The Art of Disarray: Analyzing 'Blind Date' with Bruce Willis
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This podcast episode delves into the cinematic exploration of "Blind Date," a film that serves as a tribute to Bruce Willis amidst his declining career due to health challenges. The central theme addresses the complexities of relationships and the chaos ensuing from miscommunication and alcohol, particularly through the character of Nadia, who becomes the catalyst for both comedy and conflict. The discussion reveals the film's shortcomings, particularly in its execution of humor and character development, leading to a consensus among the speakers that the narrative fails to deliver a coherent message or emotional clarity. The speakers dissect various scenes, highlighting the disjointed pacing and the lack of impactful storytelling, while also reflecting on the broader implications of the film within the context of screwball comedies and Bruce Willis's career trajectory. Ultimately, the episode culminates in a critical review, with each speaker offering their perspectives on the film's merits and flaws, concluding with a collective recommendation to approach it with tempered expectations.
The Fellowship Of The Reel reviews BLIND DATE
Part Three of a four episode Yippy Kai Yay tribute to the great Mr. Bruce Willis. Join us as we celebrate four of Bruce's films and try and say thank you for years of great movies.
Our thoughts and prayers go out to Mr. Willis and his entire family.
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To listen to all of Chris' picks, click HERE
To listen to all of Sherry's picks, click HERE
To listen to all of James' picks, click HERE
To listen to all of Phil's picks, click HERE
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Snyder's Genres:
MONSTER IN THE HOUSE - MONSTER, HOUSES, SIN
GOLDEN FLEECE - ROAD, TEAM, PRIZE
OUT OF THE BOTTLE - A WISH, A SPELL, A LESSON
DUDE WITH A PROBLEM - AN INNOCENT HERO, A SUDDEN EVENT, A TEST OF SURVIVAL
RITE OF PASSAGE - A LIFE PROBLEM, THE WRONG WAY TO FIX IT, THE SOLUTION TO THE PROBLEM
BUDDY LOVE - AN INCOMPLETE HERO, A COUNTERPART NEEDED TO MAKE THEIR LIFE WHOLE, A COMPLICATION THAT IS KEEPING THEM APART EVEN THOUGH THAT FORCE IS BINDING THEM TOGETHER
WHYDUNNIT? - A DETECTIVE, A SECRET, A DARK TURN
FOOL TRIUMPHANT - A FOOL, AN ESTABLISHMENT, A TRANSMUTATION
INSTITUTIONALIZED - A GROUP, A CHOICE, A SACRIFICE (JOIN, BURN IT DOWN, COMMIT SUICIDE)
SUPERHERO - A POWER, A NEMESIS, A CURSE
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The Snyder Beats:
OPENING IMAGE
THEME STATED
SETUP
CATALYST
DEBATE
BREAK INTO TWO
B STORY
FUN AND GAMES
MIDPOINT (FALSE VICTORY OR DEFEAT BUT OPPOSITE OF THE ALL IS LOST)
BAD GUYS CLOSE IN
ALL IS LOST (OPPOSITE OF THE MIDPOINT, FALSE VICTORY OR DEFEAT)
DARK NIGHT OF THE SOUL
BREAK INTO THREE
gathering the team
executing the plan
high tower surprise
dig deep down
execution of the new plan
FINALE
FINAL IMAGE
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"Welcome to the Show" Kevin MacLeod (incompetech.com)
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Transitions sounds courtesy of Lloyd. Lloyd has very graciously made a whole host of podcast transitions sound effects available free for personal use. We at the fellowship think they are absolutely blockbuster. If you want to find out more, or need some pretty awesome effects for your production visit Lloyd here. TRANSITIONS
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Takeaways:
- The podcast emphasizes the importance of studying film on a mechanical level to uncover deeper insights.
- It is noted that no filmmaker intentionally sets out to create a poor film, indicating the complexities of movie production.
- The hosts discuss the significance of Bruce Willis in cinema, especially in light of his recent health struggles and the impact on his legacy.
- The structure of the film "Blind Date" is critiqued for its lack of coherence and failure to effectively develop character arcs.
Mentioned in this episode:
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Transcript
Are you recording this?
Speaker B:Studying a movie in the mechanical level, I think can really bring some revelations.
Speaker C:I believe that no one sets out to make a bad movie with the exception of.
Speaker D:On paper.
Speaker D:This should work.
Speaker B:This should work.
Speaker D:I just don't like it.
Speaker A:That's your own fault if you haven't seen it.
Speaker B:Way over budget.
Speaker B:Start cutting scenes.
Speaker B:Even the actors don't know what that movie is about.
Speaker B:Shit, I wish I wrote that.
Speaker C:Which I love the title, but that movie's trash.
Speaker B:Well, it's oatmeal, man.
Speaker B:It's good for you.
Speaker B:All right, so here we are, Fellowship of the Real.
Speaker B:We are four people who enjoy movies.
Speaker B:And so we talked about them.
Speaker B:Anyway, so we thought, why don't we do a podcast?
Speaker B:We're going to start off with a format that follows what we're going to do, but maybe a little different, because as movie fans, we are also Bruce Willis fans.
Speaker B:And as everybody may or may not know, Bruce Willis has been diagnosed with a debilitating mental disease and will not be probably making movies or really be among us much anymore.
Speaker B:So we thought before we got into the regular way we do our movie reviews that we would have a Bruce Willis tribute.
Speaker B:So the first four episodes will be Bruce Willis movies.
Speaker B:The format that we will follow is each one of us will pick one a movie, and then all four of us will review it, and we'll take turns in a roundtable fashion, breaking it down according to certain things that we have talked about and how we want to look at movies.
Speaker B:And we're going to do that with the Bruce Willis movies.
Speaker B:But as I said, the first four will be Bruce Willis.
Speaker B: are going to look at is from: Speaker B:This was James Choice.
Speaker B:And so we're going to look at that and we'll break it down according to, like I said, the things that.
Speaker B:That we have talked about.
Speaker B:The first thing that I always kind of like to look at, and this sometimes is an indicator, sometimes not, of how the quality of a movie or whether it's any good.
Speaker B:Again, it's very subjective.
Speaker B:There are movies that I love that didn't make any money and critics hate, but, you know, whatever.
Speaker B:So first thing I thought we'd do is look at the.
Speaker B:What I'm calling the money, critics, fans.
Speaker B:Then we'll move into the story mechanics.
Speaker B:And this is largely, I guess, what Chris and I will get into with James and Sherry jumping in as they see fit, because that is basically going through the whole movie.
Speaker B:Chris and I like to write.
Speaker B:So this is essentially from a writer's perspective, but it will also be good for James and Sherry to jump in with their thoughts and regulations, followed by a wrap up, any trivia or anything that we noticed about the movie that we thought was cool, and then a final judgment.
Speaker B:When you submit a script, it gets a pass, a consider, or a recommend.
Speaker B:And so I thought it would be cool that each of us give our own pass, consider, or recommend based on the movie.
Speaker B:Usually the person who picks the movie does the name and synopsis, sort of gives the name and a brief synopsis of the movie.
Speaker B:James, did you have that?
Speaker B:If not.
Speaker B:I do.
Speaker D:If you got it, I'll take a look at it.
Speaker B:That's fine.
Speaker D:Yeah, I, I was gonna read it directly off IMDb as to not.
Speaker D:Well, get a little confused, but what do you have?
Speaker B:And we'll get into this as we go.
Speaker B:But, but Blind date.
Speaker B:And I don't want to, like, pass judgment, but I, I.
Speaker B:Anyway, let's.
Speaker C:Too late.
Speaker B:Yeah, let's just start.
Speaker B:My hesitation probably tells you everything you need.
Speaker D:Judgment has started.
Speaker B:The judgment has started.
Speaker B: So, all right, so blind date: Speaker B:And this is, I guess, from IMDb.
Speaker B:A workaholic needs a date for dinner with a new important clientele, but his brother sets him up with a date that could lead to disaster.
Speaker B:Okay, so that's the synopsis.
Speaker B:I've seen others that talk about Kim Basinger's character being problematic when she drinks.
Speaker B:All of them are very surface level sort of descriptions, and I think that's part of the problem.
Speaker B:But we'll get into that when we go.
Speaker B:This had a budget of 17 million.
Speaker B:Shockingly.
Speaker B:Well, I need to stop making these judgments.
Speaker B:$17 million.
Speaker B:And it made its money back with a gross of 39 million released only in the United States.
Speaker C:So I had a quick question.
Speaker C:It doesn't matter.
Speaker C:It may lead nowhere.
Speaker C:But your.
Speaker C:James, you said that you were looking at a synopsis on IMDb.
Speaker C:Was it drastically different from what Phil put out?
Speaker C:That's pretty much same.
Speaker D:That's pretty much it.
Speaker D:It's basically a little bit, A little bit more thorough.
Speaker D:But yeah, like what?
Speaker D:You say, okay, he's a workaholic, he's got a meeting, he's got to have a dinner date.
Speaker B:Yeah.
Speaker D:Silliness ensues.
Speaker C:Just you had made a.
Speaker C:Phil, you'd made a reference about them being kind of.
Speaker C:I don't remember what you.
Speaker C:You just said it two seconds ago.
Speaker C:And I can't remember.
Speaker C:Something about shallow or on the nose.
Speaker C:Just not a whole lot There, I guess, is what it sounded like.
Speaker C:So I was just curious if his went, you know, more in depth.
Speaker B:I've seen several.
Speaker B:And.
Speaker B:And like even meant even references to the underworld.
Speaker B:You know, he gets in trouble with the cops in the underworld.
Speaker B:And I'm not certain that I remember anything about the underworld anyway, but, you know, that's the.
Speaker C:That's the thugs and stuff.
Speaker C:And then the criminal element is.
Speaker C:Would be my guess.
Speaker C:Well, okay, shut up, Chris.
Speaker C:No, because you were.
Speaker B:Sir, it's.
Speaker B:We'll break this down as we get into it and I'll.
Speaker B:I'll dose out my.
Speaker B:My disdain.
Speaker B:No, no disdain.
Speaker C:Right.
Speaker D:You have to remember.
Speaker C:Look, you can have disdain.
Speaker C:It's just, you know, it's.
Speaker C:You keep saying, I don't want to.
Speaker B:Judge, but you already have judge in small doses.
Speaker D:You have to remember and.
Speaker D:And kind of put this into context.
Speaker D:The year that it was released.
Speaker D:1987.
Speaker B:Yeah.
Speaker D:This was Bruce Willis's first, very first movie.
Speaker C:Very first movie after Moonlighting.
Speaker C:Right.
Speaker D:He was in Moonlighting.
Speaker D:This was.
Speaker C:Oh, he's doing it same time.
Speaker D:85 is when moonlighting started.
Speaker B:Yeah.
Speaker D:And then you have John Larroquette.
Speaker D:I'm sorry, maybe 86.
Speaker D:John Larroquette was on Night Court at the time.
Speaker C:Yep.
Speaker D:And Phil Hartman was on SNL at the time.
Speaker D:They were all pretty new and this was their all from first kind of feature film.
Speaker B:Yeah.
Speaker D:So, okay.
Speaker D:It was kind of a safe choice I think for them when it comes to writing style.
Speaker D:It was a silly movie.
Speaker B:This.
Speaker B:I remember seeing this movie a long time ago and I guess I liked it, but I watched it this time and because.
Speaker B:Because it has.
Speaker B:It has a lot of heavy hitters in it like Phil Hartman and Larroquette and, and.
Speaker B:And Kim Basinger.
Speaker B:I mean, Bruce Willis, there's.
Speaker B:There.
Speaker B:It's got a lot of heavy hitters in it.
Speaker D:An early.
Speaker D:Earlier in their career.
Speaker D:Not sure first thing they've done, but it may be first time they were really on the main American culture.
Speaker B:Right.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:Critics and fans hated this movie.
Speaker B:Okay.
Speaker B:No way.
Speaker D:No way.
Speaker B:Tomato meter.
Speaker B:24 for the critics and 42 for the audience, which that is 24 of the people who watch this only gave it three stars or higher.
Speaker C:And that's on Rotten Tomatoes.
Speaker B:Yeah.
Speaker C:See, and that's always curious me.
Speaker C:Maybe you guys know the answer.
Speaker C:I've never, I guess, done any research to look into it.
Speaker C:But like, so this movie came out.
Speaker C:What did we say, 87.
Speaker B:Yeah.
Speaker C:Rotten tomatoes.
Speaker C:Internet.
Speaker C:That wasn't around.
Speaker B:Right.
Speaker C:So this is all clearly after the Fact, it could be years later that people watched it.
Speaker C:So just it's curious to me, like, you know, like how, you know, as far as their opinions and stuff, like, because it says, like, you can't really.
Speaker C:In my opinion, you can't apply Rotten Tomatoes to an older movie like that.
Speaker C:Just not that their opinions maybe have changed.
Speaker C:Maybe they felt exactly that Same way in 87.
Speaker C:But, I mean, you know, I mean, it's all after the facts, right?
Speaker C:So.
Speaker C:Because it could be people like you going back and watching it, or it could even be people like me who, you know, I'd never seen it until, you know, we decided to do this podcast.
Speaker A:Well, I did have a supervisor who.
Speaker A:She just thought it was the most hilarious thing, I guess, when it came out or on video.
Speaker C:Yeah.
Speaker A:Back in, I don't know, the 80s or 90s, whatever it was.
Speaker A:And that's the reason I watched it.
Speaker A:And I didn't think it was that funny the first time, but.
Speaker A:But when we watched it again, a lot of it was funny.
Speaker B:Well, it hasn't aged well, if that's any indication.
Speaker B:So.
Speaker B:Yeah.
Speaker D:Does not hold up.
Speaker B:It does according to critics and fans.
Speaker C:Now, also, you said it like, I'm not trying to be devil's advocate, I promise.
Speaker C:But you also said fans and critics hated it, but it made its money back, too.
Speaker B:It did.
Speaker B:It was only released domestically, didn't ever get worldwide.
Speaker C:Yeah, and I'm curious on that, too.
Speaker C:I'd have to go back and look like, when did they happen?
Speaker C:When did they start releasing movies internationally?
Speaker C:Because they rose.
Speaker C:They could make, you know, more money, and they can make even more.
Speaker C:You know, some movies do better internationally than domestically.
Speaker C:Like, was that even a thing in 87 or.
Speaker C:I'm sure it was, but, like, how many.
Speaker C:I guess I'd be curious how many movies in 87 got released worldwide versus just domestically.
Speaker B:Yeah.
Speaker B:So money.
Speaker B:It made it.
Speaker B:Critics and fans panned it.
Speaker B:At least have been panning it.
Speaker B:So the fact that it, I guess it almost doubled its money, so it's not outstanding, but it did make money.
Speaker B:There's no blind date, too.
Speaker B:So, you know, maybe it was just enough.
Speaker B:So the.
Speaker B:So that's money.
Speaker B:Critics, fans, the.
Speaker B:When we get into Stormy Connects, that's sort of my bread and butter.
Speaker B:I know.
Speaker B:It's Chris's bread and butter.
Speaker B:Sherry and Chris were like, we're not.
Speaker B:I mean, Sherry and James were like, we're not making.
Speaker B:Not doing homework.
Speaker B:And that's cool.
Speaker B:So that you can jump in as you guys see fit.
Speaker B:And so when I say this.
Speaker B:Maybe James and Sherry won't necessarily know what I'm talking about.
Speaker B:Chris will.
Speaker B:And I guess I should say something about that.
Speaker B:We're following the Blake Snyder sort of breakdown of movies.
Speaker B:There are many that I like.
Speaker B:I usually use Blake Snyder just because it's so fast.
Speaker B:Way to crack a story.
Speaker B:Is it perfect?
Speaker B:No, but it is super fast if you're looking to crack a story or analyze a story.
Speaker B:And so he has certain genres.
Speaker B:And so I picked.
Speaker B:And maybe Chris can speak to whether he chose this also or whether what he thinks of it in terms of Blake Snyder genre.
Speaker B:I picked Monster in the House for.
Speaker B:For this movie, which, if you're not familiar with the breakdown of his genres.
Speaker B:Monster in the House requires a monster.
Speaker B:A house, which means a locale where things happen.
Speaker B:You know, it can be general, vague, whatever, and a sin.
Speaker B:And so I was able to sort of peg those three things in terms of the genre.
Speaker B:Did you have any thoughts about.
Speaker C:That's interesting.
Speaker C:So I did the homework and actually forgot to put the genre on.
Speaker C:I think all four of these films.
Speaker C:But I should be able to do it on the fly.
Speaker C:It's interesting.
Speaker C:I'm not sure I agree with Monsters in the House, but I guess I wanted to go back just a minute with Blake Snyder.
Speaker C:So he believes that every movie can be.
Speaker C:And correct me if I'm getting this wrong, Phil.
Speaker C:He believes that every movie can be broken down into 10 genres.
Speaker C:It's one of 10 genres.
Speaker C:Yeah, right.
Speaker C:And then he has 15 story beats that he does for that.
Speaker C:He breaks down every story.
Speaker C:One of us, probably me, will slip up.
Speaker C:I think at one point we've got into the habit of you and I have calling him Catboy.
Speaker B:Yeah.
Speaker C:So he has a.
Speaker C:The.
Speaker C:His books are.
Speaker C:Save the Cat is what it's called.
Speaker C:Blake centers where he reveals these 15 beats.
Speaker C:Anyhow.
Speaker C:So somehow in our shorthand, we started calling him Catboy.
Speaker C:So we say Cat Boy.
Speaker C:We're talking about Blake Snyder.
Speaker B:Right.
Speaker C:Anyhow, back to Monster in the House.
Speaker C:Oh, sorry.
Speaker C:Go ahead.
Speaker D:I wanted to ask a question.
Speaker D:Monster in the House.
Speaker D:Are there any examples of.
Speaker C:Yes.
Speaker C:Jaws is amongst us.
Speaker C:Aliens.
Speaker C:And I figured you'll probably get into the.
Speaker C:Because each of his genres have, I think, three things that make it, you know, why it's a Monster in the House or why it's.
Speaker C:Whatever it is.
Speaker C:Again, I didn't do this part of the homework, so I apologize.
Speaker C:But I guess my gut instinct was due with a problem genre, not Monster in the House.
Speaker B:I thought about that, but the Way the.
Speaker B:The synopsis reads and the way this movie is structured, Kim Basinger is a normal person who turns into this horrendous, chaotic force in Bruce Willis's life.
Speaker B:Right.
Speaker B:So I don't remember everything about all the genres.
Speaker B:I wrote down the ones and then just the three that I remember.
Speaker B:But in terms of the monster, I think Kim Basinger is the monster.
Speaker B:Right.
Speaker B:The house is his date, is going to the dinner or whatever.
Speaker C:Yeah.
Speaker B:And the sin.
Speaker B:And we can get into this, and I.
Speaker B:And I really suspect I know what the problem with this movie is, and.
Speaker B:And we'll get to that, I guess, at the end or.
Speaker B:Or whatever, because I think the sin, it's twofold.
Speaker B:I know.
Speaker B:I think.
Speaker B:I know what they were trying to do, but I just.
Speaker B:I don't think.
Speaker C:Sure.
Speaker C:The execution wasn't there, in your opinion.
Speaker B:So the sin.
Speaker B:The movie starts out and.
Speaker B:And.
Speaker B:And what's his name?
Speaker B:Walter.
Speaker C:Yeah.
Speaker C:Bristol's character is Walter.
Speaker B:Walter.
Speaker B:Yeah.
Speaker B:Is an uptight executive, but secretly he's a guitarist.
Speaker B:Right.
Speaker B:And so he has this life that he wants to pursue, but he feels like he has to do this other thing.
Speaker B:And so chaos comes into his life.
Speaker B:And through this, I think they meant for him to transform.
Speaker B:She was going to be the transformative influence in his life.
Speaker B:And by the end of the movie, you know, he would realize his true self and all this kind of thing.
Speaker B:And like I said, we can break it down as we get to it, but I think his sin.
Speaker B:Is that okay.
Speaker C:Yep.
Speaker B:And I don't know that they intended this, but the takeaway I got from this, like, as I say, we can do this as we go through, but Walter's character, who is supposed to be the guy you feel for, I think.
Speaker B:Right.
Speaker B:He's the guy that is the victim of this blind date.
Speaker B:Right.
Speaker B:Is almost virtually completely unsympathetic to me throughout this movie and that the sympathetic character, the one I'm feeling for, is Kim Basinger's character.
Speaker B:And as we go through the beats, I can talk about why I think that.
Speaker B:And I'm not sure that's what they intended.
Speaker B:So his sin.
Speaker B:Because obviously you can't give her alcohol or she freaks out and she's.
Speaker B:Walter is told that Nadia is Kim Basinger's character.
Speaker B:She tells him I shouldn't drink.
Speaker B:And David was like, oh, what could it hurt?
Speaker B:No, have some.
Speaker B:And almost to the absurd level, does he sort of bring alcohol into this situation?
Speaker B:So his sin, in my opinion, is okay.
Speaker B:You know, you're trying to foist Alcohol upon this woman who is saying no right now.
Speaker B:Maybe that is looking back at it with today's eyes where, you know, no means no and this kind of thing.
Speaker C:But yeah, I had similar thoughts on that.
Speaker C:Not necessarily on that beat, but just at the beginning when all the.
Speaker C:There's all the men are sitting around the table at work and I think there's two females there, and they start cracking jokes about, you know, women and stuff.
Speaker C:I don't remember exactly what they said, but they have a specific shot of showing a female not being amused.
Speaker B:Right.
Speaker C:And about the concubines, about their client that they're meeting.
Speaker B:Yes.
Speaker C:He says he's a very old world and women should know their place.
Speaker C:But then he's got 13 concubines or whatever.
Speaker D:I had a thought on that as that was happening in the movie this last time, I looked up the direction.
Speaker D:Director.
Speaker D:The director is Blake Edwards.
Speaker B:Yeah.
Speaker D: The man was born in: Speaker D:So at this time, he was well into his.
Speaker C:Right.
Speaker D:He was old.
Speaker B:Well.
Speaker D:And he.
Speaker C:World guy and had 13 concubines himself.
Speaker D:Yeah.
Speaker D:And he, you know, the director of Pink Panther.
Speaker C:Okay.
Speaker C:I knew his name, but I couldn't.
Speaker C:I didn't look him up.
Speaker D:Yeah.
Speaker D:Mickey and Ma.
Speaker D:The man.
Speaker D:But his.
Speaker D:His repertoire goes back to the 50s.
Speaker B:Right.
Speaker D:Now, he was.
Speaker D:No, that's just.
Speaker D:And I don't know, where did that come from?
Speaker D:That's where it was.
Speaker C:Fair enough.
Speaker B:Well, yes.
Speaker C:Well, I think it's part of the story too, though.
Speaker D:Exactly.
Speaker B:Sure.
Speaker D:But he was one of the.
Speaker C:She's empowering very much.
Speaker C:Her characters empowering women.
Speaker C:I feel like.
Speaker C:Well, she rails against everything that they talk about as far as women knowing their place and all this stuff.
Speaker C:Granted, she's drinking alcohol and turning into this monster, as you called her, I guess.
Speaker C:But yeah, it's.
Speaker C:I don't know.
Speaker C:I thought that was interesting.
Speaker D:It definitely reminded me in this.
Speaker D:In the shot there towards the end with the balcony and.
Speaker D:And the dog.
Speaker D:Yeah, that reminded me just the way that it was shot.
Speaker D: Very: Speaker C:And that's like a play.
Speaker D:That's.
Speaker D:When I viewed who directed it.
Speaker D:I'm like, oh, okay.
Speaker D:That's why it feels.
Speaker D: It feels like an old movie in: Speaker B:Blake.
Speaker B:I don't know.
Speaker B:You guys are probably.
Speaker B:And this will not be the first time I say this.
Speaker B:You guys are too young.
Speaker B:Okay.
Speaker D:Ouch.
Speaker B:But we.
Speaker B:I grew up on Blake Snyder, and Blake Snyder is known for Edwards one.
Speaker B:Blake Edwards.
Speaker B:Yeah.
Speaker B:Is.
Speaker B:Is.
Speaker B:Blake Edwards is known for a certain type of movie okay.
Speaker B:And it's a movie that in my opinion, is light on story.
Speaker D:Yes.
Speaker B:And heavy.
Speaker B:Heavy, Heavy on raunch and sight gags.
Speaker D:Yes.
Speaker B:Okay.
Speaker B:All the Pink Panthers.
Speaker B:He made a movie called Victor Victoria, which I saw once.
Speaker B:I don't remember that so much, but it was about, I think, a cross dressing Broadway person or something.
Speaker B:Anyway, most most famously, he made a movie called S.O.B.
Speaker B:and quite literally, I think that the whole purpose of that movie was for Julie Andrews from Sound of music, you know, Ms.
Speaker B:Innocent, sweet Julie Andrews.
Speaker B:The whole purpose of that movie was for her to flash her tits.
Speaker B:Okay.
Speaker B:Because that's what the movie's about is getting this sweet actress into a role where she flashes her tits and then she does.
Speaker B:It's very, very light on story and heavy on the raunch and sight gags.
Speaker D:Well, that makes total sense now.
Speaker C:Yeah, for sure.
Speaker C:Yeah, definitely.
Speaker C:There was.
Speaker C:I have some notes in there and I think I just got my answers.
Speaker C:But yeah, yeah, I mean, let's go ahead and get into it if we're ready.
Speaker C:That was the end of the introduction.
Speaker C:Maybe it's not.
Speaker B:Yeah, I think that's.
Speaker B:I think that's what we're dealing with when you're dealing with this kind of movie.
Speaker B:So based on that, I had a hard time Nailing down concrete 15 beats, I think.
Speaker B:I think they're blurry at best.
Speaker B:We're supposed to.
Speaker B:In the opening image, Walter is running around.
Speaker B:We're supposed to get the idea that he's, you know, frenetic.
Speaker B:His, his life is almost out of control because he's trying to pursue money and success and he thinks this is the way to do it.
Speaker B:And so he's running late or whatever.
Speaker B:I watched this opening scene of Walter.
Speaker B:I don't know how what you guys thought of this, the opening scene of Walter, like packing his suitcase in his apartment and putting his tie on.
Speaker B:And to me, like, it was the most slow, plodding, gotta hurry scene I've ever seen in my life.
Speaker B:Okay.
Speaker B:Like I'm watching Bruce, okay.
Speaker B:And he's supposed to be in a hurry.
Speaker B:And I'm looking at my watch like this scene is going on forever.
Speaker B:And he doesn't seem to be moving fast.
Speaker B:It just seems very plodding, the whole pacing of that scene when he's supposed to be in this big hurry.
Speaker C:I didn't think about it really like that, but as far as, like, why was it slow and did it feel slow?
Speaker C:But I know, I guess looking back on it now, my thoughts started wandering.
Speaker C:I remember when he was Messing around with his briefcase and at the table and like you said, doing all the things, trying to get dressed.
Speaker C:I started thinking about his performance, and I guess I did that a lot with just these four movies.
Speaker C:And we can get into it later, but just his performance and how it changed from the different movies and the different characters.
Speaker C:Like, I feel like out of the four movies we chose, he plays two kind of outgoing characters and then two very subdued characters.
Speaker C:So I was thinking about that, but again, watching this movie, movie just starts.
Speaker C:Mind already wandering.
Speaker C:And.
Speaker C:Yeah, I think that's 100%.
Speaker C:And that's why you just nailed it.
Speaker C:It's slow.
Speaker C:Like, there should have been quick cuts.
Speaker C:Like.
Speaker B:Yes.
Speaker C:I think I was going to kind of wait and see if I still felt this way after we got.
Speaker C:Got done talking about this movie.
Speaker C:But I'm gonna go ahead and say it.
Speaker C:I feel like maybe this movie, after pointing out Blake Edwards and what this guy's done in his style, and I think James, you know, hit the nail on the head.
Speaker C:This movie felt old in 87.
Speaker C:87 was like, you know, I mean, cinema was starting to change at this point.
Speaker C:I mean, there's so many, like, exciting movies that came out of the 80s.
Speaker B:Yeah.
Speaker C:I think this movie had been directed by somebody younger and somebody more, dare I say, hip.
Speaker C:This movie might have been a lot better than it was because.
Speaker C:Yes, it's.
Speaker C:Again, I think it's that slow.
Speaker C:This guy didn't have the quick cuts that the energies of this needed to show this guy rushing around.
Speaker C:Ye said it came off.
Speaker C:Let me just.
Speaker C:He sets up the camera and just lets it play instead of, you know, changing angles and making quick cuts.
Speaker B:Right.
Speaker B:He.
Speaker B:He has.
Speaker B:He.
Speaker B:And I.
Speaker B:I want to say that it was obviously towards the end of his career.
Speaker B:I don't know how many more movies made after this, but, yeah, he is still.
Speaker B:He is.
Speaker B:He made one kind of movie.
Speaker C:Yeah.
Speaker B:And there was a time when, you know, that was the thing.
Speaker B:And.
Speaker B:But I think by this time, not so much.
Speaker C:And I guess since it's you and I talking about the beats, I guess you were talking about opening image.
Speaker C:My opening image was a little bit different from you.
Speaker C:I felt like you kind of described the opening sequence.
Speaker B:Yeah.
Speaker C:And I tried to narrow it down to a single image every time.
Speaker C:And so I had him, like, first time we see him, he's asleep at his desk and the bed's clearly made.
Speaker C:So this guy's so busy that he falls asleep at his desk.
Speaker C:Right.
Speaker C:Right before we see him rushing around all that, like, you get that?
Speaker C:And the.
Speaker C:Again, I don't think the movie was.
Speaker C:I'm with you.
Speaker C:The movie wasn't executed as well, especially the story in his arc that they were trying to tell.
Speaker C:But there's a cool shot of the guitar forgotten in the corner, right?
Speaker B:Yeah, yeah.
Speaker D:Very nice guitar, by the way.
Speaker D:Is it Fender Stratocaster?
Speaker C:Nice.
Speaker D:Very nice.
Speaker C:All right.
Speaker B:Yeah.
Speaker B:So.
Speaker B:So this.
Speaker B:And he's.
Speaker B:He's asleep because he stayed up late.
Speaker B:We learned later he stayed up late trying to work on this big presentation.
Speaker B:So he's a plugger, he's a worker.
Speaker B:He's got a friend who, who even during the meeting didn't do his work right.
Speaker B:And, and he makes some excuse and the boss was like, okay, so he.
Speaker C:Gets away with it.
Speaker B:Yeah, it gets away with it.
Speaker B:While Bruce is.
Speaker B:Walter is slaving away, killing himself.
Speaker B:And his boss says, you look like shit.
Speaker B:Your suit looks like shit.
Speaker B:You know?
Speaker B:You know, look at this guy here.
Speaker B:And this, the one doesn't do anything.
Speaker B:So this is his life.
Speaker B:He's in a place he does not want to be.
Speaker B:He's a rock and roller in a three piece suit kind of thing.
Speaker B:You know, that's, that's the impression that, that we're getting.
Speaker C:Well, the, the also I have a note here.
Speaker C:As far as the setup goes, also, they set up the co worker, I don't remember his name, being a complete sleazebag.
Speaker B:Yeah.
Speaker C:You know, and he's like telling the story about, you know, this chick in the limo.
Speaker C:And yeah, Bruce was like, no, this didn't happen.
Speaker C:This is, you know, you're making this up.
Speaker C:And then he shows him like his pictures or whatever.
Speaker B:Right.
Speaker C:Um, how do you get women to do these things?
Speaker C:Like, my first thought was he was jealous of, of him.
Speaker C:Like Walter was jealous of his friend because he's like, how do you get women to do these things?
Speaker C:Right?
Speaker C:And then a little bit later, like, I don't know that that's necessarily the case.
Speaker C:Just that was my first impression that maybe he was jealous of it, which he's probably just jealous of.
Speaker C:The.
Speaker C:This guy can.
Speaker C:Has the girl, you know, cannot do his, his work at, you know, at the job and not get yelled at by the boss.
Speaker C:He's got a nice suit.
Speaker B:Yeah.
Speaker D:It definitely struck me as I'm doing everything I can and this guy's not.
Speaker C:Doing anything and gets all of it.
Speaker D:It's everything.
Speaker D:Yeah.
Speaker D:What am I doing wrong?
Speaker D:I don't belong here.
Speaker C:Here.
Speaker D:That's what I got out of that.
Speaker B:Yeah.
Speaker B:And, and so he was rushing, rushing, rushing.
Speaker B:But now he's able to stop and look at pictures and talk like.
Speaker B:Like, yes.
Speaker B:You know, so some of the story logic.
Speaker B:But again, Blake Snyder's not interested in that.
Speaker B:Blake Snyder is interested in.
Speaker B:Where's the next gag?
Speaker C:Edwards?
Speaker B:Where's Blake Edwards?
Speaker B:Yeah, Edwards.
Speaker C:Blake Snyder is very much interested in that.
Speaker B:He is, absolutely.
Speaker B:Where's the next gag?
Speaker B:Right.
Speaker B:Okay.
Speaker B:So any.
Speaker B:Any other thoughts or whatever about these opening sequences?
Speaker B:Jer, you got.
Speaker B:You have any thoughts about this, how this movie started off for you or whatever?
Speaker B:I mean, no, not really.
Speaker B:Yeah, it's.
Speaker B:I mean.
Speaker A:I don't know.
Speaker B:Yeah, I mean, I.
Speaker B:I just thought.
Speaker C:It was like I was asleep.
Speaker B:Yeah, no, I.
Speaker A:I mean, I have thoughts about the movie, but.
Speaker B:Yeah, well, we.
Speaker A:Not about what y' all were talking about.
Speaker A:Well, yeah, like, things like, you know, like, I miss Phil Hartman and stuff.
Speaker B:Yeah.
Speaker A:Glad to see him.
Speaker A:And I.
Speaker A:I don't remember him being in the movie, so.
Speaker B:Yeah, I didn't know.
Speaker B:I didn't know he was in the movie, to be honest with you.
Speaker C:Yes.
Speaker C:They sported him out before.
Speaker C:Before I noticed it was him.
Speaker B:Yeah.
Speaker A:And I mean, it did bring back a lot of memories from the 80s.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:This.
Speaker B:This is a guy who had big movies in the 70s making a movie in the 80s.
Speaker B:And I think.
Speaker B:And I.
Speaker B:And I think he.
Speaker B:There's.
Speaker B:There's one singular reason that I think this movie is like it is.
Speaker B:And I don't know when to bring that up, but let's get.
Speaker B:We'll just run through this real quick and then.
Speaker B:Then we can have general discussion or whatever.
Speaker B:So this is his.
Speaker B:His.
Speaker B:His normal situation.
Speaker B:And obviously in any story, a character is going along until a rock is dropped in his pond and he's forced to react.
Speaker B:Well, the catalyst here is.
Speaker B:And again, this is all sort of, you know, it's not major, but he has a date for this big party, and the rules have already been set up that it's an old world guy, you got to be on your best behavior and everything.
Speaker B:And Bruce Willis date is canceled.
Speaker B:Walter's date is canceled.
Speaker B:And so now he is having to get another date, and his brother sets him up with Nadia as is, you know, according to, you know, good story mechanics, typically the hero refuses.
Speaker B:So Walter is refusing to go on this date with Nadia initially because he has had experience with his brother setting him up before, and it hasn't gone well.
Speaker C:Right.
Speaker B:And it hasn't.
Speaker B:Hasn't gone well.
Speaker B:A movie that I thought of when I was watching this.
Speaker B:That is also a monster in the house.
Speaker B:And maybe that sort of influenced my decision was.
Speaker B:Was Gremlins.
Speaker B:I don't.
Speaker B:You've all seen Gremlins.
Speaker B:There were certain rules about what you could do and not do with a gremlin.
Speaker B:Like you couldn't get them wetter.
Speaker B:They turned into monsters.
Speaker B:Well, that's essentially, I think what is happening with.
Speaker B:With Nadia.
Speaker B:Okay.
Speaker B:She is.
Speaker B:She's a gremlin until you get her drunk, right?
Speaker B:And then she turns the way around.
Speaker C:She's gizmo.
Speaker C:And then you get her drunk, she turns a.
Speaker B:No to a gremlin.
Speaker B:I guess that's sort of what.
Speaker C:No.
Speaker C:I had a similar thought on that.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker C:Just with the rules, I think is what it was.
Speaker C:Well, not.
Speaker C:I still don't.
Speaker C:I'm not convinced it's Monster in the House.
Speaker B:Right.
Speaker C:But just.
Speaker C:Yeah.
Speaker C:I mean, the biggest.
Speaker C:The other monster.
Speaker C:Monster in the house movies we talked about, right?
Speaker C:Gremlins, Jaws, aliens.
Speaker C:Ripley doesn't go out, end up with the alien at the end.
Speaker B:Right.
Speaker C:The Roy Schneider doesn't end up with Jaws.
Speaker C:Right.
Speaker C:They kill the monster.
Speaker B:You're right.
Speaker B:Well.
Speaker C:Well, all right.
Speaker C:Okay.
Speaker C:Maybe you got something.
Speaker C:Maybe there's.
Speaker C:Later on he kills the monster, but.
Speaker B:The monster gets killed.
Speaker B:Because, you know, we could jump right to it.
Speaker B:But the final image obviously, is them together.
Speaker B:I mean, who didn't see that coming, right?
Speaker B:And in the champagne bottle is a bottle of Coke.
Speaker B:Right?
Speaker B:So the monster has to be either subdued or killed.
Speaker B:Like they have to kill that monster for them to continue on.
Speaker B:Right.
Speaker B:They can't.
Speaker B:It's.
Speaker B:If you've turned Jaws into a house pet, maybe.
Speaker B:I guess.
Speaker B:I don't know.
Speaker D:Jaws into a goldfish.
Speaker B:Yeah.
Speaker B:You know, no, I definitely.
Speaker C:I saw the coke at the end for sure in the.
Speaker C:In the champagne.
Speaker B:This movie's wanted to be clever.
Speaker B:I just could have.
Speaker C:I don't feel there's like they didn't set that up like that.
Speaker C:I don't feel like they.
Speaker C:If she's being tamed.
Speaker C:Right.
Speaker C:Like, I feel like she's one.
Speaker C:Just like at the beginning.
Speaker C:She's one freaking drink away from ruining the honeymoon now.
Speaker C:You know what I mean?
Speaker C:Or the next date or whatever it was they were going on after that.
Speaker C:Like, I didn't get any sense of.
Speaker C:She's turned the corner.
Speaker C:She's not gonna drink anymore, like, ever again.
Speaker B:Well, she wasn't drinking before she and tells.
Speaker C:She said no, but she didn't put up that much of a fight.
Speaker C:Like, if I know I'm turning into Freaking, you know, Jekyll or hide.
Speaker C:Sorry.
Speaker C:Hide.
Speaker B:Yeah.
Speaker C:Like, if I'm in that situation, as soon as I have a drink, I'm turning to freaking hide.
Speaker C:I'm gonna put up a little bit more of a fight then.
Speaker C:Oh, no, I shouldn't.
Speaker C:I should.
Speaker C:Okay.
Speaker B:Well, you know, like, sure, she's got.
Speaker C:To drink it for the store to work too, but.
Speaker B:Well, yeah.
Speaker B:Okay.
Speaker B:I'll just say this.
Speaker B:So much stuff happens in this movie because they needed it.
Speaker C:Needed it.
Speaker C:That's the worst kind.
Speaker C:One of the worst sins is as a writer.
Speaker B:Yeah, sure.
Speaker B:Well, this happens because I needed to and I wanted.
Speaker B:I.
Speaker B:I just.
Speaker B:I want to say it, but I want to get through this because it'll.
Speaker B:It'll justify everything.
Speaker B:Yeah.
Speaker B:So.
Speaker B:So.
Speaker B:But that's.
Speaker B:That's what I think is part of Walter's sin.
Speaker B:Okay.
Speaker B:Is he doesn't heed the sin in.
Speaker B:In Gremlins was that they got wet or they were allowed to get wet.
Speaker B:Right.
Speaker B:I can't remember.
Speaker B:Yeah, yeah, yeah.
Speaker C:Fed him after midnight.
Speaker C:And then they.
Speaker C:Yeah, they got wetland.
Speaker B:And we're fixing to get into the cause.
Speaker B:The debate is not really any debate.
Speaker B:He does refuse.
Speaker B:And his bump into accepting is that he can't find anybody else.
Speaker C:Yeah.
Speaker C:There's a beat where he calls a scene where he calls somebody else and she's not available or whatever.
Speaker C:Right.
Speaker C:Yeah.
Speaker C:So then he commits and calls Ted about the audience.
Speaker B:So he accepts the call, which leads us to our break into two.
Speaker B:The second act.
Speaker B:Right.
Speaker B:So now he has to step into the choice he's made and him and Nadia and this.
Speaker B:I will.
Speaker B:I will.
Speaker B:And I almost want to say it's unintentional, unless it's a leftover, which I'll say in a minute because I noticed this about some of the movies we watched.
Speaker B:And.
Speaker B:And it is interesting to me when this kind of thing happens, like when you go to the first act to the second act, it's a different world.
Speaker B:Right.
Speaker B:So you're leaving your ordinary world and you're going into the strange new world of the second act.
Speaker C:Should be.
Speaker B:Yeah.
Speaker B:And so I started noticing the act breaks just in these four movies.
Speaker B:And a lot of times it is through, like, a physical, actual door that they'll step through a door from the first act into the second act.
Speaker B:And you can tell me if.
Speaker B:If you pegged the second act.
Speaker B:Where I'm pegging it, But.
Speaker B:So he debates, and then he goes to meet Nadia at her hotel or apartment or whatever it is, and knocks on door and steps into the door of her room.
Speaker B:And now we're into the second act.
Speaker B:Is that.
Speaker C:Yeah, no, that's where I had it.
Speaker C:Like.
Speaker C:I mean, I guess I wrote it down as his breaking into.
Speaker C:As him actually calling Ted, going, okay, I'll go on the date.
Speaker C:But, yeah, but you're.
Speaker C:Because that's his decision.
Speaker C:But, yeah, basically, the first scene of Act 2, the funny games, is going through the doorway.
Speaker C:Yeah.
Speaker C:And I didn't.
Speaker C:I missed that.
Speaker C:I didn't even think about him going through a doorway.
Speaker B:But that's crossing the threshold.
Speaker C:Yeah, exactly.
Speaker B:One of the systems.
Speaker C:A little bit of.
Speaker C:A little bit of credit there.
Speaker C:But.
Speaker C:But yeah, yeah.
Speaker C:Him going to pick her up.
Speaker C:And that's her apartment.
Speaker C:Yes.
Speaker C:Is that what we got?
Speaker B:I can't remember if it's her apartment or her hotel.
Speaker B:I can't remember because.
Speaker C:Not a random apartment that she just is staying at.
Speaker B:No, she's staying there.
Speaker B:But she's.
Speaker B:Her brother's.
Speaker B:His brother's wife's cousin.
Speaker B:Right.
Speaker B:Or something.
Speaker B:Yeah.
Speaker B:So I don't know if she's in town.
Speaker C:I brought it up because there's a.
Speaker C:I got a note for later on when he's.
Speaker C:We can go ahead and talk into it.
Speaker C:Talk about it, I guess, since I brought it up.
Speaker C:But, like, later on, he's.
Speaker C:I just want to take you home now.
Speaker C:Where they make this big, huge debate.
Speaker B:Where's your friend.
Speaker C:Friend's address?
Speaker C:Give me the address.
Speaker C:And.
Speaker C:And when I'm watching this, I'm like, why didn't he just take her if he's so eager to get rid of her?
Speaker C:Get her back to where he picked her up from, like, what?
Speaker A:She packed her suitcase and it was in the back, so she was gone.
Speaker C:You're right.
Speaker C:She did have the suitcase.
Speaker D:I think it was a hotel.
Speaker C:It's just a hotel.
Speaker C:Okay.
Speaker A:Yeah.
Speaker C:I got a credit card.
Speaker C:I'm checking you back into this hotel.
Speaker C:That's what I would have done.
Speaker C:Well, yeah, but no.
Speaker D:Here's a bus stop lady.
Speaker C:Yeah, but.
Speaker C:Okay, I missed that.
Speaker C:Yeah.
Speaker C:All right.
Speaker C:You're right.
Speaker C:Suitcase in the hotel.
Speaker C:Okay, good.
Speaker B:So.
Speaker B:So if this is a romantic comedy, which I think it should be, you.
Speaker C:Know, but it's a monster in the house.
Speaker C:Can't be a romantic comedy.
Speaker C:Well, can't be a.
Speaker C:What is it, buddy?
Speaker C:Love is what he calls it.
Speaker B:Yeah, sorry.
Speaker B:The break into two.
Speaker B:Like the.
Speaker B:The.
Speaker B:They meet each other, the lights go out, and when they finally do meet, it's almost like they're love at first sight.
Speaker B:They're both very pleased with Each other's appearance or whatever.
Speaker B:Right.
Speaker C:On a blind date, you don't want to be ugly.
Speaker C:Right.
Speaker B:So they're both pleased actually.
Speaker C:Like that be where the lights go out.
Speaker C:And it' because she's making jokes about.
Speaker C:Well, here's your chance to run up.
Speaker B:It's a meet cute.
Speaker B:Right?
Speaker B:That's how the.
Speaker B:They first meet or whatever.
Speaker D:A meet cute.
Speaker C:Yeah, that's what it's called.
Speaker C:Yeah.
Speaker B:A meet cute is.
Speaker B:Yeah.
Speaker B:Is the, the point in the.
Speaker B:In a romantic comedy that that brings the two lovers across each other's paths and it's usually outlandish and a big event in the story.
Speaker B:Right.
Speaker B:It's not.
Speaker C:Yeah.
Speaker C:It's got to be clever.
Speaker C:It can't just be them run into each other at a coffee shop.
Speaker C:Right.
Speaker C:That's boring.
Speaker C:Nobody wants to see that.
Speaker C:So they like.
Speaker C:I can't think of any examples all of a sudden.
Speaker C:But like romance comedies typically do it really well.
Speaker C:Like there was one I got think I just thought of.
Speaker C:I don't think it's romance comedy, but there's a.
Speaker C:I think the movie's called Stuntman or something.
Speaker C:I don't know.
Speaker C:That's romance comedy.
Speaker C:But he's how they meet.
Speaker C:The meet cute.
Speaker C:How the main guy who's a stuntman meets love interest as he ends up saving her on the.
Speaker C:He's a stuntman, ends up saving her life or whatever by performing a stunt.
Speaker C:Right.
Speaker C:So that kind of thing.
Speaker C:Yeah.
Speaker D:They call characters together.
Speaker C:Yeah.
Speaker C:But in a.
Speaker D:In a weird, interesting way.
Speaker B:Yeah, yeah.
Speaker B:It is a major beat in romantic comedies.
Speaker B:And it's usually a lot of fun or whatever, you know, done well.
Speaker C:It's fun.
Speaker C:Yeah.
Speaker B:The.
Speaker B:The one thing, one of the things I did like about the scene, and it's, you know, just a clever little twitch.
Speaker B:Walter burns his hand like he's holding the match and he burns his hand.
Speaker C:And could he stare at her so long?
Speaker B:Sure.
Speaker B:But it's, it's, it's.
Speaker B:And again, I don't want to credit too much.
Speaker D:He doesn't want to praise the movie too much.
Speaker B:Okay, all right, let me.
Speaker B:Let me just say this, all right?
Speaker C:But he's being sucked in and seduced by this.
Speaker B:Well, he burns his hand.
Speaker B:Yes.
Speaker B:Which is foreshadowing of you are in for some pain and.
Speaker C:Yeah.
Speaker B:Hot time, you know, Now.
Speaker B:All right, let me just put this out there because, you know, if not, I'll be stumbling it over the rest of the time until I get to it.
Speaker B:The writer of this movie, he wrote the movie.
Speaker B:Okay.
Speaker B:I can't Remember his name.
Speaker C:I didn't want to remember his writers names.
Speaker C:Phil.
Speaker D:Well, barely.
Speaker B:And he doesn't want you to remember his name along with this movie.
Speaker B:He wrote the movie and submitted it.
Speaker B:Yeah.
Speaker D:Dale Lawner.
Speaker D:Blake Edwards, uncredited.
Speaker D:And Leslie Dixon.
Speaker D:Okay, well, Blake Edwards had a director.
Speaker B:Okay.
Speaker B:So I looked up this writer and he.
Speaker B:He wrote.
Speaker C:What was his name?
Speaker D:Dale Lawner.
Speaker B:He wrote Dirty Rotten Scandals.
Speaker B:He wrote My Cousin Vinny.
Speaker B:This guy, people, Ruthless people.
Speaker B:He's got chops.
Speaker B:Okay?
Speaker B:It's like, what the hell happened here?
Speaker C:Edward ruined it when he came in and he said he.
Speaker B:I even have a quote.
Speaker B:Yeah.
Speaker D:He wanted nothing to do with it.
Speaker D:Yeah.
Speaker D:Nothing like it.
Speaker C:Where I thought you were going was Alan Smithy.
Speaker C:Like, because I didn't pay attention.
Speaker C:I thought you.
Speaker D:I think it almost got to that level.
Speaker D:If you want to explain what Alan Smithy is.
Speaker C:Alan Smithy is when.
Speaker C:When you know, as a writer, if a project is so bad, like, it's just your baby was ruined so bad, and you don't want anything to do with it.
Speaker C:You don't want the world to know that you had anything to do with it.
Speaker C:You can have, instead of your name put on the credit.
Speaker C:You can put Alan Smithy.
Speaker C:Right.
Speaker B:So this.
Speaker B:I put this at the.
Speaker B:At the bottom when I was looking up, you know, trivia and stuff.
Speaker B:But this is an actual quote from the writer.
Speaker B:Okay.
Speaker B:Blind Date was rewritten by so many people.
Speaker B:If you hated it, it's not my fault.
Speaker B:And if you liked it, I can't take credit for it.
Speaker B:And he actually, like, disavowed it.
Speaker C:Yeah.
Speaker B:That's okay.
Speaker B:He disavowed this movie.
Speaker B:And it lists two people uncredited, but if you look further, there's like two or three more people.
Speaker C:Yeah.
Speaker B:Who had their hands on this thing after he did.
Speaker B:So I would love to have gotten a hold of, like, the script he wrote, because I bet it's tight.
Speaker B:Like.
Speaker C:Yeah.
Speaker B:You know, his other movies aren't my favorites, but I've seen them and liked them.
Speaker B:Right.
Speaker B:My cousin Vinnie is really good.
Speaker B:You know, I've never seen that one.
Speaker B:And Dirty Rotten Scandals was Steve.
Speaker B:Was Steve Martin, right?
Speaker B:Yeah, yeah.
Speaker B:And Michael Kane.
Speaker B:Yeah.
Speaker B:So.
Speaker B:But he disavowed this movie, Right.
Speaker B:He's like, if you liked it, I had nothing to do with it.
Speaker B:And if, you know, if you hated it, that's not my fault.
Speaker D:You know, leave my name out your.
Speaker B:Mouth about this movie because for whatever reason, and.
Speaker B:And I can only assume that Blake Edwards got hold of this thing.
Speaker B:It's like, well, where's all my jokes, man?
Speaker B:Where's all my jokes?
Speaker B:And.
Speaker B:And went to work and.
Speaker C:Yeah, maybe the writer said something along the lines of, you want your jokes in there, you write them.
Speaker C:And so he did.
Speaker B:Yeah, he.
Speaker B:I think he took the money and he left the building because.
Speaker C:Hope the check was worth it.
Speaker B:Yeah.
Speaker C:Because.
Speaker C:Yeah, that sucks.
Speaker B:Yeah.
Speaker C:As a, as a writer to.
Speaker C:Yeah, because he's pretty proud of his draft, you know.
Speaker B:Yeah.
Speaker B:No, I'd be interested to know what his draft looked like because I guarantee it didn't look like this, which means it probably was tighter.
Speaker B:You know, I couldn't nail down a theme on this.
Speaker B:Like, there was no point.
Speaker B:There was.
Speaker B:At no point did I ever hear a character or a theme stated.
Speaker B:My God, a theme in a Blake Edwards movie.
Speaker B:Forget it.
Speaker B:Right.
Speaker B:I mean, I.
Speaker C:Well, yeah, what's funny is I was looking here at my notes and I use the.
Speaker C:So try to make this quick.
Speaker C:Went through and just wrote down all the 15 beats.
Speaker B:Yeah.
Speaker C:And then just use that same format for each movie.
Speaker B:Yeah.
Speaker C:And then went in and like changed my stuff.
Speaker C:And on Blind Date.
Speaker C:The theme I have written here is the actual.
Speaker C:The theme for Unbreakable.
Speaker C:Like, so the theme was so not obvious in this movie that I even skipped over that beat and didn't go back.
Speaker B:Yeah.
Speaker B:I have no theme state, no theme, no apparent theme stated.
Speaker B:I just wrote that.
Speaker B:I like.
Speaker C:Yeah, I skipped that.
Speaker B:That's asking too much.
Speaker B:That.
Speaker A:What do you mean theme?
Speaker B:Like typically a character, somebody will say what the emotional story is.
Speaker B:Okay.
Speaker B:We'll get to it when we get to Unbreakable.
Speaker B:Right.
Speaker B:But in Unbreakable, I think it comes.
Speaker B:There's reasons for it, but I think it comes way late.
Speaker B:I think the theme is we live in mediocre times and people don't realize that there is extraordinary potential in themselves or anybody else, you know, and so that's.
Speaker B:The theme is, is the times we are living in devoid of people who can still have extraordinary things in themselves.
Speaker B:And the movie answers that question.
Speaker C:Yeah, it's typically a statement.
Speaker C:And then a well done movie will then spend the rest of the movie arguing that is it true or not, this statement?
Speaker B:And it usually takes place within the first five or 10 minutes, doesn't necessarily have to.
Speaker B:And again, the way we're breaking down this movie is one way.
Speaker B:I think, I think we can talk about it when we get to it.
Speaker B:But I think Unbreakable does something different than.
Speaker B:Than usual and there's reasons for it.
Speaker B:But the.
Speaker B:I think, you know, there's Because I'm looking for a character to say something that is the argument of the movie, you know, and then, like Chris said, the rest of the movie, we'll talk about it.
Speaker C:I think that argument is.
Speaker B:That argument blocks nails the out of this, and I can't wait to talk about that.
Speaker B:But this movie, you are.
Speaker B:You are looking for gold in the dung heap as far as the theme goes.
Speaker B:Because even romantic comedies will have a theme.
Speaker C:Sure.
Speaker B:Good, good.
Speaker B:Romantic comedies will have a theme that.
Speaker B:That one lover needs to learn the other and that the other lover teaches them or that they both need to learn.
Speaker B:And you see, I'm saying.
Speaker C:So, yeah, I said it before.
Speaker C:But like, you know, with.
Speaker C:I wish action movies and other movies had the same structure or same.
Speaker C:They all have the same structure, the same tightness.
Speaker C:You take 10 romantic comedies, their structure is gonna be nailed down.
Speaker C:And you take 10 action movies or 10 dramas, and their structure is not gonna be as tight as romantic comedies.
Speaker C:Like romance comedies nail structure down.
Speaker C:Like all those writers know what they're doing.
Speaker B:Yeah, no, it is.
Speaker C:And I wish romance comedy being one of my least favorite movies types of movies.
Speaker C:I wish action movies and dramas and comedies and other stuff had that the structure that romance comedies do.
Speaker C:Yeah, but that's whether the number one seller.
Speaker C:Right.
Speaker C:Like, romance books are still the number one seller.
Speaker C:And I'd be willing to bet it's because that tight structure, besides fantasy, fulfilling.
Speaker C:Right.
Speaker B:And I've heard screenwriters say it.
Speaker B:I'm sure Blake.
Speaker B:Blake Snyder, you know, would have been a full agreement even when he's talking about structure.
Speaker B:But writers and directors have said that when people go to a movie, they don't go to a movie to learn about structure or whatever.
Speaker B:They go to a movie to feel something.
Speaker C:Sure.
Speaker B:And so I've even heard, like, people say that two thirds of your movie can be mediocre, but if you grab them at the end, that's what they're going to remember.
Speaker B:Right.
Speaker B:So.
Speaker B:So that's.
Speaker B:That's what I think a theme will capture.
Speaker B:A theme will put something out there and you will feel it.
Speaker B:Because when I watch Unbreakable, like we watched it this time, and I get the same reaction every single time I watch it.
Speaker B:Okay.
Speaker B:And I've seen it.
Speaker B:I know it's coming.
Speaker B:But I'm never jaded by that movie.
Speaker B:Okay.
Speaker B:I have the same.
Speaker B:I cry in the same spots every single time because that movie has done it.
Speaker B:They know what they're going for and they do it.
Speaker B:This.
Speaker B:This movie, I feel like, has lost some Identity.
Speaker B:And I think it's because they took the script away from the guy wrote it.
Speaker B:And so many.
Speaker C:Well, I was gonna say that.
Speaker C:And we can get into it later.
Speaker C:But it's interesting note, like, when you said that, I thought occurred to me, like, we referenced this movie being directed by a guy who's probably past his prime.
Speaker B:Yeah.
Speaker C:Right.
Speaker C:And making a different kind of movie for 87.
Speaker C:And then the writer, he even, like, took over kind of for the writer, it sounds like, and hijacked the project a little bit.
Speaker C:Unbreakable was written and directed by the same guy.
Speaker B:Yes.
Speaker C:Like, one guy was in control of all of it.
Speaker B:Right.
Speaker B:I don't know the writer necessarily, of 16 blocks, but I was very pleased.
Speaker B:And I.
Speaker B:I guess I didn't know it when I went in.
Speaker B:We'll get into it when we talk about 16 blocks, but Richard Donner directed that, and I walked away from that movie thinking, man, because he did all the.
Speaker B:All the Lethal Weapons.
Speaker B:Right, Right.
Speaker B:He obviously knows Story, did the Superman, whatever, you know, Donner, Cutter.
Speaker B:Right.
Speaker B:But he.
Speaker B:He, like Shyamalan, has a very definite vision and a very large skill set to achieve that vision.
Speaker B:I don't want to take away anything from Blake Edwards because he makes a certain kind of movie and he did that movie well.
Speaker B:But his skill set is not story and it's not theme.
Speaker B:When you're making a movie, you know, about some actress, you know, removing her top, and that's your movie.
Speaker B:But.
Speaker B:But people who go to those movies know that, and so they're waiting for the next Blanket wars movie to come out because that's, you know, like.
Speaker B:Like action movies.
Speaker B:Right.
Speaker B:I mean.
Speaker C:Right.
Speaker B:You're sitting next to a guy with, you know, with a ball cap and a trucker shirt on, and he's cheering at.
Speaker B:At Statham.
Speaker B:Well, that he.
Speaker B:You have taught.
Speaker B:You've hit your target audience.
Speaker B:Right.
Speaker B:He's not gonna.
Speaker B:He's not gonna watch, you know, Downtown Abbey or whatever.
Speaker B:Right.
Speaker B:So you gotta know your audience.
Speaker B:And Blake Edwards knew his audience.
Speaker C:I wanted to.
Speaker C:I wanted to like.
Speaker C:Like stop you or go, hey, hey, hey, man.
Speaker C:Like, wait a minute.
Speaker C:But it's you.
Speaker C:I don't remember what the guy looked like, but you caused.
Speaker C:Had a memory when you said that.
Speaker C: Came back in: Speaker C:I remember watching this Jean Claude Van Damme film.
Speaker C:And the first.
Speaker C:Unlike some of his other movies, that one, I feel like, takes a little bit to get into him, like doing his action and his kicks and his fights, and I think he jumps up on the hood of a car and kicks this guy in the first.
Speaker C:So it's kind of this.
Speaker C:It's not just a regular kick.
Speaker C:It's kind of, I guess.
Speaker C:I don't know, like, showy.
Speaker C:Right.
Speaker C:Which Van Damme was all about.
Speaker C:Showy kicks.
Speaker C:Anyhow, this guy, I don't know what he looks like, but I remember specifically watching the theater when Van Damme jumps up and kicks this guy.
Speaker C:I remember a guy in the crowd going, yeah, getting all excited.
Speaker C:And that's.
Speaker C:That's exactly the guy you're describing.
Speaker C:That guy was.
Speaker C:He was.
Speaker C:If he wasn't hooked already, he's hooked for the rest of that movie.
Speaker C:And cheering every time Van.
Speaker B:He went.
Speaker C:Somebody in the face.
Speaker B:And.
Speaker B:And I think.
Speaker B:And people who went to see Blake Edwards movies.
Speaker C:Right.
Speaker B:If you were a teenage kid.
Speaker C:Yeah.
Speaker B:You went to see a Blake Edwards movie because you were gonna see.
Speaker C:Yeah.
Speaker B:You know what you wanted?
Speaker C:So many.
Speaker D:A little bit of raunchy, a little bit of raunch.
Speaker C:So many of the gags in this.
Speaker C:And I did it just.
Speaker C:I felt completely out of place.
Speaker C:Place.
Speaker C:Like, don't get me wrong, I love raunchy.
Speaker C:But this was.
Speaker C:I was not expecting that going into this movie.
Speaker B:Yeah.
Speaker B:Like the rest of the art galleries that they go to.
Speaker B:Right?
Speaker C:Yeah.
Speaker C:Okay.
Speaker C:Yeah.
Speaker B:Erotic art.
Speaker B:Well, the reason that is because it's Blake Edwards.
Speaker B:Right.
Speaker B:There's.
Speaker C:Well, and part of that.
Speaker C:And I meant to look it up, and I feel bad that I didn't.
Speaker C:And I'm pissed off, actually, that I didn't look it up on who that artist was, because the imagery in there reminded me of.
Speaker C:And I'm probably getting the name wrong, but I want to say it's HR Gigger.
Speaker C:The guy that did Alien.
Speaker C:Is it him?
Speaker C:Geiger.
Speaker D:Yeah.
Speaker C:The.
Speaker C:Is it him?
Speaker D:The Alien portrait is there.
Speaker B:There is an actual picture of Alien.
Speaker D:That is his painting.
Speaker D:I don't know about the rest.
Speaker C:The rest of them, but there is one in there.
Speaker C:Okay, cool.
Speaker C:So I kind of like that beat.
Speaker C:And I hate to say this, because I think feeds into what you're saying about what genre it is.
Speaker C:Like, I mean, there's literally.
Speaker C:Go to an art gallery where there's.
Speaker C:Where there's monsters.
Speaker C:Right.
Speaker C:And it's.
Speaker C:So it's this horrific art gallery kind of thing.
Speaker C:I feel like that is a foreshadowing of the night to come.
Speaker B:Sure.
Speaker B:But it's also raunch.
Speaker B:There's that.
Speaker B:There's that moving statue or whatever.
Speaker B:People.
Speaker C:Sure.
Speaker D:You know, and that's Blake that was riding a Motorcycle.
Speaker B:Okay.
Speaker D:In a very.
Speaker C:That's how I ride.
Speaker D:Very inefficient way.
Speaker A:Oh, okay.
Speaker B:Yeah.
Speaker A:I'm just remembering.
Speaker B:But there were.
Speaker B:There was, you know, the other pictures of the concubines, you know, the Oriental concubines on the wall.
Speaker B:It's.
Speaker B:So that's a choice, right?
Speaker B:Blake Edwards, choice.
Speaker C:I don't know if it contributes to the.
Speaker C:If it's foreshadowing in the night to come.
Speaker C:I'm going to give that credit to the writer.
Speaker B:Right.
Speaker B:I think everything that works is what they forgot to take out.
Speaker B:Yep, yep.
Speaker C:For sure.
Speaker B:From the original writer.
Speaker D:Oh, you like that part?
Speaker D:Crap.
Speaker D:We forgot to take it out.
Speaker B:So fun and games, then you're into the meat of the story.
Speaker B:I don't know that we need to go through every fun and games.
Speaker B:There's some strange ones and setups and this kind of thing.
Speaker B:I.
Speaker B:I have to say that for me, the standout performance, like the one that I enjoyed watching the most was John Larroquette's character.
Speaker D:I agree.
Speaker B:Okay.
Speaker B:John Larroquette.
Speaker B:I mean, that's how John.
Speaker B:That was his comedy style, you know?
Speaker B:But when.
Speaker B:Yeah, every time he was on the screen, I was enjoying the movie.
Speaker B:Hit that.
Speaker B:So he was.
Speaker B:He was sort of a bright spot.
Speaker B:Now, that being said, as we get into the fun and games and you meet John Larroquette's character, the crazy boyfriend, you know, or whatever, to me, it started to feel like.
Speaker B:And Chris will know what this means, and we'll explain it, but double mumbo jumbo, right?
Speaker B:So you have the blind date, okay.
Speaker B:And she's supposed to be the instrument of chaos in his life, but now you're gonna bring in a second instrument of chaos, the ex boyfriend.
Speaker B:Right.
Speaker B:So the whole.
Speaker B:The way this movie is advertised is don't let her drink or she'll go crazy.
Speaker B:Okay.
Speaker B:Well, she does some of that at the party, you know, and for me, the standout line at the party was, you know, state of California.
Speaker B:You know, you're entitled to 50% me no speak English.
Speaker B:50% of your husband's assets.
Speaker B:50%.
Speaker B:You know that to me.
Speaker B:And that's probably left over from the writer because that was a.
Speaker B:That was a good comedic beat.
Speaker C:Yep.
Speaker B:You know, anyway, but you're bringing in Larroquette now, this crazy boyfriend, and now you have two.
Speaker C:Yeah, I mean, it's interesting.
Speaker C:Like, so I feel like if you're going on a blind date, part of the danger of.
Speaker C:Who have they dated before?
Speaker C:Right.
Speaker C:Who are their exes?
Speaker C:Are their exes crazy?
Speaker C:So That's.
Speaker C:That's.
Speaker C:I guess just looking at it, that's how I kind of thought it was.
Speaker C:It was just this.
Speaker C:The crazy ex boyfriend who hasn't gotten over her, so he's following her around.
Speaker C:So naturally that's gonna contribute to this, you know, this blind date gone horribly wrong.
Speaker C:But I guess to your point, he's almost.
Speaker C:He's like.
Speaker C:He's crazier than her.
Speaker C:Like, he hasn't.
Speaker C:I guess, as far as we can tell, hasn't had a drop of.
Speaker B:No.
Speaker C:You know, he didn't have any afflictions.
Speaker C:Yeah, that's.
Speaker C:He's just a psycho.
Speaker C:He doesn't need any alcohol to turn into a psycho or a monster like her.
Speaker B:So.
Speaker C:Yeah, it's almost like.
Speaker C:To your point, at the premise of the movie is what happens when she has too much to drink, Then that's all you need.
Speaker C:You got to deliver on that, not have.
Speaker C:Well, she kind of gets crazy.
Speaker C:But we got an ex boyfriend.
Speaker C:That's way worse.
Speaker C:Yeah.
Speaker B:You can't have doing that because.
Speaker B:Well, we can't do enough gags with this one person.
Speaker C:We ran out of ideas for her, ideas of value for her.
Speaker C:Yes.
Speaker B:He wanted more sight gags, more chaos.
Speaker C:Yeah.
Speaker C:When he's chasing them.
Speaker C:Right.
Speaker C:Which I like the bit where he.
Speaker C:Bruce Willis, steals his car for a bit and then jumps out and he has to run back in.
Speaker C:That was funny.
Speaker C:I like that.
Speaker C:But then he, like, where did this guy get his license?
Speaker C:Right.
Speaker C:He can't.
Speaker C:He crashes into a.
Speaker B:Three times.
Speaker C:Three times, yes.
Speaker C:Crashes into a pet shop, a paint shop.
Speaker C:And then I guess the monkey stays in the car.
Speaker C:So then he covers up and covers his eyes, and out of nowhere, he's driving in the middle of the road.
Speaker C:As soon as the monkeys, you know, two seconds crashed into crashing into the paint store.
Speaker C:Right.
Speaker C:And then later on, like a flower factory or something, like.
Speaker C:Right.
Speaker C:Is that what it was?
Speaker D:Because it's flour.
Speaker D:Baking flour, not flowers.
Speaker C:Correct.
Speaker C:Yes.
Speaker B:Yeah.
Speaker B:And that's Blake Edwards.
Speaker B:Hey, Crash is funny, you know.
Speaker B:Okay.
Speaker B:All right.
Speaker B:Because I wasn't laughing at any of that.
Speaker B:Like, I was laughing at Larroquette way he acted like.
Speaker C:Yeah.
Speaker B:When he was talking, he would be talking, and then he would.
Speaker B:When he would hear references to Walter being with Nadia.
Speaker B:Are you gonna drill her?
Speaker B:Are you trying to drill her?
Speaker C:You know, he said that a lot.
Speaker C:Yeah, that was funny.
Speaker B:So you could drill her.
Speaker B:You know, the.
Speaker C:The first crash, I was okay with.
Speaker C:Like, that was funny.
Speaker C:And even the second one, I'm like, all right, that was a Bit cheesy.
Speaker C:That's enough.
Speaker C:And then, you know, let's do one more later on, you know?
Speaker C:But.
Speaker A:But like you were saying, the.
Speaker A:The funniest thing to me was when Bruce Willis got in his car, and then he jumps out, and then.
Speaker A:Okay, now, yeah, there goes Larrocat running.
Speaker C:I've never seen it, so I didn't know what was gonna happen.
Speaker C:So when Bruce Willis got in the car, for a split second, I thought, he's done.
Speaker C:He's out of here.
Speaker C:You two deserve each other.
Speaker C:I'm still in your car and I'm fucking done, and I'm out of here.
Speaker C:Like, I thought he was just taking off.
Speaker C:I was like, well, that's.
Speaker C:That's an interesting choice.
Speaker B:Yeah, I.
Speaker B:Yeah, because, you know, she.
Speaker C:Was annoying him in his own car.
Speaker C:Right?
Speaker C:So I don't know.
Speaker C:I thought that was interesting.
Speaker C:All right, so what are we at?
Speaker C:We're on midpoint now.
Speaker B:Yeah, we're.
Speaker B:We're.
Speaker B:Well, a couple more things about this.
Speaker C:Fun of the game, so.
Speaker B:So again, it's not very weird to me.
Speaker B:They're at the gallery, okay.
Speaker B:And I don't know if I can't remember if Bruce Willis.
Speaker B:If Walter tries to get more champagne or whatever.
Speaker B:I don't remember.
Speaker B:But all of a sudden, Nadia pulls out this candy bar.
Speaker B:Did this seem weird to you?
Speaker B:She pulls out this candy bar.
Speaker B:I do candy.
Speaker B:And she's, like, nibbling on this candy bar through the whole scene.
Speaker B:Like.
Speaker B:Like who?
Speaker C:That's an idea of value.
Speaker C:That didn't land, you know?
Speaker C:Right.
Speaker C:She's already had alcohol.
Speaker C:Right.
Speaker C:So.
Speaker B:No, she.
Speaker B:No, no, they haven't had.
Speaker C:Because he does that at the music studio.
Speaker C:And that's after the art gallery.
Speaker B:Yes, yes, yes.
Speaker C:So she's just a weird character.
Speaker D:They're just getting to know you.
Speaker C:Yeah.
Speaker B:And she's pulling out this candy bar and eating it, you know?
Speaker B:Okay.
Speaker B:Yeah, well, that needed to happen.
Speaker B:Okay.
Speaker B:Because at the end.
Speaker B:And this is.
Speaker B:This is the other thing that I just.
Speaker B:It all feels pasted on it.
Speaker B:So at the end, Bruce Willis sends her candies.
Speaker B:We'll get to why she sends her candies in a second.
Speaker B:But, yeah, before he sent candy, he loaded them up with alcohol.
Speaker C:Yep.
Speaker C:No, I missed that.
Speaker C:Not that he loaded him up with alcohol.
Speaker C:I missed the introduction of the candy.
Speaker C:I did too pay off later of him.
Speaker B:Well, I'm thinking about it before I remembered.
Speaker B:I'm like, okay, you sent her candies.
Speaker B:You're loaded with alcohol because you're trying to sabotage the wedding because you want to get back together with her or whatever.
Speaker B:How in the hell do you know that she's going to eat all those candies, right, like you're sending them.
Speaker B:How do you know that she's gonna.
Speaker C:That was the setup you needed her to credit to the writer.
Speaker B:So you set it up with this weird candy eating scene at the beginning.
Speaker B:Okay, but.
Speaker B:But those are so far spaced apart.
Speaker B:I forgot.
Speaker B:And I'm sure a lot of people forgot like you forgot, right?
Speaker C:Yeah.
Speaker C:What is the rule?
Speaker C:Like they say three times, right?
Speaker C:Introduce it, remind them and then the payoff.
Speaker C:Right.
Speaker C:So they missed the middle one.
Speaker B:But the idea that you're betting everything on her eating those candies seemed outlandish.
Speaker B:How are you going to.
Speaker C:We can get into that.
Speaker C:But his whole breaking the three and his plan to get her back was.
Speaker C:Is so weak and so non existent, in my opinion.
Speaker C:Okay, like, we'll get into that later.
Speaker C:But it was really rough.
Speaker D:Yeah, I was just like, you're out, dude.
Speaker D:Go.
Speaker D:Don't go back.
Speaker C:Well, I meant like, I wanted to get into that, I guess when we got there.
Speaker C:But yeah, like his.
Speaker D:So.
Speaker C:Oh, yeah.
Speaker C:All right.
Speaker B:Yeah.
Speaker B:I mean, you.
Speaker B:We're trying to.
Speaker B:We're trying to shoot water pistols when we want to shoot shotguns here.
Speaker B:Okay.
Speaker C:Well, like, I don't have problem shooting the shotgun.
Speaker C:I just wanted to shoot them, you know, shoot the shotgun later on, you know, once my shots lined up.
Speaker C:I suppose, you know.
Speaker C:Yeah, I.
Speaker C:I can save it.
Speaker C:Well, I have my notes here.
Speaker C:We'll wait.
Speaker C:Let's get through this.
Speaker B:There's this there twice this happened.
Speaker B:And it's almost like the record label said, we want to put some of our musicians in your movie and showcase them.
Speaker C:And it slows the movie down so bad.
Speaker B:I'm like, well, yeah, yeah, absolutely.
Speaker B:It's a time lag, right?
Speaker B:So they go to the studio and there's this Stanley Jordan.
Speaker B:I looked him up.
Speaker B:I don't know that he ever became anybody.
Speaker B:Maybe guitarists know who he is?
Speaker D:Yeah, he's a Chicago based double.
Speaker D:Yeah, he's.
Speaker C:Did you know who he was when you saw him or you looked it up?
Speaker D:When I saw his face, I was like, I remember that guy from.
Speaker D:Okay.
Speaker D:Back in the day.
Speaker D:But yeah, nowadays you'd have to.
Speaker D:He's a very niche guitar player.
Speaker C:The amount of time they spent on, on, on him.
Speaker C:And then the guys in the disco club or whatever, I knew they had to.
Speaker B:Beaters.
Speaker B:Yeah, I knew they.
Speaker C:Who are they?
Speaker B:Billy Vera and the Beaters.
Speaker C:Okay.
Speaker C:You knew that already.
Speaker C:They were big in the 80s, I guess.
Speaker B:I think.
Speaker B:I wasn't a huge fan, but I definitely heard of them.
Speaker C:They have a.
Speaker C:I don't know who any of them were, but I knew the amount of time they were spending on them.
Speaker C:All right, they got to be somebody.
Speaker C:But it still didn't serve the movie well, in my opinion.
Speaker C:Well.
Speaker B:But, yeah.
Speaker B:Okay, so if you're gonna do that.
Speaker B:And this is where, like, now I'm at this point in the movie, I'm like, okay, well, here's.
Speaker B:Here's what you should have done.
Speaker B:And I'm thinking, yeah, right.
Speaker B:So if you have this setup that.
Speaker C:I think I know where you're going with that.
Speaker B:Walter is a wannabe guitar.
Speaker B:Because they asked him, did you bring your guitar, Walter?
Speaker B:No.
Speaker B:Why don't you have a guitar at the studio?
Speaker B:Okay.
Speaker B:Here's a chance to see what Walter is supposed to become.
Speaker C:And here's what he's given up.
Speaker B:What he's given up, what he's supposed to be.
Speaker B:And here's sitting right on the couch, the agent of that change.
Speaker B:Yeah, it would have been a.
Speaker B:Yeah.
Speaker B:That all the ingredients.
Speaker C:Have that guy say something.
Speaker C:Have him do something.
Speaker C:Just show.
Speaker C:Yeah, show something.
Speaker B:Yes.
Speaker C:All they have is that one weak little line, you know, no, I brought.
Speaker B:Something better than a guitar, you know?
Speaker C:Yeah.
Speaker B:And then.
Speaker B:And then encourages her to.
Speaker B:To drink.
Speaker B:Now she refuses.
Speaker B:He encourage her that she likes him and wants to be with him.
Speaker B:So she acquiesces.
Speaker B:And this is what I'm talking about, her sympathy.
Speaker B:She genuinely has discovered feelings for him.
Speaker B:He seems to.
Speaker B:But he bounce.
Speaker B:He bounces back and forth between chivalry and just being a shitheel, in my opinion.
Speaker B:And he sort of goes back and forth because his treatment of Nadia, especially after she bailed him out, like, his treatment of her is completely unsympathetic and we could talk about in a few minutes.
Speaker C:I thought that was.
Speaker C:Again, the beats are blurry.
Speaker C:I agree.
Speaker C:And I thought when he went to see her, that would be like this break into three getting back together kind of thing.
Speaker C:And.
Speaker C:Yeah, so his reaction was not what I was expecting at all.
Speaker C:Like, once he learned that she had done this nice thing for him and build him up because if it had been reversed, he's not feeling her out, you know?
Speaker B:Right, right.
Speaker C:But, yeah, that scene was bad.
Speaker C:Like, it's.
Speaker C:Yeah, the.
Speaker C:Stacy was half paying attention to the movie and.
Speaker C:Yeah, she.
Speaker C:I think she was, since it's, you know, kind of, I guess a romance comedy or whatever.
Speaker C:Like, she was the.
Speaker C:The most interested in these movies.
Speaker C:In this movie compared to the others that we chose.
Speaker C:So she was least entertaining the idea of watching it with me.
Speaker C:But once it got there, like, by.
Speaker C:By this, you know, music studio scene, she's like, this is boring.
Speaker C:Yeah, I couldn't disagree with her.
Speaker C:Yeah, you're right.
Speaker C:It's pretty rough.
Speaker C:Things needed that happen.
Speaker C:She watched the rest of the movie with me, but.
Speaker C:And just by then, she checked out and it was all negative after that.
Speaker C:Everything she had to say, again, wrong.
Speaker B:But he says something like.
Speaker B:Oh, he looks.
Speaker B:Because he says, we have a half an hour.
Speaker B:Let's.
Speaker B:I got something we can do.
Speaker B:A half an hour.
Speaker B:Time to go to a studio, buy champagne.
Speaker B:We got like two minutes to sit there.
Speaker B:So the story logic was off.
Speaker B:But then he says, we got to go.
Speaker B:Right?
Speaker C:Yeah.
Speaker B:And before he says, we got to go, he pours another drink.
Speaker B:Here, have another.
Speaker B:We got to go have another drink.
Speaker B:And, you know, pushes it on her or whatever, you know.
Speaker D:Yeah.
Speaker B:Because it needed to happen.
Speaker B:You need to liquor her up because now we're going to.
Speaker B:To this party.
Speaker B:And of course, sure things, you know, it just all felt pasted on.
Speaker B:Like, these are the things that need that.
Speaker B:These are the things that need to happen.
Speaker B:And so I like, as far as.
Speaker C:Running gags or jokes, I guess not a gag.
Speaker C:The tearing of his suit.
Speaker C:I like that.
Speaker C:She tears his suit as they walk in and then.
Speaker C:Right.
Speaker C:She trips or something.
Speaker B:Yes.
Speaker C:When they're going to the party and she pulls on his suit and tears it.
Speaker C:And then she ends up tearing the.
Speaker C:In the nice payoff.
Speaker C:The sleaze bag co worker.
Speaker B:She.
Speaker C:She's like, hey, what happened?
Speaker C:And he's like.
Speaker C:When he sits down the table with him, he's like, yeah.
Speaker C:Talking to Bruce was what happened to your suit?
Speaker C:And she goes, oh, it's a style.
Speaker C:It's a trend.
Speaker C:And she tears his.
Speaker C:You know, like that's.
Speaker C:I like that.
Speaker C:And then I think she does the boss too.
Speaker C:Right?
Speaker C:Tears the.
Speaker C:The bosses.
Speaker B:Oh, yeah.
Speaker C:I don't know.
Speaker C:I liked that bit.
Speaker C:I don't know why.
Speaker C:And I think at the time, still into this movie was invested.
Speaker C:Was hoping that, like, there would be something more to that.
Speaker C:Like she's literally like tearing his.
Speaker C:His world apart.
Speaker C:Tearing it.
Speaker C:You know, I guess I like that, but I don't feel like it paid off other than just, you know.
Speaker C:Well, I think I set up and callback to the joke of tearing the stuff.
Speaker B:Yeah.
Speaker B:I think.
Speaker B:I don't think that Blake Edwards is a great writer, so I don't think he Messed with dials.
Speaker B:Any snappy or clever dialogue, I think is probably a holdover from the writer.
Speaker B:I would think not all of it is great.
Speaker B:So they probably.
Speaker B:Obviously, they had to change some things because they changed whole scenes and so many rewrites.
Speaker B:I guarantee they change lines.
Speaker C:Yeah.
Speaker C:You have to.
Speaker C:Yeah.
Speaker C:Once you cut out big chunks, you gotta have some sort of lines in there and explain kind of what's going on.
Speaker B:But I think I'd be willing to bet that some of that dinner scene, some of that dialogue.
Speaker B:Dialogue is still the writers.
Speaker B:I mean.
Speaker D:Yeah.
Speaker B:You know, or whatever I have down here.
Speaker B:Absence of a B store, I guess she has.
Speaker B:Is his instrument of change.
Speaker C:Yeah, sure.
Speaker C:You know, I mean, it's done poorly, but.
Speaker C:Yeah, she's definitely.
Speaker C:That's what I have is she's the B story.
Speaker C:She's the one that comes into his life.
Speaker C:And basically, I think the note I have here is about.
Speaker C:She challenges every single rule.
Speaker C:Like, he's a very.
Speaker C:Again, going back to this free spirit, you know, creative type.
Speaker C:He's traded that in for corporate and.
Speaker B:Yeah.
Speaker C:Rigid rule, you know, living.
Speaker C:And she comes in and messes all that up.
Speaker C:You know, women got another place.
Speaker C:And she's a free spirit herself.
Speaker C:And granted, she's free spirit when she has alcohol or whatever, but.
Speaker B:Right.
Speaker B:Yeah.
Speaker B:She seems almost homespun or fresh off the farm.
Speaker B:Like when she's eating the candy and stuff.
Speaker B:Right.
Speaker C:So you can't get over this, the way she ate that candy.
Speaker C:That's funny.
Speaker B:She seems very sympathetic because she seems like a sweet person.
Speaker C:Yeah.
Speaker B:Which.
Speaker B:We'll talk some more about that in a minute, I guess, or whatever.
Speaker B:Again, a lot of, you know, more.
Speaker B:More sight gags I have down as the midpoint, if there is one, as a.
Speaker B:I guess a false defeat.
Speaker B:He gets.
Speaker B:He gets fired.
Speaker B:He gets the important business guy divorced and Walter fired.
Speaker C:Then that's what I have.
Speaker B:Yeah.
Speaker C:Because the dinner.
Speaker C:Because this whole thing was about getting a date for the work dinner.
Speaker C:And that goes horribly.
Speaker C:Right.
Speaker C:It's a disaster.
Speaker C:He gets fired and.
Speaker C:Yeah.
Speaker C:The boss is now getting a divorce and giving up 50%.
Speaker C:Yeah.
Speaker C:That's what I have to.
Speaker C:It's a false defeat.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:I mean, he gets.
Speaker B:He gets what he wants, but he doesn't know it.
Speaker B:Like, he doesn't not.
Speaker B:He needs to be out of that job, but he still thinks.
Speaker C:Correct.
Speaker B:So that could be a false.
Speaker C:Victor actually gets what he.
Speaker C:Right.
Speaker C:I mean, he gets what he wants but doesn't know it.
Speaker C:Right.
Speaker C:You know?
Speaker B:Well, yeah, but I think I Think you get everything that you think you want.
Speaker C:Yeah, no, you're right.
Speaker C:Yeah, no, you're right.
Speaker C:Sorry.
Speaker C:Just the way you'd said it made me think about that.
Speaker C:But at this point, he doesn't know he wants to get out of that job.
Speaker C:Yeah.
Speaker C:He's.
Speaker C:Because he's trying to do everything to keep it and get a promotion and get the.
Speaker C:Not get berated by his boss.
Speaker C:You look like shit and all that.
Speaker C:Yeah.
Speaker C:So it's definitely a defeat.
Speaker B:Yeah.
Speaker C:And we'll get into this later, but just for, I guess, those of you that don't know Snyder's beats.
Speaker C:So he has midpoint and later on has an all is lost beat.
Speaker C:Those are always opposite.
Speaker C:One's a false defeat and the other one is a false victory.
Speaker C:Some different movies will do it differently, but they.
Speaker C:They can.
Speaker C:You can't have two false victories or two false.
Speaker C:Yeah, if one's a victory, the other one has to be defeat anyhow.
Speaker B:All right, so at this point, you start seeing bad guys close in and I don't know.
Speaker B:I don't know who the bad guys are, to be honest with you.
Speaker B:It's just chaos.
Speaker B:Right.
Speaker B:So another confrontation with the crazy boyfriend, Nadia, sad and crying.
Speaker B:David.
Speaker B:I guess Walter tries to be sympathetic.
Speaker B:Monkey in the car, another crash.
Speaker B:The whole debate about unleaded gas went on too long.
Speaker B:I think you remember that.
Speaker B:I mean, you know, then there was the scene where Walter is waiting outside the women's bathroom.
Speaker B:This.
Speaker D:The club?
Speaker B:At the club.
Speaker B:Okay.
Speaker B:Okay.
Speaker B:Obviously the joke is you're a guy trying to get into a girl's bathroom and that's creepy.
Speaker B:Whatever.
Speaker B:But this.
Speaker B:This scene, again, lagged at a glacier pace.
Speaker B:Right.
Speaker C:I mean, and there's no payoff.
Speaker C:It lags and moves along at a.
Speaker C:Like a glacier.
Speaker C:And then there's no payoff.
Speaker B:Yeah, right.
Speaker C:You know, like him getting him shows.
Speaker D:Up right behind him here.
Speaker C:And that's the solution.
Speaker C:Yeah, right.
Speaker C:Like it's.
Speaker C:Yeah.
Speaker C:You can't wait for the guy to slug him or throw him out or some chick go, you jerk, and smash him.
Speaker C:You know, slap him in the face.
Speaker C:None of that happens.
Speaker C:It just.
Speaker C:She shows up behind him and show.
Speaker C:She drinks his drink.
Speaker B:Yeah.
Speaker C:Because once she stops drinking, she can't stop, I guess.
Speaker B:Yeah.
Speaker B:And then there's more explaining to the guy at the bar.
Speaker B:Still about the bathroom scene.
Speaker B:Walter's mad, wants to take her home.
Speaker B:But they dance.
Speaker C:It's the same scene twice.
Speaker C:Yeah.
Speaker C:He explains it to him outside the bathroom.
Speaker C:And then again at the bar, which we have the Whole her behind him deal.
Speaker C:But yeah, they could have cut out the.
Speaker C:I don't know.
Speaker B:Yeah.
Speaker C:It's just rough.
Speaker B:So much explaining.
Speaker B:Yeah.
Speaker B:So then you Wants to take her home, but then they dance.
Speaker B:And then there's this.
Speaker B:Again.
Speaker B:They're looking at each other.
Speaker B:So there's.
Speaker C:There's this trying.
Speaker C:Yeah.
Speaker B:It's off and on about.
Speaker B:Yeah, yes, he is falling in love with her.
Speaker B:No, he's mad and wants to.
Speaker B:You know, it didn't seem like he was moving in a straight line.
Speaker B:It was just because he gets really mad soon.
Speaker B:I mean, you know, because they're dancing.
Speaker C:And maybe what they're going for.
Speaker C:And again, I'm with you.
Speaker C:I don't think it was executed well, but maybe the.
Speaker C:Him.
Speaker C:He's got one foot in both worlds.
Speaker C:He's got one foot in the free spirit, you know, want to be creative, you know, and then the corporate, you know, schmo life.
Speaker C:So her.
Speaker C:Him going back and forth between just letting go and being carefree.
Speaker C:And then also, this is the way this night's gotta go, you know, back and forth.
Speaker C:Maybe.
Speaker C:I don't know.
Speaker C:I don't think it was executed very well.
Speaker C:But, yeah, that and also the.
Speaker C:Supposed to be falling in love or whatever because they end up together, which I feel like is so weak.
Speaker C:But anyhow.
Speaker B:Yeah.
Speaker B:Cause they kiss and Walter smiles at her, seeming to be taken with her.
Speaker B:Enter David again as the instrument of chaos.
Speaker B:Walter, you could have drew her.
Speaker C:Yeah, you could have drew her, you know.
Speaker B:And again.
Speaker B:So at that point, I was interested because, like, Larroquette was.
Speaker B:I just like him.
Speaker B:Oh.
Speaker C:There were some weird transition things there going on when they're dancing, like, to show, I guess, the passage of time that they've been dancing for, you know, three days.
Speaker C:Yeah, like, it was weird.
Speaker C:It did it.
Speaker C:Not just once.
Speaker C:We did like, three times.
Speaker C:I think.
Speaker C:You know what I'm talking about.
Speaker C:Made me think of the Scooby Doo ending type stuff.
Speaker C:The transition was so bad.
Speaker B:Well, I think it's to showcase Billy Vera and the Beaters.
Speaker B:Like, they played, like, almost the whole song, but because, I mean, they make good.
Speaker C:Who's a big fan of them, Right.
Speaker C:Blake Edwards.
Speaker C:I mean, he might be.
Speaker B:I don't know, but yeah, they.
Speaker C:So much time.
Speaker C:I don't mind cameos.
Speaker C:But again, but to your point earlier about that's if you're gonna showcase these musicians, right.
Speaker C:And you got.
Speaker C:I thought I had.
Speaker C:About the backstory with him wanting to be like, when did.
Speaker C:When would Bruce Willis do his Bruno thing?
Speaker C:Is this Part of.
Speaker C:Was that in the story already as part of Walter's character?
Speaker C:Or is it something Bruce Willis wanted to.
Speaker C:Right.
Speaker C:There was just a thought I just remembered I had.
Speaker C:But again, if you're gonna.
Speaker C:If that's the story you're telling, this guy, you know, is giving up a life of being a, you know, guitarist.
Speaker C:You had these two music musical.
Speaker C:Again, they missed a golden opportunity to have these guys have a moment with him or have him look at them on stage, go, man, I wish I was doing that.
Speaker C:Or, you know, some.
Speaker C:I don't know.
Speaker C:How do you do it?
Speaker C:Right?
Speaker C:I'd have to sit down and think about that.
Speaker B:You could have.
Speaker B:You could have.
Speaker B:You could have had something to pull it back to the future.
Speaker B:Right?
Speaker B:You know, oh, I hurt my hand.
Speaker B:You know, you can't play guitar, so Marty gets up there and plays guitar.
Speaker B:Right.
Speaker B:I mean, you know, they could have been playing music and like, sorry, folks, we gotta stop our guitarist.
Speaker B:You know, whatever.
Speaker B:And everybody bummed out and.
Speaker B:Yeah.
Speaker C:Never get to do it.
Speaker C:Oh, that would have been great.
Speaker B:Come on.
Speaker C:That's brilliant right there.
Speaker B:You see what I'm saying?
Speaker B:Anyway, but it's not a psych gang.
Speaker B:It's not funny.
Speaker B:It's not funny.
Speaker B:It's not a sight gag.
Speaker B:Right?
Speaker B:So.
Speaker C:Okay.
Speaker C:But you can make it one.
Speaker C:We're right in this movie.
Speaker C:So you have that happen.
Speaker B:Now we're in.
Speaker C:And then the crazy boyfriend shows up.
Speaker C:Why he's on stage.
Speaker B:This is a point when the podcast episode turned into two hours.
Speaker D:I was gonna say.
Speaker B:Yeah.
Speaker D:Anyway, it's noon.
Speaker B:Yeah.
Speaker D:Ten minutes for an hour.
Speaker B:Yeah.
Speaker B:So.
Speaker B:So they.
Speaker B:She wants to go to a party, and they.
Speaker B:This is when his car gets stripped.
Speaker B:This is when the.
Speaker B:The girl gang shows up and robs him.
Speaker B:Robbed by a female gang.
Speaker B:Implicate him with a gun.
Speaker C:Oh, I gotta have.
Speaker C:You know, there's.
Speaker C:I wrote.
Speaker C:Made a note about this.
Speaker C:It's so weird.
Speaker C:The gang shows up, it's all females, which is cool, I guess, right?
Speaker C:And then she.
Speaker C:I don't remember.
Speaker C:Nadia tries to say something and one of the female gang goes.
Speaker C:Or I think Briswood's character tells her.
Speaker C:Yeah, shut up.
Speaker C:Shut up, Nadia.
Speaker C:Right?
Speaker C:Because he's trying to explain to him the.
Speaker C:The gang.
Speaker C:And then one of the female gangs goes, yeah, shut up.
Speaker C:To Nadia.
Speaker C:I just.
Speaker C:It was so weird to me.
Speaker C:Like, it was so, like, pulled me out of the.
Speaker C:The scene.
Speaker C:I just.
Speaker C:I don't know, made a note about it.
Speaker D:And then the cops show up.
Speaker D:They're running off and they Question him and give him a sobriety.
Speaker C:Why?
Speaker C:She's drunk off her ass behind him.
Speaker B:An okay sight gag.
Speaker C:But he was doing all the same things.
Speaker D:He wasn't operating a motor vehicle.
Speaker D:He was standing outside his car that had just got robbed.
Speaker B:It was.
Speaker D:It was a sight gag.
Speaker D:Total.
Speaker D:It made no sense.
Speaker B:Right.
Speaker B:It was there because Edwards thought it had been funny.
Speaker B:And you know, so much doesn't have anything to do with the story per se.
Speaker B:As attacked on sight gig.
Speaker B:That's.
Speaker B:That was my chief feeling.
Speaker B:I have to.
Speaker B:We'll move on from this.
Speaker B:But she wants to go to a party.
Speaker B:They pull up to this house.
Speaker B:Are you sure this is the address?
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:Well, she's obviously bullshitting him or whatever because there's nobody at the house.
Speaker B:But the house gets pulled away.
Speaker B:Towed away.
Speaker B:Why?
Speaker B:And how did she know that?
Speaker B:Or she didn't.
Speaker B:She just picked a random if so you can have the sight gag of the house being dragged away.
Speaker B:Right?
Speaker B:I mean, what's.
Speaker B:What point.
Speaker D:That's all it did.
Speaker C:Which as a sight gag, I thought that was.
Speaker C:That was one thing that was funny.
Speaker C:Like I didn't see that coming.
Speaker C:But 100% like it's what robs it of any credibility is how did she.
Speaker D:Know that turned into like a Naked Gun?
Speaker B:Yeah, it did.
Speaker C:100% like Edward directed Naked Gun.
Speaker C:Did he?
Speaker C:I bet he did.
Speaker D:I don't think he did.
Speaker C:But yeah.
Speaker C:So Walter crashes Nadia's friends party, which I thought was kind of cool.
Speaker B:Yeah.
Speaker C:He loses it.
Speaker C:And I thought that was going to be a false victory all is lost moment initially, but I don't think it is.
Speaker B:Well, and see, here's the thing.
Speaker B:Yes.
Speaker B:His life has been dismantled.
Speaker B:Okay.
Speaker C:You ruined my life, I'm gonna ruin yours.
Speaker B:Yeah, right.
Speaker B:Which I thought was.
Speaker B:Was kind of mean spirited.
Speaker B:Right?
Speaker B:Because her freaking out was.
Speaker B:She even says earlier, you know, the genetic reaction to alcohol.
Speaker B:So.
Speaker B:So as long as she doesn't drink alcohol, she's fine.
Speaker B:But you gave her alcohol.
Speaker B:So Are largely responsible for making her do that.
Speaker B:She did what she did because of a chemical reaction.
Speaker B:You're doing what you're doing because you're.
Speaker B:You were mad and want to get revenge on her.
Speaker B:Which I thought was mean spirit.
Speaker B:Like.
Speaker A:Well, I just thought it was funny.
Speaker A:I thought he was funnier than her.
Speaker A:I'm sorry.
Speaker C:Yeah, so it definitely means fear.
Speaker C:But again, I guess where I thought it was the story was going is it was going to be a false victory where he gets everything he thinks he wanted.
Speaker C:You ruined my life.
Speaker C:Pay her.
Speaker C:You know, I'm going to pay you back and then realize, oh, crap, I've been a complete, you know, asshole.
Speaker C:Yeah, no, that's not the way the story went.
Speaker C:And then.
Speaker C:But, I mean, come on, man.
Speaker C:We got one of the best sight gags in the whole thing, you know?
Speaker C:Olive cleavage.
Speaker C:Who doesn't want that?
Speaker C:Well, but it's so ridiculous.
Speaker C:I was like, what is going on?
Speaker C:No, he's not.
Speaker C:Yep.
Speaker C:He did.
Speaker C:Okay.
Speaker B:Right, right.
Speaker B:So it's all just, you know, sight gags.
Speaker B:So then he winds up in jail, and the next day, Ted picks him up, but he finds out Nadia has bailed him out.
Speaker B:He is angry for Nadia, at Nadia for bailing him out, which I guess is reason enough to go.
Speaker B:And now.
Speaker B:And now she's, like, hungover.
Speaker B:And, like.
Speaker B:So after all of this, she still feels.
Speaker B:And this is why the sympathy swung way in her direction, in my opinion.
Speaker B:She still feels bad and does kind things like spend $10,000 to get him out of jail, and as we'll learn, is willing to marry David.
Speaker B:Okay.
Speaker B:So that he'll represent him and she won't.
Speaker B:He won't go to jail.
Speaker B:And then.
Speaker B:And then again, looking at it with modern eyes, I guess it was funny or whatever, because I like Kim Basinger's reaction.
Speaker B:But, you know, she says, okay, I'm married.
Speaker B:We have to have sex.
Speaker B:You know, like, she makes this disgusting.
Speaker B:I mean, I thought she.
Speaker B:That was, to me, was like, that.
Speaker B:I really enjoyed that moment.
Speaker C:Fine, but no kissing.
Speaker B:No kissing.
Speaker B:Right.
Speaker B:So.
Speaker B:So I'm laughing at that.
Speaker B:I'm up.
Speaker B:And I'm also thinking, every man in this movie pushes himself on this poor woman.
Speaker B:Drink this alcohol.
Speaker B:We're gonna.
Speaker B:You're gonna do this.
Speaker B:I'm gonna make you marry me.
Speaker B:And, yes, I'm gonna.
Speaker B:You know.
Speaker B:Yeah, but she's willing to do that, which I'm sure Edwards was not going for.
Speaker B:He was going for the gag.
Speaker B:But.
Speaker B:But.
Speaker B:But this makes her sort of a noble person, right?
Speaker C:Oh, for sure.
Speaker C:Yeah.
Speaker C:Like, yeah.
Speaker C:That's where I thought, you know, she's the B story, and she's the one that's making him change.
Speaker C:It just wasn't done very well because, again, when he goes to talk to her, you know.
Speaker C:You know, and, you know, why'd you bail me out?
Speaker C:And just tell me how much you.
Speaker B:Do in any way.
Speaker C:Yes.
Speaker C:Tell me just how much you owe me or how much I owe you, and then I never want to see you again.
Speaker C:Like, I thought that scene would turn into him, you know, turning a corner and it doesn't.
Speaker C:And then they have this weird again.
Speaker C:I guess I understand it now with the gags, but he kicks the bed.
Speaker C:The weakest bed on the planet Earth.
Speaker B:Psych.
Speaker B:Gag bed.
Speaker B:Mr.
Speaker C:It's so weird because she.
Speaker C:I guess the silk sheets or maybe the angle of the bed, she keeps sliding down and has to keep.
Speaker C:I think I wrote it down basically on the actress.
Speaker C:Like, she's got to keep working herself up to the top because she keeps sliding out of frame towards the bottom.
Speaker C:It's a weird scene.
Speaker C:That's the weirdest poop in the pool I've ever seen in my life.
Speaker B:I wrote it down.
Speaker B:This weird crawling around scene.
Speaker C:Yes.
Speaker C:Yeah.
Speaker C:You know, while she's trying to deliver her lines.
Speaker C:And it was.
Speaker C:Yeah, yeah.
Speaker C:I like Pope in the pool.
Speaker C:So Pope in the pool is when you do have the characters or something interesting going on.
Speaker C:Why there's exposition.
Speaker C:So, yeah, I've wrote this down as a Pope in the pool because they're having this conversation, which should have been interesting enough on its own.
Speaker C:But yeah, they have this weird bed thing.
Speaker C:It's so weird.
Speaker B:Yeah.
Speaker B:Then.
Speaker B:So, and then even when he's.
Speaker B:After he's been declared not guilty, you know, okay, that's his old loss is.
Speaker C:What I wrote down.
Speaker C:False victory.
Speaker B:Yeah.
Speaker C:That's what he thinks he wants, right?
Speaker B:Yeah, I guess so.
Speaker B:I don't.
Speaker B:Anyway, yeah, so he.
Speaker B:He gets free, right over.
Speaker B:He pawns his guitar to go visit her.
Speaker B:But she sends him this note saying, you know, I hope you can forgive me.
Speaker B:And I'm sitting there thinking, what, him forgive you?
Speaker B:You know, you need to forgive him.
Speaker B:He needs to be asking you, you know, And I guess this is what turns him around because he pawns his guitar, he buys the chocolates, loads them up full of alcohol and sends him off.
Speaker C:Yeah, well, it's all off screen.
Speaker C:We don't see that.
Speaker B:What the.
Speaker C:His break into three and his turning around is Dark Knight.
Speaker C:No, no, you don't see any of that.
Speaker C:Yeah, she gets a note.
Speaker C:You see him, he's walking back in the studio with his guitar.
Speaker C:So you can tell that that's changed.
Speaker C:That's a visual change.
Speaker C:But it's a very brief scene.
Speaker C:Yeah, the next scene, he's already.
Speaker C:He's already broken to three because he's got his plan.
Speaker C:He's loading up the chocolate.
Speaker B:There's just a real quick scene where Nadia calls.
Speaker B:Terrible, terrible.
Speaker B:You know, David asked about you.
Speaker B:Yeah, he's doing fine.
Speaker B:Should I tell him you're doing fine?
Speaker B:Yeah, tell him I'm fine.
Speaker B:And that's it.
Speaker B:I mean, so I guess that was the transition, you know, of them feeling bad or him feeling bad, because when he was walking with his guitar, I'm like, okay, he's becoming the person he's supposed to be.
Speaker B:I didn't think he was pawning it.
Speaker B:I thought he was gonna go play or something.
Speaker C:Yeah.
Speaker B:And.
Speaker B:And.
Speaker B:And then have some plan to get her back or whatever, you know, show up at the.
Speaker C:Could have been a callback where the.
Speaker C:Have the music, the.
Speaker C:The guest guy, the guitar player show up again and have him break it and break into three.
Speaker C:Yeah, man.
Speaker C:That's what you supposed to always be doing.
Speaker B:And they practicing in the studio for a song.
Speaker B:And he goes to the wedding and does a, you know, say anything moment with this.
Speaker B:Boom.
Speaker C:Thought he was gonna go there.
Speaker C:I just remember this.
Speaker C:I thought he was gonna go there and, like, somehow smuggle himself in and be the.
Speaker C:The guy that's playing at the wedding.
Speaker B:Okay.
Speaker B:Better.
Speaker B:Even still better than what they did.
Speaker B:Then there's.
Speaker C:He just ran around from a dog all night.
Speaker B:He's at the.
Speaker C:And hid in the pool house when.
Speaker C:Let the chocolates do their work.
Speaker C:Terrible.
Speaker B:Well, she doesn't eat the chocolates till, like, the next morning or.
Speaker B:Yeah.
Speaker B:So he goes and he bet everything.
Speaker C:On the chocolates, knowing, is she going to eat them?
Speaker C:Enough of them.
Speaker C:Is she even going to eat them?
Speaker C:They're not going to be, you know, some kids gonna find them.
Speaker C:Yeah, sure.
Speaker B:But the whole you guys were talking about, it looked like a play.
Speaker B:The whole balcony, everything there was.
Speaker B:You could cut that out and it wouldn't matter because they're really mean to that dog, too.
Speaker B:Nothing happened in that scene except psych gags.
Speaker C:Yeah.
Speaker C:And they're really mean to that dog.
Speaker C:Like, he's doing what he's supposed to.
Speaker C:He's barking at a stranger, and they're all yelling at him.
Speaker B:Sight gags.
Speaker B:That's all.
Speaker C:The bit about the.
Speaker C:Which I understand it now.
Speaker C:I'll just talk about the sight gags and the director know who he was.
Speaker C:But the two biggest moments that pulled me out of the movie, like, what the hell just happened?
Speaker C:Was the olive cleavage.
Speaker B:Yeah.
Speaker C:And then the butler mooning the dog.
Speaker B:Yes.
Speaker C:What the just happened there?
Speaker C:Like, really, like, what is going on?
Speaker D:Is he pulling his belt off?
Speaker D:Is he gonna.
Speaker D:What?
Speaker D:What?
Speaker D:Always.
Speaker C:Yeah.
Speaker C:I thought he was gonna, like, try to spank the dog with his belt.
Speaker C:I'm like, yeah, let's see how this goes.
Speaker C:And then he pulls his pan.
Speaker B:I'm like, well, the dog sees the butt and thinks it's something to bite.
Speaker B:And, and that's how he gets it back in his cage.
Speaker D:I thought he was gonna wave a Slim Jim at him.
Speaker B:No, but that's Blake Edwards.
Speaker B:Okay.
Speaker C:Yeah.
Speaker C:I wish, I wish I'd taken a picture of the wife's face when she saw that.
Speaker C:You know, like, what is going on?
Speaker B:Yeah.
Speaker D:And then he holds onto the gate and swings.
Speaker B:Yeah.
Speaker B:Also, you can see a.
Speaker B:But that's, that's Edwards.
Speaker B:I guarantee it.
Speaker B:Yeah.
Speaker B:So, and then, and then, and then this whole.
Speaker B:So he's there and nothing happens during the, the balcony scenes.
Speaker B:It's all just like, she doesn't need the chocolates.
Speaker B:He doesn't do anything.
Speaker B:It's just for sight gags.
Speaker B:Then she does this speech, you know, should a person who doesn't love somebody have to marry somebody?
Speaker B:Well, let's take a vote.
Speaker B:Oh, my God, the driest, most boring way to do that.
Speaker B:And then David comes out, or Walter comes out and says, hey.
Speaker B:And then they dive into the pool and reunite.
Speaker C:Yeah.
Speaker C:He's absent from his entire third act of his story.
Speaker B:Right?
Speaker C:If he's the main guy.
Speaker B:Yes.
Speaker C:Completely absent.
Speaker C:You know, he does the chocolates, sits back, hides in the pool house from the dog.
Speaker B:Yes.
Speaker C:For the time or whatever.
Speaker C:Yeah.
Speaker C:For no reason.
Speaker C:And then at the very end goes, oh, yeah, I guess I should show up for my own movie.
Speaker B:Yeah.
Speaker B:Just.
Speaker B:Yeah.
Speaker C:Pretty bad.
Speaker B:I, I.
Speaker B:And there is some movie that does a long setup of two.
Speaker B:Two star crossed lovers.
Speaker B:I guess they died or whatever.
Speaker B:Or they jump into the water and reunite in the water.
Speaker B:There is a movie that, that uses that overboard.
Speaker B:Okay.
Speaker B:Overboard is one.
Speaker B:But I thought there was an.
Speaker B:I was thinking of another one that took place at night or whatever, but.
Speaker B:Yeah, it might have been that, actually.
Speaker B:Yeah.
Speaker B:Just hang on, Jack, and you can let go.
Speaker B:Yeah.
Speaker B:Overboard.
Speaker B:I bet you it is overboard.
Speaker B:Because to tell that story, they set it up and then when they do it, it makes, it's.
Speaker B:It's perfect here.
Speaker B:There was no foundation.
Speaker C:The fields.
Speaker C:Yeah.
Speaker C:No, I didn't give a.
Speaker C:I was hoping they drown.
Speaker B:Why are you jumping in the water?
Speaker C:Why are you jumping?
Speaker D:Because it's there.
Speaker B:Yeah.
Speaker D:That's why.
Speaker C:The only thing I come up with is visual.
Speaker C:Because they jump in separate and they come up together.
Speaker C:But like, that's.
Speaker B:Yes, yes.
Speaker B:But there's no foundation for that.
Speaker B:It's a completely agreed.
Speaker A:I think I even said, God, that's stupid.
Speaker B:Yeah.
Speaker B:No setup.
Speaker B:Unless it was some holdover from the original script that had Set up or whatever.
Speaker B:I can't imagine.
Speaker D:You know, the only setup I can think of is the John Larroquette's character's mother was chipping golf balls into that pool before the wedding.
Speaker D:Maybe it had something to do with.
Speaker B:Yeah, that.
Speaker D:That's the only setup I can think of as a pool.
Speaker B:But his own white, dimpled balls in the pool.
Speaker B:I don't know.
Speaker C:Right.
Speaker B:Anyway.
Speaker C:Yeah, so there's lots of people getting knocked into pools.
Speaker B:Yeah, well, the guy, the waiter at.
Speaker C:One point at the party, and then they knocked the priest into.
Speaker B:Yeah, well, somebody falling into a pool is funny, Chris.
Speaker B:I mean.
Speaker C:Oh, right, right.
Speaker B:Okay.
Speaker B:Anyway, and then the closing scene with the coke, which I thought was clever, and them having a scene at the.
Speaker C:End, you know, where he's playing his guitar and stuff.
Speaker C:Yeah.
Speaker C:And again, they could have set that up.
Speaker C:I mean, I think we've talked about that a thousand times.
Speaker C:But, like, she could have asked him to play for her earlier on.
Speaker B:Yeah, sure.
Speaker B:A million ways.
Speaker C:And then maybe she asked him about the rewriting the movie.
Speaker C:Maybe she asked him, did you bring your guitar?
Speaker C:Oh, no, I didn't.
Speaker B:Yeah.
Speaker C:Then now the payoff.
Speaker C:He's playing for her.
Speaker C:But, yeah, I got like, there.
Speaker C:There's no blind date, too, because she drank some more mean and, like, killed him or something like this.
Speaker D:That's a crazy relationship.
Speaker D:I couldn't imagine the next day or the next year of their relationship, what that would even look like.
Speaker D:That looks like chaos.
Speaker B:Well, we're supposed to believe that they really are in love.
Speaker B:This is supposed to be a romantic comedy.
Speaker B:Like, at the end, you are supposed to be glad that they're together.
Speaker B:Right.
Speaker B:I mean, so you think it's a.
Speaker C:Monster in the house.
Speaker C:Poorly done.
Speaker B:Yeah, I.
Speaker B:Yes.
Speaker B:And I think that the monster always been slayed.
Speaker B:Slayed or.
Speaker B:Yeah.
Speaker B:Subdued because of the coke.
Speaker B:And you can still have a gremlin, a gizmo.
Speaker C:Right.
Speaker C:Doesn't even make sense because the.
Speaker C:The breaking the three for a monster in the house would be the hero finding way to defeat the monster.
Speaker C:Right.
Speaker C:So.
Speaker C:And his way of defeating the monsters gives her more alcohol.
Speaker B:More alcohol.
Speaker B:Yeah, yeah, yeah.
Speaker B:In hopes that.
Speaker B:That this will disrupt the wedding.
Speaker C:Why I hide in the pool house.
Speaker B:So we hide while I spend all night running around.
Speaker B:And there is this.
Speaker B:This gimmick.
Speaker B:And it's done in a lot of movies of people running in and out of doors, avoiding each other.
Speaker C:Yeah.
Speaker B:Yeah.
Speaker B:I did want to.
Speaker C:Chevy Chase did it better.
Speaker B:Sure.
Speaker B:I did want to say sort of as a way of closing or whatever.
Speaker B:Screwball comedies are a genre, okay.
Speaker B:Like they're, they were big in the 70s, whatever.
Speaker B:But I don't know if you've ever seen what's Up Doc?
Speaker B:With what's Barbara Streisand.
Speaker B:Barbara Streisand and, and Bugs Bunny.
Speaker B:Ryan o' Neill.
Speaker B:Brian o' Neill never said that one.
Speaker B:It is a screwball comedy that has a lot that is almost about this.
Speaker B:Okay.
Speaker B:So Ryan o' Neil is a straight laced geologist wife, just super tight and uptight.
Speaker B:And in comes Barbra Streisand as the chaos character, Literally the Bugs Bunny.
Speaker B:What's up, Doc?
Speaker B:You know, the instrument of chaos.
Speaker B:And she dismantles his life to the point of burning a hotel down.
Speaker B:Okay.
Speaker C:Yeah.
Speaker C:That's the one that Snyder references in his.
Speaker B:Yes.
Speaker B:And it broke evenly right at the midpoint.
Speaker B:That movie is perfect in terms of an instrument of chaos bringing change to a character.
Speaker B:And by the end of the movie, you want them to be there and are glad they're together.
Speaker B:And it's per, it's almost pitch perfect.
Speaker B:Okay.
Speaker A:It is very good.
Speaker A:I like that.
Speaker B:That is essentially because, because essentially his blind date, because he winds up spending an inordinate amount because she keeps inserting herself into his life.
Speaker B:Anyway, this kind of thing can be done well and I think if you are looking for that kind of movie, you should look at.
Speaker C:Yeah, but those are typically older.
Speaker C:Right.
Speaker C:So I just wonder if like this killed the screwball comedy.
Speaker C:You know what I mean?
Speaker C:Like there weren't any more after this.
Speaker B:I don't know, at least for a while.
Speaker D:At one hour.
Speaker C:All right.
Speaker D:Just.
Speaker B:Yeah.
Speaker B:So I think, I think, I think I've said everything I wanted to say about this movie.
Speaker B:The only thing by way of wrap up, usually we can talk about trivia or whatever.
Speaker B:I don't, I think this whole movie is trivial.
Speaker B:I don't know that we need to really spend a lot of time.
Speaker C:We're going to do a recommend pass.
Speaker B:Yeah, whatever it was.
Speaker B:Yes.
Speaker B:So I think, I think you know what I'm going to say.
Speaker B:I'm going to give this one a real hard pass.
Speaker B:I, I, Yeah, this was not.
Speaker C:Yeah, same, same.
Speaker C:It's a pass for sure.
Speaker A:Is it wrong that I got distracted by all the vehicles in the movie?
Speaker A:I didn't even pay attention to story sometimes because I'm like, well, I like that car.
Speaker A:I like that car.
Speaker A:But yeah, it's a pass.
Speaker B:Yeah.
Speaker D:I would, I would think just as a novelty purpose alone to see Bruce Willis in his very first moving Thing it was.
Speaker D:I'd recommend it for Bruce Willis fans to see where he started.
Speaker B:Yeah.
Speaker C:Is that why you picked it?
Speaker C:I was gonna ask you that.
Speaker D:Well, yeah, I'd never.
Speaker C:Hey, why'd you pick this movie, James?
Speaker D:I had never seen it previous.
Speaker D:My girlfriend, she had seen it, said, yeah, we got to watch it.
Speaker D:So I watched it.
Speaker D:Bruce Willis's first thing.
Speaker D:I agree with y' all.
Speaker D:It's a disjointed, weird movie.
Speaker C:Yeah, yeah.
Speaker D:It's the spots where you think you're supposed to have fun.
Speaker D:It's more of a.
Speaker D:Huh, what, what's happening here?
Speaker C:What is going on?
Speaker D:Yeah, I'd recommend for fans to seek it out just for novelty purposes, but.
Speaker B:Your general average one time viewing it.
Speaker D:Yeah, it's more than enough.
Speaker D:Go pay money for it.
Speaker D:It's.
Speaker D:It's on your streaming platforms.
Speaker D:Don't pay money for it.
Speaker B:The only p.
Speaker B:I just remembered this, and I did want to say this.
Speaker B:The only piece of trivia that I found really interesting.
Speaker B:David's office when Nadia is talking to him about hiring him.
Speaker B:Yep, I'll marry you, blah, blah, blah.
Speaker B:I need to go back and look because I didn't see it at the time, but I read the trivia about it.
Speaker B:The camera pans in David's office and it shows out David's window.
Speaker B:Well, outside that window in view is under construction, the Fox building, which less than a year later, Bruce Willis was going to film Die Hard on.
Speaker C:Yeah, yeah.
Speaker B:Okay, so I need to go back and see that scene because I want to see that Fox building outside his window that, you know, literally Bruce Willis was going to film Die Hard in.
Speaker B:Just probably.
Speaker B:Yeah.
Speaker D:And that's kind of the reason I picked this movie was you got Die Hards, you've got Armageddon, you've got all these Bruce Willis movies.
Speaker D:This was a fun one to see, man.
Speaker D:They just hadn't figured it out yet.
Speaker D:You could see the spark of him in there, but it hadn't been figured out yet.
Speaker D:So.
Speaker C:Yeah, no, I, I, I don't know if y' all did this, but I kind of like pre rated these before I watched them all or ranked them, I guess, as far as how I thought I would enjoy them.
Speaker C:And yeah, this before was not bottom and it is now for sure.
Speaker C:Like, I guess I, I thought I would enjoy it a lot more than I did.
Speaker C:I'd never seen it, so I was looking forward to.
Speaker C:Hey, all right, young Bruce Willis, you know, fun, you know, rom com type thing.
Speaker C:And yeah, I missed this.
Speaker B:I really thought I enjoyed it.
Speaker C:I was disappointed.
Speaker B:Maybe I did like it when I first saw it.
Speaker B:Maybe I just.
Speaker B:I don't know.
Speaker B:All right, we're done with this one.
Speaker C:I think so.
Speaker B:All right, I.
Speaker B:I don't have closing theme music, so I can insert something later or we can figure something else out later to end the show or whatever.
Speaker D:We don't have theme music, so.
Speaker D:Bye.
Speaker B:There you go.
Speaker B:Bye.
Speaker B:Okay, I'll marry.
Speaker B:Do we have to have sex?
Speaker B:It's very, very light on story and heavy on.
Speaker B:The Frondin psychic.
Speaker D:Doesn't want to praise the movie too much.
Speaker B:Okay, all right, let me.
Speaker B:Let me just say this.
Speaker B:And he doesn't want you to remember his name.
Speaker B:And he actually, like, disavowed him.
Speaker D:Okay, leave my name out your mouth about this.
Speaker B:To me, it's like, well, where's all my jokes, man?
Speaker B:Where's all my jokes?
Speaker B:I think he took the money and he left the building because check was.
Speaker D:Yeah.
Speaker B:Looking for gold in the dunk heap, as far as theme goes.
Speaker D:Oh, you like that part?
Speaker D:Crap.
Speaker D:We forgot to take it out.
