The Big Picture - ‘Wicked: For Good’ Is No Good. But ‘Train Dreams’ Is.

Episode Date: November 21, 2025

Sean and Amanda are joined by Juliet Litman and return to the (not so) wonderful world of Oz to cover John M. Chu’s ‘Wicked: For Good,’ starring Ariana Grande and Cynthia Erivo. Before diving in, they react to new movie trailers for Charli XCX’s ‘The Moment’ (1:02) and ‘The Hunger Games: Sunrise on the Reaping’ (10:54). Then, they discuss ‘Wicked: For Good,’ which they found deeply frustrating due to its bizarre story choices and one-dimensional characters (18:22). They hypothesize its potential box office, compare this year’s press tour to last year’s, and weigh its Academy Award chances (1:07:44). Next, Sean and Amanda briefly examine Clint Bentley’s ‘Train Dreams,’ starring Joel Edgerton and Felicity Jones, a deeply earnest and sincere portrayal of grief with some beautiful digital photography and an amazing collection of character actors (1:22:55). Finally, Bentley joins the show to discuss his new film and explains why he initially thought the original material was unadaptable, how he put a lot of intent behind capturing the logging scenes in the movie, and shares his feelings on the current state of independent film (1:34:28). Hosts: Sean Fennessey and Amanda Dobbins Guests: Clint Bentley and Juliet Litman Producer: Jack Sanders Talk to a State Farm agent today to learn how you can choose to bundle and save with the Personal Price Plan®. Like a good neighbor, State Farm is there®. Learn more about your ad choices. Visit podcastchoices.com/adchoices

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We'd love to talk, business. It was just another holiday party until Michelle arrived with a chocolate basque cheesecake. Two rich cocoa's caramelized top, which Michelle claimed to have just whipped together. But the evidence told another story. An empty PC box, a receipt in her purse. All right, Susan, I bought the PC chocolate basque cheesecake. It was just $11. Can you stop true-craming me? Can I have another slice?

Try the season's biggest hits from the PC Holiday Insiders Report. I'm Sean Fennacy. I'm Amanda Dobbins. And this is the big picture, a conversation show about, Because I knew you! On today's episode, we're discussing two new releases, Wicked for Good, the epic conclusion of the musical adaptation, directed by John M. Chu.

It's here. It's one of the biggest movies of the year. Juliet Lippman is here to discuss it with us, Break it all down. We'll share our deepest to darkest feelings about the Wicked franchise. Then Amanda and I will discuss Train Dreams, which is a Sundance sensation that is now out on Netflix an adaptation of a Dennis Johnson novella.

Later in this episode, I'll have the director of Train Dreams, Clint Bentley to join me. Arguably the nicest person in the history of guests on this show. Wonderful conversation with him. I hope people stick around for that and that conversation about that movie. But before we get into Wicked for Good, a couple of trailers, There's a couple of jam session coded trailers, I would say.

Here we are. Certainly the first one. The first one is the moment, which is the forthcoming feature acting debut of Charlie XX. It's a kind of mockumentary about her and her most recent tour and Brat Summer and everything that's transpired with her over the last couple of years. It's directed by Aidan Zamiri. We saw the trailer this morning. Amanda, Juliet, you guys have talked about Charlie XX agnosticine. last 18 months? What did you think of this?

Guess first, Juliet. I thought it seemed pretty charming. I'm looking forward to it. I also thought it seemed confusing and too close to life for a mockumentary. But that's great. Maybe she's going to reinvent the form. Yeah, maybe that's where the art comes from.

I'm obviously deeply, deeply, deeply on board for this as a huge Charlie X, X, X fan and a person who likes somewhat meta, but are they joking type experiences. I would say that my relationship to like pop star documentaries

is filtered through the lens of our guest, Juliet Lippman. So, that's a huge honor. In that sense, I'm just excited to talk about it with Juliet. And I like a big picture jam session crossover moment. It was notable this morning

and this head and we haven't potted together. When's the last time the three of us potted together? It's got to be years. I think a very long time. That's stunning and sad for me. many ways. I don't remember the last time. Oh, I think for the Hamilton movie on Disney Plus, which I also referenced last time I was on the big picture one year ago. Holy shit. We only bring you on for big musical events. And the moment, maybe the next time you have to come on. That's a musical event as well. What about Moana? Directed by Thomas Cale.

I have some serious concerns about Moana. I got to tell you. That trailer did not inspire me at all. I follow the work of all Hamilton alum, so I'll be seeing it. Juliet, where are you on Moana, original film, though. I like to sing You're welcome over and over, but I don't know any other words to Moana. Okay. Da-da-da-da-da-da-da.

You're welcome. We're in the same place, except I didn't even know that. That was beautiful, though. Thank you. You know, earlier this week, Amanda was asking me about the songs from Moana, and I was saying I could sing where I'll go

at any moment at any time of the day, you know, and just consider the coconut, you know, consider its leaves. Sure. Is that a knowing David Foster Wallace reference? I don't think so. Okay. But I could be wrong.

Perhaps. It's written by Lynn Manuel Miranda, right? Yeah. I think it could be. Okay. I think he's a very well-read gentleman. Did David Foster Wallace invent the Consider the setup? Probably not.

It's probably like a Samuel, like Pepis or whatever reference. I don't even know. Did I conflate two names right then? What was Peppis's first name? But in my mind, it is a Consider the Lobster reference. If there's David Foster Wallace and Moana, all the better. That's how I feel about that. The moment, I think, is, it looks pretty fun.

I think this is hard to pull off. And we're in this funny moment in the aftermath of, like, the Ares Tour film, the Beyonce Renaissance movie, the Taylor Swift album release party, whatever the fuck that was that happened two months ago. All this. The Taylor Swift's six episodes plus documentary coming for us very soon. Is that a thing that's happening? Oh, yeah.

On Disney Plus. On Disney Plus. Six episodes. of her final performance of the era. She gives them content, which gives her her own movie whenever she finally wants to make it. How could I be breaking this news to you?

Hard to believe I didn't get the Taylor Swift news. That's not surprising. And that's fine. And I do think Charlie XX, even as a pop star, seems to be kind of taking the piss out of what it means to be a pop star while also trying to have all the spoils

of being a pop star. And, you know, I thought of Madonna Truth or Dare watching this mockumentary a little bit. And I feel like she is like kind of an ancestor to whatever Charlie XX is trying to do. This sort of like the knowingness of her persona. And I also thought of waiting for Guffman. So if we get a truth or dare meets waiting for Guffman, I love it. I'm in.

I probably won't be that good, but you never know. Do you think Charlie would come on this podcast to talk to you about the moment? She loves cinema. She loves it. She's on substacks. She's on letterbox. Yes. She is everywhere just watching them.

She's on TikTok. Yes. final destination movies. Like I, Charlie XTX come on the podcast. I wouldn't want to meet her because I don't like meeting my heroes. I will go with her to Tendence of the Trees afterwards if she would like that.

Let's do a quick run through Charlie's November on Letterbox, okay? Great. This is going to be a really good use of time. First of all, she's logged 219 movies. Fucking A. That's what it's all about. Sure.

That's what these fucking pop stars need to be doing is logging these films. How many movies has Taylor Swift? blog this year. I ask you that. Well, it's an ongoing discussion on Jam Session of how many films she's seen. But she actually, she does like the work of Paul Thomas Anderson. She shouted it out on whatever late night show that was. I take it all back.

She said, what was the direct quote? I don't know, but I would, I don't know. Do you remember it? I think it was we're so lucky to be alive at the same time as Paul Thomas Anderson is a real thing she said. Wow. Yeah. I think we landed on on Jam Session that she watches a lot of movies.

The open question is how many does Travis watch with her? Correct. I see. Right. Yeah. Do you think he's seen like sentimental value and begonia

and had some deep thoughts about those films? No, Barbie is his favorite Grada Gerwig film. That is something we know from the No Hard's feeling podcast. Very cool. Okay.

Okay, November for Charlie on Letterbox very quickly. There's a lot of films here, guys. And frankly, there's something for all of us in this mix. On November first, she watched the moment

this film that we're talking about. Great. The same day, she watched Bram Stoker's Dracula. Okay. Salute. We have to salute you. We do.

I do need to ask for 219 films in one month. Yeah. I don't know if this is like a Steven Soderberg cultural diary level of like real time or whether she's maybe logging things she's already seen. Because that is something, Letterbox asks you like, hey, have you seen this? Do you want to? I don't think so.

If you're, I think if you're applying the date, I don't think she's trying to just identify. Because you can just click watched. You don't have to click the date that you watched it. You can just say that you, I believe. So like, for example, she and I were in the same screening room on October 28th. We saw Father, Mother, Sister, Brother, the Jarmish film. So she logged it like moments either before or after me. So I think she's doing it in real time.

Okay. This is important. She's 219 total or in November? No, in the year of 2025. Oh, okay. I thought you said November. So did I. No, no, no.

That makes more sense. Imagine if I just listed 219 films at you guys. No, but I think it's north of 20 films here. Welcome to the big picture. That is one of my favorite hobbies. So Bram Stoker's Dracula. The next day she watched the Naked Gun remake. Okay.

The day after that she watched Simon Killer. Do you know who the star of Simon Killer is? I don't. A little man named Brady Corby. Oh. November 5th, four weddings and a funeral. That's my girl. Nice.

November 7th, Woody Allen's husbands and wives. That's my girl. November 7th, The Devil All the Time. November 7th, Friendship, the 2025 comedy. Beautiful. To Live and Die in L.A. I see you, Charlie. November 8th caught stealing.

Tough one, no rating on that one I'll notice. You got to keep up with what your friends were up to. November 9th, she watched Michael Mann's The Keep. That's beautiful. What? Have you guys seen that? You probably haven't seen that movie? And also, like, Charlie is recently married and happily partnered, so I don't know why she's doing the Michael Mad Deep Dives, but I'm happy for her.

Maybe for him. Isn't that possible? There's more to come, guys. November 11th, Bagonia, respect it. November 12th, another Woody Allen film, Love and Death. November 12th, after school. November 14th, Loventora. November 14th, Mighty Aphrodite, that's three Woody Allen movies in 14 days.

November 16th, the long goodbye. Robert Altman. Charlie! Good Lord! And then November 19th, she watched John Houston's The Dead, which was recently announced to be a part of the Criterion Collection soon.

You just, you just, you'd love to see it. You love to see it. It is very cool. It is very just started dating a boy in, like, college who really is into movies. But that's cool. I guess that is like, we have bottled that experience

and turned it into an app and it's called Letterbox. And that's awesome. It's nice. It's nice that everyone can have their own little boyfriend in this app. It seems like they're both not on tour, probably.

And so just, like, seeing a lot of movies together, would be my guess, in her. What's her husband's deal? What does he do? George, he's the drummer of the 1975. That's how, that's how the Charlie Taylor thing happened. Oh. And that's because, like, and Charlie did some songs about Taylor, but didn't name her because of the whole, what was that guy's name? Maddie Healy.

Yeah. Does Taylor know that being on Coke has created some of the greatest films of all time? Does she aware of that? Has anyone mentioned that to her? I think that it probably came up while they were writing this most recent album. I just feel like, you know, she was trying to, like, get a little edgier,

so I'm sure they discussed the important role of cocaine. Got it. I'm in a great mood for this episode. Okay, the next thing we're going to talk about, this is the Hunger Games, Sunrise on the Reeping, Julia. Do you care about the Hunger Games? You know, I do.

I thought you did. I do, actually. I feel like it's a great part of culture, and I enjoyed those movies a lot. But, you know, I'm very invested in the Hemsworths all the time. So, like, I just continue to carry a torch for Liam Hemsworth as Gail. I was actually just thinking about that, team Gale and team Pita. Feels like a long time ago.

And Hutterson really back in the mix lately with I Love L.A. Have you been watching I Love L.A.? I saw the first episode. Okay. And I was like, all right. Second episode, I thought was very funny. First episode was okay. Okay.

I'll do back into it. Some really good Hutch in the second episode as the sort of stifled boyfriend. I look forward to it. I've been tied up with Secret Lives of Mormon Wives, so it's just been a little busy over here. I see. I haven't seen that show. This new Hunger Games movie,

no Hutcherson in this movie, no Jennifer Lawrence. This is, it's called Sunrise on the Reaping, which is just an epic slogan. It's the sixth one. It's both a sequel to the Hunger Games, The Ballad of Songbirds and Snakes,

which was the movie with Rachel Zegler that came out in 2023. Juliet, have you seen that one? No, I haven't. Okay. Was it good? No, I didn't really enjoy it. But, like, Rachel Zegler is sort of, like, fronting a Luminear-style band while also being part of one of the Hunger Games.

That's right. So it just wasn't my preferred musical experience. It wasn't my favorite either. Isn't she starring on the West End right now in London? Isn't she in... Avita? Yeah. I believe so.

Rachel Zegler is starring as Evita? That's actually inspired. You got to get on our internet. I know that I say this a lot. This is really rewarding also because most of the time on this show, it's you and your pals talking about video. games. And I'm like, uh-huh. That's not true. And it's just, Juliet, thank you for coming and joining and welcoming Sean into the world. I invited Julia. What are you talking about? Actually, you'll find the text messages will show that I did. That's correct. I communicated what was said

on a spreadsheet at 1130 p.m. to Juliet. It was my idea to invite Julia. And I made the scheduling happen, but that's fine. Let's keep it moving. This movie is directed by Francis Lawrence. He's directed the last five Hunger Games films. Gary Ross directed the first one. You what else he directed. Chris Ryan's favorite movie, C. Biscuit. He stepped away from these films and

Lawrence has been making them. Lawrence also made the long walk this year, which was kind of an interesting movie. You didn't see that one. No, but I know how it ends because you told me. I think Alive on a podcast. Billy Ray is the screenwriter

of this movie. You guys familiar with the work of Billy Ray? Yes. He wrote Shattered Glass and he wrote the Comey Rule adaptation. Right, yeah. Your favorite

pandemic watch for sure. That was pretty good, actually. I thought that was quite interesting. James Comey, is he in prison yet? What's going on with that? I really... I believe there's a counter suit related to the indictment against him.

I knew you would know exactly where that story stands. Thank you, Juliet. You are really on the right episode today, I must say. I'm delighted to be here. The cast of Sunrise on the Reaping is insane. So because it's a prequel to the original Hunger Games film, you have a lot of characters that we saw in the original Hunger Games films, including President Cori Elena Snow.

who is played by Donald Sutherland in the other films. In this film, he's played by Ray Fines. Ray Fines in the sixth Hunger Games movie? He likes to work. I know. Money is so good. He likes to show up and have a great time. I love to get money, too.

I get it, Rave. Jesse Plemons as Plutarch Evansby, who was portrayed by Philip Seymour Hoffman. In genius casting, of course, Plymins once played Phil Seymour Hoffman's son in a movie, The Master. El Fanning is in this movie, having an insane run right now

with Predator Badlands and sentimental value. Kieran Culkin Academy Award winner, I think this is his first role on screen. Great for him. Since that win, he's playing the host of the Hunger Games, Caesar Flickerman. The names in this series remain unmatched. Caesar Flickerman? It's very good.

Okay. Glenn Close. Yep. Speaking of people who will show up for money. She loves to work. She plays Drusilla Sickle, who I guess is kind of like an Effie Trinkett-style announcer of the Hunger Games. Billy Porter's in this movie, Kelvin Harrison, Maya Hawk. I think you'll find that Effie Trinkett was the stylist.

Was she? Right? Who was Elizabeth Banks' character? I thought she was Effie Trinket, but I'm going to look it up right now, guys. And Effie Trinket was a stylist because, you know, the opulent nature of the costumes and the Hunger Games and getting someone on your side, like the style and your visual presentation is such an important part of your positioning. Did you love the Hunger Games? No, but I read the three books and I saw them.

But didn't she also sort of like, wasn't she present for the selection of the tributes in the first film? In the same role, like Glenn Close plays in this trailer? I just she's like like walks alongside Jennifer Lawrence's character like out to the she's a publicist stylist but like I think she's she's introduced as a stylist because they understand that the visual like accoutrement or an important part of the messaging it's very exciting you know because it's a comment on our society what I don't know if you heard this and like the materialization yeah I thought it was just a rollicking adventure series there's three other young actors who are portraying the tributes one I have never heard of

Joseph Zada, who I think is basically the star of this movie, who is meant to be Hamich Abernathy, who is Woody Harrelson's character from the original Hunger Games. I will say when I googled Hunger Games trailer this morning. Me too, Amanda. Right. And then I clicked on the Lions Gate Link, and it was Hunger Games, Sunrise, whatever title.

And then the one name in the title along with the title of this movie was Joseph Zada. I was like, are there other trailers that have someone else's name? and then? Like, is this just the first one to come? I thought that was very confusing. It also lives on YouTube. Very odd. Another one of the tributes will be played by McKenna Grace, who Amanda and I just saw in the Colleen Hoover adaptation regretting you, which will make for an incredible conversation on this pod very soon. I truly, truly can't wait for this podcast. And Ben Wong, who plays Wyatt Callow in this new Hunger Games movie, who I just saw in The Long Walk and was very good, sort of the third lead of that movie behind David

Johnson and Cooper Hoffman. So that's coming out literally. this time next year, November 20th, 20th, 26. Happy Thanksgiving. Yes, I guess so. That seems good. Do you guys ever review the music video list

or filmography of Francis Lawrence? I mean, I know he's directed a great many music videos. He was a guest on this show, actually. When you say review, do you mean, what do you mean by that? Well, like, every time he's brought up in relation to the Hunger Games,

I just think of every time he was on MTV for like, you know, inside, what was the name of that show? Like, inside the music video? or whatever, making the video. Making the video, yes. It's an astonishing list of music videos. Like, he has really had a stranglehold on pop culture for a long time.

It's, like, pretty, it's, like, shocking. It looks like his first credited music video is gone until November by Wycliffe John, which I must tell you, in 1997, had culture in a chokehold. It had so much importance to me. I'll bet. Like, so much. Did you enjoy the carnival, that album by Wycliffe? Sean, you have no idea.

To the extent you could, like, break a CD from overuse, that's where I was at the carnival. Listen, he directed both Cry Me a River and Jenny from the block. Yes. Yeah. This is, no, it's incredibly important. He directed back at one by Brian McKnight. He directed Warning by Green Day.

I mean, this guy had range as a music video director. Adia by Sarah McLaughlin. Sure. Yeah. Like, it's kind of shocking. Like, he has such a big impact. Unrelated to the videography of Francis Lawrence, but just related to music videos and Juliet being here. I recently saw the music video for Justin Timberlake's mirror for the first time.

Sure. Isn't it mirrors? Mirrors? Right. But then there's like the old couple that has, I don't really know what's going on. I was quite taken aback. It was a strange time. Why did you see that video?

I was getting my nails done. That's what happens. Yeah. I just play music videos. Yeah. And you watch them and you're like, huh, that's the world we lived in. It really all came tumbling down with the 2020 experience. That was like, he was really wrong.

riding a wave and then it just completely toppled. Anyhow, this is a whole other podcast we could do about growing up listening to pop music in the 90s and 2000s. Should we pivot to Wicked for Good? I'm ready. Okay. So this, as I said, as the second installment in the Wicked films,

it's again directed by John M. Chu, screenplay by Winnie Holesman and Dana Fox. It's based on Wicked by Stephen Schwartz and Winnie Holesman, the smash stage musical, which is also based on the novel Wicked by Gregory McGuire. Now, as I said, last time Juliette and I spoke about the first Wicked film, I've not read the novel, I've not seen the stage show. I come to this learning all of the material in real time as I'm seeing the movie.

I think that's true for you as well. Yeah, we're learning and we're growing all together. I am shrinking. I am shrinking all the time. May I just say that last year's episode about the first installment, Wicked, that's the title, right? Just Wicked, yes. that you and Juliet did together while I was on leave, was wonderful and very insightful. And I recommend that anyone who did not listen to it

seek that out before joining us for Part 2. That's really nice, Amanda. Thank you. I learned a lot. I mean, Juliet is a, you know, maybe you should just restate your bona fides before we start talking about the second installment. Yeah, sure.

I am Juliet. I am Amanda's co-host of Jam Session. Well, you don't have to go all the way back to the beginning. I really love Wicked, the musical, the stage show. I also, like, in general, love musicals as a feeling, as an experience, as an idea, as a medium. I think they're, like, important and special and, like, love the opportunity to get in touch with my inner theater kid. And Wicked really draws that out. And it has for, like, you know, millions upon millions of people, so I'm not alone.

And, yeah, I'm definitely not, like, a Broadway expert, but I am a Broadway super fan. And also just, like, have the benefit of growing up in New York and having been able to see a lot of musicals, which I feel like just is an unfair advantage. So is there anything you want to state about yourself before we start discussing this film? I was on leave for Wicked Part 1. I did see it in theaters. Yeah. You were canvassing for the Republican Party during that time. And then I guess we spoke about Wicked, the original.

You came on like a house on fire when you came back. Sure. You had some strong words for the film. Listen, I did too. I really did not like the first film. But like you, I am not a person who has seen the stage show. I think generationally, for me and Juliet, it was definitely a thing for a lot of people. You guys are two years younger than me.

Yeah, four years younger than me. Right. That was also my way of seeing like for girls, you know, without being like supergendered. But, you know, and also I don't mean to exclude the many men who all. also feel a real connection to this show. But it was a thing. And like our jam session producer Jade Whaley is also a huge wicked head because they did it, a version of it in her high school.

Is that right, Juliet? I don't want to. I believe so. Right. So it's a phenomenon. The show is big and, yeah. And it's, it's so big. It's been around for so long.

It's now been 21 years. It had like multiple national tours and it still sells out all the time in New York. And, you know, I think it's been to, like, every major city in the world, there's been a production of Wicked. It's an international phenomenon. Right. And, but I was not a part of that phenomenon. Don't, I had defying gravity, which is the song from the first act, the climactic song that closes the first installment, had like made its way to me. Like, I, you know, I know who Edina Mansell and Chris and China with are, but I was not a part of this and didn't really seek it out before Wicked the film or this adaptation, I should say.

say. Okay, we've cleared the decks on all those things. Anything else you want to know, Julia? Yeah, it's one other thing, which is that I think I have an unpopular opinion. I love the second act of Wicked. I, like, really enjoy a lot of the songs in it. And I think the kind of conventional idea is the first act is much better. But I actually really love Act 2. I think the music is great. We'll talk about the songs. There's everyone loves for good. It's like, you know, it's like part of the American songbook now. I also really love another song, which I'll sit. have a big reveal. And so I was excited about this movie because I really like the musical back, too. Okay. This new film essentially returns the entire cast from the previous film that includes Cynthia Rievo and Ariana Grande, who were both Academy

were nominated for their performances. Jonathan Bailey, Jeff Goldblum, Marissa Bode, Ethan Slater, Michelle Yeo. They're all back. The story was literally cleaved in half at the end of the first film. I guess there was sort of a cliffhanger, and this movie picks up years later. I'm not quite sure

how many years later, and we can talk about that. But Elphaba is now known throughout Oz as the Wicked Witch of the West. She's continuing to fight for animal rights in her journeys through Oz living in a tree. Glinda is now Glinda the Good. She is sort of like an avatar of the decency that Oz wants to present to this culture. The wizard is ruling alongside Madam Morrible. They are going to come to blows here because, you know, Elphaba, needs to seek her revenge for the way that she's been betrayed.

And also, there's going to be some significant convergence with the Wizard of Oz 1939 film and his characters in this movie. Juliet, I'll start with you. What did you think of Wicked for Good? I found it frustrating. I just didn't know why a lot of the decisions were made. And I think there was, like, as someone who loves the musical, there was two things in particular that really bothered me, which I'm, should I share them now?

If you'd like. Go for it. one, I think there's two. One is an execution and one is sort of like in principle. And I think one of the reasons people love for good, the song, is because it really solidifies that the musical can be very heavily seen through this lens of friendship and like the idea of how much, you know, the women in your life can make a difference. And that's like the real love story.

And I think there was also a lot of conversation around the first movie around sort of like the homo eroticism of the first one and the connection between alpaba and glinda and i thought that was like interesting and also like a good take if you will i really found it so frustrating that there like a lot of the fighting between alpaba and glinda and there's like literal fighting like the fights and everything was it felt so much more like the impact of fiero was amplified and they were like fighting over a boy whereas i really don't think that is such a strong strong theme in the musical. And I was just like, what the fuck is this? Like, who, who cares about this guy made of straw now? I mean, I think that, like, the musical, Fierro is more interested

in Alphabet than Alphabet isn't him. And, like, while they do have a love story, it's not, it's not the main love story of the musical. So I found that, like, super disappointing. And then secondly, in execution, this is a musical. And it felt like they made a conscious decision to make a superhero movie and rushed through the musical numbers. And I thought that, like, thank goodness. And as long as you're mine and for good, we're all super rushed. And there was no like showstopper musical number. And that is just a crime in a musical movie. So by frustrating, would you say you did not enjoy the movie or did you still have fun with it? No, I didn't. But I'm also like, was I in a bad mood? I'm like, I'm doing a lot of self-reflection on

this because I really did not enjoy it. And I was like, maybe I was in a bad mood, but also I really think they fucked it up. Like, I really find it like sad. Can I, can I respond to that? Just in the sense of I, I was baffled throughout this experience, much as I was during the first and much as I am when beholding the wicked extravaganza experience, I think I had more fun in this one. I, so I don't know why. I have some thoughts on what Juliet said kind of started jogging. This is a wild zag. A wild sack. I mean, I'm excited about it. I really did not have any fun in the first one. I was like very baffled by it. And then like, you know, as I said, a goat started singing. And also to Juliet's points about the music, musical numbers, I thought that they were very poorly handled

in the first. And the things like choreography and cinematography and how you communicate a musical on screen. I'm not as much of a stage musical person as Juliet, but we all know how much Hollywood and old Hollywood musicals mean to me. And I thought it was just like very jumbled, very confusing. I don't really love the songs, but I didn't think the songs were very well communicated. Like even Defying Gravity, which is this like triumphant number, they start the superhero stuff. They cut it through. And she's like flying around. And then it turns out like they spoiled the ending and the trailer. So it was confusing. and there's also a lot of like expository setup in part one that I like didn't really know

what was going on. This was at least on like a basic level legible of this person is against these other people and who is going to team up with who. And the lack of musical numbers I think honestly was to its benefit to me because anytime they had like the full stage number and all the extras like doing their choreography, Uh-uh. Like, I really, I, you know, I think John Chu has directed like many much better musical adaptations and much better dancing, and I don't care for this one. And to your point about the the emphasis on Fierro versus the real love story being the friendship, I'm not knowing anything

once they actually do get to for good and are singing lovingly each other. I think Cynthia Rivo and Ariana Grande are good in these movies despite everything else that's going on around them. And I had my very, you know, dumb movie watcher moment sitting in there being like, oh, they're the real love story. That's beautiful. So in at least that case, it communicates it to me. It was also just so plot confusing that I had fun being like, wait, now what's going on? I'd like to ask you a lot of questions about how magic works in us, Juliet. Sure. I mean, just like. I don't know if I can answer, but I'll try. Right. I mean, and maybe there is no answer, but like, is Alpha be the only magical person? Like what, how does magic? How are magical powers

bestowed? Certain people have them. Okay. And Elphaba's mother had them. Plus there's like this elixir. Right. The wizard has. Yeah, yeah, yeah. No, I mean, I remember we all Mademorable. Her sister, madame moribal. Yeah. Many characters have it. Yeah. Okay. But Alphabet has like more of it? She's just very powerful. Okay. Yeah. Which is explained at the end of the film why she's very powerful. We don't have to spoil that quite yet. Yeah, yeah, yeah. I mean, it's fair to, I think it's reasonable to be confused by some of the plotting.

Like, I have ocean waves of confusion about the plotting of this movie. And just like the, particularly the ways in which this movie is trying to retcon what the Wizard of Oz is. I mean, that stuff is just. It is like abominable to me. And I guess this has all been known because people have been reading this novel and seeing a stage show for years. But this, again, as I said, this is all new to me. And so, you know, for the – to start, I think Cynthia Erivo and Ariana Grande are good in this for the most part, but I don't think their performances are very well handled by the direction. And I think it's kind of number to number how much I even buy what's going on between them.

So that's just like that's at the forefront of the story. And a lot of people love the first movie. And you can already see in the reaction to this new movie that there's a lot of like either letdown or frustration or everything. outright kind of like, God, you really, you fucked this, you know? But to me, I'm just like, this is just a continuation of where I was at the end of the first one, which is that the films don't look very good.

The way that they're lit is bizarre, given the amount of detail and time that has been put into the production design and costuming. But to me, the ultimate issue is just, it feels like a real problem of story and that it has, like, completely upended something, and this is just personal to me. But The Wizard of Oz is very personal to me.

And what that book is about and what that movie is about are two very distinct things that found a way to kind of coexist. The book is this, you know, big allegorical story about really money in America in the late 1800s. Right. And the—follow the yellow brick road. Right. Which is all about the gold standard and the silver standard. And it's like a book about populism. And, you know, it's all—in the text, if you read it, you can see it's like animal farm.

It's just like it's very clearly metaphorically about. something in society. The movie is not clearly about that. The movie is really more this exploration of this girl's mind. And it's this fantasia. It's a dream sequence where people from her real life

find their way into this dream world. It's like an amazing adaptation of a book. It's very different. And if the book mattered to you a lot, you might sound like me talking about the Wizard of Oz and the way that Wicked makes me feel. So again, I'll just say

this is completely subjective to me. But the actual execution of the story is just so weird and stupid. Like, I really can't believe that this is what this story is and that everyone loves this. It makes me feel a little crazy. Falling off what he said, maybe as the Wicked expert, you could answer the question for us. What is the moral of Wicked this stage? Like, what, how does it end and what are you supposed to take away from it?

The moral of Wicked is that, like, you know, power is abused to, like, ostracize a certain class of person. or animal. And I forgot to note that there was far too many animals and Wicked for Good. And also the sense about the relationship.

Like the whole, the story of Wicked is the story of Alphabet and Glinda. And I think that like the first movie captured that in the marketing as well as in the movie

pretty well. And the second movie, I think really loses that. And I think the fact that like even for you, Amanda, that like it took to like almost the end

of act three of the movie, to get the, like, oh, this is the real love story. Like, that is a real fumble. And I think part of that is because another, I think, failure of the movie is so many people are alone and they only, like, intersect with, like, someone else in the movie for, like, a big lurch forward. It's a really good point.

And so it's just, like, a lot of parallel lines that then, like, swerve to cross. And so I think it's, you don't get that because you don't get sort of sense, of like any kind of like interconnectivity between these people. And I think it's also Sean why like it feels so insane that you're like, so that guy is now the tin man? You're like, what the fuck?

It just feels so strained and like they're really like bending so hard to try to make something fit into this world that they have decided to tell this story about these two characters in. But can I answer like how I perceive this story based on my limited experience of just wicked and wicked for good? Yeah. I mean, I wanted her to speak to what the stage version is. is about because, as we've discussed, this stage is a two-act, two-and-half-hour show,

and this is four and a half hours. So a lot is added, and I don't really know how faithful this absolutely bonkers, baffling adaptation, which, like, I agree with you. I had a decent time, but I was like, what is going on? I mean, and where did the lion come from? But we'll get back to that. So, but I'm just curious about what all the people who love Wicked were actually responding to in the text.

Well, so you can say, you can say, Tell me if this is also a critical part of the idea. Even before I knew there was going to be a movie adaptation, just by looking at the cover of the book or images from the stage musical, my perception of this was just like, this is a story that is meant to see the world through the eyes of a villain. And the way that someone who we understand to be a villain could be better understood with empathy

and that if you see what their experiences were and see how they got to the place where they are and see the way that society ostracizes like you're describing, that maybe we would have a little bit of a different perspective on how we all relate to one another. Yeah, but is that, so is Elphaba a villain, though? I think she's sort of, like, reclaimed. I think neither is really a villain or a hero.

Like, I think they kind of swap places frequently, Glinda and Alphaba. And I do think that, like, one of the reasons why the musical and the first movie are so popular is because people really find a lot of stories of acceptance, like from the like from you know identifying with alphabet or identifying you know with like some like the animals or whatever yeah and it just feels like completely spring loaded to be projected onto the queer experience or communities that have been cast out like and so

that character the alpha character you know and then it's kind of double charged by you know shifting from medina menzel to cynthia rivo exactly a black performer and then that loads the movie up even more so by saying like, hey, if you put that valence on it, this can be a very deep story, which I think has power. Like, I think that conception of that idea is really interesting. And, you know, we're talking about comic book movies and superhero stuff. Like, this is something that good superhero stories can do. They can say, like, you think that this person is the bad guy, the vigilante, but actual, I mean, that's fucking Batman.

Batman is like, at the beginning of the Batman story, it's like, this fucking guy keeps thinking he can be better than a police officer. And then you see, so it's a very common structure. The problem that I have with it in this movie specifically, is that it's totally undermined by the one-dimensionality of the wizard and Madame Morrible and the fact that, like, in order for a movie to movie, there still has to be this undynamic good versus evil structure where you're like, what does the wizard even want? Where does he come from? What does Madame Morrible want?

What does she represent? Why do they hate animals? Like, we don't know anything about all of this stuff. My friend Gilbert Cruz from the New York Times, like, what is the political structure of Oz? Like, what am I even trying to, like, seriously, like, who's the governor? Like, what is, but that's an inherited position? Like, what's much can land districting? Like, I don't understand.

I don't have a lot of answers on that. I was just going to say, like, I think that also, for me, that's why I was so annoyed that Fierro's role, like, when Glenda's crying over Fierro or, like, you know, Fierro and Elphabit together, I was just like, this is such a distraction from, like, what this was, like, sort of supposed to be about and moved away from it. But to answer your question about the political, structure of Oz. I think that also

in part of the stretching and like I thought of this last year too, I always think of it as like silly putty. It's like when you print something on silly putty and then you stretch it out so it's all still there. That's exactly what this movie feels like to me. And I kind of cannot understand

how the same writer wrote the stage musical that wrote the movie because I'm like, why would you destroy your own work this way? Like I do not get it because they added it they added in the two new songs. And I think that, like, for whatever reason, which are the two new, yeah.

Yes, Ariana Grande's solo and Cynthia Arevo's solo. That is not no good deed. I forget the name of it. I'll look it up in a second. But they each get a song for themselves. It's in the first half of the movie. So they use it for, like, exposition. And no place like home is one of the new songs.

I wonder. I mean, yeah, listen, I was like, this feels like they wrote this for a tie-in. Yeah. And I think that those two songs get the most, like, pause. They get the most gravity, excuse the pun, in the movie. And I just think it's like a total waste. They contribute nothing and they're totally forgettable songs.

But I think in adding in all this extra stuff, you really lose the sense of the world and it feels so disconnected. Because, like, I thought that the reveal of Oz in the first movie was kind of exciting. You're like, oh, this is like, this, you know, pretty like, magical place and whatever, but then it just becomes like this dark cave that it feels like they return to time and again, and you have like no idea what the geography is like either. Like, how long does it take to get from Munchkinland to Oz? Like, I thought it took Dorothy a while on the Yellow Brook Road. Are those the only two places in us? I believe there's others, but those are

the two that we know of. Right. Is Shiz located in Munchkin land? I don't know. Is this a different just... These things like don't matter unless there's failure in the storytelling, which makes you ask those questions. That's really the point that I'm making is like, if you're going to going to build out this whole world and try to fit. Because nobody was watching the Wizard of Oz in 1939 and saying, like, what is the governing body of the Wizard? Like, the movie just sweeps you away. You know, and this movie doesn't sweep you away.

This movie makes you know what? Why is that happening? And that's a huge problem with the storytelling. And I think you're right that it's probably mostly in the scripting. It's a problem, yeah. And I just think they added in so much literalism, too. It's just like, it doesn't need to be so literal. Like, people will get it.

I don't know. That's my whole thing with the Wizard of Oz components of it, because if you accept that both versions of the story are very metaphorical, then trying to understand why there's this desire, I honestly couldn't make heads or tails of it. I was watching it, and I watched it with my four-year-old daughter, and she was like, this is probably the best movie that has ever been made. You know, there's just a tremendous amount of Glenda in this movie. This is very much Glinda's movie. The pink dresses are wonderful. She, the bubble is like, is crack, you know. There's things in the movie, of course, that are cool.

Like, there's really cool design in this movie. Some of the songs are good. I do think for good is really, really good. We listen to that in the car as soon as we went home. Like, it's not like a zero. The movie is not like a disaster, but it raised such frustration, which is the first word that you used, Juliet. Yeah.

And such, it's, I just kind of really enervating, trying to understand what it's trying to accomplish. Well, I mean, I agree. And that's why I asked Juliet, what is the, at least the original stage production that has resonated with millions of people trying to accomplish because the movie could not communicate it to me.

And let's be clear, once they bring in, like, the Reddit Easter egg Wizard of Oz tie-ins, preposterous, just absolutely silly, you know? Yeah. So is Dorothy a component in the stage musical? Yes, but not like, no,

someone like plays her, but you like only see, like, illusions to her. Like, she's not like a walking, body like she is and wicked for good. Yeah. I mean, her, she's kind of introduced as like a side villain in this story. It's like this is just some girl who landed

in a tornado. It like, it literalizes the tornado and like the bridge between worlds. Like, it's very like Thor the dark world where you're like she could ride on a rainbow all the way to Oz. Like that's not what this fucking Wizard of Oz is about. It's a dream. Am I crazy? No, and then

she literally kills Alpha's sister who's definitely like a petty fascist. So again, I don't understand how she got her power to enact all of that stuff. Because her mother was magical. No. Her father was the governor and she inherited the job from the father, which I read on like one of the little little poster news printouts, like Munchkin Gazette or whatever. Right. But I don't have two different definitions of power. Amanda's referring to her political power and Sean's referring to her wizardry. Right. Exactly. You served as the opinion editor at the Munchkin Gazette for six years or nine years. How long was it?

No, I was working on the tabloid that the SpongeBob steals at some point to learn that he has to go to the wedding. His name is Bach, all right? Okay. B-O-Q. Okay. So they literally kill her. Uh-huh. And then also she's like, so Dorothy is like a murderer in the text of Wicked for Good.

And then when they finally get to the song for Good, she is just like a real girl trapped. in a basement cellar, like in a cellar suffocating for the extent of like three songs and I kept being like, but Dorothy can't breathe. And you're going to have to let her out if you want everything else to continue.

So I, they really literalized it way too much for me. In terms of it being stretched, can you give me an example besides the two songs of something that's been added to this story? Like, as there a set piece or a moment? Because going from two and a half hours to

four and a half hours is insane. And I just want to pitch like a theory about this because the first act is so important and so big, and the first film is two hours and 40 minutes, I wonder if there's just a ton of padding in the back half so that the second movie turned out to be not one hour and 27

minutes, which would seem uneven relative to the previous kind of expansive epic experience of the first film. Well, I even just felt like the last 10 minutes. I was like, you're taking a really long time to get her back in that bubble that we saw the beginning of the first film. movie. I think the way that it stretches, like, they just add in, like, there was more around

as long as your mind, which is, like, the love song between Elphaba and Jonathan Bailey, Fierro, which I, and like, I think that they really, they do this in both movies. They kind of interrupt the songs to have some movie action and then go back to the song. So I would say they'd sort of, like, add in scenes like here and there without, and then the two wholesale new songs. But so it's not necessarily like this is like a brand new thing but it's like along the path they add in extra scenes of like how they got there and then the main thing i would say that is really really turned up is the animals like there's not there's not like all of these confrontations with the animals alpha but does like find dr dilamund the goat again and like realize that he's you know

can't speak or whatever but there's just way way way more animal interactivity and there's not really like as i recall perhaps i'm wrong but i don't don't really recall the equivalent of like a Noah's arc kind of scene happening in the stage show. So this thing where the goat can't speak is text-based and not that Peter Dinklage was no longer available. That's correct. I definitely thought I was like, oh, they didn't want to, there was like a scheduling or a money thing. And I know they filmed this all at once, but that's what I assumed.

No, it's a, it's canon, if you will. I'm genuinely astonished by your soft zag on Wicked for Good because there's so much animal stuff in it. know you hated that in the first film. Well, they don't sing. Um, and they don't sing. I have a question about that. Sure. Why do the animals forget how to speak when they're in captivity? I think, I think that they like do something to them, like give them like drugs or whatever. Do we see that at some point? To maim them. Um, no, I don't think so. Okay. But it's similar. So we just have to assume that like, because their like animalhood has been taken from them that they can no longer speak? I think so.

I mean... What is this world? As you know, I'm not pro-animal, so that's very tricky for me. It's same, like, we should be nice to them. You know, they shouldn't suffer. And obviously, they're like in a very amorphous metaphor here, you know, for like all things that are... You're just missively saying animals should not suffer is really, you guys are bordering on evil. Like, animals are obviously incredibly important to this ecosystem and to our ability to relate to living creatures.

Okay. Okay. But so the animals, so there's the Noah's arc scene, but that nice bear needs to talk to Elfaba, and that's like a family point of family connection. I'm also softer on bears because of Paddington right now. Sure. That's big in our house. So I guess those other animals were wandering around, but like that didn't read to me as like the animals have taken control. There was no goat singing. Also, you know, I had seen the original wicked, so I knew that a goat singing, it was a possibility. Then there's, you know, there's. There's the scene with the cages. But, like, that was pretty quick, you know? Yeah, but even that, like, I think stretches it out. And then I think a lot of the stuff between Elphaba and Fierro is also sort of, um...

Are there are animals? But there aren't animals in that. No, but I'm just saying in terms of, like, what's longer. But there are some, like, added... That, like, Noah's Arkstein, maybe I just hated it. I was like, this feels long. And I think there's some other times where, like, just, like, Elphabas alone. That was my takeaways.

Like, Elf was alone a lot in this movie. She definitely has, like, save the animals scribbled on various posters in her tree room just for her. Yeah, big time Krasinski whiteboard in a quiet place, energy there. Where it's like, I'm pretty sure she'd remember to save the animals,

if that was the guiding principle of her life for several years in which she was living in exile. This movie is idiotic, guys. Like, what is going on? Another thing that I think was just, like, stretched out was, like, the fight scene. which I thought in some ways was really charming. Like, they do, like, meet again after, you know, Nessa dies and everything.

But, like, that was stretched out, too. Like, there's just, like, more fluff in there. There's not, like, one of them just, like, looking around and then the other arrives. Like, they just add stuff in, like, at every juncture, basically, every stop along the way to make it feel longer. Yeah. In the play or in the musical, why? So Nessa turns evil? because of Bach, yeah.

Oh, because of Bach? Because she's been rejected. Yeah. Oh, okay. Because she's in love with him. Yeah, okay. And he's in love with Glenda. Got it. And he finally comes clean about that.

And then she, you know, creates like an ice-like circumstance in which all the munchkins are not allowed to leave the country. Right, right. And that whole plot line is extremely strange. And that explains why the munchkins are extremely happy that the Wicked Witch of the East has been killed. Like, these are the kind of plot contrivances that, like, happen over and over again

in the last hour of this movie. The same with Bach becoming the tin man where Nessa Rose channels her hidden magical powers to make him a man made of tin because why? What happens is, and so this is also stretched, in the musical, I believe, I'm sorry if I get some of this wrong.

I'm very afraid of the wicked fandom, but I believe in the musical, Nessa is holding, like, won't let Bach leave, but has not created this ice-like conditions. It's more focused on Bach. And she's less dictatorial, though she is grieving the loss of her father and very focused on Bach.

But that is the actual, like, this boy doesn't love me. That's not Glinda. It's Nessa Rose. And so what happens is Bach tries to leave, and then she tries, Nessa cast a spell to, like, change how his heart feels and then to save the botched job by Nessarose,

Alpha accidentally turns it into the tin man. But like why a man made out of tin? Like in the novel... Because he doesn't need a heart. That's what she says. She's like, don't worry, he's not going to need a heart in this new one because the tin man wants the heart, you know?

I mean, I didn't write it. I know, I know. It's just so straining. I honestly, when Fierro shows up the scarecrow, was when I was just like, get out of here. Because... That happens in the very... end of the musical, if I recall correctly, like, he's not really in it that much after as long

as you're mine. And it's sort of like a reveal. Part of the reveal of the end is that they get to be together. It's not just like, oh, she's alive, but like that's more clear. Also, there's no like Terrence Malick imagery of like walking across the horizon in the musical and the stage musical. I was like, oh, so we've moved into Dune 3. Like, I was just like, this is not, this is not for me. But that is all like, you know, extended as well. And I, I, I, I, I think, you know, you guys talked about Ariana Grande and, like, how she's still so good in this. She is. She's really robbed of the best song. Like, in the musical, it starts with, thank goodness, which is like this really rueful song. Amanda and I preview this on jam session. I was really looking forward to it. It's such a beautiful song about faking happy, basically. And, like, you think you're happy, but you're actually not. And, you know, she seemingly has everything that she wants. And in the musical, it's like so, it's not just about like, oh, you finally engaged to this guy, like, great. It's more about, like, you. have everyone's adoration and you're in charge but she's like still not that happy

and I feel like they just took away all of the nuance so the fact like you're Sean you're right in fact like we're questioning all these plot points is because there's no like ambiguity to live in here nothing that's like fun to be like well maybe it's this or maybe it's that just trying to tie everything up that is part of what is magical about

the film but if you know the book you know that there's rational explanations for why those characters exist like the Tin Man and the scarecrow are metaphors for industrial workers and farmers. Like, that's the idea. And so you can, like, port that idea over to the movie

where you're like, they live on a farm. There's this time of, like, economic crisis in America in the 1930s. Like, there's all of these things that make coherent sense so you accept the magical quality of the story. This movie is like, we're going to tie up all those loose threads. So you can be like, here's why he's a tin man. Like, that's not important.

That's not interesting. And the movie goes to great lengths. And, but then furthermore, like, I had this experience because after the movie's over my dog, is like, wait, so why is Fierro the scarecrow? And so now she's going to go back and watch the Wizard of Oz and be like, that's Fierro. I'm like, that's not fucking Fierro.

That's some guy who works on Dorothy's farm. All right? Come on. Why are we doing this? I'm sorry, I could not do this episode without just being like, you have mangled something that is very true and very deep, and you have ruined it.

I'm sorry. I think that's what, you know, I've said this before. I'm not, I don't have an emotional connection to the Wizard of Oz and I think Wicked is better enjoyed like separate from the Wizard of Oz because then you don't have to carry any of like the burden of like well this is actually how it goes in this true classic so I actually would have been content to do that I think as much as I could have if it didn't insist that it actually was the Wizard of Oz you know

and that is really what the final hour of the movie is about I mean and like Dorothy's running around and like the profile is just not Judy Garland's and like they they skated too closer, but then they do a whole shadow thing, and you understand why. But I was like, nope, I can tell that the profile, I don't understand most of the illusions, but I was completely baffled by the ruby slipper stuff, and I'd like to talk about it. Right. So in this version of the story, the ruby slippers, who do they actually go to Nessa Rose at first? Well, they're, yeah, they're Nessa Roses. And they're white, they're not red. They're silver, you'll find. Silver. Silver. And they become red when she,

channels her magical powers or channels her rage? Or Elphaba gives her, gives them power, right? Yes, yeah. Elphabah, just like, I'm going to make you happy by helping you walk or, like, levitate. And feel the way you felt when Bach liked you or something. But do we see Dorothy wearing them and they're silver at a certain point? So why is that? She sets off on the Yellowbrick Road and they're silver and they're silver for the rest of the time. I don't know.

What does that represent? I'm sure there's wicked heads you know. They don't have the power anymore, is my guess. Like when they're not helping you feel a certain way. or something. I don't know. It was very confusing. I don't have an explanation.

What? I don't know. I'm sure there's an idea there that I'm not getting, but to make such a dramatic and iconic change is very odd. But then there's like the close-up of her walking away with the silver shoes and the little socks. And my eyes like, that's on trend, but they're not red. Can we talk about the ending? Thank you, Juliet. You sure can.

I mean, first of all, the 45 endings. truly what on God's earth is happening at the end of this film. Well, okay, so at the, I don't know if this is, what number ending this is for you, but nearer to the end, we learn that Elfaba, when she is actually, when she's been melted by Dorothy, when she throws water on her at the end of the Wizard of Oz, that she actually fate her own death, pulled a kind of now you see me situation where she went into a trap door. Where Dorothy was previously suffocating to death while they sang for good.

Let me ask, before we do that, was Dorothy in on the plot? I don't think so. On the faking of the death? I don't think so. It doesn't seem that way. So then Elphaba... Just asking questions. No bad questions at a brainstorm, which is literally what the script of this movie is.

But it's like, so Elphaba fakes her own death so that she can run off with the scarecrow and have sex forever in solitude. But she can never return to Oz. and she can never be accepted, and she's willing to live in infamy for eternity as a true representation of evil in Munchkinland, while Glenda gets to exist as the beautiful, perfect, white avatar of grace and decency inside of this world. But she lets the animals come out of their hovels.

Right. But, like, what is that message? What the hell is the movie trying to tell us? Well, I think Glinda's been very much. change for good and she'll be leading with goodness. So Alphaba is her and her values and morals will live on through Glinda, as you noted, the white savior, not green. But there's a moment where Glenda could say, no, she was my friend and she actually wasn't that bad, but she chooses to say I knew her. I think that... Because I knew you. See, even I knew it. Even I got it. Why, if Glinda has

learned the lessons of Elphabah, why would she not say to the munchkins, no, actually Elphabow was decent and she was thrust into this power game by the wizard. She's still figuring it out, you know? She can only be her, but she's trying to be a good version of her. Linda the good. I don't disagree. Does the play, this musical end like this? Yes, it does.

I had the same. The only, the other credit I'll give to the film is that there was about four minutes there when I thought that the film, I don't know. I was living in a delusional dream state, much like this film. But I thought it was going to end with the first ending. And so I was like, what? Alphabet just dies? What the fuck is that?

But it at least had me, you know, in its grip of like, oh, wow, they're killing off Alphaba. I don't know if this lesson is any better, which is she's not dead. She's just like getting it on with the scarecrow. I'd like to talk about their, well, I'd like to talk about all of them. But what is the line? It's not lying. looking at things through different eyes? Right.

I find that condescending and upsetting. But that's the whole theme of the movie. Sure, but like that's not. It's what about use your own eyes to a different understanding, dumbasses? Whoa. Yeah. Yeah, all right. The real news.

That's some Tucker Carlson shit right there. There's only one truth. I was like, that is a really mean thing to say to both people. I did also feel that turning Jonathan Bailey into the scarecrow was upsetting for me personally because that man is adorable. Just not enough Jonathan Bailey in this movie. He's so disappointing. So wonderful.

He didn't really pop for me in the first one. And the second one, I was like, oh, look at this guy. He's so great. Every time he's on screen, I'm like, okay, this is nice. Same. He's so charming. I can't say that. That wasn't the most credible post-sex scene I've ever seen in a movie.

I'm just going to put that out there. I wasn't like, wow, they definitely just banged. There was not a lot of heat between those two actors. Absolutely none. But I still was like, I was interested enough that I did think to myself, I guess I should watch this season of Bridgeton while watching. No, just go back and watch season too. No, that's what I meant, his season. His season of Britain, because you talk about it so much and you're like, he's great.

So I'm pro-dom than Bailey, but so the double whammy of, number one, they've like retconned the scarecrow into this because I don't know, say, care about farmers' rights or whatever. And then. They don't. That's the point. I know. They're like, this guy can be saved by making him a scarecrow? But then they've also put, like, all of this Patrick on him and the crazy, you know, scarecrow wig. And, like, shout out to hair and makeup, who had quite a time and are doing great work.

But I was like, no, I want to see Jonathan Bailey. But that is why I came to the theater. But what about the whole part where he gets a brain from the wizard in the Wizard of Oz? And then does that actually happen in this world? And then does he have a brain with Elphaba? or is he just a brainless scarecrow who's gonna... He's like a fuck buddy forever

with no, like, ability to make decisions? They don't literalize the Dorothy Travel Party in the musical stage version. Okay. And so you don't really have to ask this question. You're just sort of like, oh, they've been reunited.

But they literally show us this in the movie, though. Yeah, exactly. It's sort of... So he's not the scarecrow. What did you say? He's not the scarecrow in the stage musical. He is, but they don't have you like these interstitials of Dorothy

and the scarecrow and the lion and the tin man like walking down the Yellowbrook Road and then arriving in Oz. Like you don't really see this stuff happening. Like you're not part of their journey in Wicked the music, stage musical. So it's like not a distraction. I just want to say so maybe so listeners understand

like I do get that the stage musical can kind of exist as extra textual like outside of the experience of the novel and the original film and you can be like this is its own standalone thing. It's like a reinterpretation. of this mythology and this world. And I would have been totally cool with that

if the movie didn't bend over backwards in an incredibly like base, cheap marketing way to be like, this is the Wizard of Oz. And just so you know, this is what the Wizard of Oz is actually all about. And what they want is the reaction of your wonderful four-year-old daughter to go home and be like,

well, now I guess I got to look for Fierro in the 1939 Wizard of Us. That to me is the mistake of the movie that makes me kind of crazy on this episode where I'm just like, why are you making me think about all this stuff if you don't really have the follow-through in terms of the connective tissue. I'm sorry to name names,

but I think that's a John M. Chu problem. And as you know, I'm a long-time fan of John M-2. But I read a lot of his interviews, and I think that he has said he's a huge fan of the Wizard of Oz. And I feel like he had a desire to really make his mark on this version of Wicked by integrating the Wizard of Oz in more fully. He teased it in the press tour around the first movie.

He came back to it time and again. And I really feel like, obviously, he didn't write the script, But I do think there's a lot of ways in which the Wizard of Oz is involved in like a non-scripted way where you're just like seeing it. Right. And I really think those are a lot of his choices. I guess I am blaming him, but I'm just maybe trying to like explain why I think that comes up so much. Yeah, I mean, the movie itself is obviously like it's an ingenious thing that Universal has done by splitting this into two parts, by making an event out of it. They marketed it so brilliantly for the first film last year.

The connection between Ariana Grande and Cynthia Revo, I heard you guys talking about that terrible thing that happened to Ariana Grande on Jam session. And, like, their bond is cool. Like, I like that in the world, that they've become close. All of that stuff is really smart. It's just, it's the Avengers of Vacation now of, like, stories outside of that stuff. But, like, I didn't invent comic book movies, you know? Like, me liking comic book movies doesn't mean that every movie event now needs to have this big mythological connective tissue to stories that go back 100 years. That's, you know.

But we live in a dumb world where that. That worked in for comic book movies and just, like, thus for the movie industry. And so Hollywood is terrible at being like, oh, look, that worked that way. So now we're going to make 45 different versions of it just like that. And in one sense, it was a good decision because it did work. Like, I don't think this movie is going to make as much money as the original wicked. And we should talk. I would like to talk about the press tour, Oscar chances, all of that sort of stuff.

But like, to your point, this is like a success for Universal. And this will make money. is it successful artistically? I don't think anybody on this podcast think so. No. No, I don't think so. I think also the other thing that's just really lost is that there's no sense of camp in this movie

whereas the first one had it. The first one with more of the choreography, honestly, more of Bowen-Yang. I thought the fight scene was the one time when it was very cast. And there were a lot of laughs in my theater during that sequence, you know. And that was fun, I thought,

and felt like appropriate. I think the superheroification of the movie really eliminated that and made it too dark and didn't allow you to really have the same kind of fun. And like there's not going to be a viral dance trend that comes out of this movie. And I feel like that was such a win for the first one. What was the viral dance trend in the first? With the books, when they're singing, I think it's popular. It's Ariana Grande and Bowen Yang.

So it wasn't when they were doing the mine stuff? No, no, no. Okay. Popular, that's a banger. That's a banger. Sure. That might be my favorite song. Yeah.

And so anyway, I just feel like that it's not fun. Like, they really lost the sort of like silly light fun that is the main tone of wicked, even though the like ideas around acceptance and friendship is sort of, I think, why people get sentimental over it. It's an interesting thing because, you know, Ariana Grande obviously has been super praised for her performance in both movies. She has a really, really good comic touch as. as an actress.

Like, you can see this if you watch her on SNL. She's really adept. And it's like, it's kind of Disney Kid stuff, you know, where like you kind of learn that there is a performance style that is necessary in material like this, I think, to make this stuff work. I don't think Cynthia Evo has it as much, but it's okay because of kind of who Alphabet is as a character that the storminess of that character doesn't necessitate it as much.

But for all the time we spend with Glenda in the movie, she doesn't get to be that fun or funny in the movie because she's kind of in this mode of crisis. She's trying to figure out, like, what is the right way to exist in this world? And so it totally diminishes all the things that you're describing, Juliet. I also still don't... So she's in charge of... Like, like, what are her roles or in responsibilities as Glenda?

I think she's the figurehead of all of Oz now that the wizard is gone. Well, what about before? Because when the wizard's still around, when the film starts, but she is Glenda the good. Yeah, she's kind of the Hillary Clinton of this world. Yeah. She's Secretary of State. I did write in the notes that I did see Madam Mourable as the Marjorie Taylor Green of this place. I just want to say, listen, yo, Jeff Goldblum and Michelle Yo are wonderful performers and have been great in movies that we have all loved.

They are terribly miscast in these movies. Like, they can't sing all lick. It is really, really, really tough sledding, especially with Michelle Yo, who like looks amazing. And I was like, I have a lot of questions about this regimen and also this regime. But I, it's, it's just not a fit. It's not a fit. It's crazy. I think he's okay.

Like, I think, I think because he doesn't sing with anyone else, it's sort of like, this is the silly wizard. And I just find him so fun to watch. It's like, whatever. Michelle Yo, like, impacts really good songs because she's, like, singing with Ariana Grande. And she's just like, no, this is not, this is not working. It was very disappointing, and thank goodness. It's a great song. Yeah.

I mean, that's just a trick of the casting. And obviously, Michelle Yo had amazing success in Crazy Rich Asians with John Chu. You can see why they would cast her in this part. But it's just like, she's literally singing a song with Ariana Grande who is like in the S tier of great movie musical performers alive right now. Totally. Yeah. She sounds amazing in this movie, too. She finds a different register.

It's incredible. Yeah. I actually like Jeff Goldblum, though. In defense of Jeff. We'll loom over here. I think he has obviously the oddity of the wizard. Yeah, the cuckiness. But his one singing moment, I was like, gosh, this is just, this, it just felt like

amateur hour. Like, I was like, this is a $180 million movie. You let these people sing in the movie? Just dub them. I was just also like, why are we spending time with him? Because I know what's going to happen to hit. Like, there's no tension here whatsoever, so it just felt like filler. This episode is brought to you by State Farm.

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Okay, you mentioned you think this movie is going to make less than the previous film. I wanted to ask you both about this. So Wicked made $758 million, and it made $474 million in this country, which is a staggering amount of money for a stage movie musical in 2024. So you think under $800 million? I do. It does not seem like the juice is there even within the Wicked fan community. in the same way that it was. I went to a fan screening,

I don't really fan screening last night, pretty much silent in my theater throughout. It was pretty silent in mine too. You know, like no laughs, no cheering, no nothing. And like people were in pink and green. Like I was there among the faithful. So the word- It's a mess if you like the movie.

It's like kind of heartbreaking. You're like, you fuck this up. You just like drop the ball. Do you think that will be the general sentiment among super fans? I do. I've talked to two other people, not on this podcast,

who've seen the movie, and they both were like, yeah, this ain't it. One of them was like, I can't sleep. I'm so mad at how bad this is. That's so interesting. So the pre-sales for the movie have been incredible. Because people love the first film so much, you know, you and I were very much on the outside on that one where most people really like that first movie. And so I think what you could see here is like an insane first weekend performance,

like $130, $150 million. And then possibly a steep decline, but I don't know. You never know. Like, it's been a very quiet last six weeks at the box office. I think people have been waiting for this, for Zootopia 2, for some of the awards movies to open more widely over the next two weeks, and then all leading up to Avatar. So, like, in theory... Yeah, you gestured at me, but you got to gesture at Julia 11. I know. I was so pleased to hear you repping for Fire and Ash.

I know. No pun intended once again. See, let's just... Can I tell you what I did last night? I started watching a four-and-a-half-hour documentary about the movie Aliens, called Aliens Expanded. All right. That sounds good. And it features at great length, James Cameron and Sigourney Weaver talking about the movie.

And I was just like, Jim Cameron is the fucking man. He speaks so directly and overconfidently about everything. It's genuinely, genuinely inspiring. Sergerni Weaver forever. Yeah, she's great. Sean, how much time have you spent watching him do the press tour around the submersible that... You know, that's a little outside my personal interest, but I know it's in your zone. It's very much in mind.

Yeah. If you'd like to discuss it, I'm available later. Sounds good. No, but let's talk about this press tour a little bit because as Juliette and I talked a little bit about a jam session, it has been in a lower key. Mostly because of like the series of like unfortunate and scary incidents that have affected Ariana Grande. And as a result, Cynthia Riva as well, because they are very bonded. But we haven't had the, you know, the viral moments. Yeah, the holding space.

And just like the good fun juju. that was around for the first one, and there just, like, hasn't been as much. So I do wonder whether, you know, I think there is enough awareness from the last one and it's close enough together. Like, you're right. People who went to see the first one

will go see the second one. I think so. But it doesn't have the same, like, national curiosity aspect of, like, well, what's going on there? Or this has taken it over in the way that the first did? Also, don't you think part of the box office the first time was people saw it many times?

that obviously is always a factor when a movie is getting up over $300 million domestically. Especially like a repeat viewings. Like sing-longs and stuff. Like I just don't see that happening at all. Right. I mean, this,

I really would not want to be in a sing-long theater for this because it's either people trying to hit those notes with Ariana Grande or nothing. Yeah, it's just, and I know they're doing some like back-to-back screening so you can basically experience the whole thing together.

But like that's a huge time commitment in a different way. Yeah, I'm just trying to, I'm looking at, so historically, what you get is the sequel usually makes more sometimes significantly

more than the original film and like let's just use the Lord of the Rings movies as a comp because I think that that's a fair kind of like... Why not go to Avatar 1 and Avatar 2?

Well, there was a huge gap between movies there so I'm thinking more like... That's a joke, Sean. Just love Avatar. The way of water did very... Did the way of water make more money than...

It probably did just because of inflation. Yeah. But so the first Lord of the Rings movie made 900 million worldwide. The second made 920 and the third made $1.1 billion. Okay. So I think it'll be interesting.

If it makes less, that's a big indictment on the movie. That's pretty uncommon for something like that to happen. But we'll see. I think with the marketing, the vibes are just so bad. I was thinking about it. Amanda and I touched on this on Jam session. The New York premiere, Cynthia Arrivo, was sick, allegedly. And so then Ariana Grande also declined to do interviews.

The more that I thought about that after we talked on it, I was just like, that's super weird. She's like out of solidarity. That's not the same as like the holding space moment. And I'm just like, there's got to be something going on behind. the scenes there, that's just like, this has really gone awry. I also would not be surprised if Ariana Grande was, like, keep me away from everyone after what happened in Singapore.

Plus, I mean, you know, the gossip, the rumors that she and Bach, even since later, have broken up, which I think that has to be hard. Like, I mean, very high-profile relationship. Has he been on the trail? It's been kind of funny. Yes, he has. And apparently they're always, like, far apart. I watched the Wicked One Wonderful Night special

And like it's like a very big like everyone's in an armchair And it's like the whole 10 person cast And they're like far away from each other So I think there's been no interaction That said there was no public interaction between them From the first movie either But I think there's a lot more like reading between the lines right now It's hard to say whether something like that affects it or not

There's been this big discussion about whether or not Being available in for all these press opportunities Is a good thing or a bad thing for movies And you know it's funny that you know I know Matt Bellany wrote about this recently. It's been discussed quite a bit. I think Chris and Andy talked about it on their show, too. I just think it's, like, about the material.

Like, if people are interested in the movie, like, no, people are not interested in Die My Love because it's a very difficult art house film. Yeah, I mean, a number of things went wrong with that, including that they use Katness Everdeen and Robert Pattinson, and then people walk into a very small movie that opened in 2000 theaters, which is also, like, insane. Yeah, yeah.

But this is a different story where, like, I don't know if people could have gotten enough of Ariana Grande and Cynthia Revo around the first Wicked film. They loved seeing them together all the time. And I do think that it buoyed it. Totally. But they were promoting something that in Wicked that has its own fan base and its own.

So it's like awareness of a lot of things. And it was like intertwined in the film. Yeah. And I think that that's where it works. I think that they help the IP and the IP helps them. Yes. But to do it without any IP at this point. That's a lesson to all the movie marketeers is like,

don't just like play flip cup with your two stars. Like unless there's flip cup in the movie. You know what I mean? Like they're kind of, you need to make it about what the experience of the thing is going to be about. Let's briefly talk about the Academy Awards. I heard you say this actually on Jam Session, and we've been slotting Wicked for Good pretty comfortably into Best Picture for two months now

because the first film got 10 Academy Award nominations. It won two Oscars for costume design and best production design. And it's obviously, it was hugely appreciated by the community of movie makers. I think all of the branches found something to like about the movie. and then now we're like maybe it'll disappoint a little bit at the box office it's clearly like lower on the critical reception the super fans may not feel strongly about it

like is there a world where this is not nominated for best picture I have started wondering about it doesn't deserve it that's for sure yeah but that deserve don't count when it comes to the best picture I'm not sure yet I'm not ready to write it off but I do also the that conversation on jam session came up in light of the marketing

run and the bad vibes, which would affect an awards campaign. And I do think that they ran a great, you know, they went straight from the press campaign for the movie into the press campaign for the Oscars and Cynthia Reva and Ariana Grande, especially we're just out and about working it. And I think understandably they might not want to do that again.

Yeah, they will be nominated again, though, both of them. I'm pretty sure both of them will be. Maybe Cynthia Revo is a little in danger, but I don't think so. I think they both will. And because of that, they're going to have to, they're going to have to hoof it,

you know? Like, that's a lot of work to spend three months trying to tell people that you deserve to get a gold statue. And Ariana Grande has signaled in every way possible without explicitly saying it

that she's basically done with music and just wants to be an actress. So I feel like this is very much what she wants right now. So I wouldn't be surprised if, like, you know, she does get nominated to see her working for it. Right.

I do feel like it's slightly different with Cynthia Arevo because she's like has a different kind of esteem. I'm sure she wants an Oscar not to, like, denigrate that. But as a Tony winner, it's just like a little bit different, I think. Yeah, I don't know. How you approach it. I mean, I don't, it's impossible to know either of their motivations in terms of the award season.

I do think that Ariana Grande has a significant chance to win. Yeah, yeah. She is great. She is so good in this role. She's going to get. Yeah. And she's going to get a lot of the high marks and because she's at the center of so much of the story. So, like, I think it's probably reasonable to, again, expect costume design and production design to be nominated.

I think makeup and hairstyling will. we'll get nominations. Maybe score, but I don't think so because score is super competitive this year. Sound and visual effects, maybe. I definitely don't think best editing is in play this year. It got best editing last year,

which is just fucking heinous. Supporting actress, here's who we're talking about, okay? I don't know if you probably haven't seen all these movies, Julia, but just hang with us on this. Almost impossible that I've seen any of them. So Tiana Taylor for one battle after another, Amy Madigan for weapons,

Ariana Grande for Wicked. Inga Ibst daughter Lilius from sentimental value, El Fanning from sentimental value, Glenn Close from Wake Up Dead Man, Odessa Azion from Marty Supreme. We've not talked about her, speaking of I Love, L.A., Worme Musaco from Sinners, Gwyneth Paltrow from Marty Supreme. I don't see that happening, or Gina Hall, but this is kind of the bottom of the list. It's very possible that there's a big one battle swoon,

and that Tiana Taylor is a part of that swoon, and it becomes a night where that movie wins seven awards. It's also possible it goes the exact other way. And we haven't seen a lot of years where a film wins five, six, seven Oscars. Now they tend to spread the wealth. This would be the way to recognize Wicked would be to award Ariana Grande. I could see that happening. I can't do.

I would be tough for that to win over Tiana Taylor in one battle after another. For me personally, also, and just, you know, politically. Yeah. And everything that implies. Literally the white avatar princess of Oz reigning over all. It's like just really, really not good. But she is very good in it. And I think if, I hope she gets a couple weeks off.

It seems unlikely. But let her rest for a little bit and then get back in the game for Golden Globes and start the campaign. And it could happen. Have you seen Marty Supreme yet, Juliet? No, I'm looking forward to it, though. Some, I heard you say Uncut Gems was not your flavor. But there is a distinct New York energy in Morty Supreme. Yeah.

There wasn't Uncut Jams, too. Yeah. I'm surprised to hear myself say I'm looking forward to it. Sometimes, some days I am, some days I'm not. Today I'm like, yeah, that sounds kind of good. The Gwyneth Paltrow of it is appealing to me. Yeah, she's... She's good, but I...

It's Odessa Azion's time in that movie. You know, you... If you didn't like the 18-minute marketing stunt, though, I don't know whether this is going to be the experience that you're looking for. I love Marty Supreme. Yeah, it's really great. Yeah. Okay.

I want a jacket. But, like, they gave one a jacket. Tom Brady instead. A Marty Supreme Jacket? Tom Brady was wearing a Marty Supreme jacket? Yeah, he's part of like the greatest campaign. I know it's tough.

Well, that's just not at all what I want to hear. Listen. I'm going to call Josh and tell him, take that jacket off that New England Patriot. We should probably have a thing where just like for five minutes. Juliet and I have YouTube corner where she just tells me what she's watching on YouTube. And I guess I should just tell you what's happening on Instagram, like once a week for five minutes.

That happened on Instagram. That would be a good social media strategy. Yeah. Just keeping Sean up to day. date with the comings and goings of social media. And then you clip it, and then you do hashtag Tom Brady, hashtag Marty Supreme. You see what you get. Yeah.

Throw it out there. That sounds excellent. I did want to share this one tidbit that I thought was really interesting that Scott Feinberg from the THR had, which is that Cynthia Revo and Ariana Grande could become the seventh and eighth performers to land multiple acting nominations for playing the same part in different years. Now, you already read this, right? This would have been a good quiz for you. I should have set it up as a quiz.

Well, but I don't remember. So I, okay. Can you, you want to try to guess? The two I remember, because I just read them, were Sylvester Stallone for Rocky and Creed. And then Kate Blanchett for Elizabeth and Elizabeth the Golden Age. That's right. Okay. So, but I don't remember any of the others.

Juliet, jump in as well. How many others are there? That is, that's two. There's four more. Okay. One more. There's one very famous Oscar win in the second appearance. of this actor's character.

Paul Newman, Hudd and, no, not Huddler and Color of Money. That's right. Do, do, do, do. Okay. So, let's see.

There's a tremendously iconic version of this. Is it a franchise type thing? Sort of. I mean, is it a godfather situation? So it would be Pichino. Pachino, and Godfather and Godfather Part 2.

Okay. And then. We've got one more that you may not get, but you admire. Oh, I did read this Because it's Peter O'Toole And it's Lion in Winter And then I honestly did it

Like Samuel Beckett something? Beckett, no, it's just Beckett, okay, yeah. And then the last one For the Realheads is Bing Crosby For Going My Way and the Bells of St. Mary's Which just like Wicked and Wicked for Good Came out in consecutive years He won for going my way

And then appeared again in Bells City. Have you seen the Bells of St. Mary? No, but should I check it out tonight? It's not a bad film. It's about a priest. It's about an Irish priest. It's also a song on the Phil Specter Christmas album. Is it?

Bells of St. Mary. Yeah. Oh, okay. Cool. Did you see all the people who went to go see the Pope? What did you think about that? All the cinema people? I thought it was cool.

Honestly. I thought it was cool. I think this Pope seems pretty great. He opened his arms to the artistic community and cinema. And frankly, we love to see it. And Chicago Sports. Yeah, it's beautiful. That's right. That's right.

He seemed like a great guy. Good choice, everybody. Where can we find you on the Internet and on podcasts? On Mondays and Thursdays, you can find me on Bachelor Party. On Tuesdays, you can find me on jam session. And on Fridays, you can find me on food news. Wow. A podcasting freak.

You're all over the place. Honestly, too many. I know you're all thinking. Okay, Juliet, thank you for your time. Thank you for your wicked insights. It's an honor. Have a great rest of your podcast. Thanks, Juliet.

See you Tuesday. Okay, just me and you now. Hello. Tell the truth. You actually loved Wicked Park 2. You didn't want to reveal it in front of Juliet because you knew she was frustrated. It's your favorite movie of the year.

Yes. Okay. I've got the family costume for next year, all set to go. You're playing the lion. I was going to say, I'm the scarecrow. Yeah. No, I'm the nice bear with all the stuff on her back. You kind of have that energy.

I think of. I think of you. The sweet bear? That's what I think of when I think of you. My family nickname is actually bear. That's what Zach calls me. Oh, that's nice. That's not your energy at all.

More of a cheetah, I would say. Okay. Train Dreams. Let's talk about this movie. I've been telling you about train dreams. For, like, honestly, nine months. Since January. Yeah.

Now, I saw the movie on my couch during virtual Sundance. And I did the thing that I always do, which is, like, I've had a full day. I've been podcasting. I get home, pick up my daughter from school, play with her for three hours, go to bed, eat dinner. And then fire her. Eat dinner? Go to bed. I don't go to bed.

Okay. And then fire up three Sundance movies in a row from, you know, 8 p.m. through 1 a.m. Terrible system. And I think it is really a bad system. I think I started watching this movie at like 10.30 p.m. And usually when that happens, they get really tired. And I'm like, I'll finish this tomorrow or something. And I stayed up all the way to 1.30 in the morning for this one and was really moved, really knocked out.

It's directed by Clint Bentley. I mentioned it's co-written by Bentley. And Greg Kweedar, Greg was on the show last year because these two guys have this partnership where they make movies and they kind of trade year to year, who's the director and who's the co-writer producer. Last year, their movie was Sing Sing, which we both really liked a lot. So if you liked Sing Sing or if you saw Jockey, which is Clint's first film, you know that it's a very sincere guys, very kind of like direct emotional filmmakers who are really interested in the human condition. This new movie is based on this Dennis Johnson novella, which I had not read prior to seeing the movie, and then kind of read through a little bit after I saw the film the first time. It's about a logger named Robert Grenier who works to build the railroads across the United States. And so he's constantly moving away from his home.

And, you know, he eventually starts a family and he moves away from his family. And we watch really this entire guy's life unfold over roughly two hours. And the film is shot beautifully. It's very much a kind of a naturalistic look at the world in the early 1900s. What did you think of train dreams? So you have been talking about this for 10 months. And you just keep saying it's like a beautiful movie about logging. and the Pacific Northwest and like all this stuff.

And you are not the film's best marketer, you know, is what I would say. Or you were not marketing well to me because I rolled my eyes every time you talked about this. And then I saw this movie and it is beautiful and wonderful. And I guess it like is about a logger. And there, I mean, sure, their logging happens. There's a lot of logging in the film. There is a lot of. And I'm not talking about letterbox.

There is a lot of logging, but it is also, it's a movie about a family. And I thought, and a man dealing with his family. And it was absolutely upsetting and beautiful. And one of those things where you feel the emotions that you're supposed to feel very early on in the film. And it does keep grabbing you. It really connects with the audience. Yeah, it's an interesting thing because the novella,

just like the movie is very episodic. And so it's kind of like beat-to-beat job-to-job for Robert or he meets his eventual what. and played by Felicity Jones. Which is another thing. You didn't even tell me until I sat down, and I'm a pretty black licorish with Felicity Jones. I'm as like, oh, no, she was wonderful on this.

Well, I was afraid you were going to hate it. She was wonderful in this. I think she's good. I mean, I do like her and have always liked her, so I was happy to see her. But I was a little worried that you were going to be like, I can't with this because I think this is such a nice movie and, you know, I didn't want you to hate it, honestly.

Sometimes I don't care if you hate a movie, but this was one where I was like, I really hope she doesn't get on the pot and be like, fuck this. No. But I think the book is very, strange. And the movie takes some liberties with the book that I honestly don't love. It definitely, the Robert Grenier character is not in the book, this like beautiful, innocent, almost like angel type figure moving through this period in existence. He's kind of more

complicit in some of the more unfortunate stuff that happens in the book. And so I think it does, it puts a different valence on the story. Okay. Where this is more like a kind of a very innocent man trying to move through a very uninnocent world. Whereas in the book, It's more like the world is cruel and it moves quickly and it's hard to live simply. And it's not a bad thing, but it is a very different perspective on it, especially in the first part of the book, some of which, some specific things that they changed. Nevertheless, like Joel Edgerton is kind of my Felicity Jones. I never like Joel Edgerton. I've said on multiple pods, like if you just take him out of other movies he's in and replace him with, you know, count the list of names, you know, you're Jake Gyllenhaal, Andrew Garfield.

like a bunch of other actors who I just like more. That's definitely how you save Baz Luhrman's The Great Gatsby. That wouldn't save it, but, you know, it would improve it in my opinion. But I usually just can't really connect to him as an actor. I thought he was very, very good in this. And it's a challenging part because he doesn't say a lot of this character. You really have to kind of live through his pained experience. He has a lot of trauma in the movie.

I thought he was very, very good. And it's not as showy as a lot of the best actor candidates that we've been talking about in the last couple weeks. But he gives a great performance in this. I mean, it is, it is, I guess, a movie about trauma, but it doesn't, I don't think it ever says the word trauma, which is great, I think. In general, you can control off any script in the world. And if it actually has the word trauma stated, like, bad movie, change it. Even use your little thesaurus. But, like, once we're stating it as text, that's the sign of, you know, oversimplistic structure. And this is just about, this is about loss. And so I, you know, I didn't read the, no, And so I don't have that point of comparison, but I didn't mind like the innocence or the almost obliviousness of the character because I thought it created a portal just into the what happens when like when you lose something.

And that is something that happens to all of us, but no matter how much evidence you have in the life around you like you don't expect it and you don't know. had to navigate it. Yeah. And so, like, almost just like a lost person going through, I mean, you know, literally a lost person. It, to me, it was a novel recreation of it. And very affecting.

Like, I was really fucking upset. It's very upsetting. Yeah. There's the stretches of the movie that are just deeply sad. Yeah. And then there's a couple of things that are extraordinary about it, too. One, it's this amazing collection of character actors and actresses. You've got William H. Macy, one of the, probably the best performance he's given in years.

Oh, it's so good. I didn't watch Shameless. I know he spent like 10 years making Shameless, but when we were teenagers, William H. M.ese was the best character actor in America. Like, he really was in that stretch in the 90s and 2000s, as good as we got. And he's really quite good in this film as a fellow logger.

Nathaniel Arcand in this movie, John Deal, a character actor. I've always loved Paul Schneider, Clifton Collins, who was the star of Clint Bentley's last movie, Jockey. Like, just really kind of A-plus figures. My girl, Carrie Condon swoops in for a minute, trying to do an American accent. She's doing her best.

You know, it's not one of her skills. It's just not something she's great at. I got her back, though. She's trying. When we first talked about the movie in January, I kept saying there's a shot in the movie that I never saw before. Yeah.

Where the camera is strapped to a log. And at the very beginning of the movie, you see the camera following the log. It's kind of similar to how the camera is strapped to car doors all throughout one battle. Right. And just like every time somebody gets in a car, you can feel the door swinging closed.

those kind of perspective shots of inanimate objects that there's not a lot of terrain of I've not seen that before I really love it and I've not seen that before. There's a couple of cool ones. And then without ruining the movie, the movie has a final 10 minutes where it really takes advantage of its digital photography and puts the character in a couple of positions

that seem completely outside of the experience he's been having in this very natural, simple log cabin world that he's been living in that just like sweat me up. You know, like you might feel the movie like drag a little bit kind of into the beginning of the third act

and then by the end I was like just deeply moved you know just like hit me like a ton of bricks so I think I think I just think this is a really good film it's a real paradox with Netflix

because it's a movie that on a big screen would just take you down the river you know like it really would be super powerful but you watched it at home I did on your son Nan's couch and it worked and it worked and it can work and it should work

and people should watch it on Netflix but I can't imagine it was made specifically to be seen as a streaming movie. It's great that more people will see it that way, but it doesn't feel like the ideal execution. I don't think I know of a good movie that was made specifically for streaming. Maybe with the exception of Triple Frontier. That's the thing. There is a kind of movie that works well in that experience. That's literally the only one.

Even all the streaming rom-coms, I'm like, what if you had made this, though, to, like, be good instead of on streaming? And then I just watched it on streaming. really good point. I've been thinking about this a lot lately, especially after seeing regretting you. I've got a lot of feelings. I just couldn't be more excited. Okay. Oscar chances for train dreams before we get to my conversation with Clint. It seemed in the mix. You and I were talking on the way out of a recording the other day about the international features category this year and also our assumptions about which international or non-English language features would make it into Best Picture. We have been, based on previous years, and based on me always yelling at you,

like, it's an international academy, accounting big, reserving two, maybe even three slots. I don't know if that's going to happen in the same way. And we're going to talk about, so that's the next episode, right? Psychotically. We'll go back to Best Picture Power Rankings and sentimental value in the next episode. And regretting you. So it's sentimental value. They're perfectly matched in so many ways. I honestly can't believe how close they are, even though they could not have less in common. Yeah. Yeah, we don't have to have that power-ranking conversation yet, but I agree that there is a spot for a movie like Train Dreams

because it is a movie that I've not met a person who's like I didn't like that. Yeah. And that's really what you need. You need this movie to show up in like the number three or four spot on a lot of ballots to get bumped up and up. Because a couple of these movies are going to be divisive. You know, I think Frankenstein's divisive. I think Wicked for Good is going to be divisive.

I think Avatar is going to be divisive. These movies that feel on the bubble when you get a movie like this or everybody's like, damn, that was pretty good. Yeah. I think Jay Kelly is divisive. You know, like a bunch of these movies. Listen, as you said, we've got three that we feel pretty confident about. Though for the life of me, I can't remember what the third one is right now.

So two. Oh, no, I remember the third. Okay, because I forgot about Hamnet, but Hamlet. Yes, yes. When is that coming out? It opens November 26th and limited wide on December 12th. So we're going to wait on this show to do it until the film is made widely available. Buck, goal up.

I think that's the right thing to do. Okay. That'll be an interesting conversation as well. Uh, any other thoughts on train dreams before we go? I thought it was lovely. It's a nice movie. Let's go to my conversation now with a very nice guy, Clint Bentley. Very happy to have Clint Bentley here.

You're here with Train Dreams. We didn't speak for Jockey, but I liked Jockey quite a bit. And then I talked to Greg Quidar, you're a writing partner, producing partner for Sing Sing. Yes. Another film that you were significantly a part of. But you're here now to talk about train trains. I'm a big fan. Thanks, man.

I'll try not to geek out. Please do. I encourage you to geek out as much as possible. I do want to start with Dennis Johnson, who is an author that I like quite a bit, and I assume you do as well since you adapted this novella. What's the first thing you ever read by him? Actually this.

Back when it came out, I think it came out like 2014 or something like that. And it was just like one of the books to read that year, you know. And so I read it. I didn't know who Dennis Johnson was. I was on the road, I think, at the time. and it was a nice little slim it's like 117 pages

and I read it and blew my mind and I just loved it so much and it sent me down a path of reading everything I could by Dennis Johnson I became a huge super fan this is kind of a great place to start because it's very conquerable you know like trying to start with tree of smoke

is much more challenging in some ways but then in other ways like tree of smoke is so narratively if you were thinking about like pulling one and thinking like all right which book of his am I going to adapt like that one at least is more narratively straightforward it's a much bigger um canvas at the same time though this one's 85 years in a guy's life and and and that's true but the stream of consciousness

nature of of train dreams and the way it shifts all over the place i actually never would have probably had the courage to think okay i'll i'll adapt that one if somebody had said take any book of his and adapt it you know i don't know that i would have had the courage to say this one. So what happened? Wellp. Some producers had the rights to the book. And Marissa McMahon, Ashley Schlafer, and Will Janowitz, who are producers on a film, they saw Jockey at Sundance. And they'd been trying to make it for a while and trying to find a filmmaker for it. And lucky for me, they hadn't been able to crack it. And so they reached out and asked if I'd be interested in adapting it. And you said, I read this book and it's not adaptable. It's impossible. So like, how do you

you conceive of it? Because I definitely have some questions about kind of like how faithful you tried to stay and then where you made excursions away from the source material. I went back at first. My memory of it was, it was funny because like even in the years between like getting that call and like having read it initially is one of those books that like just things would bubble up from time to time from it. Like scenes would come up in my mind randomly. And it just was one of those things that like really stuck with me, one of those pieces of work. And so I went back and at first I thought like maybe this one is unadaptable.

It's like a sound of fury or a hundred years of solitude or something like that. But I went back and reread it with an eye towards like thinking about it as a film. And one, I just got so excited about the potential of it, of the landscape and the things that I could use the film to talk about. Um, and some of the themes, the story of Robert Grenier, like this guy who, who kind of has a life, um, that's no one would like build a statue for anything yet it's very beautiful and rich. Um, and pretty quickly I felt, I felt like there was a shape for it, a narrative shape for it that, that could make it a bit more like digestible as a film, but not lose some of that wooliness that's so special about the novel or about the novella. Um, and, that came pretty quickly and that stayed intact into the film but then it was a very like a difficult process with Greg of like actually doing that and and actually you know executing it as a script was a difficult and long process but yeah I want to hear about that

but so when you're saying that you're figuring out like the appropriate structure are you saying like okay I want to have these five incidents happen in Robert's life and we'll build the movie as like a pathway through those incidents. Like, how are you thinking about it specifically? I think generally thinking about it, I'd heard an interview a while back with Paul Schrader, and he was talking about, it unlocked something about screenwriting for me

where he was talking about that screenwriting comes from the oral tradition, not from the written tradition, you know, the form of screenwriting. And he talks a lot about, like, you should just say the story of your movie to a friend or to somebody like that when you're trying to work it out.

And then you'll work it. realize very quickly like what's interesting what's not what you have figured out and what you don't what questions arise what you forgot to talk about and therefore it's not that interesting and so just coming up with the shape of the general structure of the film um as to like okay it's going to start with the first half and not giving anything away uh no spoilers for this but like the first half of the movie is going to be this section of him trying to figure out how do you make it work with a family at home while also having to travel far away for work

and like the push and pull of that and the specialness of being at home while also all the fun and the camaraderie of like being on a logging crew with a bunch of random weirdos and then some big event which I won't give away happens in the middle and then the back half of the film

is then like the narrative breaks and the back half of the film then becomes how do you pick up the pieces of your life and move on after unspeakable grief and tragedy? And where do you find hope? So, for lack of that. Did you figure that out by talking through that

with Greg in the oral tradition? Like, is that how you guys land on the structure or is that something that you're doing to yourself? Again, that one like came, that, they don't all come like this with our films. But it came pretty quickly like that. After going back and reading it and then sitting with it, reading the book and then sitting with it for a minute, that came pretty quickly.

And then I could say that when Greg and I always use each other as like the first contact of like, is this a movie or not? You know, whether it's when he found the article for Sing Sing, and then sent it over and was like, okay, and here's what I'm thinking the movie could be or with this one. And so I was able to say that pretty quickly, that general structure. Again, then the devil's in the details of like, how do you actually do that? Yeah. Jockey is seemingly very personal movie. Your father was a jockey. I feel like you poured a lot of experience in that world into this. This is a slightly different exploration.

It's a, you know, 100 years ago, and it's a world. I don't know how familiar you are with the world of logging in the Pacific Northwest. But, like, how do you make yourself an expert so that you can portray it? It's a good question. I mean, there's a lot of research that went into it. Excuse me. the things I loved about the novella were actually the things that were very personal i think in in some ways of like the things that he's struggling that grenier is struggling with of like

doing this thing that you love and this work that takes you far away from home while also wanting to be with your family like i experienced that as a filmmaker a lot and and struggle with that um i was raised on a ranch um and uh and my uncle was a logger and i used to ride in the log trucks with him on the weekends and there's a lot of like this question of like how what is our responsibility to in our relationship with nature um as as people who live not over top of it but really alongside of it um and then the nature of grief like like dealing like like like a lot of us like have dealt with some real like debilitating loss in my life um and that was a big thing I think we started writing it on the tail end of COVID

and when like just life had completely changed for all of us. And there was a lot of that that went into it of just like trying to kind of figure out like, where do we go from here and what does it look like? Yeah, there was just so much about the book and reading the novella that felt not only that I could personally relate to in my own personal life, but that I felt like even though it was telling this story

of this guy who lived in the early part of the 20th century in the Pacific Northwest and was a logger, so much felt so pertinent to today in terms of this guy feeling like a relic of another time. Even while he's still alive, technology's passing him by. He doesn't know how to kind of keep up with life. Life feels like it's moving faster and faster. Like all these things, it just felt like

this really feels like maybe a really stunning way to talk about a lot of things we're going through today. through this lens of this character. Can you talk about actually portraying this person's vocation and how you recreate this work? The movie opens with this, you know, really not, doesn't open,

but one of the very first things you see is the camera fixed to a tree that's being cut down. And the first time I saw the movie, I was like, I've not seen that shot before, that image before. In this exact way, which is like, I've seen a lot of movies.

We've all seen a lot of images. And that just grabbed me. It took my breath away. Thank you. But it felt like there was a lot of intentionality in terms of showing how this work is done. I assume it's got to be challenging to recreate that environment,

make it look authentic, but then not damage the environment that you're in. Not doing the same thing that we're criticizing here. Yes, exactly. It was a similar, like, and also like doing it safely and like having a bunch of people swinging axes and stuff like that. in a way that like...

The only other logging movie I could think of was sometimes a great notion which has like one of the most devastating death scenes. The drowning. The drowning. Yeah. It's brutal. It's insane.

But you know, it's like that movie is you know, it's a mixed bag but it is an amazing representation of this very dangerous world. It is. And it's also like made in the 70s and so they could just like throw logs down a hill and shit like that. Yes, and you can't do that. And you shouldn't do it.

Cannot, but should not. So what did you do? Took a lot of lessons from jockey, you know, honestly, where we were going into a space also with, in horse racing, where one, we didn't have the budget to like set up horse races in a way. And so you just, we just found ways to, we just filmed that movie on a working race track and just had our scenes happening with the racing in the background, right? And we're folding our actors into those moments.

And so it took a similar approach here to, the trees there are only a few trees that are cut down in the film and all of those we went into logging areas where they're already cutting down trees and just said which ones are you cutting down next week on Tuesday when we want to film the scene and they're like that one that one that one and we're like okay can we bolt a camera to a tree while you cut down that tree that you're already going to cut down and so trying to be thoughtful of that of in terms of that perspective also our production designer and her team Alex Schaller they were amazing there are a few scenes where they're cutting into these big old trees and laying in a notch of one

and that is a like wooden and fiberglass tree that they made they made a big like 12 foot tall stump that then we could have our actors sawing into and then we extend the top with VFX and that is seamless I would have never guessed that are there's a ton of VFX I mean our production design team is amazing in terms of what they did, and giving us big stumps that we could just place in different areas, you know, that look very real. And then our VFX supervisor, Ilya Mukturizava, is amazing. And there's a lot of VFX.

I'm proud to say, like, there's a lot of VFX in the movie, and you wouldn't know it by watching it. Yeah, that's really impressive. Yeah, which is hard VFX to do. I did want to ask you about shooting on digital, which, like, you would think, I don't know what your feelings are about film versus digital if you could have shot on film. But it had this surprising effect on me that watching it for a second time because digital kind of draws out a lot of detail

and this is a film about like a different time like a lack of like the changing modernity that this character is walking through and you would think that it would be like a contrast to some of the ideas and this portrayal of natural beauty that the film is after. And yet like I find it to be really effective in this particular case.

I'm curious just to hear your thoughts about shooting in that way, the challenges of it, what are the upsides of it? I think we explored shooting on film, and that was something that I, like, Adolfo and I, my cinematographer, Adolfo Veloso, we had talked about doing, the reality is like we couldn't have done the film on film, the way that we did it. And part of that was we shot the film in 29 days,

and so we're moving very quickly we're using available light wherever we can all of the fire scenes that are lit by fires are lit by fires and are lit by candles and and lanterns and so in that environment like we couldn't

if we had more time or more money we could have shot it on film and had lighting packages and things like that or more time to do lighting setups but as it was like we needed to move quickly and we needed to shoot in a lot of really low light environments, and digital just made the most sense for that. And yet, like, we, I don't know, you don't want it to look digital, you know, you don't want it to have this, like, special look to it, and Adolfo's brilliant in how he

shoots it to get that, and then also the colors that we work with, Sergio Pasculano is amazing it like coming up with a look that feels softer than than the hard edges of digital. But really like as quickly as we were moving and like, you know, following around Joel Edgerton and Felicity Jones with a bunch of chickens at sunset, like you can't, it's tough to do that with with film cameras. You can, but you just need more time than we had. Yeah. I'm sure it's helped by the fact that you're not just sitting in modern rooms with black walls.

Like you are in an incredible location capturing this, the world as it is. Oh, yeah, totally. And the detail, there is something very beautiful because Netflix was kind enough to do a 35-millimeter print of the film. And it's really beautiful, and I'm really proud of it, and I'm excited for people to see it on that. And yet, like, just because of the nature of the medium, there's some, there is some detail,

there's some really, like, special detail to the spaces that is lost in that exhibition format. We have long-running dialogues on this show about the use of narration in films. and it can be a crutch It can be There's a very bad way to do it There's a very bad way to do it

And it can be a way to deliver information That was not originally Part of the intention of the story This is a The narration in this film To me makes it very unusual Because it does make it very

Literate and almost like literature And I don't feel The structure of a traditional Three Act movie Because of the narration But I was curious to hear you talk about writing it and kind of when to include it,

the decision to use Will Patton, which is so inspired, and he's amazing. He's incredible. He keeps you, like, very emotionally tied to the work. But can you just talk about why you included it in the way that you did? Yeah, it was a few things that came from just the story itself. One was you've got this character in Robert Grenier,

who Joel Edgerton plays, who is a man a few words. And I wanted to portray this character, as he is in the book, but also thinking about, like, my dad, my grandfathers and men like that who had very deep feelings and deep thoughts but didn't always have the vocabulary to say it, you know? And so that was one aspect of just having this character

who you want to portray to an audience that there's a very deep undercurrent running through there and he's trying to figure out the world around him and yet doesn't have the words to say, hey, I'm dealing with trauma and loss, man. You know, like, you know, like, It breaks the character as soon as he starts doing that. And so that was one aspect.

The other aspect was thinking about what was special about the novella and trying to bring that across. And part of the thing was just Dennis Johnson's voice. And he's got these like clever turns of phrase and this subtle kind of irony that he puts in at times that just makes the story come alive, even though it's so spare in terms of the fiction. it's so deep and that's part of it

is because of his voice and just trying to pull that across in there and then like you know you don't want to do narration badly and be like and he was sad that day and I thought about like the narrators from like Jules and Jim and Etou Mamatambian who are just like

characters in their own right and wanted this character to feel like if you like we're in some bar in a logging town late at night and some guy sits down next to you and like let me tell you about Robert Grenier after he's had a few beers um wanting it to feel like that you know and that he can take aside so you can take these like tangents and talk about a comet for some reason you're like wait what does that have to do

with what we're talking about i love that oh yeah let's get back on track that's great i mean he really does feel like he is someone you know but just met and has a lot of things to share which is a nice way to feel about the narrative instead of it being if it was in joel's voice and it was first person you'd be like yeah yeah yeah if he's like my i was you know three years old when this happened and then it's all of a sudden we've we've felt it before and i think that like taking that approach to every every part of it the structure the way you set up shots the way that like um i don't know any scene between two characters go and just try not to do the thing that's that's expected with it um and um you know i think that that like applies to the whole process

so i have a confession uh i i have always been a little bit immune to joel edgerton as a performer. How? Many people say that. I'm on like the outside on that one. This is probably the first movie that I have felt emotionally connected to him.

Oh, wow. So I'm curious, I'm not curious about why I feel the way, but I'm curious why you put him, chose him to be Robert in this film. I felt respectfully the opposite of that. And I found him

to be like, With loving especially, but with several of his roles, just found him so fascinating as an actor. And again, felt like there was so much depth there that maybe like we hadn't seen all of it. And then just like this very rare, he's a very rare actor who feels like he could be from any time period.

And I always love that when it like, you could put Joel in the 30s, you could put Joel in the 60s, in the 70s, you can put him today. And he fits right in wherever, like, whatever era of film, you know, he could be right there alongside Jimmy Cagney, and you'd be like, yeah, it fits. And there's something just very kind of timeless and beautiful about him. And having somebody who can, like, you believe him as a logger, chopping down trees, but then you also believe him as, like, a sweet family man, you know,

hanging out with the kid and holding the baby, trying to burp the baby like that's a very rare gift and then again like not you know I could I could spend the rest of the thing talking about how great Joel is but like also having somebody who can do a lot

with a little you know it doesn't need to be busy as an actor and doesn't need to like say a lot but can get so much across with his eyes and and with a look that's a very rare gift okay slash talent you've convinced me

um one of to ask you about the phrase Malikian because you have this like great compliment and great burden of being compared to Terence Malick because of this movie because I think in part because of what the movie

is looking to explore, how some of the visual representation. You live in Texas? I live in Texas. That's right. How do you feel about that? How do you feel about that comparison? I mean,

he's one of the greatest filmmakers to have ever, you know, lived. And it's very, like, it's hard not to, I think, be a filmmaker trying to do something poetic, especially with nature. Whether you're making films or you're making Tide commercials,

it's hard not to be influenced by what he's done. He changed the language of cinema. He created a new form. Like, one of those rare filmmakers that turned the medium in a new direction, you know. There's not many of them. And so, yeah, I'm a big fan, trying to do my own thing,

but I don't know, if I'm mentioned in the same sentence as him, I'm very honored. It's a good answer. I really like the choice of actors in small parts in this movie. I feel like you have like an incredible eye, for one-scene heroes. You know, Clifton, obviously, you worked with in the past, but seeing, you know, Paul Schneider and John Deal and love John Deal.

Obviously, William H. Macy is getting a lot of love for his work in this movie. There's many others. How do you cast? I talked with Greg, I think, a bit about this, too, because Singh's saying it's such an extraordinary act of casting, but how do you think about casting? I mean, I was lucky to, like, make some mistakes on short films, casting where you get too caught up in like

a look of a character that you have in your head or an age of a character or something like that and then you cast in correctly but like I think just thinking about like what is the spirit of this character and who can pull that across and then and then looking for that and letting go of like what how the character was written on the surface you know and I don't know, just thinking, like, this was such a joy, like, it's the, it's what every filmmaker kind of dreams of to be able to have, like, Paul Schneider come in for a day and just be able to play with him or John Deal come in for a few days and, and deliver some heartbreaking performance, you know, like, it's a, it's a dream come true. But then also all the people who have, you know, some of them have never acted and, and turn beautiful things, um, uh, beautiful performances in the film. And it's just trying to treat everybody,

trying to think about what you need to get across with the character and then finding the right person that you want to watch in an audition tape or you want to sit across if you meet them in an audition room or in a coffee shop that you want to just like hear whatever they're going to say next, whatever it is. And then figure out a way to tailor the moment and the way you shoot the moment to just bring out the best in them.

And Nathaniel Arcand is another, he plays Ignatius Jack. He's another example of that where he's just like a really special person that you just want to like put him on screen, you know? And if you want to hang out with that person and talk to them, chances are like, you know, the audience is going to feel that way as well. It's interesting. I always think of that as like a way to understand what a filmmaker is interested in is who they pick to be in their movie.

You know, obviously you're working with other people, but it's like indicative of an energy that is trying to be communicated by the energy of the actor. Like when you put John Deal in your movie, you're saying something because he's an interesting kind of actor where he can be very sinister and he can be very warm. And he's a sweetheart of a man.

But yeah, growing up watching the stuff he did with Michael Mann and Stargate and all of that and he's like can be a scary dude. For sure. But then also like, but seeing him trying to tie his shoes is like one of those heart-breaking things.

I'm curious what your experience with Sing Sing taught you about this larger apparatus because that's a movie that is somewhat similar to this one insofar as like, like, it played at a festival. It was acquired.

It had a long run up to its release. You're in the awards conversation. That's a complicated thing to be plunged into over a long period of time. Like, what does that, I don't know, what did you learn from it? What does that mentality teach you about how to be a successful filmmaker now?

Setting aside what happens when you're on set or cutting the movie? From the production standpoint or from the release standpoint? Just this being a vocation for you, this being something that you do for a living. Oh, yeah. Only very recently for a living in terms of being able to make it work. I think actually Jockey was the big one where I remember we had, before we got into Sundance with Jockey,

we had gotten rejected from several festivals. And Greg and I had, like, we had a little money left over in the budget and we were putting together a plan for like self-distribution and hoping we would get a festival release and all of that. And I remember making that, making a decision there where I was. just like, this is what I want to do as a trade and as an art form. And it's probably never going to work out in terms of making a lot of money at it. I was doing a lot of stuff like editing insurance videos on the side and things like that. And doing some script work with Greg that we could get paid for. And I was like, you know, I'll like maybe work at the post office

or work a contracting job and then every few years get a couple hundred thousand dollars and make a little movie and that's fine, that's great and that's where Jockey that happened before anything happened with Sundance and all of that

and then it was also interesting to watch with Sing Sing it was interesting to watch that process because it was an eight year process and Greg knew immediately after TransPakos very quickly after that he wanted to do that movie and found that subject matter.

And then there were a lot of reasons, I think, in the universe that that got pushed back and it was better that he made it when he made it and that it took the time that it did. But it was interesting to watch, like, that was a movie that, like, a lot of the industry told Greg not to do that movie, you know? They were like, no, no, no.

You did a thriller with Transpate. Like, do another thriller like that. And that was an interesting thing to see. that like when it finally came back around and he made the movie that he wanted to make initially and followed his gut and we put that movie out

like the response that it got and how special it was and all of that that was a really interesting lesson you don't always know how the outcome's going to be but but just to like make what you want to make and what you feel drawn to make

and don't try and reverse engineer some version of success financially or critically or anything like that requires patience it's funny like I I think about, from my very small little experience with Jockey, I had almost the opposite viewpoint where I was like, this movie is not getting enough attention because it's COVID.

And, you know, like, I watched it in virtual Sundance. And it's a very good film. And it's a film that, like, even in 2014, it would have been easier to exhibit that movie and draw an audience. And things have changed a lot in independent film over this, you know, since you guys have been at this. Yeah, totally. How do you feel about the state of it?

What do you make of it? Your film is obviously premiering on the largest street. platform in the universe, which is very exciting, but also different than I imagine how you were thinking about it when you were developing jockey, for example. I don't know. It's one of those things of like, with this one in particular, it's, I'm in a very lucky position where I get to have my cake and eat it too, where I am, they're giving the film a robust theatrical release and doing a 35 millimeter print of it. And Netflix is taking very good care on that side, on the theatrical side and going to let it run as long as people are going to the theaters

to see it, you know? And then, but then also it's going to go out on the platform and I have family members who, you know, live out in the country who've like never seen my films, you know, because they don't have a theater near them or something like that. But they have Netflix and thinking about like Adolfo's family in Brazil is going to be able to watch this the same day as my family and you know north florida is going to be able to watch it like i'm excited about that that's a beautiful thing the landscape overall especially as an independent filmmaker it's like one of those things where it's a weird time and i think like there's it's a very strange time to think about bringing films out and it's odd because like there's more ways to get your film out than

ever to people and there and there's no lack of desire there's no lack of audience out there there's no lack of desire of people to watch them and yet there's fewer and fewer like distributors and i think the whole industry is just trying to figure out what what's what you know what's up from down in terms of how to put a movie out but at the same time like i don't know as independent filmmakers were kind of like uh alley cats anyways where you just like you just make do with whatever you got at the time and like don't think too much about it and like i don't know just try and make something good and and hope hope that people see it it's funny though because you were saying that you didn't really see this as an occupation until recently,

but now you're probably in this situation where you'll get a script sent to you and it'll be a studio movie and you'll get to say, yeah, I do want to make a movie that costs $75 million and does X, Y, like, do you feel yourself transitioning into that phase or do you think you guys will keep working in the way that you have been? I don't know. When does your Marvel movie start? Yeah, I'm trying to think if I can break the news now or not. I'm just kidding.

I don't know that anybody would look at train dreams and be like, you know what we need him to do is the new aunt man. I don't know, man. Somebody looked at Nomadland and they did, you know? That's fair. It happens. It definitely happens.

That's true. I don't know. I really, like, it'd be nice to have a little more money, but at the same time, like, than we did on train dreams. But at the same time, it's a nice space to be, and I think looking at, like, looking at my the filmmakers who I

would like love to have a career like or some sort of like body of work like like to how the Cohn brothers came up you know or like or Malick as well like in terms of outside of like a

20 year gap but like taking like stair steps up and and kind of staying in your lane and and figuring out like what your voice is, or how Fellini came up, you know, like a step at a time, I think is just like, it's typically more interesting that way. And that's not to say it's not to make big jumps.

A lot of filmmakers do it and do great at it. But I'm kind of a slow learner myself. So, and man four. Is that what we're on? I think so. Okay. I think it's four. Good luck on that. We end every episode of the show by asking filmmakers, what's the last? great thing they have seen. Are you seeing much, well, as you are exhibiting the movie around the world? Unfortunately, because, like, I'm, like, on the road, like, exhibiting this movie, and then I've got a four-month-old at home.

Oh, congrats. That's insane timing. And so, the last great one I watched was How Green is My Valley, the John... Oh, yeah. How Green One's My Valley. Definitely a movie with some relationship to your film. Yeah. Kind of similar themes.

Oh, yeah, yeah, yeah. It's a very good film is much maligned historically because it beat Citizen Kane I know I didn't realize that but it's a beautiful film gorgeous I think one of Ford's best movies I agree

and just so I found myself like the last half just crying through the last half it's hard when you have years like that where we have to have a best and you've got like Susan Kane in that movie it's like what do you do but I think in terms of new releases like I mean just like

just jumping in the choir here of one battle after another. Yeah, you're like the ninth person to say it on the show. Of course. Yeah, yeah. It's pretty cool, though. What did you like about one battle? I mean, I'm inclined to like anything that PTA does.

Same. And so I enjoyed it. But just like, I don't know, the freshness of it, I could, like, Benicia DeLotero's character, I need a whole movie of him. Like, it just, I loved it. Clint, your film is beautiful. Congratulations.

Thanks for being here. Thank you very much. Thank you for having me. This is really fun. Thank you to Clint Bentley. Thanks to Juliet Lippman. Thanks to our producer Jack Sanders for his work on this episode.

Next week, Amanda and I will talk about sentimental value and regretting you and take stock of the best picture race. We'll see you then.