Talking Pondo: Starlet and Where'd You Go Bernadette with Ryan Luis Rodriguez

 In this episode, Ryan Luis Rodriguez (from Reels of Justice) joins the podcast. Ryan brings along the movie Starlet, while Marty and Clif give Ryan the movie Where'd You Go Bernadette to watch.

Transcript

SPEAKER_00 0:00

Welcome to season two of Making Pondo and Talking Pondo. Talking Pondo is a podcast where Cliff and Marty give each other a film to watch and talk about them in detail. Some episodes will include a special guest. Making Pondo is a podcast where Cliff and Marty talk to people they have worked with and discuss their experiences on set.

unknown 0:21

One.

SPEAKER_00 0:22

Alright, Marty, we're back.

SPEAKER_05 0:24

And we're back. Once again. It's Talking Pondo with Guest. You know, the new format we're uh trying out around here. Uh, because you know, Cliff and I like to talk to each other about movies every week, but it's it's it's becoming even more fun to bring another person on and expand the discussion out a little more.

SPEAKER_00 0:43

It is. They always they always seem to bring perspectives that we wouldn't have either thought about, or some maybe even sometimes movies that we wouldn't have covered. And I feel like uh our guest today brought a movie that we probably wouldn't have covered for quite a while.

SPEAKER_05 0:56

Yeah. Uh I hadn't even heard of the movie that our guest suggested today.

SPEAKER_00 1:02

So it was uh I've heard of the directors said that same director's other movies, but not this one.

SPEAKER_05 1:07

Right. So today's guest is uh the host of uh One Track Mind and also features on the Reels of Justice podcast. It is Ryan Luis Rodriguez.

SPEAKER_03 1:21

Woohoo! Yeah, go Ryan. Ryan, Ryan's awesome! You're the best man.

SPEAKER_04 1:28

Hi guys, how are you doing?

SPEAKER_00 1:30

Good, good, glad to have you on.

SPEAKER_04 1:32

Yeah, it's a this is an absolute pleasure.

SPEAKER_00 1:36

Right on. This is this is gonna be good. I think we got a couple of good films here to talk about.

SPEAKER_04 1:40

Yes, I think we do.

SPEAKER_05 1:42

And so the the movie that we gave Ryan, or I should say I gave Ryan, because this was a movie that I wanted to see, and I hadn't I hadn't gotten around to it, and I thought, well, this would be a perfect opportunity to put this on the podcast, since I know Ryan likes a good Kate Blanchett movie, so we're like, why not have Where'd You Go Burn a Dead, directed by Richard Link later? And then the movie that Ryan gave us was Starlet, a movie I hadn't heard of, but like Cliff was talking about, once we dove into the director's catalog, I realized, oh, he's directed The Florida Project and a couple other movies I've heard about, but I still haven't seen yet. But now definitely we'll be uh checking out in the near future.

SPEAKER_04 2:22

So Tangerine. Yes, wrote and directed Enora, which just won uh just won the Pondor at Cannes.

SPEAKER_05 2:30

Oh, yeah, that'll be at an art house here in about a week.

SPEAKER_04 2:33

Yeah, I'm hoping it comes to my home in a couple weeks because I don't want to wait till video to see that thing.

SPEAKER_00 2:41

Well, he seems to be a kind of a uh yeah, like an indie cinema darling. Um he definitely seems to be you know very well, I he reminds me of like a not stylistically or or his movies, but uh the sort of Tarantino early, very early, you know, when he was making his his first couple of films where people talked a lot about him and and you know his films were exciting. Exciting and very well loved, right? Um that's a terrible, terrible uh that's a terrible example, but I couldn't think of another one anyway.

SPEAKER_05 3:17

Well, let's start with uh Starlet then from uh 2012. I can't believe this movie is already that old.

SPEAKER_00 3:23

Yeah, that's a that's surprising. Um uh the aesthetic though, like once we start talking about it though, that 2012 aesthetic is right is right there. Um so Starlet is not rated um for probably for a good reason.

SPEAKER_04 3:37

For mature audiences, as it says on the poster.

SPEAKER_00 3:40

It is definitely for mature audiences. Um and the so here's the the tagline or the the log line is an unlikely friendship forms between 21-year-old Jane and the elderly Sadie after Jane discovers a hidden stash of money inside an object at Sadie's yard sale. And then there's a uh a little more in-depth uh storyline here. Starlet explores the unlikely cross-generational friendship between 21-year-old Jane and the elderly Sadie, two women whose worlds collide in California's San Fernando Valley. Jane, an aspiring actress, spends her time getting high with her dysfunctional roommates Melissa and Mikey, all caring for her chihuahua, Starlet. Sadie is a widow who passes her days alone, tending to her flower garden. After a confrontation between the women at Sadie's yard sale, Jane uncovers a hidden stash of money inside a relic from Sadie's past. Jane attempts to befriend the caustic older woman in an attempt to solve her dilemma, and secrets emerge as their relationship grows. That's basically it.

SPEAKER_05 4:38

Yeah, usually these movies where money is discovered and secrets are are then being made, they never tend to end well, but they did it, they did a few different things with with those tropes in this movie.

SPEAKER_00 4:50

I agree. Uh the first thing I was very happy about was that, like you said, in these type of movies, these file money movies, there's usually some form of you know some more violence that occurs. Um, and that didn't happen in this movie.

SPEAKER_05 5:03

Yeah, one of the things I found refreshing was uh Jane's friend, upon discovering the money about halfway through the movie. We do all sorts of spoilers here because it's kind of hard to really get into the movie without talking about all its different little parts. The friend does not steal Jane's money. In any other movie, she probably would have stolen the money, but I guess in this one she wanted it spent on her, so that was her own selfish reasons for it. But that was interesting as well, too. Also, when she goes to uh is the old older woman's name is Sadie, right? Yes. When she goes to her at the end and and basically tries to reveal the secret of, oh, she doesn't really like you. She just, you know, she has some of your money. I think based on everything that Sadie and Jane have already been through, I think Sadie's already kind of made up her mind about Jane, especially after macing her and discovering that she wasn't really an opportunist. And then she reveals her secret to her at the very end, uh, that she actually has been alone for a very long time and did have a daughter, probably around her age, which probably explains a lot of the uh separation anxiety and issues that she has.

SPEAKER_04 6:16

And the frustration of dealing with somebody who is trying to make a connection, but you're you're she reminds you so much of somebody that you you don't want to remember because the it hurts too much. And having her constantly be there, it's just the constant reminder of what she's lost. Yeah, and it's a really powerful performance. The actress, uh, her name completely slips my mind, but uh she's Sadie phenomenal.

SPEAKER_00 6:46

Uh the the woman who played Sadie is Besedka Johnson. There you go.

SPEAKER_04 6:49

And she was Besedka Johnson is outstanding in this film.

SPEAKER_00 6:53

I agree. Uh Dre Dre Hemingway was also surprisingly good in this. I haven't seen her.

SPEAKER_04 6:58

She's much else. She should be Marvel movie famous. Like she should be like, she should be a big time actress because there's an earthiness to her. And sometimes it's really powerful to watch a performer and think, oh, they're just playing themselves. She gives that authenticity. She's clearly not playing herself, but she gives you the impression that Sean Baker saw her on the street, said, That's the character I have in my script. Here you go. But really, she auditioned. The script was not accommodated for her. It was written before she got on. But you would swear that this was uh crafted extra x uh exclusively for dream.

SPEAKER_00 7:40

Like a vehicle for her, yeah. Yeah, like they crafted it around her, yeah. She's you know, she's got a you know, you know who she reminds me of in this Bridget Fonda. Um I got a very um she reminded me of Bridget Fonda from Jackie Brown? Jackie Brown, thank you. Yes, exactly. Yeah, I don't know if that was the aesthetic they were going for, but she just looks like a very young Bridget Fonda in this movie to me. No, totally, yeah. Yeah. Um and yeah, she was fantastic. She was excellent. Um the movie it takes its time. Uh like it doesn't, it's not rushing you through scenes. He's kind of he's kind of resting on some things and letting things sort of happen. You know, he's not uh he's not trying to push the pace, as it were.

SPEAKER_04 8:23

Yeah, you don't learn that she's a porn star until 45 minutes into the picture. Yeah, that's which is a brave decision to make.

SPEAKER_00 8:30

Yeah. My note was my note was it doesn't seem like uh we should know that she's in the porn business. Like I knew I knew it because I'd read up about the film, just you know, this the basic plot of it, but um yeah, it and then suddenly, boom, here we are. Um boy, are you not kidding? That's one hell of a scene. That's one hell of a scene. Yeah, when we got to that scene, it was like, okay, that's graphic.

SPEAKER_04 8:56

Yeah, that's why it's for mature audiences only. That that's that's the tagline for you.

SPEAKER_00 9:01

Yeah, audiences. Um, yeah, there's just there's full-on penetration in this movie. Um, full on, I mean, it's like a it's like a scene from Caligula at one point. It's it's uh it's a double, but it's of course, yeah, yeah, yeah. Yeah, what they're doing has not been doubled.

SPEAKER_05 9:18

No, not uh I was of two two minds of thought with it. Like overall, as a filmmaker, I wasn't sure why the white put it in go that far, but then I realized I I think he's trying to show like the banality of it, just the kind of mundanity of sex work. Mundane of it, right? Like it's not that big a deal. But at the same time, he does show quite a bit of the underbelly of the uh like turning a doorknob in the doorknob factory, right?

SPEAKER_00 9:47

Yeah, yeah, it it it it's mundane, it's also kind of I don't know, a little seedy and kind of gross, you know, like when you get to you, like, oh this is you know I think it's supposed to be though, right?

SPEAKER_05 9:59

Yeah, absolutely. I don't know if it's necessarily supposed to be a titillating scene. Right. Exactly, exactly.

SPEAKER_04 10:06

And it's it's seedy, but it's not judgmental. Yeah, true. It's not saying these people are sick, there's something wrong with them. It's it's just sort of not saying, like, this is a job, this is it, this is a nine to five. You go to Vegas to promote, you do whatever you need to do, you get your money, then you come to the next shoot and you do that too. That's just how it works. It's a fact of life.

SPEAKER_05 10:27

This gave me more of that early aughts vibe of uh, or an even before like movies like uh kids or 13 or um oh geez, yeah, another one I was saying, like bullying kind of kind of off-kilter vibe, but this one's got a little bit more maturity to it than some of those, I think. And I think that's because coming in at 2012, we had already gotten past a lot of that as far as filmmaking went. But it does make me very curious about his other films, yeah. Yeah, I'm definitely gonna be able to do it. They're all outstanding the 40.

SPEAKER_04 11:00

He has not made a bad film in his entire life.

SPEAKER_00 11:03

Well, so this one, 250 grand in 2011 was when he shot this, 2012.

SPEAKER_04 11:09

So which is a lot for a movie with that scene.

SPEAKER_00 11:12

Yeah. I mean, well,$250,000 is like, I mean good job. I mean, if it if he shot this on what he showed it on film or on digital, do we know? Digital. Yeah, okay. So he could so that's the so he got away with a lot. So$250 grand is not bad. Um for you, especially for your one of your early films. I'm I'm pretty impressed with what he what he pulled off with it.

SPEAKER_05 11:37

And the story of Basedka Johnson is an interesting one. This is the only movie she ever made. She was discovered after getting a knee surgery, I think it was. She was recovering at a a YWCA, I I think, if I'm remembering the story right. It was discovered by a producer for this film who thought she was perfect for the part. She had never done the acting before. She does this role, she gets all sorts of acclaim for it, and then she's gone. What an interesting way to spend the last year and a half of your life. But wow, I would have liked to see her in more. Yeah.

SPEAKER_04 12:15

So she's no longer with us.

SPEAKER_05 12:17

Yeah, yeah, she passed in 13. Yeah.

SPEAKER_04 12:20

Oh man. Well, yeah, that's a that's a hell of a way to go out.

SPEAKER_05 12:23

Yeah. It's gonna be a lasting legacy. It's you know, you only made one movie, but you made a very impactful one. It does make me wonder, because I know this movie is on Tubi currently, if it's completely uncut on an ad-based service. Good question. I I don't know what their standards are for adult.

SPEAKER_04 12:45

It should be, because I've seen some pretty outlandish stuff on Tubi when and it's not edited, so it should be the movie. Fascinating. I don't think there's another cut.

SPEAKER_05 12:54

Yeah, because it would it would be it's it's it's not the same movie without that in a way. You're kind of neutering it a bit.

SPEAKER_00 13:01

Uh it maybe. I mean, I I think you could probably get away with it. I don't know, maybe it wouldn't have the same pimp. It's kind of like it's kind of like it's kind of like Raimi talking about the the the scene with the vines going and you know, well, the vines violating that girl. And he says, looking back, I probably wouldn't have done it, right? I did it at the time because I thought it was, you know, shot value and horror and all that type of stuff. But he says, looking back, I probably would have done it. I don't know. I I can see, but you're maybe it doesn't have the same impact. Maybe it doesn't really deliver that banality and that sort of like, yeah, this is just a job, pull the lever, you know, wait for the next, you know, factory thing, you know, it's not a big, you know. I mean, there, and of course, there's a whole discussion to be had about you know whether or not that's a good that's a good way to look at it or whether that's a good job to have or whatever. But I like the fact that the movie doesn't judge or preach on it, it's just all sides of it. Yeah, yeah, yeah. It's good. Because that's not really what the movie's about. I mean, it's just the movie's about this this girl and this this lady.

SPEAKER_04 13:59

And that's a very Sean Baker thing. Like he's a he's an absolute thing. Yeah. Yeah, absolutely.

SPEAKER_00 14:09

Because Red Rocket's about a porn star, right? Or about a lot of people.

SPEAKER_04 14:11

Red Rocket is is like the it's like the comedic other side of the coin to Starlink. Gotcha. Where it's it it verges on flat out farce at times, but it still retains that sense of these are human beings. Uh they they might be uh uh despicable in the case of Red Rocket, but they're still human beings.

SPEAKER_00 14:41

Um I I got nervous when I've when the movie first started because I it it starts with the classic person waking up, you know, like that's that's one of the one of the things in Screenwriter they tell you not to do. Don't start with the shot on the alarm clock in the morning and the you know it going off. It's a hand hitting it, hitting snooze or whatever. So it's like, uh-oh. But I mean but right away it was like, oh, okay, that's probably the that's the only thing he did that I expected, or was like, hmm, had a question about everything else from then on was just kind of like he just he takes you by the hand and just uh have she follow this girl through her journey of finding this money.

SPEAKER_05 15:14

Um the movie made me kind of anxious throughout because I kept thinking the other shoe was gonna drop because you train from other movies that to wait till something bad is gonna happen. And so I think watching it again, I'd probably be a little bit looser with it and maybe be able to enjoy some of the subtle comedy that's tucked throughout the movie as well.

SPEAKER_00 15:35

There did there did seem to be some weird herrings. Like, I have note one of my notes is like, what a terrible place to hide your money. Like, why would you put$10,000 in a fucking shoe and just lay it in your closet where anybody can get a hold of it? You know, it just seems like a really weird play. And she doesn't seem to have any plans for the money either, right? Other than you know, she goes out and spends some and then she's like, Well, yeah, I feel bad, I'll go give it back to this lady.

SPEAKER_05 15:58

But her friends don't notice her nails are all with where'd you get the money to buy the Starlit thing? But they're all zonked out on the couch playing video games all day.

SPEAKER_00 16:08

Yeah, uh yeah, it's one of the yeah, so it's weird. It's like she she finds this money, she hides it, she spends a little, but she doesn't really have a plan for it. She hides it at a terrible place, but they all seem to be maybe maybe that's a director's red herrings to it.

SPEAKER_04 16:20

Like she like you're like, hey, right? She doesn't have a plan for it, is practically her family crest. She doesn't have a plan for anything. Like at the end, she just approaches uh she approaches her and says, Okay, we're going. I got two unrefundable tickets to Paris. We're going right now. It's like maybe you should have put a little thought into that, just a little bit, but no, she's just barreling right through. That's that's just how her her her interior process works.

SPEAKER_00 16:47

True, true. She's like in that respect. One of my notes is also it's not clear she does porn. And then and then two notes next uh two notes next after that is oh, okay, it's very clear now she does porn. Um and I felt like it was kind of like uh my one of my notes here is that it's kind of like a rope a dope on the explicitness. It was like a you you very much weren't expecting it, right?

SPEAKER_04 17:13

Like and it never gets back to that point.

SPEAKER_00 17:16

Right, yeah, it very much so. He's it you know, very much purpose purposeful, yep. Yeah, and uh another note is this is not kind of not the type of film I'd probably want to shoot, honestly. I I'm not not really not really a dis you know shooting anything like that.

SPEAKER_05 17:36

I was reading about this director and he was talking about intimacy coordinators, and uh he said he's done over ten intimate sex scenes throughout his movies, and he thinks he does a pretty good job of making sure that everybody's you know being taken care of, but if somebody were to request one, he would have no problem at all having somebody there, you know.

SPEAKER_00 17:55

Sure. Well, I mean, if if I mean if he's done ten of the ten types of those and has never had a complaint, or you know, there's no but I mean I'm sure he's handling it.

SPEAKER_05 18:02

And it would make sense since he seems to know a lot about the adult industry and has a fascination with it.

SPEAKER_04 18:08

Yeah, I don't know how much he researched or how much he spent uh time on sets, but it does feel genuine.

SPEAKER_00 18:15

Right? Yeah, maybe I mean I don't know, maybe he got his start directing some of that stuff. I don't know, or in that industry. There's no telling. I mean, people come from that industry. Um there's some excellent moments in the movie, some really nice shots. The dog park with the power lines where the two of them are just sitting there talking. Love it. Absolutely love it. Um the color palette feels a little washed out to me, and and there were are points of it where I was like, I are we in Florida? It felt kind of like Florida for a bit, and but no, it's California. Um but it's some some really nice stuff in there.

SPEAKER_04 18:52

I like to think that it's it's the uh the updated sequel to Boogie Nights.

SPEAKER_00 18:57

I had the Boogie Night vibes, yeah.

SPEAKER_04 19:00

Yeah. Except now everybody's driving around in in uh 2000s cars and listening to crappy krunk music.

SPEAKER_00 19:09

Oh, speaking of cars, did you guys notice the car changes on her? Oh, yeah, the continuity. Yeah, it's a probe at one point, and then it's a sat, I think it's a probe or a Saturn, and it's a Saturn for sure, and then it changes to a different car and then back to a Saturn. That's classic. That's uh that's classic uh um you know small money movie making right there.

SPEAKER_05 19:30

Yeah, I'm sure there was a an availability reason or something.

SPEAKER_00 19:33

Oh yeah, had to. Or maybe it was a maybe it was a reshoot, you know, something. I don't know.

SPEAKER_05 19:40

Um I think I noticed it, but didn't really like I knew something was off, and then when I read the little trivia about it after, I was like, oh, okay, now you're pointing it out to me that I can see that there was a different car.

SPEAKER_00 19:53

Yeah, Ryan, one of my notes was so so boogie nights for millennials with a question mark.

SPEAKER_04 20:00

Yeah, except except the soundtrack just doesn't match up. Soundtrack that that's the one thing that really differentiates these two is man, I could listen to that boogie night soundtrack forever. I would never listen to the soundtrack to Starlet. Ever. I mean that Crazy Town song is stuck in my head and I don't want Crazy Town in my brain.

SPEAKER_00 20:21

I just don't come my lady, come come my lady is. Yeah, yeah, yeah, yeah.

SPEAKER_04 20:25

That's that's them during the during the stripper pole scene.

SPEAKER_00 20:29

Mashuga, baby. Oh yeah, yeah. The boyfriend serves up some weird like Christian Bale vibe to me. I don't know why.

SPEAKER_04 20:37

Um that's Ziggy Sabatka from The Wire. He's also in Tangerine. And I think he's in a Nora as well, but I'm not sure. But he's he's one of uh Sean Baker's good luck terms. Just like uh the the porn impresario is a taxi driver in tangerine. And he's definitely in a Nora. He plays one of the Russian uh big heavies in that film.

SPEAKER_00 21:07

Um I like that it kind of wand it seems like it's wandering with no purpose. Much like this, like you said, with this girl's life. She's just kind of she's just kind of adrift. You know, I mean she's got a job and she seems responsible, but at the same time, she doesn't have a plan. She's not going anywhere. You know? Um I like that. And and I he he he he lets that play out and lets it go. Um one of my favorite other shots in the movie was the the cut to the tea kettle boiling while that oh while while she's thinking about the money and all that's just an ex- I felt it was an excellent way to kind of indicate emotion and pressure. Um I really like that. Oh god. No, I was just gonna say I I didn't I didn't like the way it ended. I and I I think I'm probably alone I'm probably alone amongst the three of us in this, but I wanted just a little bit more. At that end, I wanted just a little bit more.

SPEAKER_05 22:03

What do you think would happen after that? I know it'd be awkward. I kind of like that it stops there, but you you are left wondering with the ambiguity of say anything ending.

SPEAKER_00 22:15

Yeah, it is. Where do we go next? We don't even get to the airport. Yeah, exactly. We're not even on the plane, right? Like, can we at least just get to the plane? Can we have a discussion about something? I don't know. It's it's weird that the film has little to no denomen at all.

unknown 22:30

Yeah.

SPEAKER_00 22:31

Just it's just like bam, like you said, say anything and then boom, it's over. Um let's see. Marty, did you have any note other notes?

SPEAKER_05 22:42

Oh, I I did enjoy it overall. Both the these two movies, uh, what the the things I feel they had in common were uh well, I don't know if this is in common, but for me, I felt they both got better the more they went along, both movies.

SPEAKER_00 22:58

Yeah, I agree.

SPEAKER_05 23:00

And uh I really enjoyed this one. I I feel like both movies do have that theme of unlikely friendships in them. Like you you weren't expecting this almost like Harold and Maud kind of relationship to take place in this one.

SPEAKER_04 23:15

What I love about it is that it it feels captured. Right. Like it feels like the moments between scenes as opposed to the actual scenes themselves.

SPEAKER_05 23:23

Yeah, exactly.

SPEAKER_00 23:26

I what I think what I liked about it more than anything, what I appreciated about more than anything is that it had some very simple, it's dealing with some very simple uh themes that we've seen in a lot of movies. We've seen, like you just mentioned, Harold and Maud. We've seen the the theme of, uh-oh, I just found a bunch of money, what am I gonna do with it? You know, um, but it does it it took it took them and did original things with them instead of rehashing or just hitting the same old beats.

SPEAKER_05 23:52

She's got plenty of money, it didn't it didn't matter. We never even find out why the money was stuck in the thermos. Probably her husband is a gambler, he probably stashed money in there, and never she probably never even knew, or maybe she did know I think, right?

SPEAKER_04 24:05

Every movie Sean Baker makes should begin with him looking into the camera saying, Now I know you've heard this before, but and then let the movie start.

SPEAKER_00 24:14

Okay, so that's his that's his thing. I'm gonna do um I know you've seen the guy who survives the car crash and changes his life, but I'm gonna do it completely different. You've seen it like this. I like that. I like that I I respect that quite a bit because that's that's that's the real trick of it, right? Is we're supposed to flip it. There's no there's only so many stories to tell, it's how you tell it.

SPEAKER_04 24:32

Yeah, there's uh what what's that one person said there's nine stories overall? Yeah, exactly.

SPEAKER_00 24:39

Yeah, and they I mean you can take different variations of them, but eventually you end up on the same ground, yeah. It's a finite amount of material. Yeah, you know, I mean I I the more we talk about this movie, kind of the honestly, the more I like it, the more I think about it, and the more I like it. I I sort of let it wash over me as I was watching it. Um and I and and enjoyed it quite a bit. Um I f it felt like that 90s nihilism all over again, where I was just like, I've seen this before. But you know, done really well.

SPEAKER_05 25:17

Yeah, like when we watched Go a few weeks ago, like that's a real polished almost even though that was very indie too, but it was more polished, and then you get to this and it's like we've stripped it down back to the boogie nights.

SPEAKER_00 25:29

Yeah, yeah, we've gone, we've come full circle back to the nihilism of the 90s, and I don't mind that at all. It's fantastic. Um yeah, I'm I'm gonna give it I'm gonna give it three stars. Three stars. I'll probably walk up I might watch it again, but it's probably not one I'm gonna put in my library and watch a lot.

SPEAKER_05 25:45

Yeah, like I want to watch the rest of his movies, but I think I need a little bit of time in between because I'm still thinking about this one. It's pretty heavy. It's good, though. I give it a three also, but I think with time I might give it a higher rating the more if I go back to it. And this is just like we said before on the show, it's just how we felt after the initial viewing, which for me was like maybe two days ago, so it's still kind of processing the whole thing.

SPEAKER_00 26:12

Yeah, definitely didn't hate it.

SPEAKER_05 26:13

No, no.

SPEAKER_00 26:14

Um, and would definitely recommend if if you haven't seen it and you like Sean Baker's movies, definitely catch this one. What about you, Ryan?

SPEAKER_04 26:22

I give it a five. Wow, okay. This is one of my very favorite movies. That's why immediately I suggested it. Because it was like I was looking at the list you guys gave me, and I'm like, I was like, well, I could do Beverly Hills Cop. And then I realized, no, wait, Starlet. I never get to talk about Starlet. Great. I mean, it's it's in my top four on Letterboxd. So uh I don't know where in the top four it is, but it's not in my top four movies of all time. But it's it's one of those, it's definitely top 20. It's a movie that uh I can't believe I've only seen twice because I love literally every single moment so much that I I will probably definitely be watching this more in the future if I get into a habit of watching movies again, which I'm trying not to do.

SPEAKER_00 27:04

What is it that really hits you about the film that I mean puts it to the five into the five-star for you?

SPEAKER_04 27:09

It's just so human and it's it's watching it's watching people interact. I'm not watching characters. I'm I'm watching people commiserate and share how they feel about their place in the universe without actually saying it out loud. Just kind of doing uh you know, saying the quiet part quiet and the loud part loud. And I just I I adore Sean Baker immensely, and uh if every single movie that he made was this good, he might be the greatest director that we have living today.

SPEAKER_00 27:47

Well, that's a bold statement, sir. Praise. But I understand. And I stand by it. Okay, well, great. Um, yeah. Well, thanks for bringing that one to us. That was um, yeah, I enjoyed it. Thanks for giving it three stars. Well, three stars is you know, that's for me. That's pretty good. Yeah, whatever. Shut up. All right, so let's talk about where'd you go, burn a debt. Uh, let's see. Directed by Richard Linkletter. Hell yeah. Yeah, this is a hell of a guy, starring Kate Blanchett. Hell yeah. Hell yeah. Um, a loving mom becomes compelled to reconnect with her creative passions after years of sacrificing herself for her family. Her leap of faith takes her on an epic adventure that jump starts her life and leads her to her triumphant rediscovery. I don't feel like that's the movie I watched at all. Um, let me go down to the storyline here. Uh, let's see here. Storyline. Um, based on the runaway bestseller, Where'd you go Bernadette, is an inspiring comedy about Bernadette Fox, played by Oscar or winner Kate Blanchett, a loving mom who becomes compelled to reconnect with her creative passions after years of sacrificing herself for her family.

SPEAKER_05 29:06

That's it. Yeah, and the book was written in the form of letters and correspondence, so apparently it was a very difficult one to turn into a filmable screenplay.

SPEAKER_04 29:15

Oh, epistolary. Nice.

SPEAKER_05 29:19

Yeah. So it it I think it explains its wandering nature for about the first half, but I also thought that maybe that was on purpose to make the audience feel about as scatterbrained as Bernadette does for the first part.

SPEAKER_04 29:35

Yeah, I'd have to agree.

SPEAKER_00 29:37

Yeah, I mean, I I I don't feel like I watched a movie about, I mean, look, I I get that she she's a mother, she's gonna sacrifice things for her family, but I feel like what I was watching was a movie about a person who was slowly going crazy because she didn't have a creative outlet. And that's really the was the journey, you know. Uh when I when we finally got to that point, I was like, oh, this makes complete sense. She's an artist. I mean, an architect is an artist, you know, there, you know, if you're not creating, um, that that shit can really drive you mad. Marty and I've been there.

SPEAKER_05 30:07

Many words. I when about a half hour into the movie, when she picks up the laptop and we start finding out about her past career and building the 20-mile house, is that what it was called? Yeah. I I thought, oh, she's having issues because she's a creative person and she doesn't have an outlet anymore. And so the movie keeps going up until she's having lunch with Lawrence Fishburne, and he says, You don't care about any of this stuff. Your problem is you're not being creative. And when you're not being creative, you become a menace. At which point I had to pause the movie and realize that I had been seen at that point. Uh you know, obviously, I'm not some you know, millionaire architect, but as far as the creative thing, if I'm not doing my creative ventures on a regular basis, the mind starts to wander and irritation happens, random fights with people online, you know, ugly shit that probably shouldn't be happening because I need to focus on on creating things. So while as this movie's far from perfect, it had enough moments in it uh uh that made me uh I don't know, I relate it to it in many ways that I haven't when I watch it.

SPEAKER_04 31:20

I see like, oh, she has mental uh she has mental illness issues, she has hardcore insomnia, she has eroded former promise. I'm basically a less sexy burnadette. I haven't done serious writing in like five years, and I think it's killing my soul. I I literally feel like I'm dying. It's the little deaths every day. Yep. It's just killing me.

SPEAKER_00 31:49

That's that's how Marty and I feel. You know, that's what that's dude. We gotta write screen. We gotta make a movie.

SPEAKER_05 31:54

Like I got inspired by the movie in a way of like, oh, I'm not uh obviously we're not alone, people all have these same issues, but to have it be so clearly spoken in the movie, it made me realize, well, no wonder this was such a huge bestseller. There must be a lot of other people in the world who feel the same way.

SPEAKER_04 32:11

And so and yet people seem to fucking hate this movie.

SPEAKER_05 32:14

It is polarizing, isn't it? Yeah.

SPEAKER_00 32:17

I think I think partly because it's not look, it's not a movie that's gonna hold your hand and say, here's why Bernadette's having problems. Everything's gonna be over here. Yeah, here's Bernadette's struggle, and here's why this person's a dick. Because even um the person that's menacing to her and supposedly driving her crazy, which is played by Kristen Wick's character, is just a kind of I mean, yeah, she's in kind of an overly kind of one of those moms. Yeah, but at the same time, she's not like she's not being a bitch. She's just she's just saying, you know, dude, we gotta clear this stuff out, we gotta do this. Hey, and and Bernadette's just like, you know, you're the devil, you're the worst person ever. Um I don't know. They don't play these sort of stereotypical roles in the film. And the film's not holding your hand and saying, look, she's a terrible person.

SPEAKER_04 33:04

Look, this person's, you know, it's uh everyone's multifaceted.

SPEAKER_05 33:10

Yeah, Cliff, it's like it's like in our movie where Billy is like, if there's more than two people in the room, I'm the asshole. You know, I can't be around these people. And I was like, oh, the Bernadette character, I kind of she damn near says the exact same thing in her yeah in the film. A lot of this movie felt almost like it was a Cameron Crow movie to me in place. But this has more of those Link Later twists and turns that he's famous for.

SPEAKER_04 33:37

It'd be called We Bought a Bernadette.

SPEAKER_00 33:39

Dude, I was just about to say, I got We Bought a Zoo Vibes. It's one of my notes. Like I'm like I'm getting We Bought a Zoo vibes from this thing. And it and it and what I mean by that is like he and Linklader both are starting to tackle these subjects about family and about that type of thing, or at least including that in their work. I mean, this is the guy who made Slacker and Days to Confused, and you know, it's atypical, it's really atypical for him. Yeah.

SPEAKER_04 34:06

But still has that touch.

SPEAKER_03 34:08

Yeah.

SPEAKER_04 34:09

It's still unmistakably a Richard Link Letter movie. Everything he makes has his stamp on it, and it's not necessarily a visual stamp, it's not necessarily a thematic stamp, but there is a certain ethos and a certain kind of vibe to it that always happens whenever you get a Richard Linkletter movie.

SPEAKER_00 34:30

They're always watchable.

SPEAKER_04 34:32

Yeah.

SPEAKER_00 34:32

Yeah, oh, very much so.

SPEAKER_04 34:34

And the cast. Oh my god, Judy Greer, Megan Malale, James O'Baniac.

SPEAKER_03 34:41

Fucking kidney? Dr.

SPEAKER_04 34:43

Ventures in this movie, Steve Zahn for like 30 seconds. Oh my god.

SPEAKER_00 34:49

Yeah, yeah, it was a good cast. Um, my only I I think my only problem was I feel like the the the teenage girl struggled to keep up a little bit um with with the the star power that was there. She was good, but serviceable, but it was just moments where I was. Yeah, yeah. She's she's she was good, but boy, I mean, it in a and I mean hell, dude. I mean, imagine being up against, you know, again, Academy Award winner and Billy Credp and all these other people. It's it's gotta be rough. That's gotta be intimidating as hell. Um I have a note here that says Um, let's see here. If you use my copper clad stock pot to catch a leak in the roof, you're gonna be hearing about it for a long time and probably catch a beating. Um those fuckers are expensive. So yeah, that was just a weird note.

SPEAKER_05 35:36

I like how they know that she's there when they see the bucket at the at the South Pole. You know, these it's like, yep, mom must be here because she's already got the the bucket with the towel in it, catching the leaks, you know.

SPEAKER_03 35:50

That's funny.

SPEAKER_05 35:51

And you know, I I know that it's not very realistic. And then even in the beginning of the movie, I thought, is this just gonna be a movie about the upper 1%, these rich people with rich people problems? And then as it goes, I realized as about 20 minutes in, it's like, oh no, this is more about you know things that everybody can go through. It's just it's just presenting it to you in this kind of grand version that ends with her going all the way to the South Pole, which to me it's like if you look at it linear, it's kind of like, yeah, that's kind of almost ridiculous. But if you read between the lines, it's it's saying things like fortune favors the bold, and you know, and she found her purpose again, which is like that was the medicine she needed to get herself back on track. She just needed to go out there and do it. And it's like, look, I don't want to take you to the South Pole, you have to go through all this shit. And it's basically like, well, if you take me, it's like, look, I'm already here, and I'm what willing to do the work, so you you you have to take me on because I'm already fucking here, and who else wants to build this thing? And so I I liked I liked all that stuff.

SPEAKER_04 36:55

I love when she points out that there's this state senator who trained to be an oil technician, yeah, diesel mechanic.

SPEAKER_00 37:03

Yeah, I love that. Yeah, and then what is she doing? She's fixing the diesel engine with the guy a little bit later, yeah. Right? Yeah, she's down there, you know, okay, I'll make myself useful.

SPEAKER_05 37:12

Yeah, she's been trying to fix up that big house, and it's just she can't get a grip on that big empty house. She needs to be, you know.

SPEAKER_00 37:21

It harkens all the way back. What what you said earlier harkens back to that thing you do, which is your favorite thing in that movie is just keep on playing, right? And she failed to keep on playing. And it damn near drove her crazy, right? You gotta keep doing your art, you gotta keep doing what you're supposed to do, Ryan.

SPEAKER_05 37:40

Well, it's hard sometimes, like this movie shows you how it is hard sometimes, and it also shows the further away from you you get, the bigger the hole becomes, and the harder it is to pull yourself back out of it. But it also shows you that you can jump start yourself back out of it. So this is that there's a lot that I relate it to in it, yeah. And it's also a movie set at Christmas. It seems like every fourth or fifth movie we do, there's a scene at Christmas. But is this a Christmas movie? No, it just has a scene at Christmas.

SPEAKER_04 38:13

If it has a scene at Christmas, that makes it a Christmas movie. We've we've concluded what's on Wheels of Justice. Skyheart is guilty of being a Christmas movie, so is this.

SPEAKER_00 38:24

I think the movie has to be about Christmas for it to be a Christmas movie. No, no, you're wrong. No, no.

SPEAKER_04 38:31

I hate to tell you this, but you're wrong.

SPEAKER_05 38:34

So when you put on my cousin Vinny with your family this year, Cliff, then throw this one on next and see if uh Right. There you go. Hey, it's over it's a Christmas movie.

SPEAKER_04 38:45

Then then they hope you like being depressed for 45 minutes. There you go.

SPEAKER_05 38:50

Holiday movies are depressing, so you got something there. The more depressing, the better on Christmas, I find, because Christmas seems to uplift even the the darkest films.

SPEAKER_00 39:03

Well, I mean, this movie, I'll say that I like the last half of this movie more than I like the first half. I feel like I had a lot of questions in the first half, which is great. They got answered in the last half, which I really I liked. Yeah, it gets going. Um I I feel like things got a little tied up a little too neatly in a bow at the end. Um, which is it was watching within a week watching Sean Baker's movie and then this movie, it was like two totally different approaches at it, right? Like I just Sean was like, hey, fucking boom, here's your say anything in you get the fuck out of my face. And this, and then over here it's like, hey, let's wrap it up in a nice bow, the family's happy, everything's wonderful, you know. So it was uh it was definitely a contrast.

SPEAKER_04 39:42

And you get to see her build the station, yeah. Which is great. It's one of the few post not post-credits, but it's one of the few credit scenes that you definitely need to sit in your seat in the theater and finish.

SPEAKER_00 39:55

I definitely liked watching that. That was interesting. And um, I guess that was uh I I looked it up, some architectural firm did that. It was pretty cool. Oh, really? Mm-hmm. Yeah. Yeah, that's awesome. I can't remember who. I think it might be on IMDb here, but let me see. Anyway, yeah, I was an architectural firm I read, I think it was Wikipedia that said that there was an architectural firm that actually did that. So oh yeah, it's the uh design and construction in the closing credits is the Halley Six British Antarctic Research Station.

SPEAKER_04 40:24

Very cool.

SPEAKER_00 40:25

That's pretty neat.

SPEAKER_05 40:28

It did seem like that was real, right? That those in credits.

SPEAKER_00 40:33

I was like, wait, this isn't based on a real story, but this it seems this feels like that's why I looked it up because I was like, is this based on like a real person who actually built this? And then I was like, oh, okay, no, it's they kind of it's an amalgamation. It was cool though. Um the scene where she's where they show up to commit her was pretty awesome. Where she's just because she's like the you know, the more she's like, I can fix this, it's not it's not a big deal, the worse it's like you're not getting out of this. You're you're going somewhere, and I don't blame her for running at all.

SPEAKER_04 41:06

It's something as a as a bipolar human being watching her in that moment. I'm like, I've been here. I've not I've not had an intervention in my life, thank God. I I probably should have had a few, but I I never have. But I can imagine if I did, I would react exactly like Bernadette does. I I would have I would be that obstinate, I would be that just challenging and just uh venomous towards anybody who tried to approach me.

SPEAKER_00 41:35

Yeah, well she's panicked too.

SPEAKER_04 41:37

She's panicked. Yeah, it's it's completely best scene in the entire movie. She's so fucking good in that scene. Oh my god. She's good in everything she does. Well, don't need to tell me that.

unknown 41:46

Yeah.

SPEAKER_04 41:47

I'm aware of how good Kate Blanchett is. Okay, I've heard I've heard you're a fan.

SPEAKER_00 41:52

I've heard you're a fan. A little bit. Um did you enjoy tar, by the way?

SPEAKER_04 41:56

I love Tar.

SPEAKER_00 41:57

I thought it was fucking broken.

SPEAKER_04 41:58

Absolutely love Tar.

SPEAKER_00 41:59

Yeah, well, we'll have to get to that one on the show eventually. Um yeah, um, but this was good. This was pretty good. Um I don't have a lot of other notes, you know, movies about kind of ennui and art art and all that stuff. That's right up my alley.

SPEAKER_05 42:13

Um I always tend to find a lot of Link Later's movies relatable in some way or another, but this was definitely up there as far as extreme relatability. Uh, right up there with uh like boyhood and before midnight, and now now this one. It's like even even this one that's kind of one of his weirder, not as personal, there was still enough of his touches in there, and especially the the whole I feel seen aspect of it that I haven't related to a movie that hard, probably since like Ghost World or something.

SPEAKER_04 42:49

So you go midnight over sunset?

SPEAKER_05 42:53

They're both really good for different reasons, though. But I don't want to talk too much about midnight because Cliff hasn't seen it yet, and I'm gonna show it to him pretty soon.

SPEAKER_04 43:02

But yeah, great movie.

SPEAKER_00 43:07

I hope so. I sunset, I wasn't too enamored with sunset. I mean it was fine. Sunrise, right? But it really, yeah, sunrise. It didn't really blow me away. So I'm hoping Sunset and the other ones are better.

SPEAKER_04 43:16

They are good, good, good, good, good. You go from a gentleman's nine to two gentleman's tens.

SPEAKER_00 43:27

Explain to our audience what a gentleman's nine is.

SPEAKER_04 43:30

A gentleman's nine is a four and a half stars, but it's it's a polite way of putting across a movie rating that I stole from blank check and have since incorporated it into the vocabulary of Reels of Justice and One Track Mind. And now, whenever I have a guest and I talk about a movie and I call it a gentleman's whatever, I'm not looking at them because we're recording voice only, but I'm pretty sure the look on their face is like, what the fuck is he talking about?

SPEAKER_03 43:55

Yeah.

SPEAKER_04 43:57

What the what? To me now, it's just natural. Now I talk to my family and I just and if I come home from a movie and I talk to my parents and I'm like, I just saw the greatest movie with a Gentleman's Eight, and they're just like, Yeah, of course it was. Yeah. Sure.

SPEAKER_00 44:11

Yeah.

unknown 44:11

Okay.

SPEAKER_00 44:12

Yeah. Gentleman's Eight, you got it. Oh man. Um this is pretty late in Link Later's um whole run here, which is 2018, right? Yeah. 2019. 2019, yeah. So real relatively recent. Um has he done anything since this? He did.

SPEAKER_04 44:34

He did Apollo 11 and a half, which is pretty good. It's okay. He did uh Hitman, Hitman, Hitman, which is great. Okay. Yes.

SPEAKER_00 44:44

Okay.

SPEAKER_04 44:45

Gotcha.

SPEAKER_05 44:46

Still gotta watch that.

SPEAKER_04 44:48

Oh, so good. So good.

SPEAKER_00 44:56

What do you think, Marty?

SPEAKER_05 44:57

Um any other notes on this one? I guess if I'm if I'm doing my math right, I think it's a gentleman's seven. Three and a half, is that did I do the math right on the You did. Because is three is uh usually it's doing the movie's doing something that's really standing out to me, and three and a half is like borderline getting to an all-timer. But since it had a little bit of trouble getting started, even though I feel like that was important to the pacing, I still can't really go much higher than three and a half. But boy, did I really enjoy this one for a lot of reasons.

SPEAKER_00 45:32

So I can I can I can go with three and a half also, yeah. I think it what's holding me back is uh again, it ties up a little bit too nicely at the end. Um and I uh uh yeah, a couple other things like that, but I like the movie quite a bit, and I'm right there with you with the whole you know, you need to create your art or you're gonna go crazy type of thing. I'm I'm all about that. I thought that was great. Ryan, what about you, sir?

SPEAKER_04 46:00

Gentleman 7. We're all in agreement on one movie.

SPEAKER_00 46:06

Hey, hey. No reason for any hard feelings on this one.

SPEAKER_04 46:10

Yeah, I won't be mad about Starlet at all anymore because we've we've clearly broken bread over where do you go, Bernadette. I'm not mad about Starlet, not at all. Why? Can you tell in my voice that I'm being completely sincere?

SPEAKER_05 46:26

I think it's gonna continue to grow on me. I've only had a cross set better. It's still it's still percolating in the brain, kind of. You know, I certainly haven't stopped thinking about it, definitely.

SPEAKER_00 46:36

I'm looking forward to his uh it's it what it's got me doing is looking forward to his next his his future movies. That's I'm like, okay, that was that was good. I want to see what he did with Red Rocket. I've heard the I remember the Florida project. Did it pop up during the Oscar races?

SPEAKER_04 46:50

Yeah, because of uh because of Willem Defoe.

SPEAKER_00 46:52

Right. Yeah, okay. I forgot he's in that. So yeah, so I mean, I I'm I'm looking forward to that. I those are the ones I'm really looking forward to seeing. We'll have to drag those onto the show at some point, too.

SPEAKER_05 47:06

Yeah, we last saw Willem Defoe on this show in what was it called? Animal Factory, but it was also the lighthouse, too. Yeah, yeah.

SPEAKER_04 47:15

Oh, he's so good in the lighthouse. Oh my god.

SPEAKER_00 47:18

Oh, I love that movie.

SPEAKER_04 47:19

So is Pattinson. Pattinson's fucking amazing in that movie.

SPEAKER_00 47:21

Yeah, the imagery in that movie is stunning. The mermaid vagina. Jesus Christ. I was like, really? Okay. The whole thing where he's tight, where he's uh uh he's got the trident and he's um uh the the underwater god, I can't remember his name.

SPEAKER_04 47:36

Neptune?

SPEAKER_00 47:37

Uh yeah, Neptune. He's got that he's got the light coming out of his eyes and his mouth and shit. Jesus Christ.

SPEAKER_05 47:45

Yeah. So you got anything you want to plug, Ryan?

SPEAKER_04 47:49

Uh yeah, listen to uh Reals of Justice. Uh we have a a prosecutor, defender, judge, and jury in a fake court, and we try to determine if a movie is guilty of being a bad movie. And then one track mind. Uh every other week, I myself and a guest, we analyze film through the prism of audio commentaries. It's a very pro-physical media podcast. Uh we interesting every single recommendation I give on the show has to be on disc in some way. And uh it's we've just hit uh recording-wise, our 60th episode, which means we are officially a toddler in podcast years. Nice. And you can find uh that show, you can find Reels of Justice at Reels of Justice on Twitter and Facebook and Instagram. You can find one trackmind on X at OneTrackMind Pod uh on Instagram, where I spend most of my time is the numeral one trackmind podcast because some son of a bitch took one with O N E. I'm boldie and um on one track mind on Blue Sky, Facebook, and Podchaser.

SPEAKER_00 48:58

Nice get out there and listen to those podcasts, guys. Reals of Justice is hilarious. And uh One Track Mind, I've only listened to one episode so far. It was really good though. Enjoyed it. Oh, thank you. Yeah, yeah.

SPEAKER_05 49:08

I'm caught up on that one with the uh just heard The Cabin Boy and the uh Coraline. Yeah. I always get it.

SPEAKER_04 49:15

Coraline, that was a fun one because that was uh Candace Martellero, my guest. That was her favorite movie ever. And when I suggested on Facebook, I put up does anybody want to talk to me about Coraline? And immediately she popped up and she's like, My favorite movie. Okay, okay, good. Don't need to ask anybody else. We're done. That's hers. That's great.

SPEAKER_05 49:38

Alright. So I guess that's uh wrap it up for for this week. Uh I'm I'm glad we were turned on to both of these movies. I hadn't seen either of them before. The one I had been wanting to see, the other I didn't know it existed, and now I feel all the better for having watched both of them, which is more than I can say for some weeks around here.

SPEAKER_00 50:01

I haven't had a real string of luck giving him movies this season. It's he's really almost hated almost everything I've handed him, so it was nice, nice to give him something he liked.

SPEAKER_05 50:10

But then he gave me Ghost Dog, which I hadn't seen before, and I was just like, well, that's the Ghost Dog rules.

SPEAKER_00 50:15

Yeah, I fucking love that movie so much. So fucking good. That that soundtrack is like anything RISA.

SPEAKER_04 50:23

Anything RIZA, give me that, and I will eat that shit up. That should have been the soundtrack The Starlet. Yeah, then I'd listen to it.

SPEAKER_05 50:29

Right. Somebody remix that up.

SPEAKER_04 50:33

Riza, get on that, would you Riza or it get Ghostface in there? Any one of the Wu-Tang. Put meth in there, put red. Doesn't matter to me.

SPEAKER_05 50:42

So does so does having to watch a movie every week for reels that you might not want to watch, does it get grading after a while? Does it stay from using it?

SPEAKER_04 50:53

It's very hard. I figured it might have very hard job to have that I don't get paid for. Yeah, I think I've had to watch some truly, truly shitty movies. But I have since adopted a new system of doing this. It doesn't matter what I think about the movie. If the person defending or prosecuting does their job, that's the case I go with. And so, despite the fact that I hate about 80% of the movies we've done on this show, I have voted maybe 50%. But still, we watch some real shitty movies. But uh, you don't have to watch the movies to understand the show. Hopefully, we do a good job of explaining things, and uh, we spoil enough so that you feel like you've seen the movie and that you never actually have to go out and watch it.

SPEAKER_00 51:46

Well, you got the Twilight episode, right? That's that's what counted.

SPEAKER_04 51:50

Yeah, all I gotta say about that is baseball.

SPEAKER_00 51:57

I was I was worried that that was gonna sway the jury, to be completely honest with you.

SPEAKER_04 52:01

It swayed me. I've seen that movie 30 times. Not a joke, not an exaggeration, 30 times.

SPEAKER_00 52:11

I've seen it, I've seen it more times than I I care to admit, but not that many. But like I said, I had to read-I didn't have to, but I read the books. So well, see, I worked at Blockbuster. Wonderful form of pain.

SPEAKER_04 52:24

We had to watch it, right?

SPEAKER_00 52:25

Because it put in the loop, yeah. Oh what other ones were that were like that when you worked at Blockbuster? Titanic or any weird shit like that?

SPEAKER_04 52:33

Or no, luckily I got I got in there in 2007, so the 90s were completely flushed from the record banks. But it was uh Twilight was a lot, uh Juno. Oh my god quite a few times, which I don't know how we did that because that is really pushing the edge of PG 13. And it's supposed to be PG movies only, but uh let's see, Tron Legacy was a big one that we played for the soundtrack. And let me think of one last one. Uh Madagascar. I've seen more times than I care to admit, and yet I remember not a single second of it, and I'm so grateful for my wacky brain.

SPEAKER_00 53:17

I had to play Tron Legacy at my movie at the movie, I ran a movie theater for about seven years, and so I got to play from 2009 till well no 2007, sorry, till 2012, 13, 13. So six or seven years right in there. I got to write it.

SPEAKER_04 53:32

That Daft Punk score is so fucking good. It's fucking great. God just injected into my veins. Oh my god.

SPEAKER_00 53:38

Especially, especially when it's on a big uh loud ass fucking sound system.

SPEAKER_04 53:41

It's yes. I saw that in IMAX and it was the greatest experience ever. It was good. Just closed my eyes and just listen to the grid. Yeah. I got in. That's I I know I know all the lyrics to to that song simply because it's it's been burned in my brain. I love it.

SPEAKER_00 54:02

Well, all right. Well then uh the only thing I have left to say is connectitude. So that's that's my uh that's my quote from the movie. So connectitude. That's not a real word, yes.

SPEAKER_04 54:15

Yes, connect. Yes.

SPEAKER_05 54:19

I don't want to be a menace. There you go. Right, right.

SPEAKER_00 54:25

Why did why and and why did they name the movie after the dog? That's the only only other question I have about Star. Why did they name Perseus? Why did we name the movie after the after the bus? Definitely that movie definitely, like we were uh talking about, had those Paris Hilton vibes. Oh, yeah, the little dog at the time.

SPEAKER_04 54:47

Don't say that about my Starlet. Don't you dare compare it?

SPEAKER_05 54:56

Yeah.

SPEAKER_00 54:58

Love that dog. All right. Well, with that, let's get on out of here. Ryan, thanks so much for coming on. We appreciate it. And and again, thanks for bringing Starlight. It was we we enjoyed it. Oh, absolutely. Anytime, you guys, this was fun. Sweet. Well, then we will definitely probably be hitting you up again. All right, guys. We'll see you soon. Later. Bye-bye.