Episode 174: Casablanca + The Invisible Man (1933)

[00:00:00] Hello everybody, welcome back to the Film Buds Podcast. This is episode number 174 and my name is Henry. And I'm Paul. This week we're going to be looking back at some early classics

[00:00:29] that we have a review of Casablanca from 1942. And then we have a review of The Invisible Man, the original invisible invisible man from 1933. And then I think after that we might do some kind of open discussion on you know early, early classic film of some kind just have

[00:00:52] it you know keep it kind of open and broad but so we'll get to that and maybe save mail and other stuff we watch for next week or if we have time we might do something but

[00:01:05] we'll figure it out along the way. Well Paul, how are you doing? Doing well. You know just been sort of hanging out hanging on been working on the script it's coming along nicely right now it's at 139 pages. So and I think I've mentioned this

[00:01:27] before on the podcast but if I haven't in screenwriting terms it's usually about like a page a minute as sort of the agreed upon way that the page is formatted using particular type font

[00:01:42] and page settings and so forth. So I'm looking at about two hours 18 minutes minimum because honestly I definitely have enough stuff in there that you know could could easily protract

[00:01:57] beyond that time. So honestly I think that I'm looking at a at about a two and a half hour runtime right now. So a pretty healthy biteful. How have you been? I've been a bit alright, thanks. Nothing too exciting this week just been working and you

[00:02:16] doing more kind of Air Force prep and all that stuff so nothing really newer particularly interesting but doing alright. Yeah, that's great. Yeah. So cool well not a whole lot else to mention really Paul anything for you? Anything at all?

[00:02:40] No, not really I guess. Alright well I guess we do have a lot to chat about so I guess we can get to our first review which is Casa Blanca and we do have a clip so take a listen.

[00:03:12] I'm staying here with him till the plane gets safely away. No Richard no what has happened to your last night. Last night we said a great many things you said I was to do the thinking for

[00:03:20] both of us well I've done a lot of it since then it all adds up to one thing you're getting on that plane with Victor where you belong. But Richard no one. Now you've got to listen to me. You have

[00:03:29] any idea what you'd have to look forward to if you stayed here? Nine chances out of ten we'd both wind up at a concentration camp isn't that true Louis? I'm afraid Major Strusser would insist.

[00:03:37] You're saying this on it to make me go? I'm saying it because it's true inside of us we both know you belong with Victor. You're part of his work the thing that keeps him going and that plane leaves

[00:03:47] the ground and you're not with him you'll regret it maybe not today maybe not tomorrow but soon and for the rest of your life. What about us? Alright so as I said Casa Blanca came out in

[00:03:59] 1942 ages ago and it's directed by Michael Curtis and it stars Humphrey Bogard, Ingrid Bergman, Paul Henryd, Claude Reigns, Conrad Vaite is that sorry if I butchered it there Conrad. I don't think you have to worry about weather Conrad.

[00:04:24] Maybe. Sydney Green Street, Peter Laurie am I forgetting anybody Paul? No those are the big ones for sure. Yeah and the synopsis is a cynical ex-patriot American cafe owner struggles to decide whether or not to help his former lover and her future of husband

[00:04:46] escaped the Nazis in French Morocco. So this one is you know considered by many to be a true classic you know it's on a lot of you know best films of all times lists and all that stuff and

[00:05:04] was pretty defining film of the era 1940s and yeah well Paul you suggested we do this one. Yeah. Would you like to kick things off? Sure so Casa Blanca is an interesting one because you know way back upon you know a time and it still happens definitely today

[00:05:30] you were kind of contracted by the studio and creatives really could spend their whole lives working with one studio and so this was one of the studio vehicles that had kind of a fabled

[00:05:45] troubled production you know numerous people wrote the movie it's listed as three but I think it's actually more than that that actually ended up touching it and then doing rewrites on it.

[00:05:58] Bogart was in the middle of like career burnout at the time he was being used as a workhorse and I think that it's also a really interesting movie that's dealing with topical things right

[00:06:10] in the middle of when it was going on you know World War two is you know roughly 39 to 45. Yeah so we're sort of smack dab right in the middle of it all when it's happening as well

[00:06:25] so I thought that it would be a really really good one to go with I had originally been thinking about you know a horror film separate from Invisible Man or even going Silent Era but once

[00:06:37] you once you picked yours I was like you know what let's just go in a completely different direction let's go Casa Blanca and I'm glad that we did I hadn't watched Casa Blanca in

[00:06:50] I don't know probably six years yeah it had been a while for me as well yeah and you know it's one that I like to go back to more often than Citizen Kane which I do about once a

[00:07:05] decade and rewatching it I was I was pretty satisfied with it you know it it's still for me really really holds up it's kind of a long movie compared to some other movies that were out at

[00:07:19] that time but I think it does a really really good job of conveying character of sticking to exactly what the story is like no other real deviations and and making something honestly memorable and rewatchable by modern standards which I think is a different thing you know than just

[00:07:44] saying any movie is rewatchable I think that it's one of those rare few that from from the past that holds up for audiences beyond film buffs yeah what about you uh yeah I I like it a lot as well

[00:08:02] I it's not one that you know if we were to do a top five top 10 list of maybe early early films it wouldn't really be on that list I don't think but I still really enjoy the movie a lot um I love

[00:08:16] the World War two setting and and of course the Casa Blanca setting is is great and I think Ingrid Bergman and Humphrey Bogart are are great together and all that stuff has been said

[00:08:27] you know a million times but I think it does do a good job of by the end of the movie feeling very grand and very romantic in a lot of ways despite the the darkness of the story and

[00:08:43] so yeah I agree with in terms of its rewatchability and I think that it it really feels it's feels of the time but nevertheless it's very accessible you know it's not

[00:08:55] so over the top like a lot of movies were at the time to where someone fairly new to early film would be kind of turned off by it I think that it's you know pretty easily digestible

[00:09:09] yeah and I mean of course again this is all kind of old stuff but it looks incredible like I love it's very sweaty I like the look of of all that and I think inside the

[00:09:23] the bar is great and just the shadows and the light and and all of that stuff is to paint it very broadly it's just very compelling and engaging uh yeah and so yeah I think it's

[00:09:38] it's a really it's really worth watching again it's not one that I would like when I think of early film or I think of my favorites it's not necessarily there but that doesn't mean that

[00:09:50] I still don't really enjoy it just and you don't have to necessarily list what your favorites would be you know we could hold that for later if you wanted um what is it that holds this one back then

[00:10:04] compared to other older films from being in the top for you I guess well this one I guess the one issue I have with it is in all the times that I've seen it I've probably seen it

[00:10:21] did we have to watch it at UNC Greensboro I feel like we probably did probably in at least one class yeah I've probably seen it five or six times maybe and no matter what I can never seem to get fully

[00:10:34] engaged with the story interesting and like I feel like I want to care about it more than I do and by the end I love the final maybe 20 minutes but for a lot of the movie I feel kind of distant from

[00:10:47] it doesn't mean I'm not enjoying it or I'm not entertained by it but compared to other films within that same era same genre I feel like I'm always kind of struggling to get really

[00:11:01] um invested fully no I completely get that I think it doesn't help that I think one Rick is a character of a lot of subtlety and he's a guy who as a character is just constantly holding his cards to his chest

[00:11:21] so I think that that can definitely be like a disengaging thing and I think the other big thing is you know I think the movie's great if I had to hang any kind of like you know sort of sin on it

[00:11:31] from my perspective I think one of the things that bothers me the most is probably that um especially compared to like Lazlo or or some of the other characters I think Ilsa is a little

[00:11:47] underwritten for me I think that even though Lazlo gets less screen time I have a better sense of who Lazlo is you know and I have a great sense of who Rick is but the woman who's traveling in

[00:12:01] between them is just kind of just that you know and that's obviously something that happens with older movies right you know there isn't quite as much agency for everyone all of the time

[00:12:15] but I think that that is something that does kind of hinder the narrative just a little bit is that why did she love Lazlo why did she love Rick you know why is she making some of the choices

[00:12:27] that she's making you know and and Rick kind of writes off you know she came and and she played her you know her her best attempt at loving me still and and you know she almost had me convinced

[00:12:39] almost you know a lot of it is is left up to Rick interpreting it and it doesn't feel like a lot of her actions necessarily have all of the motivation that I think they always should have

[00:12:53] so I think that that's a pretty fair assessment yeah yeah I would too I I think that even so like as I said I think the final 30 minutes or so are my favorite like I think from when

[00:13:07] Humphrey Bogart and Ingrid Bergman get to I guess it's a hotel or something at night and she's they're talking about the time in Paris and all of that I think all of that is great and I love

[00:13:17] the look of that scene um and then just jumping ahead to the very end of the movie I think that there is something so like the the fog the headlights at that airport there's just something

[00:13:30] so iconic about it and really it's gorgeously put together even without the you know kind of the famous lines at the end it's just that you know the monologue Humphrey Bogart gives tour

[00:13:42] and everything is just really it feels like it has an age today you know it's still just as romantic and epic as it I feel like it would have been at the time no absolutely for me the

[00:13:57] ending of Casablanca is kind of an anti-ending of Citizen Kane you know when I hit the end of Casablanca it feels so much like the journey that we were absolutely supposed to go on it feels

[00:14:10] like the outcome that we've been promised by the movie you know it has a certain amount of still being you know obviously not after this many times of watching it you know it's still

[00:14:25] it still hits hard and is still you know surprising on a certain level but is also the inevitable choice of these characters you know the movie really sets it up that Rick is about to

[00:14:36] kind of fuck over Lazlo you know and then it kind of just does this absolute shift on you and so I think that the ending is the ending is probably the most iconic

[00:14:50] part of the movie overall and for me I think that it works great whereas something with like Citizen Kane I think the movie is great up until the ending and then the ending really kind of

[00:15:00] hurts that movie for me yeah it was interesting we accidentally and I don't know if you notice this we accidentally ended up making it a kind of double feature for one actor in particular Claude Reigns yeah we ended up making it a Claude Reigns double feature and

[00:15:21] you know again I thought that he was great in in this movie I actually even preferred him in this than to his role in The Invisible Man and I think the reason that the movie holds up is

[00:15:31] that the casting's great character is right there in the dialogue for everyone it's using great talent that they have at their resources and I think that this is a great example of what

[00:15:48] older filmmaking you know shows what movies were going to be and I think that's why Casablanca kind of always ends up making these lists is because it's a much more modern story compared to a lot of other older film yeah for sure and also I was looking at

[00:16:10] his IMDB page the director Michael Curtis he has 179 director credits to his name yeah right before he did Casablanca he did Yankee Doodle Dandy so I might have to give that one a poke but yeah it

[00:16:29] I don't know it's kind of it's hard to really talk about it because it is just it's such a simple film but it works so well now how do you feel about Humphrey Bogart and Ingrid Bergman in general?

[00:16:41] Their chemistry is great how do I feel about them in general I think their chemistry is great I think that she still brings a lot of depth to her character even if it isn't 100% there on the

[00:16:55] page all of the time and I think Bogart brings one of the best performances definitely of the movie and maybe it's because he was dog tired but but it's a very understated performance but there

[00:17:09] still is a lot going on you know you can see that he's a little bit world weary that there's there's a lot that's being processed in that furrowed brow

[00:17:19] and so I think that he managed to bring a lot of depth and a lot of gravitas to the role this is probably my favorite role of his you know I've seen some of his others

[00:17:30] Maltese Falcon and the big sleep and things like that I think that's my favorite of his big sleep yeah and I think that he's great you know I think that I think that

[00:17:45] he just constantly has that right kind of raggedness to his heroes you know he always brings about that kind of I'm tired edge but not in a in a way that ever makes the performance feel

[00:18:01] feel tired yeah what about you yeah I wouldn't say I'm a huge Humphrey Bogart fan I've never disliked anything that I've seen him in but after a while I feel like he starts to feel kind of

[00:18:15] it starts to feel a little bit repetitive across a lot of his roles and I mean there are plenty of actors out there who you know do the exact same thing in every movie and they're a great edit but

[00:18:25] it's you know purely a subjective thing but I feel like in the case of Humphrey Bogart for me I don't always enjoy him as much as I do other you know big actors of the time like you know

[00:18:36] Kerry Grant Clark Gable and others like that I feel like Humphrey Bogart for me would be lower on the list but I love Ingrid Bergman she's one of my favorites of the era for sure

[00:18:49] have you seen African Queen I have okay that's another one that I really like him and those are probably my number one and number two character picks for Humphrey Bogart or Casablanca and

[00:19:03] an African Queen Bergman I honestly you know I've seen her in other things but but for me she isn't I guess necessarily one of the standouts of the generation I think that she does a great

[00:19:16] job and maybe I just haven't seen like enough of her have you seen Notorious that's my favorite of hers yeah I saw Notorious once quite some time ago yeah so who knows maybe I'll go and give it a

[00:19:28] rewatch yeah and I guess spellbound was she in spellbound was that the one uh oh yeah yeah Notorious and spellbound are my two tops first okay spellbound I haven't seen at all yeah

[00:19:42] but no otherwise it's yeah it's a film that you know I think it's very deserving of having such a long shelf life and and I see why people continue to praise it and put it as you know best of the

[00:19:57] best for many reasons yeah so yeah no absolutely I think that you know it's all it's almost tricky you know there there are things where it's it's like oh you know it's almost cliche to say

[00:20:12] that it's one of the best of the best but you know cliche as it is this is a really straightforward narrative that on a certain level I think kind of transcends some of the when it that story

[00:20:29] takes place you know because if you really boil it down a lot of that story could have been moved around you know it's a love triangle about people in a hard time and I think that that could be

[00:20:43] you know a story that that really endures and carries on and I think that that's probably one of the big reasons that it has really endured is just the simplicity of the narrative

[00:20:56] of the character work of the choices they make and also by not choosing the the obvious ending which is that Rick gets the girl I think that it really elevated itself outside of

[00:21:10] just being any other movie yeah and once on that point I will say I feel like it does a good job for me of at that moment at the end I am always surprised that it's not a happy ending yeah

[00:21:26] you know and I feel like it all it gets me every time even though I've seen it many times I'm oh right and I kind of connects a little bit I'm like oh yeah that's

[00:21:35] one of the reasons why this movie works yeah is that it doesn't just cop out and go and there goes Lazlo everyone wave by the Lazlo you know and it's a bold pick for a character you know it's

[00:21:49] it's a hard choice to make your character choose the right thing over the easy thing you know as a person and I think that they managed to lead Rick right to it in the best possible way

[00:22:03] yeah I agree all right anything else about Casablanca Paul I think that it's absolutely worth the watch you know it it may be a simple choice of a must-have you know on your on your

[00:22:27] watch list of cinema history but I don't think that that will take away any of the merit of the of the why it's there and also I think that it will open up a doorway for a lot of people who

[00:22:42] consume a lot of media into a whole slew of not only references but where certain character types and character tropes were sort of born because I think that the Humphrey Bogart version of

[00:22:56] this ultra reluctant hero is still something that we see in characters like how Hugh Jackman plays Wolverine you know maybe that's a little bit of a stretch but I feel like if you boil down where

[00:23:12] Hugh Jackman is pulling his references from probably somewhere at the base of that pan is Rick from Casablanca yeah all right out of five stars Paul you know what I'm gonna I'm gonna go five five for me light five light five so cool well we can

[00:23:43] put that one away and we can get to our next review which is the invisible man from 1933 and we also have a clip for this one so take a listen one day I'll tell you everything there's no

[00:23:58] time now I began five years ago in secret working all night every night right into the dawn a thousand experiments a thousand failures and then at last the great one day but Griffin discussed the great wonderful day the last little mixture of drugs I couldn't stay here in

[00:24:21] the longer camp I couldn't let you see me slowly fading away so I packed up and went to a little village for secrecy and quiet to finish the experiment and complete the antidote the way back

[00:24:32] to visible man again I meant to come back just as I was when you saw me last the fools wouldn't let me work in peace I had to teach them a lesson but why why do it Griffin just a scientific

[00:24:45] experiment at first that's all to do something no other man in the world had done okay so the invisible man is directed by James Whale and it stars Claude Reigns Gloria Stewart William Harrigan Henry Travers Oona O'Connor Forester Harvey that's about it I think and the synopsis is

[00:25:10] a scientist finds a way of becoming invisible but in doing so he becomes murderously insane pretty good synopsis there so this one yeah I mean we I reviewed the Blumhouse

[00:25:28] remake reboot when it back when it came out so you can check that one out if you have interest Paul how do you how do you want to had you seen this before I had not okay this is my first time

[00:25:40] with this one okay would you like to kick it off or shall I why don't you take it away all right so yeah I've talked about the invisible man a lot over the years it's one of my favorite

[00:25:53] films one of my favorite horror films and a lot of that has to do with the character as he's presented in this film he's one of my all-time favorite characters across all of art really I

[00:26:06] love the look of the character the performance the concept and ideas behind the character the kind of chaos and terror of the film he just kind of runs around you know murderously

[00:26:17] insane as the synopsis says and it's just such an iconic thing even from the first time I saw it years ago I just immediately connected with it and I I love it really and I think that

[00:26:31] the effects of the invisible man are still awesome and I think that any scene where he's you know just running around in a t-shirt and the rest of him is invisible or he's taking off his

[00:26:44] bandages from his head and he's invisible under his head or under them is awesome I like the setting of the kind of tucked away town and yeah I I'm a there are a couple issues that I have with it just

[00:27:00] for the sake of conversation but I can get to those later so no of course yeah what about you Paul so I had never seen this one this is I think it's like the fourth or so of the universal

[00:27:17] horror films from back in the day yeah um so once upon a time dear listener universal was not considered one of the five major studios it was actually one of the minors and all that they had was

[00:27:32] production you know they they didn't have exhibition as well they had production and distribution but not exhibition and they used this sort of model that came from a lot of studios did a german state run organization called ufa to kind of organize their studio and get people into

[00:27:57] contract and work with them and a lot of the early paramount or not paramount universal horror films were handled by people who were heavily inspired by german films that had come over to

[00:28:09] the us in like the 30s and also even some of the creative talent where people who came over the cinematographer of james wales frankenstein was an old ufa cinematographer so a lot of the early universal horror films are very based in old german filmmaking and in particular german

[00:28:31] expressionism some of those roots are definitely still here but they're definitely lessened with the invisible man and james wale also directed before this frankenstein so this movie is interesting where we're very early on in the days of sound on film mummy dracula and

[00:28:51] frankenstein are some of the first sound films you know we're early into this whole franchise of horror films that ended up lasting in kind of two waves in the early 30s and the late 30s

[00:29:06] and ultimately i liked it a lot but i actually had the issue of not really feeling as connected to these people as i wanted to and the claude reynes performance as the invisible man is definitely

[00:29:22] for me one of the highlights of the movie especially compared to some of the performances of other people you know i think that this there's one performance i will get to that is brutal

[00:29:36] and um i i think that i can guess who it is but but i'll keep it i'll keep it tucked away until you until you tell it okay no i i think that even though i liked a lot about this movie this

[00:29:50] was one where i was like you know what it's it's about 30 minutes shorter than casablanca and i was like i don't need all 30 minutes but i could have maybe done with like 10 to 20 more minutes

[00:30:03] of maybe before the accident you know before the invisibility i think that i could have used a little bit a little bit more there i do agree that it's an incredible technical marvel i looked

[00:30:18] up how some of it was done you know obviously the the physical stuff was all done by wires and simple mechanics and stage hands off screen but how they actually did the invisibility stuff

[00:30:34] was a really really really technical process that pioneered a lot of a lot of techniques that we use now so i think that it's a really really interesting movie and i i wish that i liked it more

[00:30:49] is my current stance not that i disliked it right i wish that i just liked it more have you have you seen all the other major universal monster films i've seen Dracula i've

[00:31:02] seen uh frankenstein and that's about it okay how do those compare for me i actually frankenstein is my favorite okay James wales frankenstein is is definitely my favorite overall okay um oh and

[00:31:23] just to kind of spoil it here the performance i was talking about was the bar made i knew it was the woman who runs that bar if i had any complaints just for the sake of conversation her

[00:31:35] scream is the most nails on a chalkboard over the top headache inducing thing i've ever come across and that's just her whole performance yeah just upset woman is her entire performance

[00:31:51] yeah and also because of the time the sound work that it sounds like her scream is tearing the screen itself it's so scratchy and oh it's the worst and i remember i wish i could remember

[00:32:06] what else i saw her in but i saw her in something else over the last couple years and i was like oh no she did the exact same thing in another film it was just her screaming that exact same way

[00:32:19] so that is not i would i wish i would love to see a fan edit where they just cut all her out but i don't know if that's gonna happen anyways so uh but like in terms of sequences themselves

[00:32:33] i love the look of the opening scene in the snow where he comes and he's wearing the coat and all of that i like where he's terrorizing the town and he's in his t-shirt running around

[00:32:45] the room and you know hitting the police officers uh riding the bike and it's a you know he's invisible going through the the town the scene where he's outside the bank throwing the money and all he

[00:32:56] sees the the floating money tray and yeah i just love like i just i can't kind of overstate it i just love the look of the invisible man especially when he's in his bandages and he either has

[00:33:12] some kind of trench coat on or like a robe on i love the glasses and i love the look of the bandages and especially if he has his hat on i just i could look at that all day really and i've seen

[00:33:25] i've seen pretty much all of the sequels that i mean claude reigns was involved and they're okay they're not amazing but um there are some some cool moments in those

[00:33:34] films as well but this one i i kind of agree about the runtime i do in a sense love that it's only 70 minutes i think that's kind of cool but also you know i guess having seen it many times at this point

[00:33:49] it would be kind of nice to see more i wouldn't necessarily need to see him before but maybe just more scenes of either him doing more random chaos and terror or more scenes of him explaining

[00:34:02] the situation i think i just need one scene of of him before just to do two things for me one to show the charming man that this woman loves and to showed how he went crazy right because if

[00:34:23] this is the only character that i know for me it's a little bit harder to wrap my head around the idea that he was once a nice normal guy sure i think it's kind of the same issue that like

[00:34:38] steven king has with uh with the shining with jack nicholson it's like he seems too much like the bad guy um there's a movie that we watched for movie history i'm blanking on the name it was

[00:34:52] about a dad in the suburbs and he takes cortisone which is like a very simple medication and he ends up going completely fucking crazy and like beats his wife and um this is like an old

[00:35:11] film it's 70s 60 70s and it's a it's a ultra wide movie they've got the lens on it that has the it's it's shot on super 70 and it even has the lens that causes the slight uh disruption yeah where

[00:35:31] straight lines start to to fish out right and we watched it i think in film history and it's about this dad who goes and takes a medication and goes completely fucking bad shit and even though that movie overall is is not that great being able to see a

[00:35:53] and then seeing who he transitions to be you know is is a much more satisfying journey than starting out with just be and then trying to find your way into empathizing with him i think so i definitely

[00:36:10] liked it a lot it was just it's one of those things where i felt like i had to do more work to find my way into enjoying it as opposed to even some of the old classic monster stories i think

[00:36:27] uh and i think that his design is great and like there are definitely parts of the movie that absolutely captivating you know there i sound very negative there are definitely parts of

[00:36:37] the movie that have me locked on like his first arrival oh yeah i was so interested i was like oh where the fuck are we going like this is this is pretty weird guy walks into a room

[00:36:53] where's it gonna go um so it's definitely i think a rougher older film for me but i do think that it's one that is is super worthy of minimum at least that kind of you

[00:37:08] should watch it for the history buy in you know you should 100 watch it not only for universal's history as a horror studio but also for the work that went into making this movie because

[00:37:22] it's it's it's a technological marvel on every level and also just because the invisible man rocks no yeah claud reigns does a great job with the part um he's the best part of the whole movie

[00:37:38] probably cast wise i like i like his laugh he has a good kind of manai laugh yeah yeah yeah all that stuff i agree with i think that i maybe it's because it's the time that it came out i'm a

[00:37:50] little more i guess more forgiving or or something along those lines of why there's not more there i kind of just like that it's so simple and so quick uh in a lot of ways and so

[00:38:05] i kind of like it in a way that's more streamlined if this exact same thing came out now perhaps i wouldn't feel that way but i think just having come out in the early 30s i kind of just i go with it

[00:38:17] you know but i i get that that criticism for sure and also i don't know if i would ever or not ever but i don't know if i fully empathize with the his character i'm not like sobbing i'm so

[00:38:30] you know sorry this is all happening but i just for whatever reason i find him very compelling and interesting and a lot of that might be performance i don't know and the look as well but

[00:38:41] i don't know i just it's some it's just kind of inherent thing i just i think he's such interesting character and i enjoy some of the twists that some of the sequels take even if

[00:38:52] they're lesser and i also really enjoyed the the Blumhouse one even though they do away with the original design have you seen hollow man with kevin bacon i haven't but i've heard people telling me to watch that yeah it's it's an invisible man's story but i think his

[00:39:11] transformation of invisible is like a slightly slower process it's been a while since i've seen that movie but hollow man if you really enjoy invisible man stories yeah could be one that you

[00:39:22] enjoy you could also go and look up 2003s the erotic misadventures of the invisible man i might have to lazy sunday kind of move right after church you know yeah go and put on the erotic

[00:39:39] adventures so long everybody i've got fun sunday school i know what i'm doing yeah and uh also a few few other scenes i love the scene where he's shot at the end where he's you see

[00:39:56] the footsteps and then he's shot and you see him the impact on the ground and then at the final scene where you see him come back to visibility and uh also a random question paul i mean i've said

[00:40:09] if i had a superpower it would be invisibility what would yours be telekinesis okay i feel like it's a very um pocket knife kind of power you know can't oh shit i locked myself out of my house let me

[00:40:29] just use my telekinesis real quickly to just kind of you know sure force the lock open oh i don't feel like driving let me just fly somewhere you know i feel like it's a really

[00:40:41] really useful power it's it's the everyday needs of that it is it's an all arounder you know just when you think it won't come in handy it will yeah so cool um so yeah it's you

[00:40:55] know it's my favorite of the monster films uh of the early monster films and yeah i oh go ahead go ahead oh no i was just gonna say i i i love it have you looked into some of the how they did it

[00:41:11] i a little bit yes okay okay so to to really basically explain it to viewers once upon a time you know you couldn't just upload your footage into a software editor click on the green

[00:41:28] have that color taken out and replace it you know with whatever your image was you essentially had to go and take a film strip and mat out for example where um the matte painting

[00:41:42] was going to be so essentially for like a whole a whole series of film strip you would go and you would look at it and it would be vacant there would be this entire sort of nebulous space

[00:41:55] taking up part of each individual frame and then you would have to go through and create a series of frames that had the matte painting backdrop and then you would have to put them together

[00:42:06] and re-expose them and create this singular image that was originally a two film strip process right with the invisible man they did that same kind of concept but what was happening was they were going through they were filming one image filming vacant images filming uh

[00:42:30] rains in the set but everything was covered in black velvet except for certain things that needed to be visible and then he was going through and doing that and then anything that needed to move through the scene

[00:42:47] was matted out so it was four strips of film that ended up getting composited together into a singular experience yeah so that's what they were doing all the way back in 1932 1933 which is insanity when you think about the fact that you know just a decade ago they

[00:43:10] didn't even have sound on film yeah so a lot of very early techniques that we use now you know are all the way based back in the earliest days of filmmaking we've improved upon them and made it easier

[00:43:27] technologically but at their core a lot of them are still very much the same kind of idea yeah professor paul just laying it out that's what i'm here for i love research yeah

[00:43:42] but no yeah so the the effects are awesome and one thing that i love personally is like you could call it a flaw but i like watching it and being able to see little mistakes like when

[00:43:54] he's taking off his mask or the bandages and you see little bits and pieces of the outline or little like dark spots where it's clearly them yeah and so i kind of like it especially for the

[00:44:07] time that it came out i kind of like seeing that because it reminds you like oh yeah people actually had to do that uh you know by hand so to speak yeah and so yeah that's that's really

[00:44:19] cool also one thing i will say one of the sequels has a scene where there's an invisible dog the invisible man has an invisible dog and that you just see this harness dog harness walking around

[00:44:32] and it's terrible it doesn't hold up at all but it's uh it's it's a clever idea so yeah well um cool anything else about the invisible man no honestly i think that that does it

[00:44:50] just about does it it's one of those that has a lot of to borrow phrase from theater back of the house acting you know it's one of those where even though there's a camera right

[00:45:04] there a lot of these people clearly come from a world of the back of the theater needs to see it but i think if you can get past that and some of the other issues

[00:45:16] you know that that just come with a movie aging i think it's definitely worth the watch and also if you don't want to do all of the whole universal horror franchise i think minimum doing the first

[00:45:29] of each of them is a worthwhile experience the first Dracula the first Frankenstein the first mummy the first invisible man because we're looking at things that shaped an entire generation of of not just movie makers but also storytellers you know one of the reasons that the first

[00:45:51] characters or images that Stephen King's Pennywise turns into in the book it is the mummy and the wolf man and things like that is because it takes place in the 50s these are the movies

[00:46:04] that are playing on tv these are the things that are terrifying a generation and i think it's interesting to go back and look at what people consider fearful you know what taboos are

[00:46:19] being tapped into what ideas are being tapped into what makes someone once upon a time go that makes me afraid and i think that that's a weird place to look but i think that it's

[00:46:31] an interesting place to look to find out more about who we were yeah well said uh and one interesting kind of random about Dracula one cool thing about that movie is there's i don't think

[00:46:45] there's any score in the movie aside from the very opening credits and so it's cool to watch a movie like that that relies entirely on you know performance on on mood but it uses no score

[00:47:02] and but then if you think about movies now like horror movies now the score is like a essential part of creating i mean some directors use it too much but it's typically a thing that direct

[00:47:16] directors rely on to create yeah you know unsettling sequences so it's it's cool to go back and be like wow they're not even thinking about using that they're using so many other elements of it no

[00:47:30] absolutely it's also i think worth noting that even if there are any flaws that you may have with the movie at the end of the day this version of the movie is what the writer of the invisible man's

[00:47:43] story hg wells signed off on you know so even if you don't you know think that this is necessarily the definitive version and maybe with time it isn't but for a time even by the writer's own

[00:47:59] standard like this was the tale yeah oh and the book is awesome by the way i've read the book book is very okay yeah i have not read the book i have read Dracula you know with its diary entry

[00:48:12] format yeah all right out of five stars paul it's a three and a half three and a half it's five for me okay you just had a great time with this episode yeah i was like yeah i guess i'll watch it

[00:48:29] so all right well i guess we can move on is just kind of get more into early you know early classic film as a whole so of course we we could talk for years about this kind of thing but paul any any

[00:48:47] certain areas anything that while watching these two movies that struck you as something you wanted to discuss or you know are there any i and i guess we can also talk about certain favorites as well um are there any standouts to you from the early eras

[00:49:05] trying to keep it in the theme of everything before 1960 i would yep i'd say so as well yep you know obviously some of the some of the obvious musts you know citizen kane casablanca duh

[00:49:20] pretty much anything chaplain does is probably worth a viewing my first silent movie was actually the general oh yeah which is a buster keaton film about a guy in the civil war who is in love with a woman

[00:49:38] and essentially he goes to her father and is like let me marry your daughter and he's like no you're an absolute nanny in a sissy why on earth would i ever let you marry my daughter and he's

[00:49:52] like okay then i'll join the war and he's not a very good soldier but by absolute you know happenstance he ends up in pursuit of and destroying um a southern tank or a southern train right um called the general

[00:50:10] and it's a it's a really fun little movie i think that rewatching old films is beneficial for everyone for a lot of reasons i think that for people who love film it is a must i don't care

[00:50:30] if you go to film school it is a must that you engage with where the art form came from it is necessity you don't have to go to college and then make movies but you do have to know where the fuck movies come from i guess so

[00:50:52] so i think that that going back and reviewing old movies you know for this really reminded me of that i think that for people who are casual viewers it's a great way to just expand your

[00:51:05] palette you know not everything that's older is bad or outdated or outmoded or irrelevant to you just older um and three i think that it can help you kind of build some patience back as a viewer

[00:51:25] i don't know if you've ever felt this way but there are sometimes where i watch something and i'm like why am i having a hard time with this especially you know something older and i'm

[00:51:35] like why am i having a hard time with this and it's like i went into it with the mindset of being entertained by movies in the in the context of a more modern movie do you ever have that kind

[00:51:48] of sensation sometimes yeah even with something that i've seen before sometimes yeah yeah i think it's it's all about mindset you know and kind of thinking about the context of it for sure and paul one thing i before i forget it would be an interesting experiment

[00:52:08] for you to be teaching a class and me to be one of the students and see how i hold up against your just to see uh you know how i would analyze a film as opposed to how the teacher would it'd

[00:52:25] be a this now this would be a very long form experiment it would have any interesting results it could um we'll have to look into something like that that could be a good way to figure some

[00:52:38] some things out how do you feel i guess about older films are there any standouts for you yeah i mean i i really love watching older films and i feel like recently i haven't been watching

[00:52:52] as many as i i have in the past but i always enjoy it it's you know and i i guess i can i can really say like i'm not one of one of those people who will say all this classic film is so good i

[00:53:06] it's you know one of the best of all time and then i don't actually enjoy watching it like if i watch a film even with context and i don't enjoy it i'm not gonna praise it uh you know just because

[00:53:17] it's considered to be a classic but like with the you know silent film as you're saying with the general i i love chaplain uh i love all of the comedians and it's so there are a lot of them as well that are so

[00:53:32] i don't know um underappreciated that are incredibly they're incredible like it's just you know like there's one that's called thief i think it is and it's about two hours and 50 minutes

[00:53:44] long and it's this espionage film and it's amazing it's like you got to sit with it it's a two hour and 50 minute silent film like it's not an easy watch but like there's such incredible art there

[00:53:57] and there are so many because it was um that era was truly like breaking the art form out into the world there are so many interesting experiments that people tried yeah some succeeded some

[00:54:12] failed and it's so cool to see both some that really work and then some that are like this is not good and but that doesn't mean that that it's not interesting to watch and so silent film is

[00:54:25] awesome you really got to be in the right mindset to watch it and to enjoy it but like it's so worth watching and you know kind of going going through time so to speak you know

[00:54:36] each era and seeing the differences and because again it's such a new art form that yeah they're just trying whatever the hell they can think of to be new with the you know the technology of the time and

[00:54:48] so i mean standouts i mean of course we could you know go on and on about that the invisible man would be up there for sure i think my i think psycho is my favorite quote unquote classic film

[00:55:00] early film um i love some like it hot when carlin minroe i'm a big marillon minroe fan rear window it is another for me that i really enjoy now how do you feel about some of the

[00:55:15] classic epics like ben hurr tin commandments are those that you ones that you enjoy or are they kind of yeah it it very much depends the historical epic ended up getting swept up in this movement

[00:55:33] of studios kind of just spending ludicrously on sets and extras just to kind of make an epic so some of them get a little bit dry yeah um but some of them are definitely worth the watch honestly out of

[00:55:48] the sort of historical epic era i would say that the best of them is probably spartacus hmm if i had to come up with like a top five of black and white movies that i think everyone

[00:56:03] should watch it would be citizen kane kasablanca some like it hot m which is a german film that's great yep and then probably frankenstein yeah oh and i don't know if i gave a fifth one east

[00:56:23] of eden is another one of my favorites with uh james dean yeah yeah it's it's a wider it's a wider field that i think most people realize even going back to silent film you know there are westerns

[00:56:39] westerns were one of the first things done in silent film um westerns actually had like a little bit of an ebb out in the thirties uh and and if i'm not mistaken going into the forties it wasn't really until stagecoach um that westerns had like a resurgence so

[00:57:00] you can find a lot in classic film and you can find a lot that you still relate to in classic film and also and this is the thing that that i you know am constantly saddened by whenever i think

[00:57:15] about it for too long there there are constant films that were good that are also now just gone you know because a studio basement flooded or because the studio never held on to the print

[00:57:32] and the person who had the print put it in their garage and then they died and their kids found it and their kids put it in their garage and now it's rotted away so i think that even more importantly

[00:57:46] like absolutely treasure the classic films that we do have because it was a long way for them to get here in a weird way yeah yeah and also i mean and i i talk about a lot sometimes like

[00:58:04] especially going back to like 1900s 1910s 1920s just watching something to see footage of that time is interesting to me like seeing you know a 1917 film and just seeing how people acted or how people

[00:58:22] thought what acting was at the time what people thought was funny or not funny and or what people thought were you know was dramatic or sad or whatever and so it's cool to see buildings of the time

[00:58:35] and and to see people how they looked you know yeah because there are so many differences not even discussing makeup but just a look of people at the time was was different and and now in terms

[00:58:50] of like comedy you know i think you know people like buster keaton and charlie chaplin you know their stuff again i'm not just you know blowing smoke it's like if you sit down and watch those to me at

[00:59:01] least they really are funny i'm not just saying oh yeah that's a classic comedy you should watch it it's like there are i mean there are flaws to those films a lot of them but like when it's

[00:59:10] funny it's really genuinely funny and just as i would laugh at something that came out yesterday would be you know yeah just in a you know it's done in a different way and and and that's also the

[00:59:23] basis for a lot of jackie chan's philosophy about how a moment is supposed to land and about how physical comedy is supposed to work it's set up punchline and payoff just without a single word

[00:59:38] uttered yeah and i think my favorite chaplin film would be the great dictator i love that one that's a good one yeah yeah um but yeah it's you know and now what about in terms of 1960 or before

[00:59:55] do you have a favorite era for me it would be the 50s um i would probably say the 40s okay i really like 40s film i love noir stories i'm a huge noir fan and some of that did obviously

[01:00:12] continue on into the 50s but a lot of that was born in the 40s you know you get touch of evil i think is like 49 or 59 no i'd probably say the 40s okay what about directors um probably chaplin

[01:00:29] okay chaplin or and now i'm going even older than chaplin george melier's oh yeah yeah i'm i think the 50s for me i love film noir as well what would be your if you some film noir

[01:00:44] like are you like double double indemnity are there any any standouts uh double indemnity is definitely one touch of evil like i said is a great one it takes place in like a texas border town so it's

[01:00:58] kind of a little bit of a change up of scenery for film noir at the time and it's a really big touchstone for the coans as well and obviously which is a film noir from germany kind of the

[01:01:14] defined the genre the postman always rings twice the big sleep yeah yeah i think you know alfred hitchcock it's kind of like the boring choice i do love hitchcock i think billy wilder

[01:01:30] would be my other top one uh and he yeah he did some like it hot and double indemnity and oh and another film that he did that would be a favorite of mine is sabrina with audrey heppern

[01:01:41] i really love love that one a lot um in terms of actors i love carragh grant marily munn row audrey heppern gretta garbo is one that i always love to watch a lot and what about you any

[01:01:57] actors standout actors i love heppern she was a um she was a uh resistance operative during world war two and she ended up carrying messages in the toes of her ballet shoes yeah that's a fun fact for

[01:02:13] you she also cared for the director of the first bond movie who was a paratrooper that ended up falling behind enemy lines during world war two that's what i think we also have to remember

[01:02:26] about a lot of the people that we discuss in you know sort of 20s to 30s filmmaking and then 40s to 50s filmmaking is like 20s to 30s filmmakers uh whole shit some of them had survived world war

[01:02:42] one and were very heavily influenced by world war one and world war two you get the same thing with that next sort of generation of them um yeah bogart's probably a favorite kerry grants fine

[01:02:57] jimmy stewart would be another for me jimmy stewart is is pretty solid some more so than others i'm not a big mr smith goes to washington fan nor i um chaplain is probably one of my favorite

[01:03:13] older black and white actors um just because that's a guy who really understood his character and you know he really did just have one it was the tramp um but he did that one well

[01:03:25] i like some early john wane um you know some black and white era early john wane performances i think are pretty solid he's got like a kind of middle section that gets a little spotty but

[01:03:36] like some early stuff and some late stuff for him are great um oh and another thing you that you're touching on and also uh in terms of the directors like for example jimmy stewart was a

[01:03:48] fighter pilot in world war two and then also and there's a great documentary paul i don't know if you've seen it on netflix called i think five came back yeah and it's about some of the big

[01:04:00] hollywood directors who went and filmed who took time away from hollywood and went and filmed world war two battles made them into films and then presented them to the american public

[01:04:14] like john ford was one um and a few others but like it's kind of interesting to think about that's not something that most directors would do now but like huge big time directors took time away

[01:04:28] from you know making huge money makers to doing these very important infomercials you know so to speak and a lot of those are actually on netflix now you can watch like like i think there's like

[01:04:43] battle of midway and things like that that are it's purely just a director going and filming a world war two battle yeah and there's nothing else to it it's just just action well and it's um

[01:04:55] i think it's frank capra yeah that's one um who's another great old director um and he was tasked with coming up with propaganda films and he couldn't figure it out you know and so he asked for this is something that you learn in the documentary he asked for

[01:05:16] german propaganda films nazi propaganda films and he was like well this is the most terrifying shit i've ever seen let's just put this in english you know so it's a really interesting documentary if you're if you're into both world war history and also entertainment history because

[01:05:35] it also pretty much every filmmaker has one modern filmmaker dedicated to talking about them right um so i think it's capra that's talked about by guillermo del Toro primarily um steven spielberg's in it so it's definitely like worth a check if you're if you're into

[01:05:54] the cross section yeah of those two points yeah so yeah that's that's a really interesting point about about the era that's you know is should be appreciated for sure and yeah i mean you know it's

[01:06:13] classic film is great and i feel like you know even just having having watched these two films for this this week i feel like i want to kind of go and explore some more

[01:06:23] films that i haven't watched yet uh and maybe even some silent ones you know i've kind of been in the mood for that um the german officer of casablanca that's the zombie figure from

[01:06:40] cabinet of dr caligari uh interesting yeah and also speaking on that yet cabinet of dr caligari and nos ferrata are cool i think nos ferrata would be my favorite of the two yeah yeah i mean there's

[01:06:57] you know if you want to you know explore silent film or or classic film you know you don't have to start with citizen kane or something really dense just watch a comedy or something and you

[01:07:09] you'll you know see bits and pieces in different pathways that you could go down and before you know it you're hooked yeah no i'll completely agree with that filmmaking is all about finding

[01:07:23] what you like across a very very wide set and you know that's why it's always ridiculous to just completely write off a whole genre i don't watch that kind of film why oh because it's this

[01:07:37] not all of them are that you know if you look at new go i don't watch old film why it's boring and old you've literally just neglected thousands of titles you know that that you could find the

[01:07:52] thing that really sparks some kind of artistic inspiration in you um yeah paul i don't watch anything that was made before the year i was born there are people that are like that it's

[01:08:06] yeah oh i know i know it's befuddling and there are also people who have talked to bless them that like call like a movie from 2000 2001 like a classic film like an old film and like you have no idea

[01:08:21] none you're mental we're we're talking about uh an art form that's over 100 years old yeah you know no i i adore watching old film and honestly if you're not enjoying old talking

[01:08:35] films maybe go back further yeah go back to silence yeah and also one thing with silence i mean sometimes it worked sometimes it didn't because like they were kind of experimenting like pacing is a weird

[01:08:49] thing with silent movies like sometimes movies would be an hour long other times they'd be three and a half hours and like the pacing is all over the place and so generally you know the

[01:09:00] comedies are pretty streamlined pretty short pretty easy to watch but it's more so when you get into like epics and you know espionage thrillers that you're getting to the more there might be some

[01:09:14] ups and downs with how you're viewing it um yeah but you know that's just again being having the awareness of the time no absolutely hell if you can get through a three hour block

[01:09:27] buster now and enjoy it you know no reason you can't do it with you know 1920s film well and and you're gonna get a crash course in what it is to tell a story visually yeah you know yes there will

[01:09:42] be the dialogue cards but they have to tell you they can't just keep flashing those you'll never get a fucking image in other work buys and really read the book yeah and really I prefer films silent

[01:09:57] films that have the least amount of type of dialogue cards I really prefer just watching it you know visual yeah for the most part so yeah well anything else Paul in particular about

[01:10:12] a early film and we can always come back to it some other time um no I think that I've hit my points pretty eloquently if you if you're only watching modern films you're only

[01:10:27] watching part of the story because at the end of the day this is a a generational thing it is handed down from one to the other directly indirectly doesn't matter it's it's as much of

[01:10:44] a lineage you know as as any other art form and so I think that if you're if you're watching modern films you're only getting half of the story because you know some of the greatest filmmakers

[01:10:57] working right now were inspired by what they had access to so if I wind the clock back to when Edgar Wright was a child you know Edgar Wright had silent films black and white

[01:11:12] sound films and early color films and whatever was in theaters at the time you know so we're we're going back and we're informing ourselves on how we got here and like Henry said it's also a

[01:11:26] great window into how people just were you know if you go and watch some of the early Lumiere films you just get to see some people just being back in the late 1800s so there's a lot of value

[01:11:40] to going back to old films and maybe it'll be a little tough for you but maybe you've also been a little bit spoiled in your viewing habits sure uh yeah and you know skip put aside the Frasier Reboot

[01:11:56] all right skip it you don't need the Frasier Reboot there's nothing in it for you put it aside and watch a silent film or something you know watch a chaplain film no that movie that

[01:12:07] you've seen 20 times that TV show that you can delay friends a little bit you've already seen it five times you know what skip the first season and use however much it would have taken you to get

[01:12:26] through that to watch something new yeah and I don't mean new I mean new to you yeah so all right uh well Paul what do you want to do you want to call it a day or do you want to end

[01:12:41] off with some picks of the week we can do some picks the week I also do have a real quick I remembered that I didn't answer your question that you posed about who I would want to direct

[01:12:54] and I came up with an answer like literally right after we ended last week's episode okay yeah so who would I want to direct my script that I'm currently working on I finally

[01:13:03] figured it out Edgar Wright hmm let's see he said his name seems to pop up more often than not so I that's that's a good choice I would Edgar if you're listening we have a script for you

[01:13:16] no I think that he'd do a great job um you know I thought that ant man was obviously a story that he put a lot of things in place and I I love how the things that are obviously from him

[01:13:30] turned out in that movie even with him not being at the helm I think the cornetto trilogy is great I think baby driver is great and I think that he handles genre mashing really really well and

[01:13:42] genre blending really really well and I think that he would lend himself well to it yeah no for sure and I'll say I do really like Edgar Wright but I really prefer him when he works with Simon Pegg

[01:13:54] okay I don't love films like baby driver and Scott Pilgrim I love the cornetto trilogy so I think when they work together it's prime but well cool yeah that's a solid choice and he has a new

[01:14:08] movie coming out soon yeah last night in soho yeah which is a title of a song yeah yeah okay well Paul do you want to uh what you've been watching so I watched the I've only watched

[01:14:24] three movies since our last episode so Ghostbusters nice the Ivan Raymond one yeah from 84 Jurassic Park oh the classics mm-hmm and in the heights the new musical I saw that as well I thought it was just

[01:14:47] okay exactly how I felt my wife hated it a lot more than I did for innumerable reasons mostly is essentially that they changed plot elements that just brought the plot for her very much

[01:15:05] down and made it a very unfocused movie experience for her yeah felt it over complicated a very simple narrative mm-hmm yeah I agree I I had no real knowledge of the play aside from Lin-Manuel Miranda

[01:15:21] who I do like a lot having been involved in I felt the exact same way I thought so it's directed by the guy who did crazy rich Asians which I was not really a fan of this is a little

[01:15:31] bit better than that it's very bright and energetic but I thought there are so many parts of it that were just unintentionally goofy like yeah writing was off the performance was off I like the dancing

[01:15:44] and the singing but I think that they could have done more with not cutting constantly during the dancing I think it should have been more singular one take continuous shots and all of that

[01:15:55] another great thing about classic film single one takes you know like top hat and all those and yeah just very goofy like just and not like in a good way and even for a musical I thought

[01:16:08] there are parts of it that was like what are you doing yeah for me a great example of of the too many takes thing is or too many shots and cuts in a in a sequence is when Benny and Nina

[01:16:21] are having their shot there they're having this discussion inside of the the cab dispatch and it's the two of them separated by maybe two to three feet of space and he's trying to convince her

[01:16:36] to hop on the radio and start doing callouts to the cabs and instead of just doing a profile shot where we existed with these two kind of being fun and flirtatious where we could have seen

[01:16:51] how they're playing off of each other we do like shot counter shot shot counter shot counter shot yeah really really rapidly for two people essentially just talking to each other and I know that it's

[01:17:05] through song but like it's very very fast on a level that I'm like this makes Marvel editing look tame yeah and like also and it feels very John is it John Chu I think his name is

[01:17:21] get rid of the like Nintendo we ask animation stuff that they did like these weird little like falling I don't know even what to call it like these little weird things like where she's connecting the subway line on the fence all that's my wife called them Scott pilgrims

[01:17:40] yeah that's that's a good way to put it yeah like get rid of that stuff and yeah so I still it was charming it was light on its feet I like that about it but

[01:17:51] I don't seem to like it as much as a lot of people seem to no I've seen much better musical adaptations overall I've just seen better musical movies oh yeah easily um yeah

[01:18:05] so yeah I'm in complete agreement with you there what are what are your picks of the week yes I have a few things I was kind of burned through I rewatched Sicario the first one which great movie I absolutely love I think it was in my top

[01:18:19] five or top 10 list of the 2010s just amazing rewatched dodgeball which is you know just a fun comedy it's I've seen a million times but I it's just easy watch uh rewatched rat race

[01:18:35] which is a is a classic there are parts of it that are a little don't hold up totally but it's still so wacky and ambitious in a lot of ways it's just entertaining yeah rewatched children of men

[01:18:48] not the great one is amazing that one shot that one continuous shot towards the end is incredible and yeah so many interesting ideas and messages in that movie is great rewatched fight club which I still enjoy to a certain degree it's would be lesser

[01:19:05] lesser venture for me I love Brad Pitt or I love the whole cast really but there are parts of it that feel two nineties two needlessly cynical and but still kind of again another wacky

[01:19:18] ambitious movie that I enjoy to a certain degree rewatched kingdom of heaven the director's cut roadshow version which is like three and a half hours and I absolutely love kingdom of heaven

[01:19:31] I think it's it's I mean I'm a big Ridley Scott fan but I and I love medieval epics but I think this movie especially the director's cut is very underrated Paul have you seen this

[01:19:42] yeah a long time ago it's been a while but that's one that I would be interested in going back to for sure I saw it in theaters with the theatrical cut and then I saw the director's cut

[01:19:52] on home video later and I remember really enjoying that so I'd like to go back to it yeah and also it is weird to think about how many huge movies Orlando Bloom has been in

[01:20:04] like yeah he's got the weirdest career for me prior to the Caribbean Lord of the Rings the Hobbit franchise you know movies like this it's like more so than many other actors

[01:20:15] who seem to be praised and always talked about he's been in a crazy amount of huge successful iconic movies yeah not to say this movie is iconic but you know I mean you could call it that I don't

[01:20:27] know it's a big movie yeah it's an epic and there's no getting around that yeah uh and I believe that is it for me okay that's a pretty good that's a pretty good group yeah been been

[01:20:39] busy oh I started watching the Harley show the Harley Quinn cartoon I've seen the pilot of that I liked it the pilot didn't sell me 100% but I have enjoyed it the further into it I have gotten

[01:20:55] so I think that if if you're not sold on it maybe go and get a few more in and maybe you'll like it better yeah how do you feel about Kaylee Cuoco

[01:21:03] yeah meh because I I like her in Big Bang Theory I haven't seen the flight attendant I've heard pretty good things about that I think her her voice performance in this is good I don't know I mean

[01:21:17] it's I don't have major issues with it it does the job it's not my favorite show and it and she is not my favorite Harley but I just think that it is one of the better things

[01:21:30] that they have put out and it's one of the things that I have put on lately and been like this was a worthy diversion of my time yes yeah I felt the same uh so yeah I've been wanting to go back and

[01:21:45] watch more so cool well Paul anything else to mention for you no I think that just about doesn't all right so yeah I guess that is about it for the show sadly this week Paul any ideas

[01:21:59] for next week no literally zero perfect that's the way I like it so yeah well is there anything new coming out that we could do we'll look into that yeah so yeah I'm kind of open-ended for next week

[01:22:14] if you have any ideas the the film buds podcast at gmail.com is where you can reach us at also Facebook Twitter and Instagram at film buds so you can follow us there if you haven't yet

[01:22:24] and the film buds.com and all that stuff is in the show notes if you need more clarification or spelling um so yeah well great well Paul I mean thanks as always man it's always

[01:22:35] nice to talk to you yeah thank you man it's it's always great to be here yeah and uh you know keep me updated about the script best of luck with all that stuff yeah um honestly I would expect

[01:22:47] um an edited version probably tomorrow okay awesome all right well we hope you enjoyed it as much as we did and we'll see you next time