Grand Budapest Hotel.

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Now, Bob, we normally includes
Bob and Brad, but it doesn't

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just mean the two of us today,
does it?

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No, we're not even going to
tease it.

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Today, we have a special guest
with us and it's probably film

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and whiskey nation's favorite,
special guest.

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If I had to guess that might
just be their favorite host,

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overall above you.
And I most likely we're joined

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by our friend YouTuber and
filmmaker Patrick, H Willems

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back for the Third.
Time on the show.

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I have no idea why.
Patrick, how are you today, man?

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I'm doing great.
Especially you, you know, hyping

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me up like that as you know,
the, the favorite guests that

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seems unlikely.
I can't imagine that's true, but

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I'll take it anyway.
Yeah, please do is its 100%

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factual for real man.
Well again, you guys have sent

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me multiple bottles of whiskey
in the mail and so I'm just

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going to keep coming back as
long as we keep up this ruse.

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Sounds good to us, man.
As long as the terms of the

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relationship are clear.
We are we're good to go.

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Exactly, by the way, this goes
for anyone else for the podcast

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mail, me alcohol.
And I'll come on your show so

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it's been a little while.
Since Patrick's been on the show

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he joined us right at the
beginning of season 5 to go over

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one of his favorite films
charade and he's back again for

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the Grand Budapest Hotel.
But in the interim there have

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been some pretty major
developments in Saint Patrick's

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life and career.
Namely, my guy is like an A-list

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filmmaker.
Now, I've seen his name on

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Marquis all across New York
City, he's helped found nebula,

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which is just incredible.
To hear those words.

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I feel like I'm talking to a
combination of Spielberg and

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Zuckerberg right now.
So Patrick Williams, catch us up

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a little bit, man.
What have you been up to?

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Ah, well, I'm trying to
remember, when exactly.

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Did we record the charade
episode?

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I'd say.
It's been about nine.

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Last 10 months now.
Yeah.

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I was last time I was actively
working on the movie at the time

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and since then I finished it and
my life is a lot less stressful

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now.
Yes, basically in in the interim

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I finished making my first
feature length movie a very

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silly.
I guess you could call it a

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Sci-Fi musical comedy.
That is also A continuation and

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conclusion to the long-running
narrative from my channel.

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Meaning you've got to watch,
like a year and a half's worth

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of the YouTube videos to
understand this movie.

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So basically the equivalent of
like, you know, any new Marvel

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movie but yeah, II made a movie.
We actually finished it and it's

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out.
Now on the streaming platform

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nebula please, please go watch
it and validate the last year of

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my life.
Like that, I put into making

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this.
There's that trademark

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insecurity.
We look for in all of our

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filmmakers you really arrived
now man, thank you, I've gotta

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ask so I gave you the list of
all of the 32 movies or I think

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29 as of right now because we're
doing listener picks for the

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last three and you very quickly
responded and said, hey I want

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to do Grand Budapest.
So what is it about this movie

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in particular that that jumped
out to you from the list and

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even like among Wes Anderson's
movies, why Is this the one for

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you?
So I should say right now that I

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feel like this was maybe two
months ago that I replied to

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your email and Pitch this one.
So I can't remember what the

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other options were, so I can
tell you why I like Grand

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Budapest a lot.
I can't tell you why I picked it

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over other movies because I just
can't remember what they were.

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And I can't even you're doing
multiple was Anderson movies,

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right?
Yeah.

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So we are we're at the tail end
of a little mini Series.

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And that's kind of how we had
this season structured.

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But for Wes Anderson, we did
Rushmore and we did Moonrise

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Kingdom and a few seasons back.
We looked at Royal Tenenbaums.

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So, this is actually the fourth,
Wes Anderson we've done on the

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show.
Okay, so I will say, so my

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favorite was Anderson movie is
actually Rushmore, which is like

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nice one of my top five films
ever.

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I adore it but I think I had
just very recently talked about

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it.
On another podcast.

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And I was like, I don't want to
just repeat the stuff I just

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said, so, I went to my second
favorite Wes Anderson movie, The

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Grand Budapest Hotel, which I
think even though it's my second

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favorite, I think it might be
his Masterpiece.

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Hmm.
And you know like it alot of way

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is the the movie.
His entire career had been

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building to kind of like the,
the movie that best

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encapsulated, like ever like who
he is.

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As a filmmaker everything that
he does.

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Well, that's kind of, you know,
this movie.

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It kind of comments on his whole
body of work at once, it's also

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a lot of fun.
And so I think it's a movie, I

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love.
And I think I probably hadn't

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watched it in a few years.
And so these are all the reasons

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that I picked it.
Well, Brad, this was your first

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time seeing Grand Budapest.
Is that correct?

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It sure was.
Yeah, so coming off of the other

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three Wes, In movies that we
did, what are your first

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impressions, man?
I think that his other movies

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have a much more family-friendly
feel to them even you know even

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with the swearing and the stuff
that goes on in them, this one

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seems to kick it up a notch but
I think that what Patrick said

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was kind of my basic takeaway
from this film was that this

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feels like Wes Anderson just
taking his very specific style

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and his approach to the craft of
filmmaking and just new on

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seeing it enough.
Where everything is smooth about

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this movie.
Does that make sense?

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Like it feels like in some of
his other movies his very

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specific style of directing has
a few rough edges and this one

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just doesn't have it like
everything fits together

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perfectly.
Without any issues.

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Yeah.
And I walked away just going oh,

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this is like what Wes Anderson
can do with his full Powers.

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Before, we get any further, we
do need to go over to America's

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favorite segment, which we call,
Brad explains.

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But before we get there, we want
to give a quick plug for our

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patreon account.
Whether this is your first or

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your 100th episode of film and
whiskey, we'd love to encourage

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you to go to patreon.com/scishow
and whiskey where you can

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support us at three different
levels.

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Bowls, A3 A5, and A7
dollar-a-month, tear at all

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three levels, you get tons of
bonus perks, including special

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episodes specifically for the
patrons at the upper tiers at

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00:08:07,500 --> 00:08:10,500
all the tears, you get access to
a Discord server that Brad and I

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are on every single day talking
with the members of film and

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whiskey nation that again, is
patreon.com film whiskey Brad.

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It is time for Brad, explains
the part of the podcast where

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you break down the plot of the
movie that you have just Seen

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often for the first time we have
put 60 seconds on the clock.

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Can you break down the plot of
The Grand Budapest Hotel?

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I think I can.
Bob The Grand Budapest Hotel, is

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a story about a writer who is
hearing a tale about a aging

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high-class Hotel.
The owner of the hotel is

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recounting stories from his
youth when he was the lobby boy

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at the Tell and as he was
mentored by a very unique and

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eccentric.
Legendary concierge, they go on

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adventures together.
They steal a painting from a

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very rich family that
technically, rightfully belongs

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to the concierge.
Who sleeps with older will older

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women, kind of like the
producers man, I don't even know

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where to go.
They steal the painting, they

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run away from the naught naught
C naught.

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He's they do crazy things.
Willem Dafoe is terrifying and

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they walk away with everything.
Yeah that's it.

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Hijinks ensue.
Yeah there you go.

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There's like a certain point
where I'm like here's the story

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and then after a time it's like
and then stuff happens.

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Yeah, totally agree.
Well, I mean, I don't know how

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much farther we can go talking
about this movie without talking

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about some of Of the influences
on the movie right off the bat.

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I think it's really clear that
this movie is super different

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than the other Wes Anderson's.
We've watched Brad, both in

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structure in Rhythm, you know,
the pacing of the film.

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It is like a slapdash.
It's almost like a screwball

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comedy from the 30s and 40s.
The dialogue is so rapid fire.

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And it's never been like that at
any of the other Wes Anderson's

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that we've watched for the show.
So, I think right off the bat,

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before we even dive any deeper
into what the movies about.

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It's pretty clear from the jump
that this is unique among those

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movies.
Yeah, it's fascinating.

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As you were saying screwball
comedies, the way that they

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travel, in this movie A lot, it
almost made me think of Planes,

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Trains and Automobiles.
Like, with just the weirdness of

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the, the couple the, the main
two characters that are paired

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together as they travel about
trying to make it to a place.

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I don't know.
There is something there that

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just clicked in my brain when I
was like oh yeah John Candy,

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Steve.
Ensure Patrick, I want to ask

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you, I'm sure you've seen every
movie Wes Anderson has done at

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this point and I've been trying
to kick around this cockamamie

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theory in my mind, but for a
long time, my favorite Wes

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Anderson was Moonrise Kingdom.
And, you know, these kind of

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came out back-to-back in his
filmography was Moonrise, and

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then Grand Budapest.
And yet I feel like in a lot of

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ways they're on opposite ends of
a spectrum.

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Like, if you could plot Wes
Anderson from, you know, on one

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side, you've got Closest to
reality or, you know, very

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similar to do whatever you want
to call it.

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His words are always
constructed, but there is a

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degree to which this the world
in this movie is constructed

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where it's literally a dollhouse
at many points.

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And if you put, you know,
reality on one end and you know,

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and formalism and style on the
other end, I guess, which end of

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the spectrum.
Do you tend to gravitate to most

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and do you see this as one of
his more, you know, more

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Stylistic less realistic films.
That's a really good question

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because this is something that
I've given a lot of thought to

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over the years because I think
his first three movies so

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bottlerocket Rushmore, Royal
Tenenbaums.

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Those are the ones that feel the
most like they kind of exist in

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the real world.
I know, you mentioned Moonrise

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Kingdom, which is we can talk
about that.

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But I, but but, but the first
three, like, even though, for

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instance, like, Royal
Tenenbaums, it's like, they

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don't, it's the weirdest thing
where it's set, New York City,

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but they don't say it's set in
New York City.

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And, and they, like, cover up
all the landmarks and makeup

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locations, like the 375th
street.

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Why there is no 375th Street in
New York like stuff like that.

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And but but they still like
they're mostly shot on.

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Unreal locations and they just
feel a bit more like like they

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are just a sigh lies, take on
our world and I think Life

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Aquatic, which is, you know, the
first one where he got a notably

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larger budget is like a turning
point in terms of like that's

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the one where the dollhouse
elements become more pronounced.

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Like that's where you you first
get the cross-section view of

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like one of his locations and
then and his movies and from

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that point.
To kind of, I think he became

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more confident in his abilities
but also just gained at got more

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resources, so that he could more
fully construct the world and

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like build it from the ground up
and I think him, I think making

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fantastic mr.
Fox his first of two animated

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00:13:45,800 --> 00:13:50,900
movies was also I guess created
a bit of a shift in his approach

224
00:13:50,900 --> 00:13:53,900
because you know he's making a
stop motion animated movie.

225
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He is fully constructing a
literal.

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00:13:56,600 --> 00:13:59,800
We everything there.
And if you look at like Grand

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00:13:59,800 --> 00:14:06,200
Budapest, there are just the way
it's composed the like, the the

228
00:14:06,200 --> 00:14:10,400
use of models and everything,
feels much closer to an animated

229
00:14:10,400 --> 00:14:13,500
movie like phonetic mr.
Fox, then his previous live

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00:14:13,500 --> 00:14:16,500
action movies.
And the thing about this is I

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don't think any of this is
necessarily that.

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I mean, it's not, none of, this
is a problem.

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00:14:22,100 --> 00:14:25,500
In many ways, it's a good thing
because he's he's just becoming

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00:14:25,500 --> 00:14:29,100
you do like Word, more fully
like who he wants to be.

235
00:14:29,300 --> 00:14:32,200
And again, my two favorite was
Anderson, movies are on opposite

236
00:14:32,200 --> 00:14:35,000
ends of the spectrum.
Yep, there's Rushmore which is

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00:14:35,200 --> 00:14:38,700
much more in the real world even
though it's still a very

238
00:14:38,800 --> 00:14:41,200
heightened.
You know what Henderson world

239
00:14:41,200 --> 00:14:43,000
and then there's real tender.
But I mean sorry.

240
00:14:43,000 --> 00:14:47,600
Then there's Grand Budapest
which has the most dollhouse e

241
00:14:47,600 --> 00:14:49,800
of all his movies even more.
So than like the French

242
00:14:49,800 --> 00:14:50,800
dispatch.
Yeah.

243
00:14:51,300 --> 00:14:52,900
This end.
And the thing is, but this is

244
00:14:52,900 --> 00:14:58,900
also a movie about why these
like Carefully designed like,

245
00:14:58,900 --> 00:15:01,500
like, little dollhouse world's
matter.

246
00:15:01,600 --> 00:15:03,500
Yeah.
And and that's kind of like,

247
00:15:03,900 --> 00:15:07,300
like this is from you, like,
what makes it such an important

248
00:15:07,300 --> 00:15:11,800
movie, like in his body of work,
because it is basically a movie

249
00:15:11,800 --> 00:15:16,800
about why his very specific
approach to these things, which

250
00:15:16,800 --> 00:15:18,900
some people find annoying, you
know?

251
00:15:19,000 --> 00:15:21,600
I'll every time he makes a movie
always see like a handful people

252
00:15:21,600 --> 00:15:24,500
on Twitter being like he's doing
his Wares and or something.

253
00:15:24,500 --> 00:15:28,300
Again I'm always like but look
Really no one else is doing a

254
00:15:28,300 --> 00:15:31,100
Wes Anderson thing.
Like this is this is his lie

255
00:15:31,100 --> 00:15:34,300
isn't it great that he has a
thing that he does that that

256
00:15:34,300 --> 00:15:38,300
isn't really like anybody else
and and you know that you've got

257
00:15:38,400 --> 00:15:41,700
Grand Budapest here which is
like oh here was like this

258
00:15:41,700 --> 00:15:43,600
world.
That was kind of beautiful.

259
00:15:43,600 --> 00:15:47,200
That was our you know we'll run
by people who like really cared

260
00:15:47,200 --> 00:15:51,400
about their work and and and and
like about the fine details and

261
00:15:51,400 --> 00:15:54,300
making things beautiful at end
and why that stuff matters.

262
00:15:54,600 --> 00:16:00,100
And then the like way, Wave of
ugly fascism roles in and like,

263
00:16:00,100 --> 00:16:06,600
steamrolls all of their.
And so I mean, look, I'm sure

264
00:16:06,600 --> 00:16:10,600
you could, I don't know if
that's jumping too far ahead, is

265
00:16:10,600 --> 00:16:15,800
it okay, if I, if I quote a line
from Wake near the end of the

266
00:16:15,800 --> 00:16:19,900
movie?
Yeah, because I'm trying to pull

267
00:16:19,900 --> 00:16:24,000
it up on IMDb to see if I can
get the exact line because

268
00:16:24,700 --> 00:16:28,700
there's a line that f Abraham
fo, yeah, we've got it marked

269
00:16:28,700 --> 00:16:29,700
down to.
Yep.

270
00:16:30,000 --> 00:16:35,200
Oh great.
But that, that feels like kind

271
00:16:35,200 --> 00:16:39,400
of like the the mission
statement of the whole movie

272
00:16:39,400 --> 00:16:41,500
hundred percent Brad.
You have it pulled up.

273
00:16:41,500 --> 00:16:43,400
We were just talking about I was
going to say, is it?

274
00:16:43,400 --> 00:16:45,300
Do you know the one?
I'm to be frank.

275
00:16:45,300 --> 00:16:48,400
I think his world had vanished
long before he ever entered it.

276
00:16:48,600 --> 00:16:52,100
But I will say, he certainly
sustained the illusion with a

277
00:16:52,108 --> 00:16:55,900
marvelous Grace.
Yes, that is it.

278
00:16:56,000 --> 00:16:59,300
And I mean, Look, I think that
applies perfectly to Wes

279
00:16:59,300 --> 00:17:03,300
Anderson himself.
He is, he is, he basically do

280
00:17:03,300 --> 00:17:06,099
everything he can.
If you look at like, his

281
00:17:06,500 --> 00:17:10,099
personal aesthetic as like a
human being the way he dresses.

282
00:17:10,599 --> 00:17:14,200
If you look at the type of
movies, he's trying to make and

283
00:17:14,400 --> 00:17:16,500
and the type of Cinema, he's
trying to keep alive.

284
00:17:17,200 --> 00:17:19,900
That's exactly it.
It's like the the time he's

285
00:17:19,900 --> 00:17:25,500
meant to exist, was like decades
before he was born but with all

286
00:17:25,500 --> 00:17:27,800
of his work, he's And to
preserve this.

287
00:17:28,200 --> 00:17:32,900
And, and again, this is why I
think this is kind of his

288
00:17:32,900 --> 00:17:34,600
Masterpiece.
Yeah.

289
00:17:34,600 --> 00:17:38,400
And I think it's fascinating,
because in Rushmore, which is,

290
00:17:38,400 --> 00:17:42,600
you know, his second film.
I would say that the Anderson

291
00:17:42,600 --> 00:17:46,900
analog is the main character of
the movie, who is viewed as this

292
00:17:46,900 --> 00:17:52,000
precocious young, playwright,
whose far ahead of his peers.

293
00:17:52,000 --> 00:17:55,100
And, you know, I just
unmatchable and yet he can't

294
00:17:55,100 --> 00:17:58,900
master, you know, Know, some of
the basic human interactional

295
00:17:58,900 --> 00:18:01,700
skills.
And then here in this movie, we

296
00:18:01,700 --> 00:18:05,800
have him as a concierge who is
trying to hold on to the

297
00:18:05,800 --> 00:18:09,400
illusion of the past.
And I wonder if there's there's

298
00:18:09,400 --> 00:18:13,300
just some semblance of him
putting himself into these roles

299
00:18:13,500 --> 00:18:16,200
and how he views himself at
these, you know, different

300
00:18:16,200 --> 00:18:18,900
stages of his career.
This is stuff that I've thought

301
00:18:18,900 --> 00:18:20,900
about.
And I've also thought about why

302
00:18:20,900 --> 00:18:25,700
is it that I respond.
So, so much to these two movies,

303
00:18:25,800 --> 00:18:28,900
these movies are Out
protagonists who were like kind

304
00:18:28,900 --> 00:18:33,100
of control freaks, who try to
manipulate the world around them

305
00:18:33,100 --> 00:18:38,400
into being a very specific way.
And, and yeah, this is a thing

306
00:18:38,400 --> 00:18:42,800
that I have noticed and and and
really that these two was like

307
00:18:42,800 --> 00:18:47,400
companion pieces of like you
know, Monsieur Gustave as kind

308
00:18:47,400 --> 00:18:51,500
of like the somewhat older more
mature Max Fischer.

309
00:18:51,900 --> 00:18:53,900
That's a it's a take.
I like.

310
00:18:54,200 --> 00:18:55,600
All right.
Well let's jump into talking

311
00:18:55,600 --> 00:18:57,800
about the performance.
Has then we've kind of been

312
00:18:57,800 --> 00:19:00,400
circling around this role of
Monsieur, Gustave, who's played

313
00:19:00,400 --> 00:19:03,800
by Ray finds in what might be
the best performance of his

314
00:19:03,800 --> 00:19:05,800
career.
I mean, Brad we've only really

315
00:19:05,800 --> 00:19:09,600
had him on the show a few times
with Schindler's List wildly

316
00:19:09,600 --> 00:19:12,600
different performance and then
as Voldemort which is again,

317
00:19:12,600 --> 00:19:15,900
wildly different than this.
So you're missing one Bob, oh,

318
00:19:15,900 --> 00:19:18,100
what was the other one Prince of
Egypt?

319
00:19:18,200 --> 00:19:22,100
Oh, that's right.
As Rama see as rameses.

320
00:19:22,100 --> 00:19:23,900
Yeah, totally forgot about that
one.

321
00:19:23,900 --> 00:19:26,400
So yeah, I guess he's probably
been on here like six or seven.

322
00:19:26,600 --> 00:19:29,700
ABS now that I think about it
and yet, this is definitely an

323
00:19:29,700 --> 00:19:33,700
outlier among those roles, you
know, known for his dramatic

324
00:19:33,700 --> 00:19:37,100
roles.
And here, he brings such a, I

325
00:19:37,100 --> 00:19:39,500
don't want to call it a
lightness, because it's a very

326
00:19:39,500 --> 00:19:42,200
high-strung performance in a
movie, that is a very

327
00:19:42,200 --> 00:19:47,900
high-strung movie, but he has
such a Deft Touch that.

328
00:19:47,900 --> 00:19:51,100
I'm surprised he hasn't done
more comedy on screen, it's just

329
00:19:51,100 --> 00:19:53,400
like, it's a beautiful
performance.

330
00:19:53,900 --> 00:19:58,000
Yet the thing with Ray finds has
he's an After that, literally

331
00:19:58,000 --> 00:20:01,600
everyone agrees upon like, I've
never heard a single person.

332
00:20:01,600 --> 00:20:05,600
Say I just don't like that guy.
He's like he like one of his

333
00:20:05,600 --> 00:20:08,300
performances was bad.
No one's ever said that.

334
00:20:09,000 --> 00:20:14,400
He's he's universally agreed
upon as really good.

335
00:20:15,200 --> 00:20:17,400
You know?
I it also helps come out the

336
00:20:17,400 --> 00:20:20,500
gate really strong with
Schindler's List, right?

337
00:20:21,200 --> 00:20:25,400
We're obviously it's like an
all-timer like towering

338
00:20:25,400 --> 00:20:27,900
performance but Like you know,
when he's like announced playing

339
00:20:27,900 --> 00:20:29,900
like Voldemort everyone was just
like, oh, yeah.

340
00:20:29,900 --> 00:20:30,500
Yep.
Yep.

341
00:20:30,500 --> 00:20:33,300
Yeah, that checks out when he
joins the bond, the bond series

342
00:20:33,300 --> 00:20:37,100
of rooms like, yep, that's that.
That's cool.

343
00:20:37,100 --> 00:20:40,600
Like, he's got to be in there
eventually but um, but he is

344
00:20:41,400 --> 00:20:44,600
general and like, you think of,
I feel like the stuff he's best

345
00:20:44,600 --> 00:20:46,800
known for.
Like, whether those ones are

346
00:20:46,800 --> 00:20:50,500
like The English Patient are,
those types of things.

347
00:20:50,800 --> 00:20:55,300
He's, they're usually pretty
serious, The Constant Gardener,

348
00:20:55,900 --> 00:20:59,800
but I do think in at least in
the past like, oh my God, it's

349
00:20:59,800 --> 00:21:04,400
like almost 15 years ago in
terms of Comedy.

350
00:21:04,400 --> 00:21:08,500
I think the, the big one.
The that was like, a bit of a

351
00:21:08,508 --> 00:21:11,700
revelation for a lot of people
was in Bruges.

352
00:21:11,700 --> 00:21:14,300
Yeah.
Because specifically just his

353
00:21:14,300 --> 00:21:20,000
delivery of the line, you're an
inanimate object is because he's

354
00:21:20,000 --> 00:21:24,100
playing a bus scare, he's
playing like that.

355
00:21:24,200 --> 00:21:28,600
He works so well there because
that is A classic scary Ray

356
00:21:28,600 --> 00:21:32,300
Fiennes villain role.
But then he's also very funny

357
00:21:32,800 --> 00:21:37,100
and then, but then I'll tell,
you know, you skip ahead, a few

358
00:21:37,100 --> 00:21:39,700
years and you've got hail
Caesar, right?

359
00:21:39,700 --> 00:21:43,000
You've got the wood that it
would if it were so simple.

360
00:21:43,300 --> 00:21:46,600
Was that the no, that was two
years after this, right?

361
00:21:46,600 --> 00:21:48,700
I think so.
Yeah, so really.

362
00:21:48,700 --> 00:21:51,800
So what we're saying is Martin
McDonagh was the guy who first

363
00:21:51,800 --> 00:21:55,100
kind of made people realize Ray
Fiennes could be funny and then

364
00:21:55,100 --> 00:21:59,000
was Anderson fully.
Unlocked and was like, oh wait,

365
00:21:59,000 --> 00:22:03,600
we've secretly got one of the
great comedic actors of our time

366
00:22:03,600 --> 00:22:05,700
right here and you've all been
sleeping on him.

367
00:22:06,100 --> 00:22:09,700
All we really need at this point
is for him to do like the Colin

368
00:22:09,700 --> 00:22:12,400
Firth thing, and get his mama
mia.

369
00:22:13,400 --> 00:22:16,600
Like, that's like, that's what
we need is for him to just tilt

370
00:22:16,600 --> 00:22:21,500
into the fall musical mode.
Wait, wait, wait, have you seen

371
00:22:21,500 --> 00:22:23,400
a bigger splash?
I have?

372
00:22:23,500 --> 00:22:26,300
Yeah, because he has kind of,
yes.

373
00:22:26,700 --> 00:22:30,100
A big dance scene.
That's try where.

374
00:22:30,100 --> 00:22:35,000
Yeah, when he puts on, oh,
Emotional Rescue by The Rolling

375
00:22:35,000 --> 00:22:39,900
Stones and just like, you know,
he his shirt unbuttoned, like,

376
00:22:39,900 --> 00:22:43,900
wearing a bathing suit, just
like goes off dancing around the

377
00:22:43,900 --> 00:22:47,300
room.
That is, I think that is the

378
00:22:47,300 --> 00:22:51,600
closest we've come.
Also great performance in that

379
00:22:51,600 --> 00:22:53,000
movie.
All right, guys, where do you

380
00:22:53,008 --> 00:22:54,500
want to go from here with the
performances?

381
00:22:54,500 --> 00:22:57,600
Because this cast has I think I
I counted and it's a million

382
00:22:57,600 --> 00:23:02,600
people in it and they all kind
of share similar screen time

383
00:23:02,600 --> 00:23:06,100
except for Tony Revell Lori who
we will for sure talk about but

384
00:23:06,700 --> 00:23:09,300
I don't know.
Brad who stood out to you aside

385
00:23:09,300 --> 00:23:11,000
from Ray finds that you'd like
to mention here.

386
00:23:11,300 --> 00:23:16,600
I mean I think that Willem Dafoe
just is playing like the most

387
00:23:17,300 --> 00:23:21,500
silent version of the Green
Goblin that he can and he's over

388
00:23:21,500 --> 00:23:25,700
the top and just ridiculous.
And would he when he unbuttoned

389
00:23:25,700 --> 00:23:29,700
his coat Puts the The Whiskey in
the perfect little pocket for

390
00:23:29,700 --> 00:23:33,100
it.
Like it's just everything I want

391
00:23:33,100 --> 00:23:35,100
out of a Willem Dafoe
performance.

392
00:23:36,100 --> 00:23:37,800
Yes.
Oh, this is his, I believe only

393
00:23:37,800 --> 00:23:40,400
second Wes Anderson movie
because I don't, I don't think

394
00:23:40,400 --> 00:23:42,400
he was in the voice cast of
Fantastic.

395
00:23:42,400 --> 00:23:45,600
Mr. Fox but I always struggle to
remember exactly who's in that

396
00:23:45,600 --> 00:23:48,400
cast list.
And I mean, you could not ask

397
00:23:48,400 --> 00:23:54,300
for a more crazily, different
character than to be like this

398
00:23:54,700 --> 00:23:58,100
vampire fang ass.
Assassin who's lurking in the

399
00:23:58,100 --> 00:24:00,100
shadows?
You know, he made a movie in the

400
00:24:00,100 --> 00:24:05,600
early 2000s where he was
essentially playing Nosferatu

401
00:24:05,600 --> 00:24:07,500
when I was he Patrick remind me?
Remind me.

402
00:24:07,500 --> 00:24:10,300
Was he Nosferatu?
Or was he murnau in that movie?

403
00:24:10,300 --> 00:24:13,500
I can't remember.
He was Max Schreck.

404
00:24:13,600 --> 00:24:18,300
That's the actor who plays
Nosferatu who then II actually

405
00:24:18,300 --> 00:24:20,800
haven't seen this movie.
I'd seen it.

406
00:24:20,800 --> 00:24:23,600
I've only seen it like on cable
or you know, I mean like I've

407
00:24:23,600 --> 00:24:26,100
caught pieces of it because the
other the other actor in that is

408
00:24:26,100 --> 00:24:28,600
mouth Mitch and I can never
remember who plays who in that

409
00:24:28,600 --> 00:24:30,000
movie is murnau.
Yeah God.

410
00:24:30,000 --> 00:24:33,400
Hi.
I mean, here's a question.

411
00:24:33,400 --> 00:24:35,000
It has Malkovich played a
vampire.

412
00:24:36,200 --> 00:24:39,600
In a movie, I don't know,
because he should.

413
00:24:39,600 --> 00:24:44,500
I mean, just like take him and
dangerous liaison stick a pair

414
00:24:44,500 --> 00:24:46,600
of fangs on there and you're
good to go.

415
00:24:47,100 --> 00:24:50,600
Well, that that was gonna be my
point here which was like, he

416
00:24:50,600 --> 00:24:54,000
has this vampire look, which is
very reminiscent of that movie

417
00:24:54,000 --> 00:24:56,700
for me and and really
reminiscent.

418
00:24:56,700 --> 00:24:59,600
And again, getting back to the
influences thing that scene

419
00:24:59,600 --> 00:25:01,900
where he's chasing, Jeff
Goldblum through the museum and

420
00:25:01,900 --> 00:25:05,300
they're doing all of those
silent movie in camera

421
00:25:05,300 --> 00:25:06,800
transitions.
Ins and tricks.

422
00:25:07,000 --> 00:25:11,300
It's so reminiscent of, like a
Fritz Lang movie and I really

423
00:25:11,300 --> 00:25:13,500
love what they're doing there.
But you're right.

424
00:25:13,500 --> 00:25:17,500
Brad, like, he makes Wes
Anderson, makes Defoe, this

425
00:25:17,800 --> 00:25:22,100
silent era German expressionist
villain and it works perfectly,

426
00:25:23,200 --> 00:25:25,200
which is kind of one of the
things that I think is amazing

427
00:25:25,200 --> 00:25:28,600
about this movie.
Because this is like, this is

428
00:25:28,600 --> 00:25:32,700
kind of, like, Wes Anderson's
like closest to a thriller he's

429
00:25:32,700 --> 00:25:36,300
made and, like, an action movie.
Like, as you were saying, Like

430
00:25:36,500 --> 00:25:41,100
earlier, it does obviously like
have a really really fast.

431
00:25:41,100 --> 00:25:45,200
I like, I got fast-paced, you
know, screwball pace and tone

432
00:25:45,200 --> 00:25:48,100
everything.
But also, this is the only time

433
00:25:48,100 --> 00:25:52,600
he's gotten into real like,
suspense almost like horror

434
00:25:52,600 --> 00:25:56,200
sequences.
He's got like full actions.

435
00:25:56,200 --> 00:25:59,300
He's I mean, I know there's
like, you know, there's a little

436
00:25:59,300 --> 00:26:03,800
bit of action in The Life
Aquatic, but but this is like

437
00:26:03,900 --> 00:26:07,400
he's got, you know, like Actual
proper.

438
00:26:07,400 --> 00:26:10,600
I guess, his version of actions
that yeah, this is it this is

439
00:26:10,600 --> 00:26:14,100
really like him branching out
into some new territory like

440
00:26:14,100 --> 00:26:16,400
when has he ever done a scene
like that one?

441
00:26:16,400 --> 00:26:19,700
With defoe's stalking Goldblum
through the museum?

442
00:26:20,400 --> 00:26:23,100
I mean he never has and I think
that's part of why it's so

443
00:26:23,100 --> 00:26:25,700
effective and Brad was actually
just talking to me about this

444
00:26:26,300 --> 00:26:30,200
before we hit record that the
violence in this movie or maybe

445
00:26:30,200 --> 00:26:32,000
it was at the beginning of the
episode, I can't even remember

446
00:26:32,000 --> 00:26:35,800
now Brad, but the violence in
this movie is so startling and

447
00:26:35,900 --> 00:26:38,500
Happens in a way that you've
really never seen before.

448
00:26:38,500 --> 00:26:41,500
With Wes Anderson that, I think
it makes it all the more

449
00:26:41,500 --> 00:26:45,400
effective.
Yeah, I think that, it feels

450
00:26:45,400 --> 00:26:50,500
like most Wes Anderson movies.
If there is a fight between male

451
00:26:50,500 --> 00:26:54,200
characters, it will just
inevitably involve slapping.

452
00:26:54,800 --> 00:26:58,900
Like, I don't say that to like,
like, that's, I feel like that's

453
00:26:58,900 --> 00:27:02,600
just his style of Comedy, right?
To have two grown men, like,

454
00:27:02,600 --> 00:27:05,700
kind of having a slap fight with
one another and so too.

455
00:27:05,900 --> 00:27:10,200
So, to move from that, I don't
know feel of eyelids from his

456
00:27:10,200 --> 00:27:15,100
other movies into one where Jeff
goldblum's four fingers, get

457
00:27:15,100 --> 00:27:19,300
chopped off, which set up what I
think one of the funniest

458
00:27:19,800 --> 00:27:22,400
punchlines of the movie when
they say they could only thing,

459
00:27:22,400 --> 00:27:25,600
couldn't find four fingers on
the left hand gives 80-71

460
00:27:25,600 --> 00:27:30,800
fingerprint for the Lancia.
Like, it's, it's wildly

461
00:27:30,800 --> 00:27:34,000
violence.
And yet still accomplishes the

462
00:27:34,100 --> 00:27:38,400
the comedic purposes of the And
I just it's almost like

463
00:27:38,400 --> 00:27:43,600
dissonant and yet because it is
dissonant, it makes each part

464
00:27:43,900 --> 00:27:48,800
stand out as more violent and
more funny than they would have

465
00:27:48,800 --> 00:27:52,100
been on their own.
Yeah, I do have to say, I think

466
00:27:52,100 --> 00:27:55,000
that I've always found really
interesting with Wes Anderson,

467
00:27:55,000 --> 00:28:01,500
is that his movies very often
have like, maybe one isolated

468
00:28:01,500 --> 00:28:05,600
violent sea, like his movies are
not in general.

469
00:28:05,800 --> 00:28:09,100
Violence.
But but which is why moments

470
00:28:09,100 --> 00:28:15,100
like I Richie suicide attempt in
the Royal Tenenbaums are.

471
00:28:15,400 --> 00:28:17,700
I mean we just watched Moon
Risin and the dog gets shot

472
00:28:17,700 --> 00:28:20,400
through the neck with an arrow
and that movie, I mean, yeah,

473
00:28:20,600 --> 00:28:24,600
Wes Anderson loves killing dogs.
Yeah, which is why he eventually

474
00:28:24,600 --> 00:28:27,200
do a tone and make a whole movie
about the exactly are are like,

475
00:28:27,200 --> 00:28:30,500
um, Owen Wilson's, death in
Life, Aquatic.

476
00:28:30,500 --> 00:28:34,900
There's like and like Parts
where blood suddenly appears

477
00:28:34,900 --> 00:28:37,600
we're like You haven't, like you
bring us, haven't seen the color

478
00:28:37,600 --> 00:28:40,400
red.
And so this sudden arrival of

479
00:28:40,400 --> 00:28:45,300
like blood and like, real death,
and violence is always so

480
00:28:45,300 --> 00:28:49,400
jarring because it's, it's
usually so hard to imagine

481
00:28:49,400 --> 00:28:51,500
anything like that even
happening in these worlds.

482
00:28:51,500 --> 00:28:54,400
Yeah, and here he goes a little
bit further with it where

483
00:28:54,400 --> 00:28:58,000
they're a lot more people die,
very much.

484
00:28:58,000 --> 00:29:02,200
So I also simply I also see this
movie and going back to what you

485
00:29:02,208 --> 00:29:04,400
were saying earlier about where
this stands kind of in his

486
00:29:04,400 --> 00:29:07,200
filmography.
This is really the start of him

487
00:29:07,200 --> 00:29:11,400
playing with genre and playing
with form, but also playing with

488
00:29:11,600 --> 00:29:14,700
like framing devices and it's
something that I mean, really, I

489
00:29:14,708 --> 00:29:18,300
think reaches its Pinnacle with
French dispatch, which is not,

490
00:29:18,300 --> 00:29:21,500
definitely not my favorite Wes
Anderson movie, but probably the

491
00:29:21,500 --> 00:29:23,800
one that I think you could get
the most critical about the

492
00:29:23,808 --> 00:29:27,000
structure of like it's, it's
really fascinating how he puts

493
00:29:27,000 --> 00:29:30,500
that movie together.
But here it's a story within a

494
00:29:30,508 --> 00:29:32,100
story within a story within a
story.

495
00:29:32,100 --> 00:29:36,300
And you have this really quick
set up at the beginning of A

496
00:29:36,300 --> 00:29:39,800
girl in present day going to
visit the grave site of a famous

497
00:29:39,800 --> 00:29:43,800
author and then they show a shot
of the authors like headstone a

498
00:29:43,800 --> 00:29:48,000
bust and it cuts back to 1985
and shows him as you know,

499
00:29:48,000 --> 00:29:51,700
middle-aged Tom Wilkinson and
then Cuts back from there to the

500
00:29:51,708 --> 00:29:56,500
1960s where he's played by Jude
Law and getting told the story

501
00:29:56,500 --> 00:30:01,100
of The Grand Budapest Hotel by F
Murray Abraham who we then go

502
00:30:01,100 --> 00:30:05,300
even further back in time and
see his character as the lobby

503
00:30:05,300 --> 00:30:08,100
boy.
And I don't know how much of the

504
00:30:08,100 --> 00:30:11,800
framing device is strictly
necessary to be honest, but it's

505
00:30:11,800 --> 00:30:16,200
really interesting to see him
start to play with some of these

506
00:30:16,200 --> 00:30:18,900
quirks that he's going to add
into the way he frames his

507
00:30:18,900 --> 00:30:22,400
stories.
Honestly it's fascinating how in

508
00:30:22,400 --> 00:30:25,000
other movies like a Moonrise
Kingdom.

509
00:30:25,100 --> 00:30:29,900
He's almost trying to capture
what it feels like to remember a

510
00:30:29,900 --> 00:30:32,900
Summer Romance as a as a
teenager, right?

511
00:30:33,100 --> 00:30:36,100
But like like the whole movie is
set up to feel like Marie.

512
00:30:36,100 --> 00:30:40,500
Where is this story is almost
set up to feel like what it?

513
00:30:40,500 --> 00:30:44,300
What it is to experience a story
fourth or fifth hand.

514
00:30:44,600 --> 00:30:49,000
It kind of reminds me of the
story of cocoa that like if we

515
00:30:49,000 --> 00:30:52,700
don't remember the stories of
our past as they are told as

516
00:30:52,700 --> 00:30:55,500
they're passed down generation
to generation.

517
00:30:56,000 --> 00:31:00,600
Then you know what meaning does
our live have does our life have

518
00:31:01,100 --> 00:31:03,400
and and I think he does that
really beautifully here,

519
00:31:03,400 --> 00:31:07,400
capturing the idea of a vase.
A story told down from

520
00:31:07,400 --> 00:31:09,900
generation to generation.
Yeah.

521
00:31:09,900 --> 00:31:13,300
And I think that might be a good
place to kind of jump off into F

522
00:31:13,300 --> 00:31:16,800
Murray Abraham and Jude Law
because they're you know the

523
00:31:16,800 --> 00:31:20,700
people that we visit with the
most outside of that 1930s

524
00:31:20,700 --> 00:31:22,900
world.
And I really just want to talk

525
00:31:22,900 --> 00:31:26,600
about F Murray Abraham because
he is incredible in everything

526
00:31:26,600 --> 00:31:30,000
he does and he's not in enough
stuff and he's not I don't feel

527
00:31:30,000 --> 00:31:34,400
like he's appreciated enough but
first of all, one of the

528
00:31:34,400 --> 00:31:36,600
all-time great.
Rating voices.

529
00:31:36,600 --> 00:31:41,100
I wish that he would just read
to me on a daily basis, but also

530
00:31:41,100 --> 00:31:43,000
Brad.
This is now the second time that

531
00:31:43,000 --> 00:31:45,500
we've had him on the show way
back in season one or two.

532
00:31:45,500 --> 00:31:49,600
We did Amadeus his oscar-winning
role and that movie is

533
00:31:49,608 --> 00:31:51,500
structured.
Very similarly, like, Wes

534
00:31:51,500 --> 00:31:53,200
Anderson, obviously saw
whatever.

535
00:31:53,200 --> 00:31:56,800
Amadeus and said this is, this
is my in to telling this story.

536
00:31:56,800 --> 00:32:00,800
I need to have a framing device
where old F Murray, Abraham

537
00:32:00,800 --> 00:32:05,400
tells me the story of young, F,
Murray Abraham and I think he

538
00:32:05,400 --> 00:32:08,900
took Took a good note there
because it really does help the

539
00:32:08,900 --> 00:32:11,700
movie out to have that narration
kind of pushing things along.

540
00:32:12,200 --> 00:32:15,800
Yeah, and it's also my mentor
figure out how to articulate

541
00:32:15,800 --> 00:32:20,500
this because I do think that I
hate to say, like, all all of

542
00:32:20,508 --> 00:32:23,100
the framing devices are like,
absolutely necessary.

543
00:32:23,100 --> 00:32:27,000
But I think they do all add
something to the movie because

544
00:32:27,000 --> 00:32:31,200
again, if this, you know, if
this movie is kind of like, you

545
00:32:31,200 --> 00:32:37,800
know, an a celebration of this,
This kind of like way of life

546
00:32:37,800 --> 00:32:41,800
that it has now gone, you've now
have like, the Ripple effects

547
00:32:41,800 --> 00:32:45,300
through to the present of like,
people are still like he even

548
00:32:45,300 --> 00:32:48,400
does like the in the girl,
reading the book, people are

549
00:32:48,408 --> 00:32:52,800
still benefiting from like
Monsieur Gustav's approach to

550
00:32:52,800 --> 00:32:55,900
things, even if it's only
through like the story about him

551
00:32:56,500 --> 00:32:59,400
and to show that they're like,
oh these will still like this

552
00:32:59,400 --> 00:33:03,400
will still last in some way.
But the thing that I think is so

553
00:33:03,400 --> 00:33:07,000
interesting about the F Murray
Abraham now Aeration is that,

554
00:33:07,400 --> 00:33:11,600
you know, was Anderson's movies.
They tend to be the characters

555
00:33:11,600 --> 00:33:16,700
are emotionally reserved but
they're also all movies where

556
00:33:16,700 --> 00:33:20,900
people are like frequently
dealing with like profound loss

557
00:33:21,200 --> 00:33:26,600
and grief and stuff like that,
they're just, you know, not they

558
00:33:26,600 --> 00:33:29,800
don't tend to be like talking
very openly about their

559
00:33:29,800 --> 00:33:32,600
feelings, right?
And and so having those scenes

560
00:33:32,600 --> 00:33:36,400
where like, you know, F Murray
Abraham starts like Breaking

561
00:33:36,400 --> 00:33:40,400
down, like, at dinner, like
thinking about Agatha.

562
00:33:40,400 --> 00:33:44,500
And but then like not wanting to
get really into it and then the

563
00:33:44,500 --> 00:33:48,000
thing is like, pretty much all
like all of like that the parts

564
00:33:48,000 --> 00:33:52,500
of the story that she's in are
mostly just the ways that she

565
00:33:52,500 --> 00:33:56,500
connects to like getting
Monsieur Gustave out of prison.

566
00:33:56,700 --> 00:34:01,300
And he kind of skims over like
much of this, like very serious

567
00:34:01,500 --> 00:34:05,400
romance that they had because he
doesn't want to get into it and

568
00:34:05,400 --> 00:34:09,199
and Just that thing of like you
have this, you know, having

569
00:34:09,199 --> 00:34:14,199
this, this Storyteller who is,
you know, clearly like, skimming

570
00:34:14,199 --> 00:34:16,100
over certain things.
He doesn't want to get into,

571
00:34:16,100 --> 00:34:17,900
because they're a little bit too
painful for him.

572
00:34:18,100 --> 00:34:23,500
I think adds so much to a movie
that is again about, like, all

573
00:34:23,500 --> 00:34:27,500
this stuff that has been lost.
So, yeah, it is.

574
00:34:28,300 --> 00:34:32,699
I think that the, the story of
Agatha is like the most

575
00:34:32,699 --> 00:34:37,100
grounding element of this movie
where Like, you know, we were

576
00:34:37,100 --> 00:34:40,000
talking about how it's a story
within a story within a story.

577
00:34:40,800 --> 00:34:44,699
But you kind of see that in the
way it's told a lot of things

578
00:34:44,699 --> 00:34:48,000
are exaggerated ridiculous and
you know, it's a, it's a

579
00:34:48,007 --> 00:34:53,300
storybook type of type of tail.
And so he tells it as if it's a

580
00:34:53,300 --> 00:34:58,200
storybook whereas with Agatha
there's no, you know, heroic

581
00:34:58,200 --> 00:35:01,000
death for her.
There's nothing that happens in

582
00:35:01,008 --> 00:35:04,000
the story.
The thing that makes this story

583
00:35:04,000 --> 00:35:08,100
feel real coming from.
F Murray, Abraham is the fact

584
00:35:08,100 --> 00:35:11,700
that he finishes it and just
says, yeah, like she died a few

585
00:35:11,700 --> 00:35:14,700
years later in childbirth and
we're not going to talk about

586
00:35:14,700 --> 00:35:17,900
that because that's the most
painful moment of my life.

587
00:35:18,400 --> 00:35:21,100
And it just, it just gives the
whole movie.

588
00:35:21,100 --> 00:35:26,000
A sense of like, oh yes, it was
kind of ridiculous what we told,

589
00:35:26,300 --> 00:35:30,900
but it still was set in a very
real world.

590
00:35:32,000 --> 00:35:34,700
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591
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592
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593
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594
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595
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597
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598
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599
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600
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601
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602
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603
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604
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605
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606
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607
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608
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609
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610
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611
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That's doccs whisky.com.
All right, let's do some rapid

612
00:36:37,800 --> 00:36:41,300
fire evaluation of the other
performances here.

613
00:36:41,600 --> 00:36:43,800
I mean, I think I wrote down,
like four or five other people,

614
00:36:43,800 --> 00:36:46,800
but we could go on and on and
on, I guess I'll start.

615
00:36:46,800 --> 00:36:50,700
I think Adrian Brody in this
movie is just the man is

616
00:36:50,700 --> 00:36:54,400
dialing, it up to 100 and also
knocking it out of the park.

617
00:36:54,700 --> 00:36:58,000
I really like watching Adrian,
Brody, in Wes, Anderson movies

618
00:36:58,000 --> 00:37:02,400
because the performance is very,
you know, drastically from movie

619
00:37:02,400 --> 00:37:04,000
to movie.
I think he's great in Darjeeling

620
00:37:04,000 --> 00:37:05,600
Limited.
I think he's great here.

621
00:37:06,100 --> 00:37:08,400
I do think it would be
interesting as I watched the

622
00:37:08,400 --> 00:37:10,100
movie.
I thought to myself.

623
00:37:10,100 --> 00:37:13,400
I wonder what it would have been
like, if he, and Edward, Norton

624
00:37:13,400 --> 00:37:16,600
had swapped roles because I
think they both could have

625
00:37:16,600 --> 00:37:18,900
pulled off the other person's
role pretty convincingly.

626
00:37:19,300 --> 00:37:22,100
But at the end of the day I
really really liked what Brody

627
00:37:22,100 --> 00:37:26,300
was doing here.
These days is is wasn't just

628
00:37:26,300 --> 00:37:29,200
like the only person who's
figured out how to use Adrien

629
00:37:29,200 --> 00:37:32,600
Brody well in the last like 15
years.

630
00:37:32,600 --> 00:37:35,100
I think so.
And and I've been really

631
00:37:35,100 --> 00:37:37,500
fascinated with the The
trajectory of his career.

632
00:37:37,500 --> 00:37:40,500
And and you know it's one of
those things where if you don't

633
00:37:40,500 --> 00:37:43,000
know what happened behind the
scenes with certain actors, you

634
00:37:43,000 --> 00:37:46,800
just kind of as a moviegoer or
left scratching your head and

635
00:37:46,800 --> 00:37:49,400
with Adrian Brody I'm sure
there's a number of things but

636
00:37:49,400 --> 00:37:52,600
that clip of him on SNL that has
surfaced over the last couple

637
00:37:52,600 --> 00:37:55,800
years of him doing the
Rastafarian thing.

638
00:37:56,200 --> 00:37:59,400
I think that's the moment where
where Hollywood was like.

639
00:37:59,400 --> 00:38:02,400
Yeah not so much on this guy
anymore and and then let's

640
00:38:02,400 --> 00:38:05,000
Anderson goes, you know what?
No, I can still, I could still

641
00:38:05,000 --> 00:38:08,000
make something beautiful.
Of out of this man and he has

642
00:38:08,000 --> 00:38:10,800
right consistently.
Yeah, yeah, I mean the thing

643
00:38:10,800 --> 00:38:13,200
with Brody is is like there is
that?

644
00:38:13,200 --> 00:38:17,300
I mean there's a, I don't know,
if you've read Tina Fey's

645
00:38:17,300 --> 00:38:20,800
Memoir, but there's a whole
section talking about, you know,

646
00:38:20,800 --> 00:38:24,700
dealing with Adrien Brody and
his insistence on doing the

647
00:38:24,700 --> 00:38:26,900
Rastafarian accent because he
thought it was the funniest

648
00:38:26,900 --> 00:38:29,100
thing in the world and everyone
tried to stop him.

649
00:38:30,300 --> 00:38:33,800
But I mean, there's things like
that, but then also just like

650
00:38:34,200 --> 00:38:37,700
the roles he would choose.
I'm Like other, you know,

651
00:38:38,100 --> 00:38:39,900
occasionally they're something
they're like okay yeah.

652
00:38:40,000 --> 00:38:41,900
Doing like the Peter Jackson
King Kong.

653
00:38:42,000 --> 00:38:43,600
Yeah, I like that.
That makes sense.

654
00:38:43,800 --> 00:38:48,900
But but so much has other
choices are just baffling and so

655
00:38:49,200 --> 00:38:51,900
I'm glad that was Anderson.
Also once again unlocked.

656
00:38:51,900 --> 00:38:56,100
Oh this guy can be really funny
like in this movie just the way

657
00:38:56,100 --> 00:38:58,800
that pretty much all the
profanity in this movie is

658
00:38:58,800 --> 00:39:02,700
really funny because like
because like, you know, Monsieur

659
00:39:02,700 --> 00:39:08,300
Gustave is so refined all the
time and And any time he swears

660
00:39:08,300 --> 00:39:12,400
our system and crude, it feels
so it feels like hot.

661
00:39:12,400 --> 00:39:16,800
Like so off coming from him and
is always funny but the way the

662
00:39:16,800 --> 00:39:20,800
way the Adrien Brody shouts,
like what is this is always,

663
00:39:20,800 --> 00:39:25,600
it's always like having helped
us be the like the most

664
00:39:25,600 --> 00:39:29,700
immediately crude person in the
film is hilarious.

665
00:39:30,100 --> 00:39:33,700
And I feel like but we like this
and memorize tandem Ed Norton

666
00:39:33,700 --> 00:39:38,200
has kind of gotten this.
Looks like I guess place in the

667
00:39:38,200 --> 00:39:41,100
woods Anderson movies as the
sort of like as a kind of a

668
00:39:41,100 --> 00:39:45,400
gentle reassuring figure.
Yeah, I've been here when he's

669
00:39:45,400 --> 00:39:50,100
like this, you know, the good,
the good, not see ya, then the

670
00:39:50,100 --> 00:39:52,800
good not see, but it's still
just like he's like Edward in.

671
00:39:52,800 --> 00:39:55,600
You've got a, you've got a nice
relaxing voice and you seem like

672
00:39:55,600 --> 00:39:58,300
a good guy and you're going to
play that kind of person, even

673
00:39:58,300 --> 00:40:00,300
though I know you can do all
sorts of other stuff.

674
00:40:00,300 --> 00:40:03,000
Hmm, yeah, it's weird.
It's weird that he's kind of

675
00:40:03,000 --> 00:40:05,800
gotten pigeon-holed as that guy
because, you know, again, if

676
00:40:05,800 --> 00:40:08,700
you're If you think about early,
Ed Norton, if thing about fight

677
00:40:08,700 --> 00:40:13,500
club or Primal Fear or American
History X, I feel like the roles

678
00:40:13,500 --> 00:40:16,700
that Ed Norton has taken on in
the last 10 years, kind of all

679
00:40:16,700 --> 00:40:20,700
tip into that, like, hey, I'm
gonna do the Matt Damon thing

680
00:40:20,700 --> 00:40:23,500
for a while, and that's kind of,
that's kind of the role he plays

681
00:40:23,500 --> 00:40:25,700
here.
The answer here is that it was

682
00:40:25,700 --> 00:40:28,300
Anderson, is a huge fan of
Keeping the Faith.

683
00:40:28,700 --> 00:40:31,700
That's and he just wants him to
like be in that zone all the

684
00:40:31,700 --> 00:40:34,000
time.
They say we see him as the face

685
00:40:34,000 --> 00:40:36,300
of fascism here.
He's also been the Face of

686
00:40:36,300 --> 00:40:39,100
Anarchy.
So, I just don't know if you,

687
00:40:39,100 --> 00:40:41,400
you ever know what you're going
to get with Edward Norton.

688
00:40:42,100 --> 00:40:43,800
All right, maybe let's do it
this way because we have to

689
00:40:43,800 --> 00:40:47,300
break for the whiskey soon.
Brad, and Patrick, let's pick

690
00:40:47,300 --> 00:40:50,300
one other person and talk about
what you liked about their

691
00:40:50,300 --> 00:40:52,500
performances.
Can I just talk about Tony drive

692
00:40:52,500 --> 00:40:55,200
a lorry?
Oh, go for it because dude, I

693
00:40:55,200 --> 00:41:00,600
mean, it's, it's such a rare
pleasure, in movies to to have

694
00:41:00,600 --> 00:41:05,600
an and introducing credit for
someone who is basically you the

695
00:41:05,600 --> 00:41:10,300
lead The movie like, oh, they
discovered an unknown and

696
00:41:10,300 --> 00:41:14,400
they're great.
He's just I mean zero is not as

697
00:41:14,400 --> 00:41:21,100
showy your role as Monsieur
Gustave but he's just just, he

698
00:41:21,100 --> 00:41:25,500
just such a joy to watch in
every scene like like he's such

699
00:41:25,500 --> 00:41:28,600
an interesting looking guy,
especially with his like drawn

700
00:41:28,600 --> 00:41:33,100
on pencil mustache.
And and it just the way he moves

701
00:41:33,200 --> 00:41:35,900
his just like his facial
expressions as he does.

702
00:41:36,000 --> 00:41:39,400
Just like listens with his eyes
wide to the rapid-fire

703
00:41:39,400 --> 00:41:41,500
directions, that Ray finds his
giving him.

704
00:41:41,900 --> 00:41:45,500
I mean, he's kind of like the
heart of the movie and I just

705
00:41:45,500 --> 00:41:47,700
like, I've been watching this
for the first time, like in

706
00:41:47,700 --> 00:41:50,000
theaters being like, who is this
guy?

707
00:41:50,100 --> 00:41:53,600
And what will he do next?
I was thrilled.

708
00:41:53,600 --> 00:41:56,400
When he ended up in the
Spider-Man movies, that's like

709
00:41:56,400 --> 00:42:01,400
great great put him in all the
stuff but he's he's the best.

710
00:42:01,400 --> 00:42:07,800
Yeah, he just has an ability to
constantly Learn from Mahjong,

711
00:42:07,800 --> 00:42:11,600
Gustav.
That that is just captivating.

712
00:42:11,600 --> 00:42:15,600
And the one time, he always
stands up for himself is when it

713
00:42:15,600 --> 00:42:18,700
comes to Agatha.
And, and once again, it just

714
00:42:18,700 --> 00:42:23,800
gives this this, it grounds him
as a character that he's not

715
00:42:23,800 --> 00:42:28,300
just simply, you know, following
Gustav's every lead, he like, he

716
00:42:28,300 --> 00:42:31,200
stands up for himself when it's
something he really cares about.

717
00:42:31,400 --> 00:42:35,500
And, and just, the way that
Revel Lori says, don't flirt

718
00:42:35,500 --> 00:42:38,100
with her Was he flirting with
you?

719
00:42:38,600 --> 00:42:41,100
I just it just kills me every
time, man.

720
00:42:41,600 --> 00:42:42,700
Brad what did you think of
Saoirse?

721
00:42:42,700 --> 00:42:43,900
Ronan?
Because you've brought her up a

722
00:42:43,908 --> 00:42:46,800
couple times now.
So dude, if I feel like if there

723
00:42:46,800 --> 00:42:50,800
is a victim of the storytelling
device which is, I don't want to

724
00:42:50,800 --> 00:42:54,000
talk about Agatha, it's the fact
that we don't see Saoirse, Ronan

725
00:42:54,200 --> 00:42:58,000
enough in this movie and she
should be in more of every movie

726
00:42:58,000 --> 00:43:02,100
that she's young.
I mean, she she she's like, 30

727
00:43:02,100 --> 00:43:06,400
years old and I think she has
four Oscar nominations now Like

728
00:43:06,900 --> 00:43:12,100
it's kind of mind-boggling how
good she's been for so long and

729
00:43:12,100 --> 00:43:14,100
she still so young.
Yeah, there.

730
00:43:14,100 --> 00:43:18,700
There's a tenacity and a
sincerity to her performance

731
00:43:18,700 --> 00:43:22,500
here that I just, I just can't
get over.

732
00:43:22,500 --> 00:43:26,400
I, I use that word sparingly,
but it's usually one of my

733
00:43:26,400 --> 00:43:29,500
favorite ways to say, I really
like a performance is to say it

734
00:43:29,500 --> 00:43:33,000
was sincere and there's just
something about the way she goes

735
00:43:33,000 --> 00:43:35,800
about her craft, whether it's
making the little cakes.

736
00:43:36,000 --> 00:43:41,500
Us with the, the tiny little,
Wes Anderson hammers in them, or

737
00:43:41,500 --> 00:43:43,400
the way that she fights with
zero.

738
00:43:43,400 --> 00:43:46,100
As she's like, I'm not going to
be offense.

739
00:43:46,100 --> 00:43:48,800
That I just love her in this
movie.

740
00:43:49,700 --> 00:43:53,400
Yeah, because she kind of has
the tough role where it's like,

741
00:43:54,200 --> 00:43:58,100
as we've already established.
Probably a lot like Mustafa, so,

742
00:43:58,100 --> 00:44:03,500
present-day are not even
present. 1960s 0 old 0 is

743
00:44:03,500 --> 00:44:05,800
deliberately skipping over the
media?

744
00:44:06,000 --> 00:44:10,300
Are parts of her story.
So like, you know, those scenes

745
00:44:10,300 --> 00:44:13,100
are just not present that would
probably give her a lot more to

746
00:44:13,100 --> 00:44:15,900
do.
And so she kind of has to be be

747
00:44:15,900 --> 00:44:21,400
both like his idealized version
of her because this is being

748
00:44:21,400 --> 00:44:24,400
told through his perspective.
But then also seem to have an

749
00:44:24,400 --> 00:44:29,600
interior life and also like, you
know, again tenacity is a good

750
00:44:29,600 --> 00:44:34,000
word because you won't have to
believe like why she's you know,

751
00:44:34,000 --> 00:44:35,800
risking her life doing these
things.

752
00:44:36,000 --> 00:44:37,900
Things for reasons.
Other than that she is

753
00:44:37,900 --> 00:44:42,100
hopelessly in love and going
along with just whatever stupid

754
00:44:42,100 --> 00:44:46,900
plans and and she has to seem
like she manages to build so

755
00:44:46,900 --> 00:44:50,500
much of like so much interiority
and make this person feel like a

756
00:44:50,508 --> 00:44:53,300
real person who like and you
understand why she's doing these

757
00:44:53,300 --> 00:44:57,200
things and taking these risks
when probably not a ton of it is

758
00:44:57,200 --> 00:45:00,700
on the page.
So I here's a scorching-hot take

759
00:45:01,100 --> 00:45:05,900
Saoirse Ronan.
Good at acting and enjoyable.

760
00:45:06,000 --> 00:45:08,200
Presence.
Who we are?

761
00:45:08,200 --> 00:45:10,200
Always happy to see.
Absolutely.

762
00:45:11,300 --> 00:45:14,500
Well before we get to Whiskey,
any thoughts on the Mainstays?

763
00:45:14,500 --> 00:45:18,500
Murray Schwartzman.
I mean that the Montage of the

764
00:45:19,100 --> 00:45:22,100
with the Society of the crossed
keys were just everyone just

765
00:45:22,100 --> 00:45:24,200
popping up.
It's just a delay.

766
00:45:24,200 --> 00:45:25,900
It's like it's one of those
things where you're just like

767
00:45:25,900 --> 00:45:27,900
man I having the time of my life
there's been we can't get any

768
00:45:27,900 --> 00:45:31,100
better then he makes a phone
call and then you just get all

769
00:45:31,100 --> 00:45:35,000
of the images and then also just
it's a great to see everyone

770
00:45:35,400 --> 00:45:36,500
show.
Oh up.

771
00:45:36,900 --> 00:45:40,500
But then also just the gags of
every person.

772
00:45:40,900 --> 00:45:43,100
Like their Lobby Boy, comes
over.

773
00:45:43,300 --> 00:45:44,900
They, they give them the
message.

774
00:45:44,900 --> 00:45:49,000
They say, you take over like,
the one on the guy, like, doing

775
00:45:49,000 --> 00:45:54,700
CPR on the tennis court is yes,
I mean, again, this, this is

776
00:45:54,700 --> 00:45:56,900
what you get is, Wes Anderson
movie, they don't get anything

777
00:45:56,900 --> 00:46:00,200
else.
It is that like, every little

778
00:46:00,200 --> 00:46:04,900
throwaway, like shot for a few
seconds, it's gonna be in a

779
00:46:05,100 --> 00:46:07,200
isn't a heaven.
And Her story.

780
00:46:07,400 --> 00:46:11,500
Like I like a whole like mini
movie within this like five

781
00:46:11,500 --> 00:46:14,300
second shot.
Yeah, it it almost feels like a

782
00:46:14,300 --> 00:46:18,600
Family Guy, like chicken fight
scene, like it just keeps going

783
00:46:18,600 --> 00:46:20,900
and getting bigger and more
ridiculous.

784
00:46:21,300 --> 00:46:26,600
And I'm here for all of it.
I also think that I just feel,

785
00:46:26,600 --> 00:46:30,900
like Wes Anderson every time he
has, you know, Bill Murray and

786
00:46:30,900 --> 00:46:32,600
Jason Schwartzman, and his
movies.

787
00:46:32,800 --> 00:46:35,800
I feel like he has to write them
like a handwritten.

788
00:46:35,900 --> 00:46:40,200
A perfect calligraphy letter
that's like dear mr.

789
00:46:40,200 --> 00:46:43,600
William James Murray, I would
invite you to perform for my

790
00:46:43,600 --> 00:46:48,200
upcoming picture and like, just
just this really long letter

791
00:46:48,200 --> 00:46:50,900
that he writes to them because
there's no other way.

792
00:46:51,000 --> 00:46:52,900
He would invite them to be in
his movies.

793
00:46:53,000 --> 00:46:54,800
Yeah.
But at the other, like the other

794
00:46:54,800 --> 00:46:58,100
hand can you think of a better
way to spend a day on set?

795
00:46:58,600 --> 00:47:00,600
Like, you know, the food's going
to be good, you know,

796
00:47:00,600 --> 00:47:03,600
everything's going to be neat
and in order and he's like, all

797
00:47:03,600 --> 00:47:05,800
right, Harvey Keitel, I have
written you.

798
00:47:06,100 --> 00:47:09,100
Three lines of dialogue.
I would like you to sit here and

799
00:47:09,100 --> 00:47:12,300
rhythmically, flex, your pecs
and biceps.

800
00:47:12,500 --> 00:47:16,000
As you say these three lines and
then you can go home and like

801
00:47:16,000 --> 00:47:18,400
and slap the shit out of Tony
Gruffalo.

802
00:47:20,800 --> 00:47:23,800
Okay, one thing that I do want
to mention here because the

803
00:47:23,800 --> 00:47:27,200
entire prison sequence is just
so good.

804
00:47:27,300 --> 00:47:34,000
Oh, but the way that they like
they never let you forget that

805
00:47:34,000 --> 00:47:37,400
these that these nice men That
Monsieur Gustave has befriended

806
00:47:37,400 --> 00:47:43,000
are all like hardened killers
and yeah, those the point when

807
00:47:43,000 --> 00:47:45,800
the guys are leaving and they
were they were off to the bus

808
00:47:45,800 --> 00:47:47,800
and you think they're just
catching the bus and then it

809
00:47:47,800 --> 00:47:50,900
just cuts back to like a wide
shot as they are like choking

810
00:47:50,900 --> 00:47:54,900
and killing the bus driver to
steal the bus are like that.

811
00:47:54,900 --> 00:47:58,400
The moment when you know, there
are other almost out of the

812
00:47:58,400 --> 00:48:02,400
prison and they like pull up the
like the trapdoor and then Co

813
00:48:02,400 --> 00:48:03,600
know the guards are on there
playing cards.

814
00:48:03,607 --> 00:48:07,300
And one guy without thinking
twice, Whips out a knife and

815
00:48:07,300 --> 00:48:12,100
just drops down there and fight
two stabs them all to death and

816
00:48:12,100 --> 00:48:16,100
finally dies himself at it's
just like, it's like, this is

817
00:48:16,100 --> 00:48:20,300
like, you know, a Whimsical Wes
Anderson movie in, like this

818
00:48:20,300 --> 00:48:22,700
dollhouse world and it's all
very funny.

819
00:48:22,800 --> 00:48:27,800
And, and also death and murder
is everywhere all over 100%.

820
00:48:28,200 --> 00:48:30,300
All right guys, I think this is
a good place for us to take a

821
00:48:30,300 --> 00:48:32,800
break Brad.
We have a bourbon to try.

822
00:48:32,800 --> 00:48:35,400
So let's get to this Russell's
Reserve Single Barrel.

823
00:48:35,400 --> 00:48:37,500
What do you say?
Say, let's get to it.

824
00:48:38,800 --> 00:48:42,000
Today's sponsor is a little bit
of a departure from our usual

825
00:48:42,000 --> 00:48:45,400
area of expertise.
And man, oh, man, I was blown

826
00:48:45,400 --> 00:48:48,000
away by their product.
Once we received it, I am

827
00:48:48,000 --> 00:48:51,600
talking about manscaped.
Now, if you're like me at all,

828
00:48:51,600 --> 00:48:54,100
you probably seen the manscaped
ads and kind of Wonder to

829
00:48:54,100 --> 00:48:56,900
yourself like, do I really need
like some sort of specialty

830
00:48:56,900 --> 00:48:59,400
trimmer to take care of my
downstairs business?

831
00:48:59,900 --> 00:49:04,500
And I've just got to be honest.
I was absolutely wrong there

832
00:49:04,500 --> 00:49:08,200
trimmers called the lon 4.0.
And I got to say it is the

833
00:49:08,200 --> 00:49:11,300
Rolls-Royce of trimmers.
It's got a ceramic blade.

834
00:49:11,300 --> 00:49:14,900
That reduces grooming mishaps, a
wireless charging base and an

835
00:49:14,900 --> 00:49:17,000
awesome flashlight.
That keeps things illuminated

836
00:49:17,000 --> 00:49:19,800
while you're working and beyond
all that it's waterproof.

837
00:49:20,000 --> 00:49:22,800
This thing is really changing
the game when it comes to below

838
00:49:22,800 --> 00:49:25,400
the belt hygiene.
Now this is just me talking

839
00:49:25,400 --> 00:49:28,800
about my experience but this
trimmer really is Way Beyond

840
00:49:28,800 --> 00:49:31,500
anything I've ever used to keep
things neat.

841
00:49:31,500 --> 00:49:35,200
And tidy, you can use our
discount code film, whiskey, to

842
00:49:35,200 --> 00:49:36,900
get 20%.
Sent off your order and free

843
00:49:36,900 --> 00:49:40,200
shipping head on over to
manscape.com and use code film.

844
00:49:40,200 --> 00:49:43,700
Whiskey, to get 20% off free
shipping, and you will be well

845
00:49:43,700 --> 00:49:52,900
on your way to hygiene heaven.
Alright, so today we are

846
00:49:52,900 --> 00:49:55,800
checking out Russell's Reserve
Single Barrel.

847
00:49:55,800 --> 00:49:59,400
Now, Russell's Reserve is the
brainchild of Jimmy and Eddie

848
00:49:59,400 --> 00:50:03,300
Russell from Wild Turkey.
It is one of their higher end

849
00:50:03,300 --> 00:50:06,000
products, you know, kind of
alongside Rare Breed usually

850
00:50:06,000 --> 00:50:09,700
actually a bit more pricey.
They make a bourbon and a rye,

851
00:50:09,800 --> 00:50:13,200
we're trying to Single Barrel
today which is always bottled at

852
00:50:13,300 --> 00:50:18,100
110 proof Brad.
So it's not necessarily, you

853
00:50:18,100 --> 00:50:20,600
know, Barrel proof because that
would fluctuate wildly.

854
00:50:20,600 --> 00:50:25,500
They always Put it out at 110,
but wild turkey is always put in

855
00:50:25,500 --> 00:50:29,300
the barrel at a relatively low
proof like somewhere between 107

856
00:50:29,300 --> 00:50:32,200
and 114 somewhere in there.
So it's not like they're

857
00:50:32,400 --> 00:50:35,300
watering it down a ton.
What's in the bottle is usually

858
00:50:35,300 --> 00:50:37,800
about eight years old, and
that's actually what we have

859
00:50:37,800 --> 00:50:40,600
here today.
So this Barrel is from our

860
00:50:40,600 --> 00:50:43,700
friend, Austin at The Bourbon
earring podcast, who's given us

861
00:50:43,700 --> 00:50:47,200
a sample from a barrel that was
distilled back in 2011 and

862
00:50:47,200 --> 00:50:50,800
bottled in 2020.
The mash bill on this bad boy is

863
00:50:50,800 --> 00:50:55,300
the same as always.
Wild turkeys. 75% corn, 13%,

864
00:50:55,300 --> 00:50:59,600
Rye, 12%, malted barley.
Those are the specs.

865
00:50:59,800 --> 00:51:02,900
Let's get drinking Brad.
What are you picking up on the

866
00:51:02,900 --> 00:51:04,600
nose here?
Oh, what was that?

867
00:51:04,600 --> 00:51:07,500
Bob, I heard, you say, rare
breed and I've just been been

868
00:51:07,500 --> 00:51:12,600
thinking about how phenomenal
real good as rare blades, dude.

869
00:51:13,100 --> 00:51:17,600
It's just crazy.
How affordable and spectacular

870
00:51:17,600 --> 00:51:19,700
that whiskey?
Hmm.

871
00:51:20,000 --> 00:51:21,500
Well I'm telling you what, man,
I'm actually knows.

872
00:51:21,700 --> 00:51:24,200
This right now on the air, I
know you've had it already.

873
00:51:24,600 --> 00:51:28,400
This is like right up there in
terms of nude, phenomenal noses.

874
00:51:28,400 --> 00:51:31,400
Like there's a ton of Oak here
but it's peanut butter.

875
00:51:31,400 --> 00:51:34,300
It's caramel, there's leather,
there's pepper.

876
00:51:34,400 --> 00:51:38,800
I mean it's just like everything
you want in a bourbon that you

877
00:51:38,800 --> 00:51:40,900
also know is going to put some
hair on your chest.

878
00:51:41,500 --> 00:51:45,500
Yeah, I think that there's
caramel there's vanilla for me.

879
00:51:45,500 --> 00:51:50,300
There was almost like an orange
creamsicle thing going on like

880
00:51:50,300 --> 00:51:56,300
like it's not It's not citrusy,
but it's like creamy orange.

881
00:51:56,600 --> 00:51:58,600
Does that make sense?
Yeah, yeah.

882
00:51:58,800 --> 00:52:01,100
And then there's like this at
the back at your, right.

883
00:52:01,100 --> 00:52:03,900
There's a lot of peanut butter
going on, but at the back end,

884
00:52:03,900 --> 00:52:09,300
there's just that little hint of
that 13% Rye that makes me like,

885
00:52:09,500 --> 00:52:14,600
just I just get really excited.
So, yeah, I am a big fan of the

886
00:52:14,600 --> 00:52:15,900
nose here.
I'm gonna give it an eight and a

887
00:52:15,908 --> 00:52:19,400
half, I'm going to give it a 9.
I really, really like this and

888
00:52:19,400 --> 00:52:21,600
I'm excited to take a sip.
So I'm going to ask that.

889
00:52:21,700 --> 00:52:23,900
You share your tasting notes
while I sip this.

890
00:52:24,700 --> 00:52:28,900
Yeah, I mean, this is like a
peanut butter cheesecake from

891
00:52:29,000 --> 00:52:32,300
the Cheesecake Factory.
Like, there's all sorts of

892
00:52:32,300 --> 00:52:35,800
peanut notes.
There's caramel, there's vanilla

893
00:52:36,100 --> 00:52:38,700
and then kind of on the back end
of the pallet once it hits the

894
00:52:38,700 --> 00:52:41,300
back of your tongue.
You just get a little bit of

895
00:52:41,308 --> 00:52:46,300
that spiciness going on, kind of
a rye baking spice feel to it.

896
00:52:46,700 --> 00:52:51,500
That is complex and I'm just
really, really beautiful.

897
00:52:52,700 --> 00:52:57,000
For me, it came down a little
bit from the nose but not very

898
00:52:57,000 --> 00:52:58,400
far.
I'll still give it an 8 out of

899
00:52:58,400 --> 00:53:00,100
10.
On the taste, I'm going to stick

900
00:53:00,100 --> 00:53:01,700
it.
A nine man, this thing is really

901
00:53:01,700 --> 00:53:05,400
blowing me away so far.
It's it's kind of thin but it's

902
00:53:05,400 --> 00:53:08,700
thin because it's so alcohol
forward, you know, I'm talking

903
00:53:08,700 --> 00:53:12,300
about like when you can really
taste the alcohol, the way that

904
00:53:12,300 --> 00:53:14,700
presents on your palate is is
almost more thin.

905
00:53:15,100 --> 00:53:18,500
It does coat the palate, but
it's not a really viscous oily

906
00:53:18,500 --> 00:53:22,400
whiskey and in fact, like, it's,
it's Strong man.

907
00:53:22,400 --> 00:53:25,600
Like there's a ton of yeah of
tingle here.

908
00:53:25,600 --> 00:53:27,600
Going on.
It's not as stringent and it's

909
00:53:27,600 --> 00:53:30,600
not like harsh.
It's just that the alcohol in

910
00:53:30,600 --> 00:53:32,600
this would make me think that we
were drinking something that's

911
00:53:32,600 --> 00:53:36,600
like between 120 and 130 proof
not 110.

912
00:53:37,100 --> 00:53:41,300
So like be prepared for this
product to kind of knock you on

913
00:53:41,300 --> 00:53:45,000
your butt a little bit.
But man the flavors it's vanilla

914
00:53:45,000 --> 00:53:47,500
and caramel up front.
There's a little bit of oak on

915
00:53:47,500 --> 00:53:49,600
the mid palate and you're right
when you go to swallow, it's

916
00:53:49,600 --> 00:53:54,100
just like waves and waves of
Peanut super good, just a

917
00:53:54,100 --> 00:53:56,900
classic bourbon palette.
I'm giving it a 9 out of 10.

918
00:53:57,200 --> 00:54:00,800
Yeah, and I think the Finish,
like you said, it it rounds

919
00:54:00,800 --> 00:54:04,900
itself out with all sorts of
peanut butter, the orange

920
00:54:04,900 --> 00:54:09,200
creamsicle really sticks around
to the end and then the oak

921
00:54:09,200 --> 00:54:12,100
comes through, but it doesn't
get bitter.

922
00:54:12,100 --> 00:54:14,700
It doesn't get anything funky
going on.

923
00:54:14,700 --> 00:54:17,600
It's just a really well-rounded
whiskey.

924
00:54:18,100 --> 00:54:20,200
I think I'll give it an eight
and a half on the Finish.

925
00:54:20,700 --> 00:54:22,300
Yeah, I'm going to come down.
It too.

926
00:54:22,300 --> 00:54:25,700
There are just there's just this
one little flavor at the very

927
00:54:25,700 --> 00:54:27,200
back of the palate after you
swallow.

928
00:54:27,200 --> 00:54:30,800
And I don't know if it's just
oak or if it's some of that

929
00:54:30,800 --> 00:54:33,500
barley that's coming through.
There's just a little bit of a

930
00:54:33,500 --> 00:54:38,400
funk here that turns slightly
bitter and that's the only thing

931
00:54:38,400 --> 00:54:40,300
that's really taking this down a
peg for me.

932
00:54:40,300 --> 00:54:42,200
I'm going to give it an eight on
the Finish.

933
00:54:42,600 --> 00:54:45,200
Yeah.
And overall the balance I will

934
00:54:45,200 --> 00:54:48,200
say this is like a semi complex
whiskey.

935
00:54:48,200 --> 00:54:51,500
It's not like over the top with
tons of different.

936
00:54:51,600 --> 00:54:55,900
Firs that all work together but
overall, it's a really solid

937
00:54:55,900 --> 00:55:00,900
experience and all of the notes
that you get throughout just

938
00:55:00,900 --> 00:55:03,800
blend together really nicely.
I'll give it an 8 out of 10 on

939
00:55:03,800 --> 00:55:05,700
balance.
Yeah, I think I'm going to give

940
00:55:05,700 --> 00:55:08,100
it a nine again.
I mean, the Finish was a slight

941
00:55:08,100 --> 00:55:11,600
step down, but this is a very
consistent whiskey.

942
00:55:11,700 --> 00:55:13,800
Like, from the time, I knows
that I knew it was going to have

943
00:55:13,800 --> 00:55:16,200
some power behind it and it
totally did.

944
00:55:16,700 --> 00:55:19,400
There's a ton of Oak.
There's a ton of alcohol on this

945
00:55:19,500 --> 00:55:22,200
and it's just a really, really
Good.

946
00:55:22,500 --> 00:55:26,600
Kentucky bourbon like.
Is it is it like mind-blowing

947
00:55:26,600 --> 00:55:29,200
Lee complex?
No, not really, but that's kind

948
00:55:29,200 --> 00:55:30,900
of what we like about Rare Breed
as well.

949
00:55:30,900 --> 00:55:35,300
This is just it seems like an
even more potent version of rare

950
00:55:35,300 --> 00:55:38,900
breed and I really like that.
So it's a 9 for me on the

951
00:55:38,900 --> 00:55:42,000
balance.
And with value, Bob, I guess I'm

952
00:55:42,000 --> 00:55:45,500
curious, I this is a single
barrel that was bought at

953
00:55:45,500 --> 00:55:48,900
Alexander's Market down in Baton
Rouge, Louisiana.

954
00:55:49,300 --> 00:55:52,400
So I don't I don't really know
how are we Gonna score value

955
00:55:52,400 --> 00:55:54,100
here.
Yeah, I mean, like we're

956
00:55:54,100 --> 00:55:56,800
obviously rating the one barrel
that we've had and that's the

957
00:55:56,800 --> 00:55:59,400
danger of single barrels is that
they're not blended with

958
00:55:59,400 --> 00:56:02,100
anything else.
So the consistency from Barrel,

959
00:56:02,100 --> 00:56:05,100
to Barrel can be slightly off.
Now, again, like they're,

960
00:56:05,100 --> 00:56:07,500
they're charring the barrels.
The same, it's the same Mash

961
00:56:07,500 --> 00:56:11,700
bill but hey, if our Barrel came
from a higher floor in the Rick

962
00:56:11,700 --> 00:56:14,200
house than yours did, or if it
came from a hotter, part of the

963
00:56:14,200 --> 00:56:18,100
Rick house, like, it could have
a very different flavor profile.

964
00:56:18,500 --> 00:56:22,500
So, this is priced at $60 a
bottle on a Ridge which I think

965
00:56:22,500 --> 00:56:25,700
is a really really decent value
again.

966
00:56:26,400 --> 00:56:28,900
I don't like that.
They're bottling it at the same

967
00:56:28,900 --> 00:56:30,400
proof.
If it's going to be a single

968
00:56:30,400 --> 00:56:33,300
barrel, I think you really need
to let the barrel, determine the

969
00:56:33,300 --> 00:56:36,100
proof because it's like at that
point.

970
00:56:36,100 --> 00:56:38,700
Why are you shooting for
consistency for things that are

971
00:56:38,700 --> 00:56:41,500
inherently inconsistent?
And so that's kind of like the

972
00:56:41,508 --> 00:56:44,900
only thing I would ding here but
I think the proof is high

973
00:56:44,900 --> 00:56:47,900
enough, right?
Like it's definitely you can

974
00:56:47,900 --> 00:56:51,000
tell that it's 110 proof.
I think it's a really good

975
00:56:51,000 --> 00:56:53,900
value.
Brad, is it worth the 10 to 12

976
00:56:53,900 --> 00:56:58,600
extra dollars from Rare Breed?
Maybe not but it's also not a

977
00:56:58,600 --> 00:57:00,900
bad value.
So I'm going to give it an 8 out

978
00:57:00,900 --> 00:57:04,400
of 10 on value.
Yeah, I think if we were using

979
00:57:04,400 --> 00:57:09,400
$60, as kind of The Benchmark
for where you would buy this at,

980
00:57:09,700 --> 00:57:11,600
I think that's a pretty solid
value.

981
00:57:11,600 --> 00:57:14,200
I'll give it a seven and a half
out of ten.

982
00:57:15,100 --> 00:57:18,800
I'm coming out to maybe my
highest score of the season so

983
00:57:18,800 --> 00:57:21,500
far.
I'm at a 43 out of 50 on this.

984
00:57:21,600 --> 00:57:25,000
Brad.
Yeah I met a 40 point five.

985
00:57:25,200 --> 00:57:29,700
So we're both coming out above
the 40 out of 50 Mark, which is

986
00:57:30,200 --> 00:57:33,800
the sign of a genuinely good
whiskey on this podcast?

987
00:57:33,800 --> 00:57:36,100
Yeah, not just good, great.
I mean, we're at an eighty three

988
00:57:36,100 --> 00:57:40,600
and a half out of 100 or a 40
1.75 out of 50.

989
00:57:41,200 --> 00:57:43,400
Generally around that 35 out of
50.

990
00:57:43,400 --> 00:57:46,200
Mark is where we start
recommending and anything over a

991
00:57:46,200 --> 00:57:48,600
40 is like an automatic you need
to get this.

992
00:57:49,100 --> 00:57:51,400
I would say it's worth trying at
the bar.

993
00:57:51,500 --> 00:57:54,000
Because it's still affordable
enough that you're probably

994
00:57:54,000 --> 00:57:58,200
paying between ten to thirteen
dollars for a poor of it, but

995
00:57:58,900 --> 00:58:03,200
it's also worth picking up a
bottle. $60 is you know, a chunk

996
00:58:03,200 --> 00:58:07,000
of change but it's also not like
exorbitant, you know?

997
00:58:07,000 --> 00:58:10,400
I mean like it's yeah, I want
something nice to put on my

998
00:58:10,400 --> 00:58:11,700
shelf.
Hmm.

999
00:58:11,900 --> 00:58:13,300
But it's also not going to break
the bank.

1000
00:58:13,400 --> 00:58:17,100
So for me it's a no brainer try
and buy ya, a hundred percent.

1001
00:58:17,100 --> 00:58:20,800
I am right there with you Bob.
Well we really seem to be

1002
00:58:21,000 --> 00:58:23,900
enjoying His whiskey.
And I know we both enjoyed this

1003
00:58:23,900 --> 00:58:25,600
movie.
So let's get back to talking

1004
00:58:25,600 --> 00:58:28,900
with Patrick about the Grand.
Budapest Hotel Bob.

1005
00:58:28,900 --> 00:58:31,700
This is just the best man.
Let's get back to it.

1006
00:58:34,600 --> 00:58:37,900
All right, everybody, that was
Russell's Reserve Single Barrel.

1007
00:58:38,200 --> 00:58:40,300
Thank you so much to our friend
of show.

1008
00:58:40,300 --> 00:58:43,200
Austin with the bourbon earring
podcast man.

1009
00:58:43,200 --> 00:58:47,100
That was a killer bourbon Bob.
I really enjoyed it again.

1010
00:58:47,100 --> 00:58:50,900
Going along with Patrick spicy
takes wild turkey makes good

1011
00:58:50,900 --> 00:58:54,900
whiskey that it's who'da thunk
and I would have never expected.

1012
00:58:56,500 --> 00:59:00,400
All right, but I think it's time
for Patrick to get introduced to

1013
00:59:00,400 --> 00:59:03,500
one of our newer segments and it
is called two facts and a

1014
00:59:03,500 --> 00:59:06,800
falsehood This is the part of
the podcast where Brad presents

1015
00:59:06,800 --> 00:59:09,600
three items to me all of them,
as fact.

1016
00:59:09,600 --> 00:59:13,200
But you know, in actuality one
of them is completely made up

1017
00:59:13,700 --> 00:59:16,000
Brad.
I'm doing okay on the season so

1018
00:59:16,000 --> 00:59:19,500
far especially given your
somewhat nitpicky tendencies in

1019
00:59:19,500 --> 00:59:22,000
writing these things.
I think I'm six and six on the

1020
00:59:22,000 --> 00:59:26,400
year so far by nitpicky.
I just take careful

1021
00:59:26,600 --> 00:59:30,000
consideration as I craft each
and every what was the word we

1022
00:59:30,000 --> 00:59:32,800
used about?
Wes Anderson, fastidious you are

1023
00:59:32,800 --> 00:59:34,100
us study studious.
Yeah.

1024
00:59:34,300 --> 00:59:35,800
The way that you construct
these.

1025
00:59:36,500 --> 00:59:38,400
All right.
I think that what we're going to

1026
00:59:38,400 --> 00:59:42,400
do today is we have to work
Patrick into this somehow Brad.

1027
00:59:42,400 --> 00:59:46,700
So what are you thinking?
I think that you have a choice.

1028
00:59:46,700 --> 00:59:47,500
Bob.
Okay.

1029
00:59:47,500 --> 00:59:51,200
Can either answer this question
on your own and get two

1030
00:59:51,200 --> 00:59:55,200
victories if you get it right or
you can call Patrick phone, a

1031
00:59:55,200 --> 00:59:58,200
friend if you will, and if he
helps you get the correct

1032
00:59:58,200 --> 01:00:00,800
answer, boom, you get your
normal Victory.

1033
01:00:01,000 --> 01:00:04,300
However, if he steers you wrong,
you ask him for help and you I

1034
01:00:04,300 --> 01:00:06,400
got two wrong.
I think it's worth two losses,

1035
01:00:06,400 --> 01:00:07,800
in my opinion.
I agree.

1036
01:00:07,800 --> 01:00:12,600
So it's it's either two
victories, and 1 loss, or one

1037
01:00:12,600 --> 01:00:13,900
Victory.
And two losses.

1038
01:00:15,000 --> 01:00:15,800
Yes.
Okay.

1039
01:00:15,800 --> 01:00:17,200
Yeah.
All right.

1040
01:00:17,200 --> 01:00:20,100
Well, what, we'll see how I feel
about Patrick Williams here in a

1041
01:00:20,107 --> 01:00:22,300
couple minutes.
But Brad, hit a hit us with your

1042
01:00:22,300 --> 01:00:24,500
three facts.
All right.

1043
01:00:24,500 --> 01:00:29,400
Fax number one.
The the tattoo on Ludwig are a

1044
01:00:29,400 --> 01:00:34,100
direct copy of the character of
pair Jewel in a towel.

1045
01:00:34,300 --> 01:00:39,100
I totally want a from 1934, the
M AV tattooed on his left arm is

1046
01:00:39,100 --> 01:00:43,000
the abbreviation of the French
saying Mort Vash which

1047
01:00:43,000 --> 01:00:45,600
translates to death, two cows
Vash being a street.

1048
01:00:45,600 --> 01:00:50,300
Slang for cops or policemen.
Fax number two, the name of the

1049
01:00:50,300 --> 01:00:56,700
fictional country of Zubrowka
Zubrowka is based on a Hungarian

1050
01:00:56,800 --> 01:01:00,500
Spirits company that produces
gin which is Wes, Anderson's

1051
01:01:00,500 --> 01:01:05,600
favorite type of liquor Fact,
number three, the soundtrack

1052
01:01:05,600 --> 01:01:09,900
features a rare instrument, the
balalaika, which is a three

1053
01:01:09,900 --> 01:01:12,700
string, triangular shaped
Russian folk instrument was

1054
01:01:12,700 --> 01:01:14,500
carefully chosen by Wes
Anderson.

1055
01:01:15,500 --> 01:01:16,700
All right.
Patrick.

1056
01:01:16,800 --> 01:01:18,500
I'm immediately going to come to
you for help.

1057
01:01:18,500 --> 01:01:22,200
So, these are harder than I
expected that these ladies are

1058
01:01:22,200 --> 01:01:24,300
hard, right?
All right, I'll say this.

1059
01:01:24,300 --> 01:01:27,800
I know for a fact that there are
balalaikas in the soundtrack.

1060
01:01:28,200 --> 01:01:32,300
So number three is true.
Okay, and Patrick it again.

1061
01:01:32,300 --> 01:01:36,600
You've been on the show three
times now but Brad has not seen

1062
01:01:36,600 --> 01:01:43,600
a ton of classic films and I
would be shocked if he invented

1063
01:01:44,500 --> 01:01:48,300
a reference To a jean Vigo film
from the 1930s, with fact,

1064
01:01:48,300 --> 01:01:49,500
number one.
Mmm.

1065
01:01:49,700 --> 01:01:53,300
So like, I'm, I'm leaning
towards number one, also being

1066
01:01:53,300 --> 01:01:58,100
true, unless he's being really
nitpicky and like, the, the more

1067
01:01:58,100 --> 01:02:02,100
dvash, or whatever is not a
reference to cows or pigs.

1068
01:02:02,600 --> 01:02:03,600
Right?
And so wait.

1069
01:02:03,600 --> 01:02:08,700
So this is a thing that the
Harvey keitel's tattoos is a

1070
01:02:08,707 --> 01:02:12,200
reference to lot element that.
Yeah, that's what he's saying.

1071
01:02:12,300 --> 01:02:16,400
OK, I think I watched lots of
Lawns like, From year of college

1072
01:02:16,400 --> 01:02:20,500
and remember nothing.
I watched the first 15 minutes

1073
01:02:20,500 --> 01:02:22,700
of it.
One night on HBO, Max fell

1074
01:02:22,700 --> 01:02:24,800
asleep and never picked it back
up.

1075
01:02:24,800 --> 01:02:26,700
It's only like an hour and a
half long, I should finish it.

1076
01:02:26,707 --> 01:02:28,700
Sometime some kind of cinephile
you.

1077
01:02:30,500 --> 01:02:33,400
Alright, and then number two,
Brad was about what?

1078
01:02:33,400 --> 01:02:37,000
Again, the name of the country.
Oh yeah.

1079
01:02:37,000 --> 01:02:40,800
Movie replica is based off of a
Hungarian company that makes

1080
01:02:40,800 --> 01:02:43,800
Jin.
I don't know of any Hungarian

1081
01:02:43,800 --> 01:02:46,700
Jin's, but I mean, I'm not.
Not, I'm not debating that.

1082
01:02:46,700 --> 01:02:50,900
It sounds very Hungarian.
Also, this is I'm going to stop

1083
01:02:50,900 --> 01:02:56,200
talking now because I you, you
know, you still have can

1084
01:02:56,200 --> 01:03:01,000
potentially get two wins here so
you haven't called me yet.

1085
01:03:01,100 --> 01:03:04,200
That's true.
Now where if it listen if we're

1086
01:03:04,200 --> 01:03:06,000
gonna go down with the ship here
we're doing it together.

1087
01:03:06,200 --> 01:03:09,000
Patrick so what are you
thinking?

1088
01:03:09,000 --> 01:03:12,600
Which sounds the most made up to
you are you officially calling

1089
01:03:12,600 --> 01:03:15,100
me in?
Oh I'm calling and phoning me,

1090
01:03:15,100 --> 01:03:16,500
your friend.
Absolutely.

1091
01:03:17,600 --> 01:03:23,200
Um you know I'm also leaning
toward the gin one.

1092
01:03:24,800 --> 01:03:30,400
I'm like this might be a thing
where it's like oh it may be

1093
01:03:30,400 --> 01:03:34,500
just a different kind of Alcohol
or something like that.

1094
01:03:34,500 --> 01:03:37,800
I'll, I'm also, it was
interesting.

1095
01:03:37,800 --> 01:03:39,200
Be a Djinn guy.
I don't know.

1096
01:03:41,000 --> 01:03:44,600
But I'm I'm that's what I'm
leaning toward.

1097
01:03:45,300 --> 01:03:46,800
All right.
So it sounds like we're both

1098
01:03:46,800 --> 01:03:50,800
leaning towards to the caveat
being, if Brad changed a very

1099
01:03:50,800 --> 01:03:54,100
minute detail in one or three,
maybe the balalaika has more

1100
01:03:54,100 --> 01:03:56,900
than three strings.
I don't know, I just know, I

1101
01:03:56,900 --> 01:03:59,200
just know that when I was
looking at things about the

1102
01:03:59,200 --> 01:04:02,000
score, it said, balalaikas and I
was like, oh cool, all right.

1103
01:04:02,500 --> 01:04:05,100
I will say I am doing my best to
not be nitpicky.

1104
01:04:05,100 --> 01:04:10,000
All right, so Patrick and I are
going to both lock in number two

1105
01:04:10,300 --> 01:04:15,600
as the falsehood Bob.
Patrick, you are both 100%

1106
01:04:15,600 --> 01:04:19,000
correct.
Yes, we did it.

1107
01:04:19,000 --> 01:04:22,900
I was worried about the lateral
and I was like, man.

1108
01:04:22,900 --> 01:04:26,200
Patrick is is pretty
well-versed, he probably will

1109
01:04:26,200 --> 01:04:29,000
know that, that's true, but the
fact that you knew the Bible

1110
01:04:29,000 --> 01:04:32,100
like that, that really put it
down and they did an easy.

1111
01:04:32,200 --> 01:04:33,000
Choice.
I think.

1112
01:04:33,900 --> 01:04:35,700
All right.
So I get one victory for that so

1113
01:04:35,700 --> 01:04:39,100
I'm seven and six on the season.
Now I'm back above 500, thanks

1114
01:04:39,100 --> 01:04:42,300
to Patrick.
And I think this balalaika thing

1115
01:04:42,300 --> 01:04:45,500
is actually a great segue into
talking a little bit more about

1116
01:04:45,600 --> 01:04:48,800
some of the behind-the-scenes
stuff here or the the non-acting

1117
01:04:48,800 --> 01:04:53,500
parts of this film.
This movie's score is just

1118
01:04:53,500 --> 01:04:57,200
delightful, I mean probably the
best score.

1119
01:04:57,200 --> 01:04:59,500
We've had in a Wes Anderson
movie to this point.

1120
01:04:59,500 --> 01:05:02,100
Brad and Moonrise Kingdom had a
pretty good one.

1121
01:05:02,300 --> 01:05:04,400
I think this one just takes it
to the next level.

1122
01:05:04,900 --> 01:05:07,100
Yeah, this this one is
absolutely incredible.

1123
01:05:07,100 --> 01:05:10,100
In the fact that, you know, we
talked earlier about the pacing

1124
01:05:10,100 --> 01:05:16,100
of this movie and this movie
Just moves that like there is no

1125
01:05:16,100 --> 01:05:20,300
slowing down from start to
finish and really a large part

1126
01:05:20,300 --> 01:05:24,000
of that is the soundtrack there.
There's, there's just an

1127
01:05:24,000 --> 01:05:28,600
impatience to the way that this
this, soundtrack moves

1128
01:05:28,600 --> 01:05:31,400
throughout the movie and it
really matches the main

1129
01:05:31,400 --> 01:05:35,700
character of goose Stop that he
is always so fast-paced, he's

1130
01:05:35,700 --> 01:05:40,600
always just an incredible orator
that's that is speaking.

1131
01:05:40,600 --> 01:05:43,800
So incredibly fast Bob you
mentioned before we got on that

1132
01:05:43,800 --> 01:05:47,400
you like almost have to watch
this movie with subtitles and I

1133
01:05:47,400 --> 01:05:52,200
would agree with you because Ray
finds delivers so many funny

1134
01:05:52,200 --> 01:05:55,300
lines in this movie.
So quickly that it's hard to

1135
01:05:55,300 --> 01:05:59,000
keep up with and and yet the
music keeps up with it and

1136
01:05:59,000 --> 01:06:01,800
propels you along throughout
just beautifully.

1137
01:06:03,200 --> 01:06:05,700
One of my favorite moments in
the score and I feel like the

1138
01:06:05,700 --> 01:06:09,400
whole second half of the movie
is almost the same theme over

1139
01:06:09,400 --> 01:06:11,000
and over.
And it's got this really

1140
01:06:11,000 --> 01:06:14,400
percussive like satin satin side
behind the whole thing.

1141
01:06:14,800 --> 01:06:19,000
And it reminds me of like all of
the praise that we've heaped on

1142
01:06:19,000 --> 01:06:22,400
like Hans Zimmer over the years
for making, you know, like the

1143
01:06:22,400 --> 01:06:26,000
Dunkirk, soundtrack have this
ticking clock thing going on but

1144
01:06:26,300 --> 01:06:28,600
this is doing the same thing.
It's about this guy.

1145
01:06:28,600 --> 01:06:31,000
Monsieur Gustave who is racing
against the clock but who is

1146
01:06:31,000 --> 01:06:35,600
also, you know, A fastidious and
on time all the time, but my

1147
01:06:35,600 --> 01:06:39,700
favorite little moment is when
they are on those two ski lifts

1148
01:06:39,700 --> 01:06:42,000
and they're, they're
transferring between one and the

1149
01:06:42,000 --> 01:06:46,400
other, in the ski lift stopped
and the creaking of the ski lift

1150
01:06:46,400 --> 01:06:50,900
as it like goes back and forth
is timed to the beach of the

1151
01:06:50,900 --> 01:06:53,200
soundtrack.
And it's again, it's one of

1152
01:06:53,200 --> 01:06:55,700
these Wes Anderson things where
you're like, of course, you

1153
01:06:55,700 --> 01:06:59,100
would think of that with the
sound design but it just, again,

1154
01:06:59,100 --> 01:07:02,100
it does such an incredible job
of making this.

1155
01:07:02,200 --> 01:07:06,200
This dollhouse World feel like a
thing that could really exist.

1156
01:07:06,800 --> 01:07:10,100
Yeah, I mean the the timing of
it it almost has a bit of a baby

1157
01:07:10,100 --> 01:07:14,300
driver, feel a little bit of
Edgar Wright action.

1158
01:07:14,300 --> 01:07:18,800
That the the way the the action
is moving forward, the sound

1159
01:07:18,800 --> 01:07:22,100
just perfectly punctuated, see
each and every beat of the

1160
01:07:22,100 --> 01:07:24,200
scene.
Bob, I'm with you man.

1161
01:07:24,200 --> 01:07:27,300
I think that he does a really
masterful job of that here.

1162
01:07:28,000 --> 01:07:32,200
Yeah, like there will always be
a small part of me that misses

1163
01:07:32,500 --> 01:07:37,100
the, the soundtracks of early,
Wes Anderson where Mark

1164
01:07:37,100 --> 01:07:40,200
mothersbaugh added the scores,
and then they were like full of

1165
01:07:40,200 --> 01:07:43,800
great needle drops.
And but at the same time, I look

1166
01:07:43,800 --> 01:07:47,300
at this and I listened to this
and like, you know, Alexander

1167
01:07:47,300 --> 01:07:49,800
dust plots scores for all his
movies.

1168
01:07:49,800 --> 01:07:52,500
I'm like, I can't really argue
with this.

1169
01:07:52,500 --> 01:07:56,100
Like, this is it's so good and
I'll also like the thing is, one

1170
01:07:56,100 --> 01:07:57,500
of the first things I was think
of when it comes.

1171
01:07:57,600 --> 01:08:02,800
Do you like the music in Grand?
Budapest is just the, like, the

1172
01:08:03,200 --> 01:08:07,500
kind of the very Eastern
European kind of like vocal,

1173
01:08:07,500 --> 01:08:12,000
like, slow vocal music.
That that, I feel like it.

1174
01:08:12,200 --> 01:08:15,600
You know, what, the movie
introduces us to this world

1175
01:08:15,600 --> 01:08:17,899
with, like you sing an example
for us?

1176
01:08:17,899 --> 01:08:21,899
Patrick no real quick.
No, I can't.

1177
01:08:23,200 --> 01:08:26,600
I don't, I hear because I could
not do an accurate

1178
01:08:26,600 --> 01:08:30,200
representation of And I do not
want to get the really

1179
01:08:30,200 --> 01:08:35,500
embarrassing recording of me,
trying out into the world, so

1180
01:08:35,500 --> 01:08:38,800
I'm not falling for your tricks.
Your eye, I will not fall into

1181
01:08:38,800 --> 01:08:44,100
that trap, but, but, yeah, but
it is like it almost is like

1182
01:08:44,100 --> 01:08:48,500
the, the music is slower and
more peaceful and then when

1183
01:08:48,500 --> 01:08:51,500
we're introduced to mr.
Gustave then all the music kind

1184
01:08:51,500 --> 01:08:56,399
of like, like matches his Tempo
and and is all this like, you

1185
01:08:56,407 --> 01:08:59,300
know, it's all quick.
Quickly paced at because this is

1186
01:08:59,300 --> 01:09:01,899
a Chase movie basically.
Yeah.

1187
01:09:01,899 --> 01:09:05,100
And again, going back to the
idea of all of the references

1188
01:09:05,100 --> 01:09:07,100
that are just, this movie is
chock-full of.

1189
01:09:08,000 --> 01:09:10,800
I was, I've been reading this
book about Wes, Anderson by the

1190
01:09:10,800 --> 01:09:13,000
critic, Ian, Nathan, and it's
really, really good.

1191
01:09:13,000 --> 01:09:15,800
And he talks throughout the
movie about some of the, the

1192
01:09:15,800 --> 01:09:18,500
influences on Wes Anderson that
have been present in all his

1193
01:09:18,500 --> 01:09:22,399
movies and how Charles Schulz is
peanuts is especially in his

1194
01:09:22,399 --> 01:09:27,399
early films like this, this very
kind of mopey Youth and this

1195
01:09:27,600 --> 01:09:30,200
This every character has this
sense of ennui.

1196
01:09:30,600 --> 01:09:34,600
That's not so present here, but
I think some of them more silly

1197
01:09:34,600 --> 01:09:37,800
elements that are influences on.
Wes Anderson really come out

1198
01:09:37,800 --> 01:09:41,200
here, and I noticed it,
especially in that scene at the

1199
01:09:41,200 --> 01:09:43,700
monastery.
When you finally go inside and

1200
01:09:43,700 --> 01:09:48,000
all of the monks are singing
because it's, it is essentially

1201
01:09:48,000 --> 01:09:51,899
a nod to the monks in Monty
Python and the Holy Grail.

1202
01:09:52,100 --> 01:09:56,200
And there is, there's so much
Monty Python in this movie in

1203
01:09:56,200 --> 01:09:59,600
the way that He does these
cutaways to little Miniatures

1204
01:09:59,600 --> 01:10:02,400
and when you know, when they're
doing these elaborate jumps off

1205
01:10:02,400 --> 01:10:06,100
of, you know, ski jumps and they
cuts to like a doll just like

1206
01:10:06,100 --> 01:10:09,200
falling off of everything and it
looks so fake.

1207
01:10:09,200 --> 01:10:13,300
But it also it like undercuts.
Again, this dollhouse thing,

1208
01:10:13,800 --> 01:10:17,300
it's just so reminiscent of some
of the sillier low-budget

1209
01:10:17,300 --> 01:10:19,700
cutaways that you had in Monty
Python.

1210
01:10:19,700 --> 01:10:22,100
And I love that, he's embracing
some of that here.

1211
01:10:22,300 --> 01:10:27,400
Yeah, and I've got to say, it
takes a lot of confidence for a

1212
01:10:27,600 --> 01:10:33,600
To do this move of of cutting to
a what's clearly a doll for this

1213
01:10:33,600 --> 01:10:35,800
wide shot of like an office ski
jump.

1214
01:10:35,900 --> 01:10:40,100
And and I like that it's moments
like that that really

1215
01:10:40,400 --> 01:10:44,200
communicates to me like man this
guy has like fully mastered what

1216
01:10:44,200 --> 01:10:48,500
he's doing but because he knows
that the live-action world of

1217
01:10:48,500 --> 01:10:51,500
the movie will also be such a
perfect.

1218
01:10:51,500 --> 01:10:55,900
Meticulous dollhouse that
cutting to an actual doll will

1219
01:10:55,900 --> 01:10:59,500
still fit aesthetically. lie
with everything else around it

1220
01:11:00,200 --> 01:11:04,400
and I mean you look at those
like those great shots of

1221
01:11:04,400 --> 01:11:09,300
whether it's Willem Dafoe on the
motorcycle are zero and Gustav

1222
01:11:09,300 --> 01:11:12,900
on the sled which is like the
you know the camera locked on

1223
01:11:12,900 --> 01:11:14,500
there and it's one of those
things where it's like it's

1224
01:11:14,500 --> 01:11:18,200
funny people you know, are
always like oh you know Wes

1225
01:11:18,200 --> 01:11:21,800
Anderson never a person who uses
visual effects and it's like no,

1226
01:11:21,800 --> 01:11:27,900
no their shot on a green screen
he has figured out how to How to

1227
01:11:27,900 --> 01:11:32,200
incorporate visual effects into
his, you know what way of

1228
01:11:32,200 --> 01:11:37,500
working on to not just continue
the alike very handmade

1229
01:11:37,500 --> 01:11:40,800
aesthetic, that he's had since
the very beginning but to

1230
01:11:40,800 --> 01:11:47,000
actually like build upon it and
and it's beautiful II, really

1231
01:11:47,000 --> 01:11:48,600
love it.
I want to talk a little bit

1232
01:11:48,600 --> 01:11:52,200
about Robert Yeomans
cinematography here because he

1233
01:11:52,200 --> 01:11:55,200
kind of grew up with Wes
Anderson as a movie maker.

1234
01:11:55,400 --> 01:11:57,300
I think he's done eight, Wes
Anderson movies.

1235
01:11:57,300 --> 01:12:01,600
Now Now, he is not the DPI
believe on either of the

1236
01:12:01,600 --> 01:12:05,500
animated films, but he's pretty
much done all of the live-action

1237
01:12:05,500 --> 01:12:07,900
ones, and it's really every
single one.

1238
01:12:07,900 --> 01:12:10,600
Yeah, and it's really cool to
see, you know, from bottle

1239
01:12:10,600 --> 01:12:13,700
rocket to.
Now, we talked about Wes

1240
01:12:13,700 --> 01:12:17,500
Anderson's growth, in terms of
stylistic Independence and

1241
01:12:17,500 --> 01:12:20,600
control.
But to see what Robert Yeomans

1242
01:12:20,600 --> 01:12:23,700
doing even from like Tenenbaums
where you first start to get

1243
01:12:23,700 --> 01:12:27,400
that aesthetic and Rushmore a
little bit to Moonrise Kingdom.

1244
01:12:27,500 --> 01:12:30,700
Everything kind of has this
yellowish brag even commented on

1245
01:12:30,700 --> 01:12:34,800
it, like a almost, a sepia tone
to evoke Nostalgia and then you

1246
01:12:34,800 --> 01:12:37,600
go into Grand Budapest and it's
like, let's do everything.

1247
01:12:37,700 --> 01:12:41,700
Let's have half the movie be in,
like, super Panavision.

1248
01:12:41,900 --> 01:12:44,100
And then the other half of the
movie is going to be an academy

1249
01:12:44,100 --> 01:12:46,300
ratio.
And I don't think this movie

1250
01:12:46,300 --> 01:12:50,900
gets enough credit for kind of
re kick-starting the academy

1251
01:12:50,900 --> 01:12:55,300
ratio craves that we now see
with like every a24 movie that

1252
01:12:55,300 --> 01:13:00,300
comes out it it really was Was
way way ahead of the curve in

1253
01:13:00,300 --> 01:13:03,800
bringing back some of these, but
it also has a purpose in how

1254
01:13:03,800 --> 01:13:08,300
they're telling the story.
Yeah, I remember when I went to

1255
01:13:08,308 --> 01:13:11,400
see this in a theater when it
first came out, that there was a

1256
01:13:11,400 --> 01:13:16,800
sign on the door to go into the
theater saying this movie

1257
01:13:16,800 --> 01:13:19,800
changes aspect ratios, it is not
a mistake.

1258
01:13:19,800 --> 01:13:23,200
It is the deliberate Choice by
the filmmakers I think because

1259
01:13:23,200 --> 01:13:27,900
back then, like there were not
movies in the academy Ratio

1260
01:13:28,400 --> 01:13:31,900
being released in theaters,
know, so that to the put.

1261
01:13:31,900 --> 01:13:35,300
Yeah.
And so it's like Yeoman is so

1262
01:13:35,300 --> 01:13:39,000
interesting because obviously he
shoots every was Anderson movie

1263
01:13:39,000 --> 01:13:44,800
which get visually like more
ambitious and and more I'm has

1264
01:13:44,800 --> 01:13:48,200
to say experimental because I
don't want to sound like oh

1265
01:13:48,200 --> 01:13:50,100
they're just like try and Shout.
Yeah.

1266
01:13:50,100 --> 01:13:53,900
But but like you know they're
like with pretty much each.

1267
01:13:53,900 --> 01:13:56,600
One of these movies they're
trying to like do some sort of

1268
01:13:56,600 --> 01:13:59,400
new things.
NG even like Moonrise Kingdom.

1269
01:13:59,400 --> 01:14:01,100
It's all shot on 16.
Mm.

1270
01:14:01,400 --> 01:14:04,900
And but they're always like
pushing a new directions and

1271
01:14:04,900 --> 01:14:10,500
doing really exciting stylistic
things and almost no one else

1272
01:14:10,500 --> 01:14:16,200
else asks Yeoman to do that,
like, he was Paul figs guy for a

1273
01:14:16,200 --> 01:14:19,000
long time.
A lot of of Paul feig comedies,

1274
01:14:19,600 --> 01:14:23,400
he shot Mamma Mia, here we go
again, very good film become

1275
01:14:24,000 --> 01:14:27,000
where where I do think in some
of the musical numbers there

1276
01:14:27,000 --> 01:14:30,400
especially The Waterloo sequence
with, it's like really really

1277
01:14:30,400 --> 01:14:32,800
careful.
Precise choreography and like

1278
01:14:32,800 --> 01:14:36,300
background gags, I'm like, oh I
can see the crossover from like,

1279
01:14:36,900 --> 01:14:41,700
working on Wes Anderson to doing
this, but in general, I'm I'm

1280
01:14:41,700 --> 01:14:46,100
just like his was Anderson like,
his work is always good, but his

1281
01:14:46,100 --> 01:14:49,400
was Anderson, work is so
different than everything else

1282
01:14:49,400 --> 01:14:51,700
he does.
I'm just surprised that more

1283
01:14:51,700 --> 01:14:56,400
people aren't getting him to
like, like I guess it's like to

1284
01:14:56,407 --> 01:14:59,500
stretch his muscles.
Cil's in these kinds of ways.

1285
01:15:00,300 --> 01:15:03,100
Well, and again, he loses, he
loses the Oscar this year for

1286
01:15:03,100 --> 01:15:06,400
cinematography and it's movie
loses a ton of oscars to

1287
01:15:06,400 --> 01:15:10,000
Birdman, which I feel like
people have done a 180 on when

1288
01:15:10,000 --> 01:15:11,500
it came out, everyone loved
Birdman.

1289
01:15:11,500 --> 01:15:13,800
And then within a couple years,
everyone was like, we're all out

1290
01:15:13,800 --> 01:15:15,800
on in Erie to and we don't like
this anymore.

1291
01:15:16,200 --> 01:15:20,200
I'm not there.
I was not huge on Birdman from

1292
01:15:20,200 --> 01:15:23,400
the very beginning, right?
Well, I think I've never been an

1293
01:15:23,400 --> 01:15:29,800
injury to guy.
I he's Not really my vibe idea.

1294
01:15:29,800 --> 01:15:33,300
I still watch his movies when
they come out but I don't tend

1295
01:15:33,300 --> 01:15:35,700
to enjoy them very much.
I mean I'm a fan of Birdman.

1296
01:15:35,700 --> 01:15:39,800
I think it's a good movie and
the Emmanuel lubezki thing he

1297
01:15:39,800 --> 01:15:43,900
was doing something that for him
was another leap forward and I

1298
01:15:43,900 --> 01:15:47,200
understand why they gave him the
Oscar but going back now and

1299
01:15:47,200 --> 01:15:49,900
looking at what Yeoman did here,
I think this this should have

1300
01:15:49,900 --> 01:15:52,700
been his year.
I mean it Birdman was always

1301
01:15:52,700 --> 01:15:55,400
going to win that.
It's like in the same way 1917

1302
01:15:55,400 --> 01:15:59,700
was always going to win.
Whereas it's like, oh, if you do

1303
01:16:00,300 --> 01:16:05,400
like such a notable, obvious
like difficult to pull off

1304
01:16:05,400 --> 01:16:08,100
stylistic thing, that even
someone who knows nothing about

1305
01:16:08,100 --> 01:16:11,700
cinematography can still
recognize you're gonna, you're

1306
01:16:11,700 --> 01:16:13,700
gonna win it?
Yeah, for sure.

1307
01:16:13,700 --> 01:16:16,800
It's like, if you do a one take
movie, you've got it.

1308
01:16:16,800 --> 01:16:21,300
It's in the bag.
It's like so.

1309
01:16:21,500 --> 01:16:24,100
So yes.
And I mean, like, I'm not trying

1310
01:16:24,100 --> 01:16:28,100
to like discount, the bass Keys
work because he's Very good at

1311
01:16:28,100 --> 01:16:31,500
what he does.
He's actually, I wish he'd do

1312
01:16:31,500 --> 01:16:35,100
more work with people other than
in reach, actually because of

1313
01:16:35,100 --> 01:16:37,100
that silly.
But like Levesque, he shot the

1314
01:16:37,100 --> 01:16:40,900
new David o'russell movie, all
the one that's coming out this

1315
01:16:40,900 --> 01:16:42,100
year.
Yeah.

1316
01:16:42,200 --> 01:16:44,700
I didn't know that.
I was it like Amsterdam.

1317
01:16:44,800 --> 01:16:46,900
Yeah, something like that.
The one, the one that Taylor

1318
01:16:46,900 --> 01:16:48,100
Swift is in.
Yes.

1319
01:16:48,600 --> 01:16:51,600
Yeah, I saw the trailer.
I was like who shot this and

1320
01:16:51,700 --> 01:16:55,500
because I was like, usually
Russell's movies are shot by

1321
01:16:56,500 --> 01:16:59,700
Lena said, And grin and he's
busy these days.

1322
01:17:00,100 --> 01:17:03,700
So but yeah but in general like
I'm not the best he does very

1323
01:17:03,700 --> 01:17:06,200
good work on birdman even though
even if I personally think that

1324
01:17:06,200 --> 01:17:14,100
movie would be better if it were
not a one shot but I feel like

1325
01:17:14,100 --> 01:17:18,400
you know 50 years from now we're
people, the one people will be

1326
01:17:18,400 --> 01:17:23,500
talking about is Grand Budapest
because and this work is like is

1327
01:17:23,500 --> 01:17:28,000
unreal at end?
So wildly different from Every

1328
01:17:28,000 --> 01:17:30,100
other movie being made these
days.

1329
01:17:30,400 --> 01:17:33,700
Well, and, and thinking about
the cinematography talk, a

1330
01:17:33,700 --> 01:17:37,800
little bit about what effect it
has on a movie, when you switch,

1331
01:17:37,800 --> 01:17:40,400
you know, the aspect ratios, the
way they do.

1332
01:17:40,900 --> 01:17:43,500
And, you know, for those
unenlightened folks out there,

1333
01:17:43,500 --> 01:17:48,800
definitely not me explain
Academy of ratio and how it how

1334
01:17:48,800 --> 01:17:51,200
it started, how it fell out of
fashion?

1335
01:17:51,200 --> 01:17:55,200
Apparently, I mean, I know all
of this myself, but the

1336
01:17:55,200 --> 01:17:57,200
breakdown of that, so I just
have to you.

1337
01:17:57,400 --> 01:18:00,100
No, give you a film history
lesson here.

1338
01:18:00,100 --> 01:18:05,300
Yes, 43.
Okay, so I'll do this as quickly

1339
01:18:05,300 --> 01:18:07,900
as I can.
So when filming started out,

1340
01:18:07,900 --> 01:18:13,200
they were all shot in a square.
Like most of Grand Budapest is,

1341
01:18:13,600 --> 01:18:15,700
and that, and that was it.
That's how movies.

1342
01:18:15,700 --> 01:18:20,500
Looked and and then and then it
became later called The Academy

1343
01:18:20,500 --> 01:18:23,500
ratio and really that the shift
started happening with the

1344
01:18:23,500 --> 01:18:26,200
Advent of Television, which was
also a square.

1345
01:18:26,500 --> 01:18:31,800
When And Hollywood was panicking
because there are like, oh no,

1346
01:18:31,900 --> 01:18:33,700
our people are going to stop
going to the movies and only

1347
01:18:33,700 --> 01:18:39,000
watch TV instead, we need to
start doing more things to like,

1348
01:18:39,100 --> 01:18:41,900
you know, separate movies from
TV.

1349
01:18:41,900 --> 01:18:44,900
And one of those things could
be, what if we had a wider

1350
01:18:45,100 --> 01:18:47,600
picture?
That, that had that, you know,

1351
01:18:47,600 --> 01:18:50,200
just like more going on.
You could see like a big wide

1352
01:18:50,200 --> 01:18:54,200
landscape and it at a more
reflected, I guess like the, you

1353
01:18:54,208 --> 01:18:56,900
know, human Vision because we
have two eyes that are side by

1354
01:18:56,900 --> 01:18:59,900
side.
I'd and and that was really, you

1355
01:18:59,907 --> 01:19:05,100
know, the beginning of aspect
ratio, it's getting a bit wider

1356
01:19:05,100 --> 01:19:07,200
and then it went further and
further as they're just like,

1357
01:19:07,200 --> 01:19:11,100
no, we need like bigger gimmicks
for movie theaters, what about

1358
01:19:11,100 --> 01:19:15,400
like, Cinerama and cinemascope?
And let's just get wider and

1359
01:19:15,400 --> 01:19:18,500
wider and wider.
And and now we have, hey guys.

1360
01:19:18,500 --> 01:19:20,400
Have you seen a movie in screen
x yet?

1361
01:19:20,500 --> 01:19:22,500
No.
But I heard is this the one

1362
01:19:22,500 --> 01:19:25,000
where they're kind of bringing
back the smell of vision from

1363
01:19:25,000 --> 01:19:29,100
the 50s?
Kind of.

1364
01:19:29,100 --> 01:19:32,600
Yeah, it's our.
So I will say, I don't know if

1365
01:19:32,600 --> 01:19:35,800
I'll ever see a movie this way
again, but I saw the third time,

1366
01:19:35,800 --> 01:19:39,400
I went to see top gun Maverick.
I saw it in screen X because I

1367
01:19:39,400 --> 01:19:44,400
heard that, I mean, I guess I
already seen it twice and when I

1368
01:19:44,407 --> 01:19:48,900
heard the director talking about
the way they designed the screen

1369
01:19:48,900 --> 01:19:52,300
X version, I was like that
actually sounds kind of fun and

1370
01:19:52,400 --> 01:19:55,900
I've already seen it twice so
but yeah, it this is the thing

1371
01:19:55,900 --> 01:20:00,800
that I find really funny.
How AMC has like the IMAX

1372
01:20:00,800 --> 01:20:04,500
screens and the Dolby Cinemas
and just like the really

1373
01:20:04,500 --> 01:20:08,800
pristine like best like best
quality, like that's that's the

1374
01:20:08,800 --> 01:20:12,200
actual best experience watching
a movie and Regals thing is now

1375
01:20:12,200 --> 01:20:16,100
just like, oh, we've got 40 x,
we've got screen X, right?

1376
01:20:16,100 --> 01:20:18,700
We've got that.
We've got like the gimmicks that

1377
01:20:18,700 --> 01:20:21,000
are just like, oh, if you just
want to turn a movie into a

1378
01:20:21,008 --> 01:20:23,400
theme park ride, you come to a
Regal Cinema.

1379
01:20:23,600 --> 01:20:27,200
So screen acts as the one, we're
at points in the movie.

1380
01:20:27,400 --> 01:20:32,700
Squee in action sequences, they
have like additional projector

1381
01:20:32,700 --> 01:20:36,500
is that predict that make the
image extend onto the walls on

1382
01:20:36,500 --> 01:20:39,500
the sides.
It's like Cinerama it straight

1383
01:20:39,500 --> 01:20:42,600
up is and it's a thing like they
have a little like intro video

1384
01:20:42,600 --> 01:20:46,700
to it for you.
The plays were there, like you

1385
01:20:46,700 --> 01:20:49,800
stay looking at the center of
the screen as usual, but

1386
01:20:49,800 --> 01:20:52,900
basically, now the image is
extend into your peripheral

1387
01:20:52,900 --> 01:20:57,000
vision and the interesting thing
with like watching Top Gun that

1388
01:20:57,000 --> 01:20:58,900
way.
Was, that was realizing when I

1389
01:20:58,900 --> 01:21:02,300
would occasionally, like, look
at the walls like going, oh,

1390
01:21:02,300 --> 01:21:06,900
they they actually have like, a
lot of additional footage that

1391
01:21:06,900 --> 01:21:11,100
was just cropped out of the
original movie, that does extend

1392
01:21:11,100 --> 01:21:15,300
over here and like, apparently,
because like the, the scenes in

1393
01:21:15,300 --> 01:21:18,200
the like, in the cockpits, they
would have like a six camera

1394
01:21:18,200 --> 01:21:20,000
rig.
So they had the footage that

1395
01:21:20,000 --> 01:21:22,400
like actually gave you like the
cockpit rapping.

1396
01:21:22,400 --> 01:21:24,600
Like around you.
I'm from the sides.

1397
01:21:24,800 --> 01:21:28,400
And so I sort of pretty fun You
know, if you already seen it

1398
01:21:28,400 --> 01:21:30,700
before and you want it, you want
a fun little gimmick to try

1399
01:21:30,700 --> 01:21:34,000
again?
Anyway, that was a long tangent

1400
01:21:34,000 --> 01:21:36,100
that has nothing to do with
Grandma best hotel.

1401
01:21:36,100 --> 01:21:39,500
But basically, that was pretty
much how Astrid ratios came to

1402
01:21:39,500 --> 01:21:41,700
be developed there.
Like, you know, mostly just ways

1403
01:21:41,700 --> 01:21:47,400
for Hollywood to try to compete
with TV by giving you more image

1404
01:21:47,700 --> 01:21:50,100
and then hyping it up.
And then once they were all

1405
01:21:50,100 --> 01:21:52,400
established and they basically
just became creative choices.

1406
01:21:52,600 --> 01:21:56,700
We're filmmakers could just be
like, what is the best one to

1407
01:21:56,700 --> 01:22:00,300
use?
Is to tell the story and and for

1408
01:22:00,300 --> 01:22:03,600
Wes Anderson, it was I'm going
to have a different aspect ratio

1409
01:22:03,600 --> 01:22:09,800
for each time period in the
movie and that especially for

1410
01:22:09,800 --> 01:22:15,900
like the bulk of the movie is a
reflection of what what aspect

1411
01:22:15,900 --> 01:22:19,400
ratio was available.
Exactly that the period that

1412
01:22:19,400 --> 01:22:24,000
it's set and are also for Wes
Anderson works.

1413
01:22:24,200 --> 01:22:28,900
So perfectly, considering you Be
like a more claustrophobic

1414
01:22:28,900 --> 01:22:32,700
frame.
That is tighter but you have so

1415
01:22:32,700 --> 01:22:35,600
many shots are.
So like he uses the one-point

1416
01:22:35,600 --> 01:22:39,400
perspective constantly and, you
know, it was Henderson, you

1417
01:22:39,400 --> 01:22:43,100
know, symmetry all that stuff.
That's his jam and but putting

1418
01:22:43,100 --> 01:22:47,300
that within this perfect square
is like, kind of a new

1419
01:22:47,300 --> 01:22:51,800
experience compared to like his
previous movies that I think

1420
01:22:51,800 --> 01:22:53,900
works really beautifully.
I mean, especially you look at

1421
01:22:53,907 --> 01:22:57,400
just like the lobby of the Grand
Budapest and that in this This

1422
01:22:57,400 --> 01:23:00,500
perfect square.
I'm just like I know I wouldn't

1423
01:23:00,500 --> 01:23:03,600
want to watch this any other way
like this is the right choice.

1424
01:23:03,800 --> 01:23:06,200
Well.
And then again like in the 1968

1425
01:23:06,200 --> 01:23:09,700
or whatever it is is when he's
going super wide with it and

1426
01:23:09,700 --> 01:23:13,300
again it's echoing how empty and
desolate this place has become

1427
01:23:13,300 --> 01:23:17,100
its it really is thematic it's
not just a stylistic choice and

1428
01:23:17,100 --> 01:23:20,100
Brad it's really similar to when
we've watched twice now, The

1429
01:23:20,100 --> 01:23:25,400
Aviator and how Scorsese and the
teepee Robert Richardson would

1430
01:23:25,500 --> 01:23:28,800
use a coloration.
SS that mimicked.

1431
01:23:28,800 --> 01:23:31,400
What was available at each time.
Period of that movie.

1432
01:23:31,400 --> 01:23:34,700
So the first like third of The
Aviator has this kind of bluish

1433
01:23:34,700 --> 01:23:37,800
tint because that's what color
film looked like in the early

1434
01:23:37,800 --> 01:23:41,100
days of Color Film and he's
doing kind of a similar thing

1435
01:23:41,100 --> 01:23:43,600
here, but I think it's even more
thematic.

1436
01:23:43,900 --> 01:23:47,800
I just lost a all right.
Now The Aviator is such a

1437
01:23:47,808 --> 01:23:50,000
good-looking movie.
Gosh, what a great movie.

1438
01:23:50,300 --> 01:23:55,000
It's, it's just gorgeous.
We constantly say, like, I think

1439
01:23:55,000 --> 01:23:57,100
it's an unsung Masterpiece for
Scorsese.

1440
01:23:57,200 --> 01:24:01,600
See it I think it just gets
slept like, I feel like it's so

1441
01:24:01,600 --> 01:24:05,800
regarded as like, oh man, he was
a strong to win an Oscar and and

1442
01:24:05,800 --> 01:24:08,100
and doing some Oscar bait.
And I'm not like that's that's

1443
01:24:08,100 --> 01:24:11,200
just like, I mean yeah, it's a
biopic but it's one of the best

1444
01:24:11,200 --> 01:24:13,900
biopics anyway I've ever made.
It's so good.

1445
01:24:14,000 --> 01:24:18,000
We'll also like they call it
Oscar bait but like Oscars is

1446
01:24:18,000 --> 01:24:21,200
basically a group of your peers
saying, hey, you're the best at

1447
01:24:21,200 --> 01:24:24,700
what we do.
So if your goal is to be the

1448
01:24:24,700 --> 01:24:27,800
best at what you do, then I
don't know how that's an Salt

1449
01:24:28,600 --> 01:24:30,500
right?
All right guys, before we get to

1450
01:24:30,500 --> 01:24:33,700
final scores, we have one new
segment that we've implemented

1451
01:24:33,700 --> 01:24:36,200
just in the last couple weeks
here, that we are calling make

1452
01:24:36,200 --> 01:24:38,900
it a double and that is where we
take the movie that we're

1453
01:24:38,900 --> 01:24:41,900
watching and we try to pair it
with another film to make the

1454
01:24:41,900 --> 01:24:44,700
perfect double feature.
Now, Patrick this could be

1455
01:24:44,700 --> 01:24:48,500
something, you know, thematic it
could be something stylistically

1456
01:24:48,500 --> 01:24:50,800
similar.
It could just be like hey this

1457
01:24:50,800 --> 01:24:54,100
looks like an Ernst lubitsch
movie and here's the shop around

1458
01:24:54,100 --> 01:24:55,100
the corner, you know what I
mean?

1459
01:24:55,100 --> 01:24:58,500
So Brad, let's start with you.
Because I thought we put Patrick

1460
01:24:58,500 --> 01:25:00,500
on the spot here.
If you were going to make this

1461
01:25:00,500 --> 01:25:02,100
movie a double, what would you
pick?

1462
01:25:03,300 --> 01:25:07,700
You know, I was, I was thinking
about the main character of

1463
01:25:07,700 --> 01:25:12,500
Gustav and I was thinking about
a very particular specific type

1464
01:25:12,500 --> 01:25:18,800
of character who is strange and
unique and, and very into his

1465
01:25:18,800 --> 01:25:22,300
own set ways and has his own
ulterior motives.

1466
01:25:22,900 --> 01:25:24,800
And you know what movie, I
thought of Bob, something we

1467
01:25:24,800 --> 01:25:30,500
have done on the podcast. 1971 s
Willy Wonka and the Chocolate

1468
01:25:30,500 --> 01:25:31,900
Factory.
Oh, interesting.

1469
01:25:32,500 --> 01:25:34,600
I think I would pair this with
it.

1470
01:25:34,600 --> 01:25:40,500
It it is set in a similar kind
of era and feel and I don't

1471
01:25:40,500 --> 01:25:42,800
know.
I just think that the, the

1472
01:25:42,900 --> 01:25:45,900
unique Oddities of the main
characters makes for a good

1473
01:25:45,900 --> 01:25:49,300
double picture out right down to
the purple suit that.

1474
01:25:49,700 --> 01:25:51,700
Thank you.
I'm glad you picked up on that.

1475
01:25:53,100 --> 01:25:55,700
I like it.
All right, I'm gonna go in a

1476
01:25:55,700 --> 01:25:57,700
vastly different.
Here in bread.

1477
01:25:57,700 --> 01:26:01,100
I've tried to get really somatic
with with my pics and not just

1478
01:26:01,100 --> 01:26:04,800
pick something that's like this
reminded me of this, but the end

1479
01:26:04,800 --> 01:26:07,000
of this movie.
One thing that I really, really

1480
01:26:07,000 --> 01:26:10,800
love and we've talked about it
already here is that so much of

1481
01:26:10,800 --> 01:26:15,100
the story telling is about
what's left unsaid and how you

1482
01:26:15,100 --> 01:26:17,300
know F Murray Abraham's
character keeps saying like I

1483
01:26:17,300 --> 01:26:20,600
don't want to talk about Agatha
at the end of this movie, it's

1484
01:26:20,600 --> 01:26:23,400
just very matter-of-fact.
You know, he asks what happened

1485
01:26:23,400 --> 01:26:25,700
in the end?
He says in the end he shot him

1486
01:26:26,000 --> 01:26:29,000
and then you get that final
voiceover from the author saying

1487
01:26:29,000 --> 01:26:31,800
I really wanted to get back to
the Grand Budapest Hotel and I

1488
01:26:31,800 --> 01:26:34,300
never did.
That's the literal end of the

1489
01:26:34,300 --> 01:26:36,400
movie.
And yet there's something kind

1490
01:26:36,400 --> 01:26:41,300
of profound in how those lines
are set and it reminded me of a

1491
01:26:41,308 --> 01:26:44,500
movie from 2010 by the Coen
Brothers called True Grit.

1492
01:26:45,300 --> 01:26:49,000
And these movies don't seem
similar at all until you start

1493
01:26:49,000 --> 01:26:51,800
thinking about the fact that
like, roughly, it tells a very

1494
01:26:51,800 --> 01:26:55,300
similar story, it's about this,
this aunjanue, this young person

1495
01:26:55,300 --> 01:26:59,300
who starts following An older
wiser person.

1496
01:26:59,300 --> 01:27:03,700
Whose eccentric in his own way
violence and chases insu and

1497
01:27:03,700 --> 01:27:07,300
then at the end of the story you
get this very matter of fact

1498
01:27:07,400 --> 01:27:11,800
closing narration where hailee
steinfeld's character, I think

1499
01:27:11,800 --> 01:27:13,800
that the last couple lines in
the movie I have it pulled up

1500
01:27:13,800 --> 01:27:16,200
here.
She's talking about this

1501
01:27:16,200 --> 01:27:19,500
character named LaBeouf and she
says, if he's yet alive, I'd be

1502
01:27:19,500 --> 01:27:22,200
pleased to hear from him.
I judge he would be in his 70s

1503
01:27:22,200 --> 01:27:26,100
now nearer, 80 than 70.
I expect some of the starch has

1504
01:27:26,100 --> 01:27:29,300
gone out of his cowl.
Lick time just gets away from us

1505
01:27:29,900 --> 01:27:32,600
and that's the end of the movie.
And I love how both of these

1506
01:27:32,600 --> 01:27:37,200
movies, meditate on the passage
of time, and then also don't

1507
01:27:37,200 --> 01:27:39,700
meditate on it at all.
And that's, that's my pick for

1508
01:27:39,700 --> 01:27:42,400
making it a double.
These are really good answers.

1509
01:27:42,500 --> 01:27:44,100
Patrick, you're on the hot seat
now.

1510
01:27:44,100 --> 01:27:46,400
And what would you do?
What would you choose?

1511
01:27:47,300 --> 01:27:49,200
Oh God.
Did this is tough because I

1512
01:27:49,200 --> 01:27:53,600
thought I thought of two answers
that are so wildly different

1513
01:27:53,600 --> 01:27:56,300
that I'm just like, oh man, give
it, give them both Patrick.

1514
01:27:57,100 --> 01:28:01,400
I'll give them both.
I think you two, I feel like

1515
01:28:01,400 --> 01:28:04,000
both put more thought and Care
into yours.

1516
01:28:04,000 --> 01:28:06,700
Mine are going to be more
obvious and surface level.

1517
01:28:08,100 --> 01:28:12,400
Okay, so my two picks which I'm
sure, you know, neither which

1518
01:28:12,400 --> 01:28:15,800
will be surprising are
Paddington to and The Shining,

1519
01:28:17,200 --> 01:28:19,400
pretty much the same movie.
Exactly.

1520
01:28:19,400 --> 01:28:24,100
And I because obviously, you
know, Paddington to share so

1521
01:28:24,100 --> 01:28:27,400
much aesthetically tone.
Annalee.

1522
01:28:27,400 --> 01:28:32,000
A lot of the time it involves an
extended prison sequence and a

1523
01:28:32,000 --> 01:28:35,500
prison escape sequence and
bonding with hardened criminals

1524
01:28:35,500 --> 01:28:42,700
while wearing like striped
prison uniforms accept it and

1525
01:28:42,700 --> 01:28:46,300
you know, it does.
Also interestingly kind of like

1526
01:28:46,300 --> 01:28:52,000
reckoned with death and loss
near the end except it doesn't

1527
01:28:52,000 --> 01:28:56,900
end in quite a a Bittersweet
way, but I'm like that.

1528
01:28:57,100 --> 01:29:01,400
They have so much DNA in common
that I feel like they just make

1529
01:29:01,400 --> 01:29:02,700
sense to watch together.
Absolutely.

1530
01:29:02,700 --> 01:29:06,700
And and then, The Shining
obviously, you know, it's maybe

1531
01:29:06,700 --> 01:29:11,400
the great Hotel movie ever made
Grand Budapest Hotel is a movie

1532
01:29:11,400 --> 01:29:14,400
about looking back at the Glory
Days of this hotel.

1533
01:29:14,400 --> 01:29:17,400
And, you know, you've got and
The Shining is a movie about

1534
01:29:17,400 --> 01:29:20,700
people living in a hotel, kind
of being haunted by the ghosts

1535
01:29:20,700 --> 01:29:23,900
of its Glory Days.
And it's also a meticulously

1536
01:29:23,900 --> 01:29:30,300
designed location with With, you
know, patterned Carpeting and

1537
01:29:30,300 --> 01:29:36,500
all of that of a movie that's
you know very much about about

1538
01:29:36,800 --> 01:29:42,000
death and wanting to live in in
the past and I mean look at the

1539
01:29:42,008 --> 01:29:45,700
at the end at the end Jack
Torrance basically dusk at to,

1540
01:29:46,000 --> 01:29:48,400
you know, get to get to stay
that back there forever.

1541
01:29:49,600 --> 01:29:55,200
And so I'm sorry to kind of
cheat your question, you know

1542
01:29:55,200 --> 01:29:59,500
your segments but but I'm You
know, depending on the mood you

1543
01:29:59,500 --> 01:30:02,000
were in on a given day.
Here's two very different double

1544
01:30:02,000 --> 01:30:03,100
features.
I love it.

1545
01:30:03,100 --> 01:30:04,600
No.
Actually when I was trying to

1546
01:30:04,600 --> 01:30:07,900
figure out why you had chosen
this movie, I thought

1547
01:30:07,900 --> 01:30:10,600
immediately like, oh it's
because he wants to work in a

1548
01:30:10,608 --> 01:30:13,000
Paddington to reference into
this episode.

1549
01:30:13,500 --> 01:30:19,800
But then I was, I was I wasn't
going to until I really thought

1550
01:30:19,800 --> 01:30:21,500
I was going to not mention it at
all.

1551
01:30:21,500 --> 01:30:23,900
Well, so then I was looking at
the Wikipedia for this right

1552
01:30:23,900 --> 01:30:26,000
before we started just to
refresh myself of some of the

1553
01:30:26,000 --> 01:30:28,800
names and stuff.
And it said that when Robert

1554
01:30:28,800 --> 01:30:31,300
Yeoman was trying to figure out
like the color scheme of some of

1555
01:30:31,300 --> 01:30:35,400
this movie, he started watching
One from the heart and I was

1556
01:30:35,400 --> 01:30:38,900
like, oh, maybe Patrick wants to
do, like a really deep Coppola

1557
01:30:38,900 --> 01:30:41,300
dive here and go in that
direction to.

1558
01:30:41,300 --> 01:30:43,200
So I didn't know exactly where
it was coming from.

1559
01:30:43,200 --> 01:30:46,900
Who that would be a good one?
No, I didn't even think of one

1560
01:30:46,900 --> 01:30:49,300
from the heart.
I hadn't done this research and

1561
01:30:49,300 --> 01:30:51,100
so, I didn't know that he was
looking at that.

1562
01:30:51,100 --> 01:30:55,400
I mean, you know, one from the
heart is a good-looking film.

1563
01:30:56,200 --> 01:30:59,400
It is funny because I I wouldn't
have thought of like storaro as

1564
01:30:59,400 --> 01:31:02,400
like an immediate reference
point for this.

1565
01:31:03,100 --> 01:31:05,900
I will say I have watched a
bunch of just like videos and

1566
01:31:05,900 --> 01:31:08,600
stuff online just like breaking
down the lighting of this movie

1567
01:31:08,600 --> 01:31:11,500
because I'm fascinated by how
Robert Schumann like lit, these

1568
01:31:11,500 --> 01:31:16,300
sets, because especially like
the lobby of the Grand Budapest.

1569
01:31:16,300 --> 01:31:18,500
Enormous seems like, how about
damn out.

1570
01:31:18,700 --> 01:31:21,200
How do you light this stuff?
How do you even light, Wes?

1571
01:31:21,200 --> 01:31:25,300
Anderson movies.
But yeah, no, I want to look as

1572
01:31:25,300 --> 01:31:26,800
much as I love talking about my
clothes.

1573
01:31:27,000 --> 01:31:31,900
Has personal friend Francis
Coppola that was not my plan for

1574
01:31:31,900 --> 01:31:34,500
this one.
All right guys, it is time for

1575
01:31:34,500 --> 01:31:36,600
us to give final scores here on
this podcast.

1576
01:31:36,600 --> 01:31:39,400
We score the movie out of 10.
You can give half points if you

1577
01:31:39,400 --> 01:31:42,100
would like to Brad I'll go ahead
and start us off here.

1578
01:31:42,100 --> 01:31:45,500
This was not my favorite West
Anderson film, going into this

1579
01:31:45,500 --> 01:31:49,100
miniseries and I think having
now re-watched Moonrise and this

1580
01:31:49,100 --> 01:31:52,300
one, I think this one has really
gotten close to taking Moon

1581
01:31:52,300 --> 01:31:55,100
Rises place for me.
I don't know if I like it.

1582
01:31:55,100 --> 01:31:56,800
Quite as much as Royal
Tenenbaum.

1583
01:31:57,000 --> 01:32:01,600
Which I still think might be his
Masterpiece, but this, this is I

1584
01:32:01,600 --> 01:32:04,300
think even more deserving of the
title of like, a Masterwork

1585
01:32:04,600 --> 01:32:09,600
because it is such a document of
his control, over the

1586
01:32:09,600 --> 01:32:13,400
environment and the script.
And there's just not an ounce of

1587
01:32:13,400 --> 01:32:15,800
fat on this thing.
I'm going to give it a 9 and a

1588
01:32:15,808 --> 01:32:17,700
half out of ten bread.
Yeah, man.

1589
01:32:17,700 --> 01:32:21,000
I think I might be there with
you.

1590
01:32:21,300 --> 01:32:26,100
Like I just Royal Tenenbaums is
very close to this for me but I

1591
01:32:26,108 --> 01:32:30,900
don't know if I can Imagine Wes
Anderson perfecting his craft

1592
01:32:30,900 --> 01:32:36,100
Beyond this which you know, hey
if he's able to, I am excited to

1593
01:32:36,100 --> 01:32:39,200
see it.
But I man, I think I'm with you

1594
01:32:39,200 --> 01:32:40,600
I'm gonna give it a 9 and a half
out of ten.

1595
01:32:40,600 --> 01:32:43,400
I was really kind of flipping
between a nine and a nine and a

1596
01:32:43,400 --> 01:32:46,800
half but that.
Yeah, I I love this movie, man.

1597
01:32:46,800 --> 01:32:50,000
This is, this is everything I
want Wes Anderson to be.

1598
01:32:51,500 --> 01:32:54,300
You know, I was just going to
say nine, but I guess now that

1599
01:32:54,300 --> 01:32:59,700
nine-and-a-half is, it is an
option, you know, I'm gonna join

1600
01:32:59,700 --> 01:33:01,500
in the fun.
I don't wanna be that weird guy.

1601
01:33:01,500 --> 01:33:03,600
People are like, what was
Patrick's beef with that movie?

1602
01:33:03,600 --> 01:33:07,700
You only give it another time.
I think nine-and-a-half is the

1603
01:33:07,700 --> 01:33:11,900
Perfect Score where, you know,
it's not a perfect movie, but

1604
01:33:11,900 --> 01:33:14,900
you want it to be a perfect
movie because you like it so

1605
01:33:14,900 --> 01:33:18,100
much.
It's also again, it's a thing.

1606
01:33:18,100 --> 01:33:21,700
For instance, I'm like on, you
know, it SMU has probably like

1607
01:33:21,700 --> 01:33:27,700
letterboxed users and I will
say, I give this movie a 4.5 out

1608
01:33:27,700 --> 01:33:32,600
of 5, when I logged it earlier.
Yeah, but I am always so

1609
01:33:32,600 --> 01:33:36,800
hesitant to give out a 5 out of
5, I almost never.

1610
01:33:36,800 --> 01:33:39,700
Do people have yelled at me for
being like, why did you give

1611
01:33:39,700 --> 01:33:42,100
this?
Like this obvious Masterpiece of

1612
01:33:42,100 --> 01:33:45,400
4.5 I was like, I don't know.
I feel like I need to watch it

1613
01:33:45,400 --> 01:33:50,600
like 10 times before I can fully
decide yes five done.

1614
01:33:51,100 --> 01:33:55,900
Perfect, cause I'm like I have I
can't point out a flaw in Grand,

1615
01:33:55,900 --> 01:33:58,300
Budapest Hotel.
Also, here's the thing.

1616
01:33:58,300 --> 01:34:02,000
If you know, I've probably given
five stars two movies that do

1617
01:34:02,000 --> 01:34:06,200
have flaws because like, you
know, who cares about stuff like

1618
01:34:06,200 --> 01:34:07,400
that.
I can't think of anything I'd

1619
01:34:07,400 --> 01:34:09,400
change.
I can't think of like what I

1620
01:34:09,407 --> 01:34:11,600
would consider a genuine
problem.

1621
01:34:11,600 --> 01:34:14,600
Yeah, with this movie, it is
like, as good as it can be.

1622
01:34:14,600 --> 01:34:18,600
It's it's pretty much as good as
a Wes Anderson movie can be.

1623
01:34:18,600 --> 01:34:23,600
It's like for me, like I guess
Rushmore just like clicks with

1624
01:34:23,600 --> 01:34:27,000
me personally, a tiny bit more
even though I wouldn't call it a

1625
01:34:27,000 --> 01:34:31,000
better movie than this.
But yeah.

1626
01:34:31,000 --> 01:34:33,800
So I don't know.
We'll say 9.5.

1627
01:34:33,800 --> 01:34:36,100
I love it.
We have successfully

1628
01:34:36,100 --> 01:34:38,400
peer-pressured.
One of our favorite YouTubers

1629
01:34:38,400 --> 01:34:41,600
and filmmakers into agreeing
with our score.

1630
01:34:41,700 --> 01:34:47,100
So guys, it's a 9.5 across the
board from us but we'd like to

1631
01:34:47,100 --> 01:34:50,700
know what you think.
So reach out to us on our Social

1632
01:34:50,700 --> 01:34:52,600
media is.
You can find us on Facebook,

1633
01:34:52,600 --> 01:34:57,600
Twitter, Instagram and new Leon
Tick-Tock at film whiskey, or

1634
01:34:57,600 --> 01:35:00,800
you can jump onto our Discord.
We are on there every single

1635
01:35:00,800 --> 01:35:03,900
day.
Talking to you guys about movies

1636
01:35:03,900 --> 01:35:06,900
about whiskey, and about all
sorts of other things.

1637
01:35:06,900 --> 01:35:08,900
Out of see Baba.
As I think about it, we need to

1638
01:35:08,900 --> 01:35:13,100
dedicate an entire channel on
the on the Discord just to

1639
01:35:13,100 --> 01:35:15,000
talking about Patrick Williams
videos.

1640
01:35:15,800 --> 01:35:17,700
I think think we should let
seems to.

1641
01:35:17,708 --> 01:35:21,900
Yeah, the thing to do, but yeah.
Yeah, if you want to join our

1642
01:35:21,900 --> 01:35:25,400
Discord, it is incredibly easy
to download onto your phone or

1643
01:35:25,400 --> 01:35:28,500
your desktop.
You can find a link to it at the

1644
01:35:28,500 --> 01:35:30,600
end of every single one of our
show notes.

1645
01:35:31,300 --> 01:35:33,200
We want to say thank you again
to our guests today.

1646
01:35:33,200 --> 01:35:36,800
Patrick H Willems, Patrick, what
do you have coming up that you

1647
01:35:36,808 --> 01:35:40,500
like to plug?
Well as pleasure to be here, as

1648
01:35:40,500 --> 01:35:44,900
always, thank you so much for
having me back, the new season

1649
01:35:44,900 --> 01:35:48,000
of my show started back up
recently.

1650
01:35:48,000 --> 01:35:50,200
We've, I think we've got an
episode or two out now.

1651
01:35:51,000 --> 01:35:53,900
After I took I took the summer
off after finishing the movie

1652
01:35:53,900 --> 01:35:59,100
and so we're back at it again
and you can watch my videos on

1653
01:35:59,600 --> 01:36:04,000
on YouTube at youtube.com slash
Patrick H Willems are over on

1654
01:36:04,000 --> 01:36:10,200
nebula where they have no ads.
Yeah that's that's oh and watch

1655
01:36:10,200 --> 01:36:11,200
my movie.
Please.

1656
01:36:12,000 --> 01:36:14,200
It's fun.
I promise, it's on nebula.

1657
01:36:14,700 --> 01:36:16,100
It has forgot.
I will.

1658
01:36:16,100 --> 01:36:20,100
I will confess for Bob and I
both we haven't watched it yet.

1659
01:36:20,400 --> 01:36:23,500
The reason being through
invited, we live two hours away

1660
01:36:23,500 --> 01:36:25,700
from one another.
And we want to watch it

1661
01:36:25,700 --> 01:36:28,300
together.
We literally wanted to make a

1662
01:36:28,308 --> 01:36:32,700
date night out of it for real
like I'm like, like Bob

1663
01:36:32,700 --> 01:36:36,300
introduced me to your channel
and and, you know, brought you

1664
01:36:36,300 --> 01:36:39,100
onto the show and I was like, we
need to watch this movie

1665
01:36:39,400 --> 01:36:44,500
together and he has two kids.
I have one and, you know, we

1666
01:36:44,500 --> 01:36:47,200
both work full-time jobs and,
but we're going to watch it

1667
01:36:47,200 --> 01:36:49,400
soon.
I promise, I understand.

1668
01:36:49,400 --> 01:36:54,200
And I accept your Use their, I
mean, it's not going anywhere.

1669
01:36:54,200 --> 01:36:56,800
It's not like I had like an
opening weekend at the box.

1670
01:36:56,800 --> 01:37:00,200
I was where I was like guys we
really gotta like open the top 5

1671
01:37:00,200 --> 01:37:01,400
this weekend.
It doesn't matter.

1672
01:37:01,700 --> 01:37:03,900
Watch it.
Whenever you get a chance, it is

1673
01:37:03,900 --> 01:37:06,300
more impressive though.
I think that I have watched the

1674
01:37:06,300 --> 01:37:09,500
45-minute making-of featurette
before.

1675
01:37:09,500 --> 01:37:11,900
I've even seen the film.
Oh yeah.

1676
01:37:12,400 --> 01:37:14,700
I dove right in man, I needed
the Lord.

1677
01:37:14,700 --> 01:37:20,300
All the spoilers now.
Well, hey, what we're about,

1678
01:37:20,400 --> 01:37:22,300
Actually, they'll be out in this
point.

1679
01:37:22,300 --> 01:37:26,500
The commentary tracks are also
now available for the movies.

1680
01:37:26,800 --> 01:37:28,800
Oh, you can also listen to
those.

1681
01:37:28,800 --> 01:37:32,200
You could also listen to this
episode as a commentary track on

1682
01:37:32,200 --> 01:37:35,400
Grand Budapest because we're at
an hour and a half on this bad

1683
01:37:35,400 --> 01:37:37,300
boy.
So, we hope that you have

1684
01:37:37,300 --> 01:37:40,500
enjoyed this.
This watch along with Patrick, H

1685
01:37:40,500 --> 01:37:42,900
Willems will be back on Monday
to kick off another.

1686
01:37:42,900 --> 01:37:45,400
One of our mini series, we are
going all the way back to

1687
01:37:45,400 --> 01:37:47,900
Classic Hollywood, and we're
going to start watching the

1688
01:37:47,900 --> 01:37:50,300
films of John Ford.
So we're going to be back.

1689
01:37:50,400 --> 01:37:53,000
Next Monday, with The Grapes of
Wrath.

1690
01:37:53,000 --> 01:37:57,500
But until then I'm Bob book, I'm
Reggie and we'll see you next

1691
01:37:57,500 --> 01:37:57,800
time.