Sardonicast - Sardonicast 167: Three Colours Trilogy

Episode Date: July 8, 2024

Support the Show for $2 a month and receive all future episodes early at https://sardonicast.com and https://www.patreon.com/Sardonicast. Website: https://sardonicast.com Patreon: https://www.patreon.com/Sardonicast Reddit: http://www.reddit.com/r/sardonicast Twitter: https://twitter.com/sardonicast Facebook: http://www.facebook.com/sardonicast Sardonicast Highlights: https://www.youtube.com/channel/UC8AhJ0bzQgs5fb9m_ZCRqkw/featured Alex's channel: https://www.youtube.com/user/IHEOfficial Adam's channel: https://www.youtube.com/user/YourMovieSucksDOTorg Alex's Twitter: https://twitter.com/IHE_OFFICIAL Adam's Twitter: https://twitter.com/2gay2lift Adam's Patreon: https://www.patreon.com/YMS Intro music by: https://www.youtube.com/user/anUnkindnessvideo Fan art: https://www.reddit.com/r/YMS/comments/1dibnhl/rest_easy_scoot/?share_id=G9tfatBxgg3-TbaiqCehh&utm_content=2&utm_medium=android_app&utm_name=androidcss&utm_source=share&utm_term=1 https://www.reddit.com/r/YMS/comments/1dhvff1/rest_in_peace/?share_id=T917AO7FCR0btovzOOHZd&utm_content=2&utm_medium=android_app&utm_name=androidcss&utm_source=share&utm_term=1 https://www.reddit.com/r/YMS/comments/1dj90fm/i_drew_this_for_scoot/?share_id=NPMhZTmODooquI58MXZ4u&utm_content=1&utm_medium=android_app&utm_name=androidcss&utm_source=share&utm_term=1 Timestamps: 0:00 Intro 4:10 Blue 34:49 White 51:42 Red 1:11:24 Questions 1:49:36 Recommendation + outro

Three, two, one. Oh, that's a wet little girl. That's a quote from Scoot. Rest in peace. Damn, he chose a banger. Not a joke. I don't know. It's difficult to get the information to everybody

because there's still people like kind of figuring it like just. Yeah. Not everybody. It's impossible to try and get everybody on the same page about a thing that's happened. so that's annoying. But anyway, sorry, I'm Adam from your movie sucks.

This is Sardana cast. And I'm Alex from H.E. And I suppose this is coming out. You're a little bit delayed compared to normal because you've had to wade through something you weren't expecting to. Yeah. Yeah, here we are. Scott passed away, unfortunately. So sorry if all of my adjacent content is going to be like a little heavy for the next month.

I don't know. We'll see how things go. I'm still figuring things go. Yeah. Of course, yeah. Sometimes life just comes at you in a way you cannot anticipate. I was very surprised when you sent that message and told me. Yeah, we're just hanging out in April.

Like, it's quite surreal. It's quite strange. Yeah. Yeah, I mean, like, I'm glad you got to meet him a couple times. Mm-hmm. Yeah, what the fuck. Yeah, same. I've been quite impressed by the like groundswell reaction like online to

Lafana and the stories and whatnot. It's quite emotional. Like the reach, a lot more positive than I possibly could have anticipated. Yeah. Overwhelmingly positive. Well, you're kind of getting at it in the intro of like, obviously there's a lot going around in your mind of like,

yeah, how do we talk about this? How do we address this? So obviously that's a feat. Yeah, so that is nice. Yeah. It's being respected. Yeah, he made a huge impact. Mm-hmm.

A hilarious guy. Yeah. Like, I'm not, I'm not like a huge wrestling person, but, like, people love them. And we all loved them, and it's sex. Shit sucks. But, yeah. Was not anticipating it. it wasn't on my list no but yeah it's just one of those things so isn't it you can't

you guys know one of those things you can like be ready for is it like it's it's never a good time there's never so it's just going to kind of trip you up which is weird because I'm like I feel like I'm the type of person to like prepare myself for every potential possible scenario and tragedy you know I feel like I feel like in my mind that I've like gone through at least like somewhat likely or inevitable scenarios of potential things like some variables are like just seems so random you can't like anticipate everything you know yeah yeah

yeah it's anyway so if anybody if anybody is kind of left in the dark about this I just did a stream yesterday we kind of went into more details about like what we know about what happened yeah we don't know everything but um we gave we gave some information. So that should be on the highlights channel by the time this episode's up.

If you need more information and, yeah, well, he would want us to make jokes, I guess. Yeah, let's do it. This makes fun of some French people. Oh, shit. You know what's crazy? So, all right. Well, I guess we'll start the movie discussion because it's about the movie discussion.

Okay, let's go. Nice trilogy episode, let's do this. Trois Colleer. That sounded definitely not like a French person. Three Colise trilogy is from a Polish guy named Christoph Kislauski and I still haven't looked

I've had to pronounce it. I'm just so glad you had to say it. Yeah, I'm just glad you had to say it, that's well. And I think he was petitioned by like the French government to make some movies with about colors and the French flag that kind of.

Oh, I didn't know this detail. He was what? Sorry, it was... Well, that's what multiple people have told me and I have not fact-checked it. So maybe I should. Let's look it up. Because I was also kind of confused by that frame. I didn't know much about these movies.

I know they existed. I've had them on DVD, actually, for a while. But I figured it was more about like three stories to do with like the French Revolution or something historical or like a big epic in that way. That's more what I was kind of anticipating. So it was quite pleasantly surprised. by what it did turn out to be. So I don't know if the French government necessarily...

Oh, wait. Why did people say that? Where did you hear it? From multiple people. But I don't remember who. So I guess it's... What I'm reading is French investors, so not necessarily the government. Which makes a bit more sense because I'm like, okay, usually, like, if a government's going

to finance a film, like, you think that they... would be a bit more strict than like what like it would be more lame he would have a lot less creative freedom if it was like a government funded film that's what I was yeah it depends um I feel like there's some I feel like the British government funds some good stuff um yeah but it's there's a difference there's a difference between like getting a grant and getting like yeah we're talking subsidies or not not like a subsidy but my understanding of the story was like the French government was like hey want to make a movie about the French commission like yeah like he was rightition by them or something but I guess

it's if somebody's got the details to that please post it in the comments I'm sorry I've been a little distracted over the past week of course this this episode I'm not like as fully prepared for everything as I would be but I really need to get back into some sort of like routine and normalcy so yeah yeah I'm still able to watch the movies eventually. So I get the correct order of the films is blue, white, red. And I guess those are the colors of the French flag.

Yeah. And each one is what's supposed to represent what's the order, liberty, equality, and fraternity, or brotherhood. Yeah. So each one, the films are kind of framed like that. Yeah. It says the money to fund the films is French, but I just

nothing, nothing said about the government. Yeah, what does it mean, yeah. So here we are, dispelling those rumors or not confirm anything and leaving it up for the audience to figure out. So Blue stars Juliette Binoche, who I really enjoy. I think she does great work overall.

She's wonderful. I'm always. always happy to see her star in something, like, really artistic. This film, I guess, spoiler warning for all three of these films right now, too. It's about a woman who loses a husband and a child in a car accident. And it's about a lot of, you know, it's about her, like, dealing with grief and trauma and, like, the aftermath. and what was really weird about this film is I literally,

I don't know if you saw this, but like, I was doing a watchalong for the first film. I decided to watch the two after off stream, like a week after. But I was about a week ago was watching this film, planning on just marathoning all three of them in the same day.

And it was literally, in like 10 minutes before this film ended that I got two missed phone calls and then a text from a new number saying it was Scott's sister I was like oh so literally like right

it was during that it was during this movie which is weird and odd well I mean it's kind of coincidental that's very weird considering like the the themes of yeah yeah yeah I was about to say that is a

interesting coincidence yeah and so then yeah i returned the phone call i just like left the room and then came back and obviously had to end the stream um yeah i'd seen that clip but i didn't realize you were literally watching this film during it um yeah wow yeah yeah very odd and i wasn't even it wasn't even my plan to watch it that day and i was initially going to watch it the day before i think but um so yeah that That's fucking weird. And now I have this like, I guess kind of like unbreakable association with like this film and this trilogy. Yeah.

So that's a trauma bond right there with this film. Yeah. Yeah. That was an interesting element of it for me as well, even being more tangentially related to that. And I've had other deaths in my family semi recently. So these kind of concepts are on the mind. How do you think? Because I was actually going to ask you like, did you?

watched this before or after because of my chance of but slightly slightly before jury yeah I was not expecting that to be the goddamn answers but like literally yeah last 10 minutes like I you know

wasn't quite sure what was going on but knew that I had to return a phone call yeah something serious was happening that's yeah that is surreal yeah it's surreal yeah it's very very odd but I guess to do with the film itself I did I did really like the film I think that this is probably my favorite out of the three I know that a lot of

people love red the most but I was yeah I was kind of hoping we're gonna disagree on this because I was like you're expecting me to go red I don't know I just I just hope to we had a different favorite one that was all I was thinking um because I was reading the same thing that after I'd watch them all, that like red is the one, it's got like the perfect scores, everyone saying is the best. But blue is the one that is the most memorable to me, the most creatively interesting in ways that like I haven't seen before with some of these like techniques and things they're doing with the lighting and this insane commitment to the Muzon scene that is in all of them,

all three of them. Oh yeah. I guess like going back to that that whole framing of the blue, white and red and just taking that to the most extreme creative like end you possibly could like really embracing it, making it thematic, making it visual, it all feeds into itself and if we're just talking about blue right now, obviously the look of the movie is extremely blue. There's blue items everywhere. It's very intentional and it's it's kind of, I was really appreciating all three of them

on that level and that was entertaining in and of itself for me, just that level of dedication to following through on that idea and like what how that enhances the story they're telling though as well like it's not just a gimmick it doesn't feel like a gimmick yet it's actually an enhancing an emotion like like with blue um blue does evoke what like sadness grief loneliness coldness but also things kind of like calmness if you think like an ocean a sky or whatnot and it every scene in the movie like falls into one of these things all feels very like,

digestive and natural, um, like creatively and the writing of it and yeah, the production wise, it was beautiful. This is going to sound like a silly question. Uh,

have you seen I know who killed me with Lindsay Lohan? I'm afraid not, but I'm going to add that to my list right now. There, we actually did like, uh, Adam and Pals thing. So if you want to watch in memory of

If you want to watch us. That might be a bit more enjoyable, yeah. Tared apart. It kind of, it's funny because it kind of tries to do that same thing. There's just like random blue things throughout the movie. But it just, it feels so much less purposeful. It's like, it's just a why. Oh, but it like doesn't link to anything.

Like, it feels like a distracting gimmick. That doesn't fit the pieces of what the story is trying to tell or what the film thinks it is. No. And it's like, it's just like one of the worst trashiest movies, but thinks it's an art house piece, I guess. The best kind. Oh, yeah. It's fascinating. So I'm glad, I'm glad to have seen this to have a much better film that does the blue motif.

Example of doing it right. Yeah. In a way that's certainly not like subtle. It's certainly not subtle, but it still feels like appropriate. I'm not sure if I call any of these subtle. Yeah. The visuals especially. Even though they do have kind of like real grounded drama and dialogue and emotion and it is kind of understated.

And there's like a lot of self-explanatory imagery instead of like lots and lots of dialogue. There's plenty of dialogue and a lot of it is great. They also like will slow things down, allow the visuals to speak for themselves. and blue as far as the expressive imagery is again, I think, the strongest with the stuff at conjures in my mind with, yeah, just this type of imagery that really matches these themes of grief, be it her floating in the pool with her hands on her head and, well, like, visiting her mother with Alzheimer's, and she's watching bungee jumping on the television. Just these complimentary visuals with like what's going on and what's being talked about

and these extreme close-ups in eyes and reflections and all these interesting things to kind of pick apart and unpack. And this one and read mostly, I felt like I need to see this again. Like I've missed some stuff here. There's definitely detail, even just the kind of interesting way they're connected, where they're, we say this is a trilogy, but it's quite different to all the other trilogies we have spoken about before. but they're all stylistically fairly different they're all all the characters are very different the genres are different

yeah like tonally the middle ones a comedy tonally yeah completely different um the like styles of characters they're playing with but then also kind of loosely connecting them like these weird little MCU cameos like oh I remember that that one from the other movie yeah it's like a

Tarantino verse yeah yeah but it's so restrained it's so subtle um And yeah, you could imagine that really tripping over itself. I feel this is like a concept. I feel like we've kind of talked about in various different forms, even with something like magnolia, you know, these big sprawling narratives that are like interconnected. I feel there's something about that concept that I feel like is really intriguing to a lot of directors. I'm sure like, you know, when you've been daydreaming or thinking about stories yourself, like, I've had the thought myself, like a story where there's some like event that connects like some people.

But it's like three different perspectives. It's all different, but somehow connected and that connection gives it some kind of inherent value. Yeah. Just each person with their own story. Yeah, yeah. But the way it's done here is like, yeah, very unique, very creative, very, very high concept, but they pull it off. And yeah, you do have weird things where like little details just like the, in each film there's an old person trying to recycle a bottle.

Yeah. And turning that into a payoff. It's just like too high. Yeah, yeah, exactly. But turning that whole recurring scene into a payoff in the third movie. And these kinds of things that like, it's kind of a memorable scene on its own in blue anyway, seeing that kind of struggle and having that main character just kind of sitting there watching this old lady struggle. But then, yeah, these multiple layers of it.

Yeah, there's something about it that like sticks. Yeah, it sticks. But then there's like these unexpected payoffs to it as well. Yeah. They're like reward you for paying attention. Yeah, I like So this movie In terms of I guess the

The sequences that are shown This movie is the most Repetitive but I think that it works For the story that it's trying to tell Repetitive in terms of what? Sorry Well I mean like we keep getting the same Well similar sequences of like her back at the pool

And you know like the music sequences But they kind of like build up up over the course of the film and she's kind of in ways, you know, stuck in a kind of routine and pattern. But I think that that communicates something about grief really well that, you know, sometimes there are patterns that you either have to be able to continue to process things or patterns that you need to like reflect on to change even. Yeah. And it's kind of like, that main character is coming to terms with the concept. That's like the journey of the movie in my mind as her.

She starts off trying to run away from it. It's a tragedy on a level that's so kind of extreme. And the way it's depicted is not Hollywood. It's not over-exaggerated or any of this. There's not loads of scenes of her breaking down, crying, and hamming up any kind of emotion. In fact, it's quite the opposite. It's quite a unique depiction of grief.

I was finding it with like her meeting the woman who's like hiding, crying, um, and saying, I'm crying because you're not crying. And these kind of scenes and the exploration of just what she's carrying around. I wasn't really sure what it was going for until that scene where she's walking around and starts dragging her knuckles like brutally against that wall. That was an awesome shot. I thought that was amazing. Yeah.

That's when I really started kind of falling for the movie. But yeah, just what that is such an interesting. lead character and the way they explore it and yeah her running from this guilt and this this whole idea of like the these three words we mentioned the what was it uh liberty equality and fraternity i've been trying to think about the what the the the liberty if this is if that's like the thematic baseline of where this began at liberty one interesting way to explore that concept like the liberty of losing everything and starting there um and like the kind of the negative freedom that brings and how it turns into something more positive.

Yeah. She does keep making these connections for people. She does keep even through running, like finding people that she's, you know, connecting with and forming relationships with. And actually ends in kind of an upper note with her, you know, going through her memories, thinking about the people she's had relationships with. And it turns into a smile, that kind of deep sadness that's carried throughout the movie does lift. somewhat at the end, a little bit anyway. There's like a liberation and like pulling through.

Yeah. Like getting, getting through the, the trauma and the grief. And how do you feel about the integration of her being a composer? And the integration of music and her sort of being haunted by this, this music that keeps going back to her. And this unfinished piece that she has this infidelity is quite a recurring thing with these movies too. She has this relationship with someone used to work with her husband who passed who was also a big composer. They kind of nod that she was kind of the one who was writing a lot of the stuff and he was getting some of the credit for it. But yeah, how did you find that use of the music?

Those are like my favorite scenes, really. Those are so memorable in the way that it's expressed visually and sound-wise. It's all not only very accurate, but just very purposeful. And I love, you know, my favorite things about movies is being able to take the medium of filmmaking and explore what characters are experiencing internally and showing it through what you're presenting in the film. and not rather than just explaining it. And you're able to get a lot out of it like, you know, when she's like in the stairwell and she's like kind of like almost passing out the first time and you can kind of hear the music creeping in and see the blue kind of like light fractal, whatever we're supposed to call them, not fractal. Refractions maybe. I don't know.

You know, that subtle just like creeping in and then being pulled out of it as as her head. head kind of like tilts back up. And then going back into it again, you can get so much out of what's happening internally with the character in that scene. And then just the visual and auditory nature near the end of showing the notation and, you know, her discussing which layers of the composition

to add, which to subtract. and then literally like unbroken in the score just timed out perfectly, these things are being translated in real time for us to hear, which I think is super cool. And it's just, it's so creative and unique and just what a great, great way to communicate these. Yeah.

In that exact same scene when the, the visuals blur while the audio is still going to just really emphasize. and make you focus on that composition scene and really. I find that interesting as like a concept, the way to visually kind of depict music or the act of creating music and that process and to communicate that.

And I thought it was very well done. An inventive and what you're saying also applies to one of my favorite sort of technical choices in the movie or creative choices. The, I think it's three times that this fade to black usage. Um, the, the way that is used with it, normally when you'd, you know, fade a scene to black, that's the end of the scene. You're implying time is passing. The way it's used here is within the middle of a scene, it will fade to black.

There'll be a musical sting and then it will fade back in to the same scene. And the first time it happens, you're kind of like, huh? Yeah. Oh, okay. We're turning to the same scene. Yeah. But by the time it's done it the third time, it's like, wow, each one of these is a, what a creative way of communicating that. And it's such like abstract concept. You know, when you receive like a horrifying or harrowing piece of information, it does kind of feel like time does stop or like there's a pause or something breaks like in that moment. And like just using fades. So it's such a simple kind of concept. But the like emotional effect, that,

has, I thought it was brilliant. And by the time they did, the third, like, return to it. And in each one of these is, like, punctuating a different moment for a different reason. That's, that's brilliant. I think that's, that's creatively genius. And that's, yeah, I don't think there's anything quite on that level for me in the other ones. I think there's also what I've come to realize about myself is I really enjoy, like, you know, not every instance of this, but I particularly in a film that's, well presented that I'm connecting with. I really enjoy seeing characters within the film creating things artistically and going through the artistic process. I really enjoyed just

watching the composition and having that communicated through the film. Obviously, I love films that feature people making movies within the film as well. Obviously, there's tons of bad examples of this type of Bohemian Rhapsody is a terrible movie. Like, I get enjoyed the That's a good example of it. Yeah, yeah, I love seeing people creating things within a show or a film. And there is some sort of satisfaction that I get out of seeing things come together and seeing things, seeing the individual pieces coming together to make something more whole. And seeing the messy part of the creative process.

Yeah, like the way that kind of resolves within the film where she is. was working with this guy that she kind of had an affair with to finish this piece of music. And there's kind of a phone call that resolves it where he's like, I can't work with you. Like, even if it's not, even if it's rough around the edges, I need this to be mine. And she's like, yeah, you're right. Yeah, we can't undo the legacy. We can't do this. Yeah.

Yeah. So, very thought provoking. Like, I found it out of the three to be the most challenging. with that kind of stuff and the way it was exploring these concepts and how heavy it was, but being able to maintain that heaviness and explore that thoroughly, but then just have that glint of hope at the end. So, love that.

Yeah, it's a, out of the three films, it's definitely stuck with me the most. And I really, I really am looking forward to watching this again, like all three of them, really, because I think that they're more interesting in context with each other, although this is like still really great as a standalone film. I'll say they all are, to be honest. I'd say they all stand alone.

Yeah, they do. They do. Yeah, in terms of just how I guess aggressively stylistic this film is, it really sticks with me in that way. Like I can, it's great to. vividly remembered specific shots and specific emotions and sounds. The sound design in this movie is incredible. The score is incredible.

I would say it's got the best score and the best sound design out of all three, in my opinion. And for that to be integrated into the film in a way that's really purposeful is just makes it stick that much more in my memory. Yeah. Yeah, it's kind of going back to what saying with the, just everything feeding into itself. the concept is fully explored. It avoids going into the kind of corny gimmick area with this idea that it definitely could do. Yeah, it's easily the most memorable to me.

Yeah, I just think about, you know, the uncomfortable nature of the scene where she's crunching on that blue lollipop in front of the fireplace. Yeah. Just all these, like, subtle character-building moments. And also, I thought there was a really stand-out, fantastic scene. the uh when the boy that's shown in the beginning of the movie who finds the car crash kind of

manages to find um early woman and reconnect with her um there's an awesome like structure to that scene where uh he says yeah his last words was something weird like he said now try coughing as his last words and then she starts laughing yeah yeah and the scene turns into sort of a backwards joke explaining scene which yeah it changes the like state of the character bring it must be one of the first times you see a smile like in the movie like a bit of happiness or something like this and it's just a really great punctual scene yeah ends with her like leaving that gold chain and the gold chain comes back in when she later finds that about her husband's infidelity and he'd given the the mistress one of these

gold chains as well and what that says about her connection with him and it's yeah it's quite complicated it doesn't it's not interested in simplifying out of these concepts or simplifying these characters they're they were like very flawed sort of real feeling people that are being interacted with in the movie yeah and you can tell that she gets like kind of a you know throughout the film she's getting more of like a sense of closure the more that she's able to discover and process and yeah i just like the detail that they kept returning to that you wouldn't necessarily expect them to. Like the little thing going on with the guy in his flute playing on the,

on the street. Um, and that line like, you always got to hold onto something. But then he's like, the flute is left there. Um, and she, she's interpreting it in this kind of like nihilistic way of like, uh, yeah, everything goes. Like, you're not going to have something to hold on to. Um, like he comes back, says, you've always got to hold on to something. And it comes back later when they're talking about the composition of that song that they're working on.

So, yeah, let's add a flute here like he was playing earlier. And it's like, well, it's just so thoughtful and like this complicated like tapestry that's all. The longer it goes on and the more you see what it's doing, the more there is to appreciate. Yeah, there's so much great detail. Like at least two of these movies, like they use animals a lot to sort of, you know, visual metaphors or, explore ideas and this one has the whole the baby rats thing

which kind of feeds into this relationship with her mother who has dementia and keeps mistaken her for her sister and she's asking her was like so scared of mice rats and leading into this cat scene and her borrowing the cat

and yeah even if I haven't fully interpreted what some of this like imagery is pointing at it's like all of it is thought provoking in a way I wasn't being washed with with quite the same intensity as the other two

it just felt yeah a lot of intent a lot of stuff that like I've still got to unpack unpack sorry yeah just fantastic stuff I really like the

there's a shot of just like a table and a plate with the coffee spoon on top of it and you can see just the shadows start to lengthen. And I found that to be like a really interesting way to just communicate passage of time, like a really unconventional way. Like, you know, people have done like time lapse, but usually

it's like you see the sunset or something more explicit. But I love that it's just like a lengthening shadow and you can tell that there's like light coming from the window. And then again, I want to, I want to come back to that shot of her dragging her knuckles across the stone wall. because I'm just thinking like did you just get an X like a stunt double to just actually do that because I don't know what the fuck was that like a fake hand like how did you do that

that was crazy it was very convincing yeah that was intense and one expressive visual yeah you know it was it was brutal in a necessary way mm-hmm you kind of communicated oh there is like a raging inferno

in here we're not necessarily seeing it every second, but there's something that's not being dealt with right now that's coming out in very unhealthy ways for this character. Yeah. Yeah, loved it. I think we can move on to the next one. I'm feeling probably a high eight on this one.

We are sympathetic on this one. I was similar. Just a solid eight for me, this one. Yeah, I thought it was very artistic, creative. inventive, love the performance, love that dialogue, love every technical aspect. I love this high concept stuff.

But man, I tell you, we haven't mentioned the brevity of all three of these movies. Oh, yeah, they love that they were all 90 minutes. Yeah. So clean,

they respect your time. The pacing is great. Like, these scenes communicate what they need to. They explore these themes. Like, yes. This is probably the slowest pace out of all of three of them.

Because there is like a pretty, a pretty repetitive nature to it. And it is a little bit more like kind of meditative almost, like in mesmerizing. Yeah. And I say that, yeah, that fits like thematically with what these characters is going through. And just that, yeah, the range of emotion with these three movies too is like, when you've only seen blue, you haven't really, you know, we appreciate that yet. Like kind of what you're in for with this as a trilogy and like where it sits.

Great stuff. Next up. We've got three colors. white and he's got a different cinematographer for each of these films which is interesting interesting okay but again extreme style when it comes to the colors of this film you know he gets like he he gets shot on by a bird in the first like five minutes it's like oh white poop Mm-hmm. Okay. We're going for that.

Yeah, yeah, because I was thinking about that with the, when thinking about the concept before seeing them, you're like, yeah, I can imagine blue and I can imagine red. So, what are you going to do with white? Is the whole thing going to look like you're like in heaven the whole time? Then the second they're like in Poland with the snow and I'm like, of course, no. Yeah, lots of snow. Yeah. Yeah. We got us, there was a toilet in one scene.

Yeah, yeah. It's just more, it's less overt than the, than the blue. and white. There's still like a white item in like every shot of the film kind of in the same way, but it, I guess it just, it doesn't strike you quite as much because white is just such sort of a neutral. What are the implications of, of white? It's kind of like emptiness, rebirth, innocence, these kinds of things. It's not, it's not quite as loaded as the colors blue or red to me, which I think is fitting with what they do with this movie because it's kind of like, way more comedic compared to blue. It's like such a,

the inverse kind of feeling to the movie. This kind of seediness, this pettiness is really what I loved about it. This like petty main character in the, this interpretation of this one is equality. It's the, uh, is the name that the inspires this one. That seems to be ironic to me. As far as like equality, it's like, yeah, it starts off with. a divorce in court with this guy, the Polish guy in France, can't speak French so they're kind of awkwardly in divorce court talking through, like, lawyers or whatever. And just where they take this kind of, it kind of boils down into a revenge story, like a warped love story that's all centered around like selfishness and revenge.

Yeah. It's like a. It's a very odd sequence of events and very complicated characters. It's super odd. Mm-hmm. And kind of like playful and goofy. Yeah. It's weird.

I honestly, I found this, while I don't think it's the best one at all, I actually found this one to be the most entertaining. It's the most traditionally paced, I would say. Yeah. It's breezy. Yeah, the other ones you don't really have scenes like sneaking into another country in like a bag that gets stolen and this kind of goofiness. and like the way it wraps up.

It's not trying to hit you with these heavy emotions and themes that are played with in the other ones in quite the same way. Yeah. There's a bit more, the beats in this film are a bit more explicit in terms of like the plot developing. And it's locations or, you know,

it's moving in a different way. Yeah. And I think that might be the reason this is the one I feel like I don't need to go back to as quick as the others where I feel like I had the feeling after blue and red that there's stuff I miss there. That like I've got to

comb over this again. Whereas I feel like I pretty much got what White was putting down for me to pick up. Shea said that he watched well, like because he watched the trilogy with me and he'd seen it before. He said that this one was better on a second watch for him so I'm sure there's Yeah. I think everything in context knowing what it is before going into it is going to give it a bit of a different feel to me in a positive way.

Yeah, it was definitely a positive experience. This is a, it's one of the more unique like trilogy experiences I've had. Yeah. And a big chunk. There's nothing else like it. No, not at all. Um, so going like after blue and it's like, wow, this is like dower. And I guess we're in for a right with this trilogy hire. They were going to be like exploring this like misery. and grief and all this heavy stuff and then you yeah you jump to white and it's a bit more like comical and yeah breezy and you have full on like jokes and silly scenes but there's still there's still some like a good chunk of serious and emotional um elements to this as well yeah it balances it really well the yeah the dynamic that the main character has with the other Polish fellow who he kind of forms his bond with and they like start business together and it's a really great scene with the uh it's kind of like a fight club

before Fight Club with the gun and pulling the trigger over this, a blank. Yeah. And he's kind of commissioned by this guy to, like, take him out, um, because he doesn't want to live anymore. And it gives him a perspective after the blank. The first, like, three colors blue almost feels like a, somewhere between, like, a von Trier and, like, a, Andre, Zyiv for however you pronounce his name. Like, something just, like, so unabashedly, like, depressing, but, like, with,

the purpose. Yeah. And then this one almost feels more like, kind of like a Cohen Brothers movie in ways. Yes. Just kind of the silliness of what winds up happening and just like a guy in a suitcase smuggling himself and then oops he doesn't, you know, things go wrong and then they, they steal the suitcase and he gets mugged immediately. Yeah, yeah, exactly. So much happens and this character goes through such extreme changes, you know, like from the start of the movie, view where he's literally homeless doesn't have a passport. He's like, there's this recurring thing of him playing a comb, um, like on the streets for for cash and whatnot.

Which is also kind of like just a silly imagery as well. Yeah, yeah. Um, but like where that goes and he's like, what, like half an hour later he's like a bodyguard and he like screws over these, uh, criminals that are going to do something with this land. And he has the, like, and the whole like punchline of it all being, yeah, this petty revenge mission to try and get back at his wife, he kind of has this like, well, ex-wife, he has this abusive kind of toxic relationship with him, just kind of like torturing each other and his, the payoff at the end is like, so wild that like, it's very, because of the realization

that's what, that was his motivation of this whole thing just so he could fake his death so he could see his ex-wife cry at his funeral, so then he could know that she did care. Yeah, like the interpretation on Wikipedia and ways like her hand signals are gesturing that she wants to marry him again which is fun it's almost like a phantom thread kind of relationship like man you know this is probably a little toxic and the crying and everything it's like yeah this is a funny it's like a complete inverse type of emotion to where you end with like blue it's like what the what a strange reveal that works it is bizarre it is bizarre but it is bizarre but it is

something about it does work is very entertaining this weird like comedy crime thing they're going for Although I do think it had I'm torn to be honest because I thought The flashback to the wedding towards the end Actually showing it was like quite a nice place to to end it But then you wouldn't get the jail scene like right after and you kind of you have to have that jail scene in there As the full full stop I felt like this one was not only the most traditionally paced, but also the most traditionally presented in the sense that obviously throughout the trilogy, like the color grading and choices for sets and props are all

super interesting and purposeful and really help the visual experience of the film. But especially after just seeing blue and having that in my mind and memory for what to expect for the trilogy. Like, this one just doesn't go nearly as hard or extreme on the, the visual and audio choices in terms of, like, camera work and, um, you know, fully utilizing the medium of filmmaking through editing and sound design. And that's why it's the, uh, the comedy and the goofiness and sort of like the comedic performances that are sticking out of my mind more than like specific images or scenes that like I was bringing up during blue. Not that there aren't good scenes, but there aren't, the imagery just isn't quite as striking in this one, to me anyway.

Not that it's bad. It's just solid for and what it needs to be for what they're exploring here. And not being too much, it might have been irritating with that tone to like really stylistically junk it up as well. It might feel conflicting, I guess. There are a lot of really like strikingly memorable characters just. from how they look and how they act, which also kind of remind, you know, that's something that's true for a lot of Cohen Brothers movies,

so maybe that's part of why it reminded me. Well, I was thinking of the man who wasn't there, just because the hairdresser thing. Oh, yeah. That was after this, obviously, but like, yeah, there were a couple, actually, I was wondering if the Cohen's were inspired by these movies in some form. There were a couple of, like, with that hairdresser thing, with the bowling alley scene and,

in red. True. Yeah, and this was obviously before. Yeah, like a similar shot even in that one. Yeah, very similar. We'll get to that, I'm sure. Yeah, yeah, I thought he's like, the casting for his brother was really great.

That was a cute, like, little memorable character he's living with. Yeah, you're right, lots of great little, little bit characters. The guy who he was, like, nagging with. Mm-hmm. Or like, I need you to cut ten heads. He's like, no, five at most, okay, seven. Like, why are you even haggling?

Yeah, there's something odd about it. Yeah, that's what you're saying, it's strange in a way that blue just isn't. Yeah. And what's funny is like Julie Delpy, like she's, I'm pretty sure she,

like when I was watching through the opening credits I thought that she got top billing but I guess maybe she didn't but from my understanding of the trilogy maybe it was just like the particular marketing that I saw like I thought it was going to be a trilogy of like all female lead characters and so I was kind of shocked that she was barely in the movie I was like oh this isn't really about you and I thought um because both blue and red have like a like a French or a Polish woman with like brown hair and brown eyes or whatever I was like I was say the third movie like bringing her back is there going to be like some something like that um but no it was way less like sprawling in that kind of way but white is where no the characters from white do show up in blue very briefly but if you hadn't seen white you wouldn't know it yet um because of course the main character from blue has a quick little cameo at the beginning of white in that courtroom scene.

Yeah. This is what I mean about these, like, little tiny links, little sprinkling of these other movies. Wow, dude. We're like... Blue! Yeah.

It doesn't quite like stop everything to a halt so you can like scream and clap for R2D or whatever. But if you're paying attention, you get that nice little reward. My way. Twa color. Blue.

Regal. Oh man. All right. Yeah, so this is another thing I was surprised by that only one of these is set in France. Oh yeah, that's kind of shocking too. Because it's funny that the excuse is like, oh well French money finance the films and that's I'm just going to do this. And then this one was mostly like about Poland.

It was set within Poland mostly, which you know, the director's Polish. So that makes sense. Yeah, yeah, I don't particularly care. I was just like not expecting it. Just sort of like the way it's, you know, on the DVD, it's like, I thought it was going to be, yeah, all in France and all about that specifically. But like all the other surprises, I'm kind of glad it's not. And each one is so unique and different, but is able to, yeah, have these little overlaps.

And it not clash will be distracting. Mm-hmm. Damn. I'm kind of, he's, so this is the, I believe, you're in the same boat with me that this trilogy is the first that we've seen from this director yeah yeah i'm not familiar with this this fellow otherwise now she said decalogs really good which is like the ten commandments and that also has a criterion um oh sweet 572 minutes though nice there we go okay oh well wouldn't be the first time maybe for a future

ab you know instead of a trilogy we just recommend that maybe i don't know just yeah yeah yeah But that also has kind of like a similar thematic kind of purpose, because it's literally just like, I guess, about the Ten Commandments, but who knows how explicitly. And then I think my uncle's favorite movie is the double life of Veronica, which I'm also looking forward to a lot. 1991. All right, so that was just before we started this trilogy.

And of course, retired with Red. Like, you just retired from directing. I mean, yeah. It's not like he's exactly. Yeah, he's got a pretty good catalog behind him. I can't say I blame him. He died in 1996, age 54. What the fuck?

Wow. So fortunate. Yeah. Go out on top. Yeah. I don't know. I definitely feel like there's the least to say about white. Yeah.

As enjoyable as I found it. I agree. That's why I just like go to with the, just doesn't seem as like thematically deep as quite the other one. with us all this stuff to pick apart. It's very entertaining for sure. Yeah, it was a breeze. I just love it went by pretty quickly. The fact that one of these three is like a is a comedy drama is awesome to me. It really was not expecting that. Yeah. And yeah. Like an anti-comedy. Mm-hmm. Yeah. I think hold on there's like a Roger Ebert quote. The trilogy has been

interpreted by film critic Roger Ebert respectively as an anti-tragedy, an anti-comedy and an anti-romance. It's like, yeah, I get that. Yeah. I feel similarly. Especially with white. Yeah. Yeah, for sure. And yeah, I'm kind of excited about the stuff I could pick up on a rewatch or with that

framing of like. Yeah. Loosely connected, there is a lot of like intent that you, you couldn't possibly pick up on a first watch. Yeah, exactly. I, if I rewatch them, I'm rewatching all three for sure. And again, it's, yeah. The entire trilogy is.

four and a half hours long, basically. It's really not that crazy of a commitment. Yeah, it's like one extended Lord of the Rings. Yeah, I was just going to use that as a frame of reference. Oh, really? Yeah, yeah. Yeah, I give this one, I'm going to give this one a seven. Again, I'm right there with you.

This was kind of a low seven for me. I was entertained the whole time. It's just not going to sit in my mind like the other ones in quite the same way. Even saying that I do, I do have a fondness for like unique approach. is to comedy and film where it's like yeah we're gonna go comedy is so difficult to like integrate and pull off and have the like traditional like filmic elements going on and really be dedicated to all of it and pull it off there is something ambrugable about that so yeah strong well no I said low seven keep a low seven I'm giving a

solid seven mm nice three colors red bet you didn't see that one come in that's the movie um the final one in the trilogy

the final it's called it's the best the best uh critically it looks like it's like response a lot of people let it's talked about hmm well how did your first viewing wash over you because that was yeah did you have that expectation already

did you know that it was like I knew that people liked blue and red the most I knew that white was the weaker one yeah that's all I knew as well that's all I knew is that people don't like white as much but it wasn't yeah it wasn't in a way that I was expecting

it's not that like it's bad it's just different so like as soon as the movie opens up I was like so hyped because we're immediately back into like the aggressive aggressively stylistic filmmaking and sound. The hyperstock, yeah.

Like the way that it opens up with those, like, how do I even describe it? It's used on like the criterion cover, the like red kind of like threads of light that are curved. Like I don't even know how they got that shot. It's, yeah,

it was very cool. It looked like, yeah, like a pattern. It's like being. Almost. Yeah, it kind of looked like a kaleidoscope. Yeah, you're right. That's felt like the data traveling

through the cables. Yeah. line, yeah, which is one of the themes of this movie, this kind of like communication, technology, emphasis. Um, this, this one kind of has one of the more interesting hooks to me with this, this old man character used to be a judge, um, and this unexpected relationship that forms with him and this, this young model. Judge Red.

I mean, it's not. Judge Red, yeah. How long have you been a workshop in that one? I just thought of it right now. That rocks. I did like how they, uh, how they, uh, how they say judge. The juzz. De jush.

Yeah. Uh, jush. Because that's another word. Yeah. And I forget how to spell it, but every time I say it's spelled. That is definitely one of those words I would struggle to spell. Juj. Jure.

Yeah, the jush. Yeah. It's a real word. Yeah. And I forget what it. Yeah. I've heard it a handful of times. I don't know how to search up the word

because I don't remember how to spell it. Leave a comment. Leave a comment. How do you spell juge? I'm not judge in French. Yeah. How do you spell I guess the word

English word juzh that might not actually be English and I don't know where it's from but people use it in English sentences? A little life hack for because I'm really bad at spelling but like I know a lot of words

so like sometimes I get stuck when I'm like trying to spell something out but on your phone if you like do the dictate option you can say the word and then it will spell it for you and be like Jijs? Well I was actually about Should I try it and see what?

Weird. If I say jish like what it does. Jij. Let's see. Juj. Juj. Juj. Juj.

It just put Josh. Josh. that didn't work at all. Yeah, that's a difficult one. Juge. Maybe it's for Josh. Yeah, maybe it's Vell Josh. Yeah, I really enjoyed how, you know, like the cinematography and sound design was more extreme in this one.

Like, I'm a really, I'm a big fan of like sensory films when, especially in films where that's not the entire point is just being censoring. Like those can be great too. That's what's cool though, but that juxtaposition of this old-ass character with this really energetic kind of camera work and yeah, there's some really memorable presentation.

Yeah. He did a great job, Jean-Louis Tritignon. And I'd only ever seen him in Amour before, but I immediately recognized him. So it was nice to see him in a younger role. And he's been acting since, I guess, technically the 50s. Yeah, he's got a huge like IMDB. Yeah, a huge catalog.

He's kind of the philosophical core of the film. Mm-hmm. This one kind of gets a bit more, it's the best way to describe it, it's bordering on supernatural or more so just like playing with those kind of ideas a bit more, maybe a more of a, like teasing. Kind of religious sort of way. Yeah. Um, with his character being a judge and the things they're talking about, these philosophical concepts are talking about.

And him, he like predicts wetter and this kind of thing, um, which, which all like, uh, coalesces with this. One of, one of these payoffs, these three movie chaos we're talking about towards the end. Um, which again, I think it would still work fine, um, on its own this movie, but this one probably has them, the most significant integration of all the three protagonists. It makes it seem the most, like, tight and like, okay, I get the connection. And it's, yeah. No. And ignoring the, like, obvious order of the flag, like, you have to watch red lust, you know, where

nothing would really be read. Otherwise that, yeah, the reveal makes literally no sounds. Exactly. It wouldn't make sense. Whereas the... I mean, maybe you could. Maybe you could watch it out of order, but I think it makes it. more sense obviously you won't get the pay off yeah in the same way you don't get the

payoff in blue for the white character being in it because you haven't seen white yet you know it's kind of a but what they're showing is way less significant this whole like boat capsiding end sequence is like it's quite a big scale switch up compared to these other movies nothing nothing of that sort of magnitude happens and they're all quite sort of small scale so I I do like that it's able to build up to an event kind of like that, but it doesn't feel like a crash sort of, oh, this is convenient. Oh, yeah. These main characters have wound up here.

It's like, I don't know, there's something kind of plausible about this. It's very sort of tastefully put together that sequence too. It's not sensationalized. No, even though it is using some shots from like a real channel crossing disaster, I think. I'm like some shots from it, but it's... That makes sense. Yeah, yeah, like if it already happened, like, it doesn't stand out and it's just like on the news. It's not distracting.

But yeah, I agree with the Mison Scene, the red stuff coming back to that. Just the dedication to it is pretty mind-blowing. I'm just thinking about like when there's shots of like cars driving around and stuff like this where like, obviously between cuts, you're not necessarily thinking about it. It's like, man, they've had to put together with so much intent, or like, location scout these places or like, oh, we've got to find a red table for this. We've got to make sure this, this random thing is red. And it's like, yeah, really committed to that in a unique way that doesn't, yeah, feels superfluous.

Yeah. Also, the camera work in this was really, like, I love the precise and, like, flowing lots of motion, lots of movement. Yeah. Of the camera work in this film. Just how it like moves through different rooms of the house, depending on the scene. And when it when it does get to that extreme of its presentation, it's always in like an impactful kind of moment. Yeah.

Yeah. There's just so much intense. It's used sparingly and appropriately. But when you when you see it, it's there and it's strong. I just remember the this kind of a recurring slot machine thing which kind of feeds more into that supernatural. Oh yeah. I love that when it was like following the car and then ends on the slot machine. Yes, yes, yes.

I like that a lot. Again, kind of like what I was saying really blue, just these little details you just don't expect to be reincorporated, but they're reincorporated in like a really unexpected, expressive way like that one. Yeah, so what's the interpretation with this one on the If the first one's liberty, second one's equality, this one's fraternity or brotherhood How do we interpret the brotherhood nature of red? Well, I mean, like, I think it might be interpreted just through like their connections. And like he, you know, wound up outing himself just out of like a sense of, I guess, I don't know if we

could call it brotherhood but you know like obligation they kind of form a bit of the relationship the main characters form is unusual and they don't really have much in common like they don't it's kind of through a comedy of errors that they even know each other and the bond they form is like quite unexpected and strange um so maybe it's about that sort of thing like connecting with someone by all rights you maybe shouldn't or especially with the nature of like what they're talking about and the illicit activities that the uh the old gentleman is up to with the the spying and the the moral quandaries that he keeps bringing up um around being an ex-judge and like people he's um well I said about the fidelity thing that's another big beat in this movie um and it was something

I was confused by on my first watch where like they keep going to this kind of B plot where it's someone who's tangentially related to the model character. They keep going to his B plot. And I was kind of just like, where's this going? Like, I feel like this kind of cheating infidelity thing was explored pretty well in blue already. We've had the comedic edge in red. So what we do in here, sorry, with her white. So what we do in here with red. But the ending, I really think, makes it all make sense. It explores the concept, the old man revealing his parallels with this character we've been following and kind of experiencing the same thing. Yeah. And I think a big part of the movie is just like him being able to like come clean and reveal things about himself because it seems like he doesn't really. Yeah, he's so.

He didn't before that point have much of a life outside of, of just like, it's voyeuristically like eavesdropping on people and doing that like by himself. Yeah, he's quite like a nihilistic character. And like when he's, there's that great shot of him with the kettle that he like accidentally pulls a bit on the floor. Yeah. She like makes a comment and he just continues doing it because just to illustrate how he just doesn't really care about anything.

He doesn't matter to him. This, his interpretation is quite negative of the world. And yeah, that great scene later on after the model invites him to one of her shows. And he kind of reveals all. And it makes, yeah, it kind of makes everything fall into place. And you're like, okay, I see what you've done here. It's kind of another tapestry type thing. Oh, this makes sense.

I take a step back. This all fits into place. This is actually quite a good payoff and makes this old gentleman a quite complicated character. and the concepts they're playing with of like, well, go and reveal the truth then is what he's, he challenges the model to do when she finds out that he's listening in on the neighbours and whatnot. And yeah, the moral quandaries that come about from that of like his point is kind of like, well, it was, I'm not really making this worse. Like they'd already made their decisions and it was already going to end up in fire. I might as well get my entertainment from it. And every now and again, I've done something good.

And it's just like when I was a judge, like some of these calls I got right, some of them I got wrong. Yeah. I love those. Those lead two characters are like the real hook for me here. Yeah. If it's not my favorite one. They've got a really interesting and watchable dynamic. Yeah.

It manages to get a little bit of that playfulness that White has too with that. Blue is definitely the most dower by far, even though they all have. the drama aspect going on and this has the drama too but yeah i do like that playfulness with them it's just a unique character and there's no it's platonic as well for the most like she's not interested in him that way and it's not about that um which i like to um yeah i really i really love the um like that theater hall location i there were a bunch of great locations actually I like that scene a lot and like with a storm outside, just the whole mood of the of the scene.

And also the music in this one is very different. It's a little bit like more sinister and foreboding at points, which I find interesting. Yeah. There's kind of a broken glass motif as well in the movie. Kind of like how is this close-up an emphasis on. reflection and these kind of things in blue. That was an element.

I was noticing with that, go back to that Big Lebowski bowling scene. Yeah, that sweeping shot that winds up. It focuses on like a broken glass with like beer in it and a pack of like Marlborough cigarettes, that the other character is shown to be smoking a bunch. And, yeah, going back to the animal thing as well,

there's a couple of dog characters in this movie that make up a significant part of it. Yeah, it definitely adds like a very different tone having that kind of like dog companion for a good. Yeah, and it it gives it a good plot reason to just get moving as well. Like that's kind of what's the instigating event. She hits, she hits this dog has an address and that's kind of how it all gets going. Um, yeah, one of these comedy of errors like wrong place, wrong time type ways to start a story. Or right place, right time, kind of. Or right place.

Yeah, yeah, yeah. Do I think how you look at it. Interesting sequence of events. And again, I did feel like there, yeah, there are definitely things I would need to pick up on a rewatch for sure. I felt that in the same way I did with a blue, uh, with all this stuff, with the communication with the way it is linked with the other movies. Yeah, this idea of brotherhood and how they're exploring it. I don't know.

I feel like I probably would enjoy this more on a second, more specifically more than the others. Mostly because of just how that B plot was flowing for me with this guy finding about the cheating. Yeah. But yeah, it's weird. Like it works better now. Yeah, I think having the whole thing in context is just going to make for a more

solid experience. And I mean, we still love the movies on the first watch, but I think they're all meant to be watched like a second time together. Definitely. Yeah. I thought this had the strongest ending personally, at the three.

Yeah. Well, I mean, it felt like you could tell it was the ending as it was happening. Yeah. Yeah, exactly. It's not just like the good ending in and of itself, but it does wrap off the whole trilogy, like conceptually. It puts a nice bow on it.

Yeah. It gives a lot to think about. And, yeah, I would love to watch these again. Glad I got the 4K criterion. And, yeah, looking forward to his other films at some point. So I can cross that off the list of the directors who've made a lot of great things that I haven't checked out yet. Mm-hmm.

Another one to add to the backlog. Yeah, I really enjoyed this. As far as, like, a trilogy is concerned, I... Can you think of another one that's, like, this kind of abstract? But also has enough, like, connecting elements. It's not, it's not, like, an Edgar Wright, like, unofficial's... Yeah. Trilogy thing where this, like...

Well, well, yeah, there's a lot of other trilogies that exist like that Edgar Wright one, where, you know, a fucking... Chanwick Park has like his vengeance trilogy. And it's like, okay, well... Yeah, it's not a trilogy like this, yeah. In some ways, you could almost say that, like, calling it a trilogy is almost like retrospective. Whereas this one feels,

despite not having, like, the clearest connections and through lines throughout each of the films, you can tell, like, oh, okay, like, these are companion pieces and they were always meant to be. Yeah. And it really stands out to me. with like most trilogies that people think of the obvious ones they know. It's usually from a first movie that like is amazing and great.

And it's like that's what we, we nailed it the first time. Let's make three of these to that level of that first movie. Whereas this, it's like the, the middle one is like so different to the first one, which is so different to the third one. But they also work together as a whole. Yeah. It's just such a different experience to a godfather. Batman Star Wars, whatever.

Yeah. Yeah, very unique. I'm glad we watched them. And I guess I'm going to give this one a low eight out of ten. Yeah. I think we had the same score for all of these. Bazing.

Yeah, this was a low eight for me too. Yeah, for the same reasons. I feel like a lot of things I said about blue also kind of apply to red. More so than they do to white. I can understand why red is is the favorite. And who knows? I might see that for what it is on rewatch one day. But yeah, really solid.

I love our high concept, like, explore well creatively. Just show me some things I haven't seen before. All three of these do do that in some way, to be honest. It's just, I think, Blue does it in a way, that connected with me the most. Yeah. Thank. All right, question time.

Let's do some lovely questions then from the Saldonika's community. If you want to leave your own questions for future episodes, head over to the suggestion through it. We're on the subreddit. Just like, actually, you know, I'm going to have to just lower the mood a little bit and throw some shade. You know what? Oh, shit.

We've got to address this, okay, because we've got a problem in the community that we've got a, that we got to deal with and I do have to say that this user has been banned for this comment so we don't accept this in the community so yeah an unkindness can get us going why are you gay? Who says I'm gay? G A.E.

G A.E. Specifically too. I consider myself more G-A-Y-E not G-A-E so yeah, you can take that and do what you like with it. Um, but on unkindness is banned from this community.

Right. Um, I hope you agree. Um, because I think so. I'm putting my foot down on that one. Um, who says I'm gay? Uh, but groglet. You are gay. Do you know what I'm referencing there? You are gay.

Do you know, like, have you seen the thing? Uh, that, that does like ring a bit. I've, I've got like such brain rot from all this stuff. Like, I feel like, just, just catch me up. So basically, um, I think it, it was, like, it was, It was like on a Ugandan television program where they were like two hosts and they brought on someone from the LGBT community to I guess just like kind of harass them out. Oh. And so yeah, this is a melting something now.

It's for some reason it's just like even even despite the like obviously tragic and terrible circumstances surrounding it. in discrimination that these people face in that environment, it sucks. It got turned into a bit of a meme just because it sounds funny when the tiny conversation that they have. And basically it's very memeable. So the conversation goes, why are you gay?

And then who says I'm gay? You are gay. And that's basically, that's just the meme. That's what I was doing. That's really making me think of, who's that character? He's that fella, uh, he's like in the reactionary, uh, politics scene, I think. Oh. Where he asks these kind of questions.

Oh, fucking Jesse Lee Peterson. Just that's the one. Yeah, Jesse Lee. Oh, my God. His, his style of, uh, questions is a little bit different. He loves to do the thing where he says an answer and pretend. it's a question. He'd be like,

so you're a beta cuck, how do you feel about that? Like, that's every single one of his questions. So, uh, Trump is the great white hope and,

uh, is the best president. How do you feel about that? Like, that's not a real question. Like, what do you, it's just loaded every time.

But yeah, that's, I was just, uh, I was just, uh, I was just meaming in the comments. Wait, that was you?

What? What? I'm banned. Well, Adam's band and Groglek has something that, I don't know, never get me banned. Is there a movie recommendation that any of you would decline? Would Adam decline in another Star Wars discussion? What would make you veto? What would make you put your hands up and be like, you know what, even for entertainment,

I'm not even gonna play with this one? Um, no, but like if, if, if let's say there. There's, if let's say we're doing a recording in one week and the recommendation is like 10 hours, I might be like, hey, can we save this one where I can have more time to watch it? That would be my veto. Although there was at least one time where we did an entire trilogy within a week, I do remember. Yes. Yeah, but I feel like that's almost like part of the fun It's like

You know, let's go Let's see what craziness If it was going to happen It would have happened with Rogue One, okay? I'm a good fucking sport Yeah, or like, I don't know We've talked about some pretty crazy stuff You know, Stangu and these like

Really inaccessible films and Yeah Difficult to wrap your head around and stuff Yeah, I actually I can't think of anything I'll decline to be honest Alright Because like yeah

I don't know Did I really want to like watch the bad boys trilogy I hate those movies Like did it for the show you know Mm-hmm There's a fourth one Yeah It's like it's like one of the most

More successful movies this year so far Yeah Bad Boys ride or die I can't believe they didn't They called the third one bad boys for life and not the fourth one. Okay. Fuck you.

And they announced them both like at the same time. It's not like they didn't know they were making a fourth one. Oh, is it the same? That's even weirder. I know. I figured that they used it on three because they knew they were making a fourth one. Okay. All the bad boys fans should be upset about that.

All the BB fans. Oh my God. Polis 24. asks this then how important do you think a film's title is any examples of great slash awful titles can you think of any films you love that have terrible titles or vice versa um and someone replied to that saying i know there's no worse title than that one time oliver stone made a w a george w bush biopic and named it w um i don't know if that's the worst title i actually i actually don't hate that i actually don't hate that name i actually

I can't like an answer that. I think of an answer that one. Cinecta key New York, great title. Mm. One that's like really stuck with me is dream scenario. I think that's an awesome title. Double entendre's I'm a big fan of. Yeah.

The last movie that I watched that I had, I took a bit of an issue with the title was a really great movie called The Last Stop in Yuma County and I'm just like, just drop the the, okay? It's cleaner. Yeah. That's clunky. Yeah. Just call it last stop in Yuma County.

Don't call it the Facebook. What was it? When I went to the cinema last, there was a trailer for something. Like an Austin Butler movie called like the bike riders or something. That stood out to me. It's like that name sucks. I don't know anything about the movie, but that's a bad, lame name. That makes me not want to see it.

Let's see. I'm just going to look at just what's in theaters right now. Yeah, the bike riders is a bad title. Oh, fuck I don't like how many of those are in the apes movie titles And it's like four of them It's wordality, yeah Kingdom of the planet of the apes

Just fucking king Like, could, naming the order, that's the heart of it The Abes, I don't give a shit Rise, uh God, what are the words they use? And which order is it? I had no clue I could not tell you. Rise, dawn, erupt

I don't fucking know One I love though Naked Lunch Great title Cool weird Just yeah Two words A strange combination of words

Gets you thinking Gets your attention Do it Yeah I'm sure there's titles I'm sure there's some That I'm not thinking of right now That surely the ultimate worst one is the bye bye man That's the meme

But I mean it wouldn't have made Money If it wasn't called that Nobody would have Nobody would have talked about it if it wasn't called the bye-bye man. True. Mithrigan's a terrible title. Oh, yeah.

Yeah, you're right. Didn't they just like announce a sequel for it or something? It's got like an eight in the title or a spin-off or something like this. I think it's Mithrigan 2.0. But it's just need to save it for the third movie. Stop, don't we? Yeah. Yeah, sometimes the subtitles are like weird, like the

Like, like Silent Hill Revelations Where you just throw a word like Yeah, that sucks That doesn't mean anything That's games do that a lot, yeah Think of a title Yeah, it looks like you run out of Yeah, you're just making me think of like

Assassin's Creed now It's like spin off and spin off and spin off you Got your brotherhood, you got your revelation, you got your reservation, you got your dehydration Yeah, you got just all of it your ghost has been pretty good with titles killing of a sacred deer that's a good title dog tooth

yeah good title I just yeah I like it when it it links in or makes you think or even forces you to have an interpretation somewhere like poor things or something like that yeah it's like what we're taken away from this this title I like when it's not like too explicit

it and not just like a line from the movie. Not too literal necessarily. Yeah. Okay. I feel like we got some good ones in there. Let's do this one about animated movies from Big C. Bola. Do you think the conversation surrounding kids' movies would be more productive if we thought about them as more all-ages movies?

Because I feel like doing that would help differentiate between movies that have mass appeal for any age versus movies that are made for kids. Basically, I see this as a way we can squash the arguments such as, can't. down it's just a kids film it's not that deep yeah i mean like it's not there's a lot we would need to change about like how people engage with animation culturally in the west particularly uh it's it's a it's an annoying spiral pattern that we've kind of got it's like a catch 22 yeah we're stuck in it um yeah but it's also like these are are some of the more popular films that most people see, you know, like there's some of the

broader, more watch, more successful films. I think Inside Out 2 is the biggest movie of year right now. Hmm? As long as, yeah, as long as Pixar is on the poster, then, yeah, every, every, people of all ages will see it. I can't believe it beat Dune already. The movie has been, this movie, yeah, movies, yeah, movies, yeah, it's been, Dune Part 2 already.

Yeah, I guess it is kind of, it is kind of quiet right now, but... Because I couldn't, I couldn't, I couldn't, I couldn't, I couldn't, name a person that I know that went to see Inside Out too. I guess I'm at a touch. I suppose yeah, what is the competition, you know? Like, it is pretty like dry right now.

Yeah. So it's like the big Hollywood stuff. Like doing part two, I was under the impression that that was like a big thing. And I guess it was, but inside out too is huge, I guess. Jesus. Just wait for a smile too.

That's fucking annoying. Did you know... The guy who directed Smile is remaking possession. Did you know that? Oh shit. I did see that. Isn't that annoying? What a horrible idea.

Did you... You saw Smile, right? Yeah, yeah, I saw Smile. It sucked. Like, you can... When the, the thesis of your film is just rip off other movies and don't have an identity of your own. and you're going to tackle possession?

What the fuck? Like, we already know how that's going to go. Like, there's only one way it's going to be. Yeah, it's just going to be like a quarantine situation. It's very disappointing. Like, I'm disappointed in the film before it's even out. It's just a bad idea. And it's like, it has such like a cult status to that film.

Yeah. So, like, what, you really think you can, you're the guys to give this a new voice not that it needs it like it was great the director should look at that opportunity and say I'm sorry I'm not the person for the job right no yeah if you have any sense of self-awareness it's embarrassing yeah it's completely embarrassing uh what were you talking about I can't remember I'm just upset about animated movie. But it's also,

but like with the possession thing, like the last thing. Like, what's even the, it's not even like, uh, it's not like alien or like predator or something from the 80s that like everyone knows and it makes sense to like constantly remake because like it's just in the

zeit guys like is a possession remake really gonna. It's probably gonna bomb. Yeah, exactly. Unless he just makes it smile again and people go, oh. Oh, dude. Maybe they,

maybe they're rebooting it because of the tight. Because the title possession is a title that people would, you know, people who will see it. The one word, the horror implication. The one horror movie that people see every couple years that's the same every time. You could call that possession. I wonder if, yeah, because Smile had all that stuff with like the creature at the end. And there's that sort of creature thing in possession. I wonder if that's the, make it more of a creature feature type thing.

Yeah. Oh, dude. No, no, no. I'm pissed. That is very angry. What are you doing, buddy? I feel like there's constantly like 50 of those always in play. You know, like, this person is making this thing for no reason.

Yeah, usually it's just Adam Winger. Yeah. Well, speaking of wanting improvements, or wanting improvements, Adidas, 198 says, thoughts on how to improve the movie theater experience. We probably need some improvement in with like, especially with how few people are going, broadly.

People will go, they'll see their inside outs, but like, man, what happened with Mad Max? That's already gone. I had a few weeks. I suppose like Deadpool's going to come out and everyone's going to see that. But I do improve the actual experience and get people to actually want to go there.

Make better movies? I don't know. Do you think that would? Yeah, well, I mean, there's a lot of, Lots of great movies that people don't see. You're right. Like, it's not.

Yeah. You got to get people excited about it in some way. But it's getting more difficult to get people excited to see a movie in theaters. Because so much shit is just like being released on streaming. There's so much shit. Especially with Disney. It's like, okay, well, do I see this in theaters or like it's just going to be on Disney Plus anyway? Well, yeah.

So. In this in this mad rush to get into streaming, they didn't even consider how it would cannibalize other parts of like the entertainment industry like this. Yeah. But it's not like these, the companies that own the streaming services are the ones that own the theaters. So they probably just don't care. Alamo Draft House, now Sony owns them, which that's odd. Oh, yeah, I saw that.

I hope that that doesn't. I hope that they remain some, like they retain some semblance of like what their business is and what made their business special to me. But who knows? hopefully they don't gut it and destroy it. Only Sony films from now long. I mean, you know, it's a good enough theater that even if all they were playing was Venom 3, I would probably, I would, if there was an Alamo draft house near me, I would watch Venom 3 there, so.

I like that theater a lot. Craven? Yeah, I would watch Craven in an Alamo draft house. If every movie theater was like an Alamo draft house, I think people would be more excited for movies. Yeah. Because they're just a much more pleasant experience. Oh yeah, so much nicer.

We don't have Alamo here, but we have sort of equivalent type things. We have pretend equivalent type things that are just not. They don't. Right. Oh, they're not at the same level. Right. No. Yeah.

Yeah, we've got every man here, which is pretty solid. Nice couple surfers. Get food and drink. See, I'm like, in terms of what I culturally expect out of people, I'm not a fascist. so I don't need other people to do the things that I enjoy for me to enjoy my things. My concern is that because I'm obviously like a lover of film festivals, these theaters need to exist throughout the year in order for film festivals to use those spaces at that specific point to the year.

So that's my concern. And so I'm really cherishing and appreciating the time that I have. have with TIF where that Scotia Bank theater still exists. Like, I don't know what they're going to. That's like 10 different screens that they use there consistently during the festival every year. I don't know what the fuck they're going to do when that disappears. Like, I'm pretty, there was news that the, the land.

What do you mean it's disappearing? What is? Got sold and they were going to turn it into a condo, but like, it's still there. And that news was like five years ago. So I don't know what's happening or if it's still staying. Oh, does it all make money or whatever? I don't know. It's not that it didn't make money.

It's that the real estate in Toronto, like it's top three in the world. Oh, were they putting up rent or something? Yeah. It's literally just someone wanted to turn it into a condo and they have so much money that how could Cineplex say no? Because they're a company.

Right? Yeah, yeah. So buy out the building. I don't know what's going to happen. Fucking build around the Cineplex. Like you want it, you want to, if you want the property to be something that people want to,

live in, you should probably have amenities like a movie theater in the area, because then people will want to live there more. I don't know. I don't know what the fuck people are doing. I don't know what's going to happen. Like, a lot of film festivals already kind of do this like pop-up theater. Like, Kahn does it. Like, they'll just like pop, they'll, like, construct like a little screening room, like on the beach, basically. Mm-hmm. Go do what you got to do. So it's like film festivals still have a options, I guess, just I'm concerned about TIF the most because that's my favorite festival and just knowing like how dense Toronto is. It's like you can't really do a pop up that. Like it would

have to be like in a completely other area of town which would be annoying. But yeah, yeah, that was convenient with so many the screenings being like so close to one another. Yeah. Hmm. There's also just the whole like just cost of living bottom line. It's like if if a ticket, to one of the nice theaters if you want a guaranteed good experience is going to cost basically the same amount as like a month's worth of a subscription service the whole family can use. Like is it really that surprising that people don't want to go to the theater in the same way? You know? Yeah.

Like I don't blame people. If you take a family of four to the movie theater and buy them all stuff. Yeah. Yeah, yeah, exactly. It's way more cost effective to do it at home. Everybody's struggling financially right now. So, you know, shit's changing so fast. And there is just this attitude that, like, movies are bad now.

It's like, it's a really popular thing where it's like, everyone just thinks. Yeah, movies are just like political garbage and that's all they do. And films suck compared to what they used to. So why even go? That's what like a lot of this discussion is about all the time. Even though, yeah, we just had doom. We just had Civil War. We just had a bunch of great movies.

But people don't see them in the same. And the same fervor, we're out of that just everything can make a billion bucks, like just 15 years of genre shit. Yeah. It's just all like crumbling. Like all survive with digital releases. Like I enjoy watching things at home. But like just the film festival experience is the one thing that like is not replaceable. Yeah.

To me. Because yeah, I agree. I'm fine watching stuff at home. But it's like, man. Where else are you going to get the Midnight Movie Madness? Well, you know, these some of the best moments with cinema are like when you have a crowd that are all engaged with the thing and you're feeding off the energy of the crowd. Agro drift. Exactly.

Get that drift on. Don't tell you I watched it a second time? No, really? Yeah, well, because I was in the, during the convention, very convention in Atlanta, it happened to be playing. and because it was literally just like a one week only and it was like okay

the theater is like a five minute Uber from the convention Was it a late thing too? It was a yeah it was like a 10 PM or something the theater wasn't packed

or anything and I brought Sarah from just too good Sarah wanted to watch it I probably wouldn't have seen it a second time if there wasn't someone else that like really wanted to watch it

and it was like the last night she could have seen it and it was like like okay we're gonna do it oh what did Sarah think that's hilarious I mean yeah it was similar experience uh an interpretation as as we had yeah and we were we were like giggling and snickering throughout the film and it's it's it's it's almost like funnier a second time and it's actually a lot more digestible a second time like it flew by a lot more knowing what it is and knowing what the payoffs are or

lack thereof. Yeah, the payoffs. No, I feel like that's a great, like, I'm just going to invite someone over where it's like, you know, it's like midnight at 1am, just going to put this weird thing on and just like watch people's reactions and like. Yeah. Yeah. Just get that sick enjoyment from it.

I wonder, I wonder how they're going to release it for like a home release. Because so far they've done. Yeah. Criterion. L.A. strip clubs. Tiff. and like one week in some cities in the States

there were a few screenings here I didn't catch one but I did hear yeah it was shown here and there I heard through the grapevine but not broadly by any means

yeah there's some great theater experiences to be had and all I can do is to try and help promote that in the culture and hope that enough people listen So anybody that listens to my channel, you got to help spread the word amongst your friends and family and anybody you think would appreciate any of these film-going experiences or festivals or anything that you find special about, you know, seeing a movie in a theater.

We got to be the change that we need that we want to see. And who knows, maybe it's a losing battle. But, you know, support your indie theaters, support your, you know, smaller theaters. a lot of these theaters survive off concession by the way so you know if you're going to sneak something in do it in a fucking AMC or a Cineplex if if you're at a smaller theater you're at local indie theater buy a drink buy some popcorn it really helps them out yeah invite some friends keep it alive yeah I feel like I would be more concerned if uh there were no good films coming at.

Like, and that was not an insane thing to say, you know? Yeah. I'm kind of pissed because like kinds of kindness is out in the States right now. And I was, I was anticipating being able to see it in Vancouver, but right now there's no showtime. So I'm probably going to be seeing it like next in like a week or two when I'm in the States. Like I'm assuming it'll still be playing somewhere. Mm-hmm.

Yeah. Yeah, I'd be curious how that one does too. Quite long, nearly three hours long. Oh shit. Yeah, I'm high, I'm hype further. What the fuck? God damn it. What?

Did I just read? It's playing like one day only in Vancouver from what I can see and it's like the day I'm out of town. God fuck. That's an eye. Yeah, that's fucking, whatever. I'll catch it in the States. Pissed. Always happens.

Mother fuck. Well, seeing as you're pissed, um, you might have something to say about this one from Pat. Berker Jr. 28. What are your thoughts, and I know I'm going to say the words, AI, people get so upset when it comes up, but what are your thoughts on AI affecting film preservation? Recently, James Cameron released his film True Lies on 4K Blue Ray,

and it came under fire for its lackluster transfer and weird visual problems. Apparently Cameron used an AI program rather than just remastering the film like normal. Many were mad, and this, with this, as this new, 4K transfer is one of the only legally available ways to watch the film. Do you think more studios will use AI to remaster their older films and how do you think this will affect film preservation as a whole? Didn't this happen with like his Terminator 2? Isn't James Cameron just notorious for like having the worst 4K blue rays ever?

This isn't the first time. This might be a Cameronism. Yeah. Because I have heard this for too. Yeah. What's this fucking deal? He hasn't been great. He does love the tech.

Like Terminator 2 is like ranked among like the worst transfers ever. Yeah. Because apparently they use like a bunch of like, notorious, yeah. Like de-noising and like removal of film grain, but it winds up making every character look like they're like plastic. Which sucks. And you'd think that something so notoriously known to be bad,

they would want to like, I don't know, fix it. Especially for a film of that kind of reputation. Yeah. Like people love that film. It's like a classic. So that's kind of annoying It feels like a Outside of this probably being a

Cameronism thing It also feels like a growing pain type thing Maybe it's like rough around the edges now But if it's possible to do Of course like AI will be used to Upscale things to Anything that can make money in any form If it can be automated with AI

Will be done. It's just a matter of one Yeah and it's not necessarily like a death sentence for restoring or you know enhancing something I think that as the technology improves things like television shows that were shot like on tape

or something like if you like something where maybe there might not be a high quality transfer to even pull from or maybe even like films that there are no original reels available that might be a circumstance in which you could use this technology

in a way that's beneficial we don't know I'm not confident that the technology is there yet obviously over the next five years shit's going to get really crazy with AI in terms of what its capabilities are

and how it's utilized in society whether artistically or otherwise so we're just going to have to wait and see I don't think that there's anything like about the word AI that makes James Cameron's transfers bad. It just seems like he just sucks at it and he doesn't give a shit. And he's like he's just a big, big piece of duty. Because he's been doing this already.

Yeah. Like before AI was a buzzword. Like he's just, this is just what he does. He just poops on his old films and people pay money for it. I just, yeah. I find this recurring like anger around. to be like it's almost like frivolous like it's kind of already over in my mind yeah you know it's really like two it's too integrated look how it affects the stock market already that

you got to follow the money with this kind of thing um you can complain on Twitter where you want but as soon as people like stop noticing or stop caring it's just oh yeah standard like they like there's like a new stranger things like tier thing that comes out and then it's like revealed or is good enough for people to like not care Because they look like it so much. I mean, when if people aren't if people don't notice it then there it's not possible to care Because at some point the technology will be good enough that you won't be able to tell So uh, I'm just I'm just picturing like a studio making something with AI in secret

And somehow it's good enough or advance to the point where no one really notes is and then it's somehow revealed after the fact after it is something that people love Yeah change anything for people like how do they react then like I don't know I just kind of put my hands up I wonder if I saw sorry not late night with the devil

so that was like a huge I've seen it yeah I want to see it I wonder if there's title cards right I wonder if that promoted the film more than if it didn't have that controversy because people were talking about that film for like weeks

I think you're right I think it gave it more promotion I think it's Streisand affected it Yeah, I wonder if that would be You could you could you could you could you could spend that both ways for marketing actually like if AI was getting to such a degree where It was used everywhere you could market something like hey we haven't used any in this We're pure quite a People the way people market things already by saying like we didn't use any CG

Yeah, so disingenuous did you ever I think I recommended this there's like a very awesome multi-part YouTube documentary series thing from a channel called the movie rabbit hole and it's a four-part series and it's titled no cgi is really just invisible cgi and he really goes into just how many movies well in the marketing say like oh there wasn't any cg but he just shows like yeah there was cg everywhere it's just it's like it's just a marketing gimmick right those yeah those are the best types of visual folks I think we're probably going to be in that same in that same space with AI. It's another tool with obviously, you know, very different and more extreme societal implications

that we're all going to have to navigate. But yeah, the problem is mostly just when it's bad, which you can make something look bad with or without AI. As soon as we have things that look good, then it's not really. an issue for the for the artistic quality anyway yeah that's because that's the like the pushback I see on like social media when like a big AI video will trend or whatever and then it would be like quote tweeted of like this is everything that's wrong with this but a buta buta it's kind of like I don't you're kind of missing the point like yeah it looks all fucked up now but like it looked

fucked up in 2021 and a year later kind of they fix the hand thing and it's like the trajectory of this Like, I don't know what you think you can stop, I guess, is what I'm trying to say. Yeah. But I know it angers people to no end for whatever reason. We'll see how it goes. Bringing up this topic. So, yeah, we'll see.

I've got my hands up. I'm just kind of watching because it's like, I don't know. Like growing up, like all these stories and sci-fi stuff with like this as a subject matter and like never considering. Oh, we're going to live through that. Yeah, like fucking Picard on the hollow deck. He just kind of says, show me five nights at Freddy's. And then he is in five nights of Freddy's. Right?

We might see that. Yeah. But like people watching that, people weren't like, man, what about the property rights? Like, nobody watching Star Trek was thinking. Like, damn. He just got the hologram for free, bro. Damn, that utopia. I don't know.

Shit, shits, shits. It's getting crazy. One more question? Yeah, let's end on this one from past confusion 3-2-34. Hi, Adam and Alex. Recently, I've attempted to start taking notes during films due to a mixture of remembering my opinions on particular details and also helps, given how my brain works, which leads to this question.

Given that both of you write notes for films and even Adam uploading them on his Patreon, take notes, Alex. How do you write notes for films? This can be from what you write them on to how you. you decide what needs to be written down or not vague enough question, but I hope it leads somewhere. Keep up the great job, both of you on the podcast and your bloody separate works over there. Yeah, good question. It's quite like a, I don't know, like a personal skill. I feel like your notes and they might look like crazy to somebody else, but it's like the

tangents and things I have attached to these notes. Yeah. It's for your own understanding. Yeah, exactly. So I might just like note down a moment of something that happens that like when you read the note. It's like, okay, that's an obvious observation. But when I see it, the connection I read is like, oh yeah, that moment started this thought process in my brain. And that's just a way of reminding. I've learned what was it semi recently that I used to always type all my notes. If you do it with a pen or pencil, like the connection with your memory. seems a lot stronger, at least for me. I remember it a lot better. People have done studies on that and that seems to be a thing for some reason. Yeah. Yeah, I mean I voucher it. I definitely remember my notes a lot better when I write them by hand compared to typing. That's also kind of nicer, like with everything so like digitized. It's nice to have a little notepad or whatever. Yeah. Have that going on. Do you have any like process? I guess you've just figured it out over the years like what works for you, what, what you need to remember

Well, I used to watch a movie And then just immediately as the credits start rolling Just whip out my phone and just go Like speed type everything that I Yeah, I used to do the same You just forget so much if you have to like Hold all this info over like two hours I'm pretty good at I'm pretty good at remember

And then also typically, you know I'll watch a movie with someone else And I'll have a conversation with them about it after And then I'll continue to add to my notes But now I just I don't know speed typing on my phone doesn't do great for my tendonitis issue. So now I just bring like a notebook.

And if the movie is really dark, then my notes are a bit messier. But as long as I can, that's a learning curve. Understand what I wrote after, then it's good. If I'm doing like a watch along and like at my computer anyway, then I'll probably type my notes.

Yeah. Yeah, at home when you can like pause and rewind, wind. I'm not as strict, but like... Yeah, in terms of in terms of like what I write down, just anything that I, that I, during the watching process, I think is something that I would want to mention,

whether it's a criticism or an appreciation, or just something specific about the plot that I want to keep in mind for, you know, whether it's just for my own benefit to remember that about the plot, or if it's something that I think might fit in like a summary if I want to like give some yeah details about it

I guess that yeah the important part is just understanding how your brain works and how your own notes assist like yeah what you want to remember what you want to what you want to achieve with it what you want to do with it you just got to do it a lot a lot of this kind of shit just comes down to that like yeah the more you do something the better better you tend to get at it as long as you're doing it consistently. It can be as short form or detailed as you want. It's just for you to understand if you're the one referencing the notes. It can be as messy as you want as long as you understand it. And there'll be times where like, yeah, you'll like do like five bullet points for a whole movie

and then other ones will be like hundreds of bullet points. Yeah. Yeah, I didn't write that much down for like white or red. Yeah, I specifically didn't for white. Yeah. I, like, I specifically didn't for white. Yeah That's just how it is there sometimes It doesn't even necessarily indicate Like the quality really at all It's just more your own observations of it Yeah

Sorry it was yawning Cut out that silence editor Don't leave the pregnant Paws in So pregnant A nice pregnant pause Now we have to keep it in Because we're talking about it in

It's fine Dang it All right Thanks for the questions. Yeah, this is good. We're going to have a guest on next episode. Gael's going to join. Returning.

And I think this might be his favorite movie that he wants to recommend. But it's something that I've wanted to talk about for a while. And he would just be a great part to have in the discussion. So I want to have him more. Koyani Skatsi. Oh, awesome. Yeah. And I think that that that film.

in of itself is substantive enough. I know it's like technically a part of a trilogy, but like my understanding is the trilogy isn't really that necessary for like the whole thing. Like maybe we'll talk about the other ones at some point, but I really want to watch kinds of kindness before the next recording. And I'm, you know, given all the recent circumstances, I don't want to do a trilogy right now. I'm just kind of, yeah.

That's totally fair. Even though we just recorded one. Not, yeah, I want to not be crunching and rushing and not giving myself time to have any downtime or think about things. So that's the plan. If something, there's some transitionary things happening, but that should be possible and that should be the plan. If let's say we have to do something else, I'll let you know, but it should be fine as far as I know. Yeah. Yeah.

Going to have Guy L. Listen. and Koyane Sotsi, which I guess maybe I should try to spell out for people looking for it. It is K-O-Y-A-A-A. That's what fucked me up. It's the double A. The double A. N-I-S-Q-A-T-S-I, directed by Godfrey Reggio, a film from 1982,

experimental documentary kind of. And that's all I'm going to say about it. Watch it with a great screen and a great sound. Yeah, I'm excited for this. I'm pretty sure you got it for me. I did. Got around to you yet. Yeah.

Yeah, so I've got a copy ready to go. Good, good. Yeah, this would be good. I can finally scratch it off the backlog. All right, thanks everybody for listening. We got to go to sardonicast.com. Sign up for premium. $2 a month.

you'll get the episodes early. You support the show. Patreon.com slash Sardonicast. You can support the show. You get the episodes early. Also, if you want to stay on YouTube, just click the join button. You get a membership.

You get to watch the episodes early. Okay? And we fix that thing. So you still get to, like, you just get the unlisted video. You fix the thing. You can still watch it with your, you know, like in the background

and save it to a playlist. All the functionality of a regular YouTube video. and go to the Sardonicast Highlights Channel, subscribe to that. Click the bell, okay? Click the bell in the main channel, even. Ding. Ding, ding, ding, ding.

We got to figure out our merch still. Give us time. Yeah. We'll figure that one out eventually. Did I miss anything? No. I think you've done enough. It's time to rest.

Yeah. All right, thanks for listening, everybody. Happy Scoot. Rest and peace. Love you, buddy. Rest and peace. And, yeah, see you next time. And hopefully I'm able to see kinds of kindness before then.

Bye.