The Complexity of Unbreakable: An Analysis of Character and Narrative
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The primary focus of this podcast episode is an in-depth analysis of M. Night Shyamalan's film *Unbreakable*, which serves as a poignant tribute to the late Bruce Willis. We embark on a detailed exploration of the film's thematic elements, particularly its examination of the superhero genre through a lens of realism and existential inquiry. Throughout the discussion, we deliberate on the film's narrative structure, character development, and the intricate interplay between David Dunn, portrayed by Willis, and Elijah Price, played by Samuel L. Jackson. The episode further delves into the film's mixed critical reception upon its release, juxtaposed with its growing appreciation as a quintessential superhero origin story. Ultimately, we reflect on the profound impact of *Unbreakable* within Shyamalan's oeuvre and its relevance in contemporary cinema, reaffirming its status as a significant work that merits thoughtful consideration and analysis.
The Fellowship Of The Reel reviews UNBREAKABLE
Part Two 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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Exploring the Depths of 'Unbreakable' and Hero-Villain
Dynamics
This podcast episode features a detailed analysis by the
Fellowship of the Reel on the 2000 film 'Unbreakable' directed by M. Night
Shyamalan and starring Bruce Willis. The discussion delves into the film’s
innovative approach to the superhero genre, highlighting David Dunn's journey
of self-discovery after surviving a train crash, leading to the realization of
his superhuman abilities. Emphasizing the film's themes, structure, and
character development, the conversation also explores the nuanced hero-villain
dynamic, focusing on the transformation of characters, their moral ambiguities,
and the complexities of their relationship. The analysis covers the emotional
impact of the film's twist ending, the moral dilemmas faced by the characters,
and concludes with varying opinions on the movie’s execution, paying tribute to
Willis's cinematic contributions.
00:00 Welcome to Fellowship of the Reel
00:40 Diving Deep into Movie Mechanics
01:20 A Tribute to Bruce Willis: Unbreakable Review
02:03 Analyzing Unbreakable's Story and Impact
08:12 Unbreakable's Cast and Crew Insights
11:49 Exploring M. Night Shyamalan's Storytelling
14:21 Dissecting Unbreakable's Structure and Themes
17:05 Reflections on Unbreakable and Its Legacy
22:33 Debating the Catalyst of Unbreakable
31:52 Elijah's Role and the Power of Comic Books
33:24 Exploring Symbolism and Character Depth
34:05 Elijah's Character and the Adult Superhero Theme
34:35 Realism in Superhero Depictions
35:41 The Hero's Journey: Debates and Tests
36:26 Exploring Superhero Capabilities and Doubts
37:18 The Moral and Ethical Dilemmas of Superheroism
38:10 Unveiling the Superhero Within
40:41 The Consequences of Heroism and Villainy
41:54 Reflections on Identity and Purpose
49:57 The Final Act: Embracing the Superhero Identity
55:06 Revelations and Moral Ambiguities
57:53 A Deep Dive into the Villain's Psyche
01:01:53 Concluding Thoughts on Unbreakable
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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
-----*-----
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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Takeaways:
- The podcast episode emphasizes the profound impact of studying films at a mechanical level, revealing unexpected insights.
- The discussion highlights the unique nature of superhero narratives, particularly through the lens of M. Night Shyamalan's storytelling.
- I articulated my preference for 'Unbreakable' as a quintessential superhero origin film, surpassing even 'The Sixth Sense' in my estimation.
- The episode reflects on the complexities of character development, particularly the duality of being a hero and a villain within the same narrative.
- The engaging dialogue underscores the significance of personal truth and self-acceptance in the journey of the protagonist, David Dunn.
- Critical analysis of the film's structure reveals a departure from conventional three-act storytelling, emphasizing a more fluid narrative progression.
Companies mentioned in this episode:
- Bruce Willis
- M. Night Shyamalan
- Samuel L. Jackson
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:Okay, Fellowship of the Real four friends sitting around talking about movies one chooses and we all review.
Speaker B:We thought we would start off these first four episodes with a tribute to Mr.
Speaker B:Bruce Willis.
Speaker B:As we have mentioned, as you may know, he will probably no longer be with us in terms of movies and we won't be seeing much of him in the public eye.
Speaker B:He has been diagnosed, obviously with a debilitating mental disorder.
Speaker B:And so we thought before we started off we would give tribute and sort of our way of saying thank you for all the great entertainment that he has given us.
Speaker B:Real bummer that we're losing Bruce.
Speaker B:So the first four of these episodes we're going to look at his movies.
Speaker B: is time we are looking at the: Speaker B:M.
Speaker B:Night Shyamalan superhero movie starring Bruce Willis.
Speaker B:This was a pick by Sherry and she will give us our intro and synopsis.
Speaker A:Okay.
Speaker A: ,: Speaker A:It's M.
Speaker A:Night Shyamalan's follow up to his debut hit, the Sixth Sense, follows security guard named David Dunn, played by Bruce Willis, who survives a horrific train crash with no injuries and leading to him discovering that he harnesses superhuman abilities, which in turn introduces him to comic book store owner Elijah Price, played by Samuel L.
Speaker A:Jackson, who uses a wheelchair and turns out to be his nemesis.
Speaker A:The first installment in the Unbreakable film series, which is also known as East Rail 177 Trilogy, followed by Split and Glass.
Speaker A:Unbreakable received mixed reviews upon release, but is often quoted as one of the best examples of a superhero origin movie.
Speaker B:I would agree with that.
Speaker B:I.
Speaker B:I'm surprised at the mixed reviews because this is really what this is probably one of my all time favorite movies.
Speaker B:Certainly one of my.
Speaker B:I, I even like it better than 6 cents.
Speaker B:This is probably my favorite M.
Speaker B:Night Shyamalan movie.
Speaker A:Well, you know, my favorite of his movies is probably Signs.
Speaker B:Signs.
Speaker B:Yeah.
Speaker B:Science is good.
Speaker A:I like Signs, but I like this one.
Speaker A:I do Like Unbreakable.
Speaker C:Yeah, I agree.
Speaker C:This is probably my favorite M.
Speaker C:Night movie.
Speaker D:I think.
Speaker D:I think story wise, this is my favorite when it comes to dialogue.
Speaker D:Not my favorite.
Speaker D:When I see Sam Jackson give his speeches, I'm thinking more Tarantino than Shyamalan.
Speaker D:Shyamalan.
Speaker D:That's what I expect.
Speaker D:And I just didn't get it, so I didn't scratch that itch.
Speaker B:Right.
Speaker D:Well, still a good movie.
Speaker B:It's funny when we'll get to it, but when he's in the comic book store and he's selling that picture and my son will love it.
Speaker B:I'm sorry, my son.
Speaker B:How old is your son?
Speaker B:Four years old.
Speaker B:Well, you need to get out almost.
Speaker B:He says you need to go.
Speaker B:You know, he says this is.
Speaker B:Does this look like a toy store?
Speaker B:In my mind, Samuel Jackson is saying, does this look like a toy store?
Speaker D:I just wanted him to rip toy store.
Speaker B:You know, because.
Speaker B:Yeah, but that's.
Speaker C:You see a kid with a blank expression on his face sitting outside.
Speaker B:Yeah.
Speaker C:One of us has made a grave mistake.
Speaker B:Yeah.
Speaker B:Wasted the other's time.
Speaker B:Anyway.
Speaker B:God, real quick.
Speaker B:It's off the rails, off the rails.
Speaker B:And this is a movie about a train crash.
Speaker B:Great.
Speaker B:Okay.
Speaker B:Did you have the box office or whatever?
Speaker B:Nope.
Speaker B:This, this, this was like fifth element in terms of budget.
Speaker B:It was a 74 million dollar budget and it made worldwide total gross 248 million.
Speaker B:So this was.
Speaker B:It might have received mixed reviews, but it made a shit ton of money.
Speaker D:248 million worldwide.
Speaker B:Yes.
Speaker B:Total gross 248 million.
Speaker B:248 million on a 74 million dollar budget.
Speaker C:Yeah, that's good.
Speaker D:Hour and 46 minutes.
Speaker D:So this one's roughly longer than Blind Date.
Speaker D:Is it yet?
Speaker B:Yeah, that was like.
Speaker D:Yet went by a lot.
Speaker C:No, you're right.
Speaker C:That was like one that was 96 minutes.
Speaker C:Yeah.
Speaker C:So you know.
Speaker C:Yeah, that felt like a thousand.
Speaker C:96.
Speaker B:Oh my God.
Speaker D:So, so Sam Jackson's dialogue notwithstanding, still a better movie than Blind Date.
Speaker D:Much better.
Speaker D:Bruce Willis, right?
Speaker C:Right.
Speaker B:Yeah.
Speaker B:Well, yeah, for Rotten Tomatoes I had fans and critics loved it.
Speaker B:So 70% and versus 77.
Speaker B:Fans liked it a little more than critics.
Speaker B:But everyone seems to have liked this movie.
Speaker D:This was the, the big movie after the Sixth Sense.
Speaker D:Yeah, that's what this movie.
Speaker D:So Bruce Willis was hot.
Speaker D:M.
Speaker D:Night Shyamalan was hot.
Speaker B:Yeah, this was, this was the gravy days of M.
Speaker B:Night Shyamalan.
Speaker B:Yeah, I think he started getting a little on the.
Speaker B:Out on the outs with some of his choices.
Speaker B:But I, I've Always kind of liked his movies.
Speaker B:There's been some that I don't like, but there's some Tarantino movies I can't stand, so I don't.
Speaker C:Yeah, he's hit or miss with her.
Speaker B:Yeah.
Speaker C:Like, so Signs was still good.
Speaker C:Like, that one's up there.
Speaker C:To me, I like Signs a lot.
Speaker C:Where, like, the Village I did not.
Speaker C:The Happening with Mark Wahlberg I did not like.
Speaker B:I can't stand the happening Village.
Speaker B:I'll watch once or twice, but that's it.
Speaker C:The lady in the Water I need to revisit.
Speaker C:I remember not being, you know, I was definitely not Sixth Sense, Unbreakable, Signs level blown away.
Speaker C:But I remember there being parts of that that were really interesting to me.
Speaker D:I think after Sixth Sense came out and Shyamalan's twists, endings, Unbreakable, being that next in the series was still.
Speaker D:We're.
Speaker D:We're waiting for that twist.
Speaker C:Yeah.
Speaker D:And then when it got to the point of the Happening and Lady in the Water, it was, okay, there's the twist.
Speaker D:No, that's gonna be the twist.
Speaker D:No, that's gonna be the twist.
Speaker B:Yeah.
Speaker B:I think you got.
Speaker D:It Becomes unenjoyable.
Speaker C:I'm sure I was curious.
Speaker C:To me, I wonder how much the studio was pressuring him.
Speaker C:Give us.
Speaker C:Give us the next six cents, you know, just do that thing you do, you know, like, just pressuring him to.
Speaker C:So, I mean, as a writer and someone who's creating, like, it had to be hard, you know, on him.
Speaker B:Yeah.
Speaker B:But.
Speaker B:But as I was watching this, I even made a note about it.
Speaker B:But in terms of.
Speaker B:Of.
Speaker B:Because.
Speaker B:Because I've watched interviews with M.
Speaker B:Night Shyamalan, right.
Speaker B:And every interview with him is like a master class to me in writing.
Speaker B:Like, he knows story, and he will talk about story and.
Speaker B:And directorial choices and this kind of thing.
Speaker B:So he is not slack when it comes to story.
Speaker B:Now, if you don't like the story or if you feel like it was a miss, okay.
Speaker B:But it's not because he doesn't have the chops.
Speaker B:And so.
Speaker B:So in.
Speaker B:In that sense, I.
Speaker B:I really respect him as a storyteller.
Speaker C:Right.
Speaker B:And don't even care that some of his movies are misses for me.
Speaker B:Right.
Speaker B:Because I know he can do an Unbreakable.
Speaker B:I know he can do, you know, a Sixth Sense.
Speaker B:I know he, you know, so he's got such.
Speaker B:My.
Speaker B:My respect so much that, like, he can almost do no wrong in terms.
Speaker B:Because I've heard him, and he's just a story guy, and I really, really respect that.
Speaker B:You Know.
Speaker C:Right.
Speaker B:About him or whatever.
Speaker B:Anyway.
Speaker D:Well, I just want to kind of go over who's in it just a little bit.
Speaker D:We're dealing with Bruce Willis, obviously.
Speaker D:Sam Jackson, obviously.
Speaker D:Bruce Willis's son in this movie really is played not.
Speaker B:Oh, oh, not his son.
Speaker D:The.
Speaker D:The character.
Speaker D:The actor who plays his son was also.
Speaker D: Same year: Speaker C:Yeah.
Speaker B:Oh, yeah, yeah, yeah.
Speaker D:Russell Crowe.
Speaker D:So, yeah, same year, same kid, same.
Speaker B:That's funny.
Speaker B:I forgot all about that.
Speaker C:I thought it was really.
Speaker A:Say it.
Speaker D:And then Robin Wright, Penn, I think, at the time, married to Sean.
Speaker B:Yeah.
Speaker D:She's obviously been in lots of stuff.
Speaker D:Yeah.
Speaker D:She plays the wife.
Speaker B:Yeah.
Speaker D:And then, you know, a whole host of characters afterwards.
Speaker D:But the other guy that stands out to me, who I like a lot, is Michael Kelly.
Speaker D:He plays the doctor who informs Bruce Willis, you're the only survivor.
Speaker D:Yeah, Michael Kelly's been in a lot of good.
Speaker B:Was he in House of Cards?
Speaker D:One man of Steel.
Speaker D:House of Cards.
Speaker D:Now you see me, Jack Ryan, he's.
Speaker D:He's just one of those good character actors.
Speaker B:Yeah, he played the.
Speaker B:The.
Speaker B:The heavy for that would do all the dirty work.
Speaker D:Exactly.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker D:You know, great, great actor.
Speaker D:I'd like to just highlight him being in it.
Speaker D:Everything I've ever seen him in is.
Speaker D:Yeah, I like, really solid.
Speaker C:Don't forget M Night, because he does.
Speaker B:A cameo and like his movies, pulls a Hitchcock.
Speaker B:He does.
Speaker B:Which I think.
Speaker B:I don't know this, but I bet you he's heavily influenced by Hitchcock.
Speaker B:He's got to be.
Speaker C:Oh, I would think so.
Speaker C:Also, the.
Speaker C:The kid that play the guy, he's not a kid anymore, but he plays Joseph, plays his son.
Speaker C:I thought it was really cool that he plays the role again in Glass.
Speaker C:Like, it's the same.
Speaker C:They didn't.
Speaker C:He's more of an.
Speaker C:You know, he's an adult now because it's been so long.
Speaker C:But they could have recast him and they didn't.
Speaker C:It's the same.
Speaker C:Same actor he played.
Speaker B:I have to go back and watch.
Speaker D:As Sherry said, this was the first in the.
Speaker D:The series.
Speaker D:Unbreakable.
Speaker C:Split's very good, too.
Speaker C:Like, I really loved Split and had no idea that it was connected to this until the music starts up and I'm like, right at the end, I'm like, that's Unbreakable music.
Speaker C:And they showed David Dunn sitting there at the diner.
Speaker C:I'm like, oh, shit.
Speaker B:This is connected.
Speaker D:Unbreakable blew me away really good.
Speaker D:Again, to kind of keep with the theme of Bruce Willis, he's in the movie with Sam Jackson.
Speaker D:They are also in Pulp Fiction together, yet have no scenes together.
Speaker B:Oh, yeah.
Speaker C:And also Die Hard with a vengeance.
Speaker C:Of course.
Speaker D:Die Hard with a vengeance together.
Speaker D:But.
Speaker C:Yeah, together.
Speaker C:Yeah.
Speaker C:Pulp Fiction.
Speaker C:They're not.
Speaker D:Pulp Fiction was the first out of all these.
Speaker D:I believe so.
Speaker C:Yeah.
Speaker B:Didn't you find out something about.
Speaker A:Yeah, well, about Bruce Willis when.
Speaker A:When M.
Speaker A:Night was making the Sixth Sense, he was writing Unbreakable and he actually wrote the script with Bruce Willis and Samuel L.
Speaker A:Jackson in mind.
Speaker A:Of course Bruce was up for it, but he's the one who talked in, you know, talk Samuel L.
Speaker A:Jackson into doing it.
Speaker C:Really?
Speaker C:Bruce Williston.
Speaker C:That's cool.
Speaker D:Very cool.
Speaker C:Yeah.
Speaker C:I think.
Speaker C:I feel like you can.
Speaker C:Now that you say that, that he wrote those roles.
Speaker C:I feel like you could tell he wrote those roles for them.
Speaker C:Like.
Speaker B:Yeah, well, you said.
Speaker C:I know they're actors and they.
Speaker C:After.
Speaker D:After a big hit, like 6th cents, you got a lot of cash.
Speaker B:Well, yeah, but you.
Speaker B:He didn't know.
Speaker B:He wasn't that well known.
Speaker A:He.
Speaker A:Yeah, because it was while they were making 6 cents.
Speaker B:I think you're a little loud.
Speaker A:Sorry.
Speaker B:Sorry.
Speaker C:Oh, good.
Speaker C:Right before Six Cents said blow.
Speaker A:Yeah, he was.
Speaker A:He was.
Speaker A:Bruce was, you know, sharing with Samuel L.
Speaker A:Jackson.
Speaker A:Oh, this is a great guy, you know.
Speaker C:Gotcha.
Speaker C:Yeah.
Speaker C:I'm doing this move with him right now, and it's.
Speaker C:It's working.
Speaker B:Yeah, he wanted it, but then I didn't know how to get Jackson into it.
Speaker C:Into it.
Speaker B:So Bruce Willis, I guess, went to bat and actually recruited.
Speaker B:Yeah, recruited.
Speaker D:Wow.
Speaker B:Any other opening notes or whatever you got, Jerry or.
Speaker A:No?
Speaker A:Well, I had some more trivia, but was more about when you get into the scenes and everything.
Speaker B:We can get to it.
Speaker B:So this movie starts off with a prologue, but let me just.
Speaker B:Before we get into the.
Speaker B:Well, the story mechanics, obviously, this is superhero genre.
Speaker B:Yeah.
Speaker B:I mean.
Speaker C:Yeah, agreed.
Speaker D:Yeah.
Speaker D:It's a perfect superhero origin story is how it was explained by some critics.
Speaker B:What did you say?
Speaker A:Like Tarantino?
Speaker B:Yeah, yeah.
Speaker A:He.
Speaker A:He loved the movie.
Speaker B:He.
Speaker A:He said it should have been marketed as what if Superman was living on Earth and didn't know he was Superman?
Speaker C:Yeah.
Speaker B:Because it.
Speaker B:I guess it received mixed reviews and Tarantino thought, well, they didn't market it right, you know, or whatever.
Speaker D:Exactly.
Speaker D:Yeah.
Speaker D:And the comments that I read, the movie studio company, this is previous to Marvel starting the superhero universe.
Speaker D:So the.
Speaker D:The company was like, we don't really know what to do with this.
Speaker D:We're going to market it as an M.
Speaker D:Night Shyamalan movie, which with twists and all that, when it really.
Speaker D:It's a superhero movie.
Speaker D:So I don't think that hurt the box office at all.
Speaker D:I think people were going to go see it no matter what.
Speaker B:Yeah.
Speaker B:Especially off six Cents, but.
Speaker C:Right.
Speaker D:Yeah.
Speaker D:I think it was marketed kind of weird.
Speaker C:You know, they didn't know what to do with it.
Speaker C:Yeah, no, that makes sense.
Speaker B:Yeah.
Speaker C:Because like I said before, Marvel before.
Speaker C:Yeah.
Speaker C:Superheroes had really taken off and even then, like compared this to a Marvel movie, it's still completely different.
Speaker C:Yeah.
Speaker C:They're both superhero movies.
Speaker C:But just the way he did it, it's completely different.
Speaker B:Well, the, to me, this, like, I don't like, generally like superhero movies.
Speaker B:The only reason I like Iron man and, and you know, that kind of stuff is because of the character and the smartassery and the character.
Speaker B:But, but generally I do not like, like I've always said, how brave are you really?
Speaker B:If you're bulletproof.
Speaker B:Right.
Speaker B:I mean, okay, yeah.
Speaker B:Anybody who's bulletproof.
Speaker B:Sure.
Speaker B:Yeah.
Speaker B:You ought to be stopping bank robberies because, you know, but you know, somebody like Bruce Willis in his movies or whatever, you know, a blue collar guy, now that's, that's, you know, brave or whatever.
Speaker B:But if, but to me, M.
Speaker B:Night nailed it.
Speaker B:Like, this is my kind of superhero movie.
Speaker B:Like if I had to watch a superhero movie, this is how real the real gritty world of superheroes would be.
Speaker B:You know, not, not even like, you know, the, that superhero movie with Will Smith or whatever.
Speaker C:Oh, Hancock.
Speaker B:Hancock.
Speaker B:Meant to show the gritty world.
Speaker B:Still.
Speaker B:That was kind of flashy.
Speaker B:This, to me is, is your blue collar superhero movie.
Speaker D:And yeah, I think it, I think the way he, he discovers his powers.
Speaker B:Yeah.
Speaker D:Is very cool.
Speaker D:Like, it's not like Spider man where he goes jumping rooftop to rooftop.
Speaker B:Right, Right.
Speaker D:He's like, let me go, Spidey Web.
Speaker D:Let me go.
Speaker D:Just lift a little bit more weight.
Speaker D:And he even.
Speaker D:He's surprised.
Speaker D:He doesn't know what's happening.
Speaker B:Yeah.
Speaker B:So let me say something about how I think this movie is structured so that Chris will understand when he.
Speaker B:I don't know how you structured this movie.
Speaker B:As I'm the right way.
Speaker B:Sure.
Speaker B:As I'm going through this movie.
Speaker B:Right.
Speaker B:Yeah.
Speaker B:I get to the debates, the debate, and then the movie's over.
Speaker B:Okay.
Speaker B:So I never, I never saw a three act structure to this movie.
Speaker B:When I watched this movie, especially the second time, I started to make sense to me because it's an origin movie.
Speaker B:Right.
Speaker B:You know, Bruce Willis, David Dunn is discovering who he is.
Speaker B:He becomes the superhero.
Speaker B:If there were 10 more movies, this would be the origin and then he would go have adventures.
Speaker B:So the whole movie.
Speaker B:Okay, is.
Speaker B:And we'll get to all that in a second.
Speaker B:But the whole movie is the catalyst and the debate.
Speaker B:Bruce Willis, David Dunn debating whether he is a superhero or not.
Speaker B:And it's not until almost the very end of the movie that he has embraced this and has his break into two.
Speaker B:But his break into two, I feel like, is going to be the rest of his life.
Speaker B:So I see this whole movie as act one, and I never really see a bad guy's close in a dark night of the soul, a break into three.
Speaker B:I never could nail that down.
Speaker B:The whole time I watched it, it was all debate, debate.
Speaker B:Okay.
Speaker B:He's still debating.
Speaker B:Okay.
Speaker B:He's testing it.
Speaker B:Okay, okay, okay.
Speaker B:Now he's embraced it.
Speaker B:He's ready to break into two.
Speaker B:You know, we'll get to it.
Speaker B:But is he sliding the newspaper across, you know, you know, this kind of thing?
Speaker B:So to me, the end of the movie, he is ready to go into.
Speaker B:I do have a little bit, if you had to press me.
Speaker B:I think that the.
Speaker B:That the break into two occurs when Bruce Willis makes the call to Elijah.
Speaker B:We'll get into that when we get to.
Speaker B:And be interesting to see how Chris does it.
Speaker B:But I see this whole movie almost as an Act 1 set up call to action and debate.
Speaker B:And.
Speaker B:And it doesn't start Act 2 until almost the end of the movie.
Speaker C:And I see what you're saying there, like, I 100% understand what you're saying and how you could see it that way.
Speaker B:Yeah.
Speaker C:So, yeah.
Speaker C:Be interesting as we get into it because.
Speaker C:Yeah.
Speaker C:Because I have all 15 beats.
Speaker B:Okay.
Speaker B:I do, I do.
Speaker B:I could not runs.
Speaker C:But I 100% get what you're saying.
Speaker B:Yeah.
Speaker C:And I'm not saying that they.
Speaker C:The ones I came up with obviously are correct or even hard, you know, easy to find.
Speaker C:Like, it definitely took some work.
Speaker B:Yeah, we kind of look at it.
Speaker B:We can look at that.
Speaker D:I say we jump into it.
Speaker C:All right.
Speaker D:We're right at 15.
Speaker B:Yeah.
Speaker B:Again, a prologue, which I guess it was important.
Speaker B:It's the birth of Elijah, Mr.
Speaker B:Glass, you know, and we learned he's got this.
Speaker B:So it's almost his origin story at that point.
Speaker D:Yeah, for sure.
Speaker D:Yeah.
Speaker D:It's the.
Speaker D:The department store is where they're at.
Speaker C:Yeah.
Speaker D:So the department store.
Speaker D:She gives birth, he's screaming his head off.
Speaker C:Right.
Speaker C:The baby is.
Speaker B:Yeah.
Speaker C:No, this is one of my favorite openings ever.
Speaker B:What is this?
Speaker B:Unbreakable.
Speaker B:Oh, well, Sherry just found that.
Speaker B:Go ahead and read that.
Speaker A:I'm sorry.
Speaker A:I know y' all started.
Speaker A:I was trying to find this.
Speaker A:No, no, I knew I'd read it.
Speaker A:Unbreakable only uses the first third of Shyamalan's script.
Speaker A:He discarded the rest after deciding the first third was sufficient.
Speaker B:So there you go.
Speaker D:So it was going to be three parts of a story, no matter what.
Speaker B:Well, yeah, but the.
Speaker B:He discarded two acts of his script.
Speaker B:Yeah, so he said he used the first third of that script, which is the first act.
Speaker C:Right.
Speaker A:Sorry.
Speaker B:It wasn't.
Speaker B:He discarded two other scripts.
Speaker D:Okay.
Speaker D:I thought he had maybe split that one script.
Speaker D:No, not three parts.
Speaker D:I just said.
Speaker D:Okay, Unbreakable is gonna be this first one.
Speaker B:He does have a trilogy.
Speaker B:But the script for Unbreakable, apparently that.
Speaker A:Had two other acts said on here on this trivia.
Speaker D:Well, let's kick into it, see what you dissected from it.
Speaker D:Maybe we can.
Speaker B:Sorry.
Speaker B:Well, Chris was able to.
Speaker B:Now, that being said, even.
Speaker B:Even.
Speaker C:So say you have Star wars is three.
Speaker B:Yes.
Speaker B:But you still have a beginning, middle, and end, even of the first part.
Speaker B:So.
Speaker D:Absolutely.
Speaker D:Yeah, it's.
Speaker D:It's definitely weird.
Speaker B:Chris was a.
Speaker B:Was able to nail those down.
Speaker B:I could not see it, so Chris probably has it.
Speaker B:I.
Speaker B:I was not able to.
Speaker C:I mean, we can talk about it, whatever.
Speaker C:But.
Speaker C:Yeah, just I guess a minute ago you said.
Speaker C:Yeah, I guess this is important.
Speaker C:Like, I think it's really important.
Speaker C:Like, at the beginning, it's one of my favorite openings of any movie.
Speaker B:The.
Speaker C:Yeah, yeah, she's in there.
Speaker C:She's, you know, giving birth.
Speaker C:Has given birth.
Speaker C:This baby's crying.
Speaker C:And, like, I think I want to see the first line is he's supposed to be crying like this.
Speaker C:Right.
Speaker C:So you're automatically, like, at the sense of.
Speaker C:Oh, yeah, and something's not right.
Speaker B:Yes.
Speaker C:And then here's the doctor.
Speaker C:He comes in and he's looking at it, and you can tell, like, there's a lot of reflections in this movie.
Speaker C:A lot.
Speaker B:Yes.
Speaker C:So they have reflection, and you can tell on his face something's not right.
Speaker C:And then his line.
Speaker C:Did you drop this baby?
Speaker B:Right?
Speaker C:Like, that's really cool.
Speaker C:Like, automatically pulling you into me.
Speaker C:Like, here's this baby who's crying.
Speaker C:Is he supposed to be crying like that?
Speaker C:And then the reveal, you know, all his arms and legs are broken.
Speaker B:Yeah, yeah.
Speaker C:And then music kicks in.
Speaker C:You see the title, Unbreakable.
Speaker C:Like, bam, I'm hooked.
Speaker C:I got my popcorn it's obviously not.
Speaker D:This character that's unbreakable.
Speaker C:Right, right.
Speaker C:But we can talk about that.
Speaker C:We can talk about it.
Speaker C:But I think that.
Speaker C:I think it does apply to him.
Speaker B:Yes, Well, I think it does.
Speaker B:And.
Speaker B:And Shyamalan does that a couple times, like on the train.
Speaker B:There is such foreboding about the sounds and the shadows as that train starts to speed up.
Speaker D:Was that when the train starts to speed up?
Speaker D:That was after he took off his wedding ring.
Speaker D:Because he's introduced to a single attraction back on.
Speaker C:Right, right.
Speaker D:So obviously you have.
Speaker D:The marriage troubles are foreshadowed.
Speaker D:And then the train starts to speed up and go into this tunnel of.
Speaker D:Okay, you're being launched into this story.
Speaker C:Right.
Speaker D:And bad things.
Speaker C:That's the way I felt anyway, you know.
Speaker C:Yeah.
Speaker C:I like the.
Speaker C:The opening image.
Speaker C:Yeah.
Speaker C:I mean, you see that this guy is unhappy.
Speaker C:Right.
Speaker C:He takes his.
Speaker C:I think there's a lot about the way I broke it down with him embracing a lie, willing to embrace the lie because he lied to.
Speaker C:Lied to Audrey about being injured.
Speaker C:Right.
Speaker C:In the car wreck.
Speaker C:So I think he's willing to embrace.
Speaker C:Live a lie.
Speaker C:Right.
Speaker C:To be for happiness at the beginning.
Speaker C:So he's willing to.
Speaker C:He's lying to this chick.
Speaker B:Right.
Speaker C:He takes off his ring.
Speaker C:The only true things that I saw that he said to her was his name.
Speaker C:And I'm afraid of water.
Speaker B:Yeah.
Speaker C:Everything else he says is a complete lie.
Speaker C:Right, Right.
Speaker C:Which some of it, he's messing around and coming on doing all that stuff, but just interesting.
Speaker C:And to me, the.
Speaker C:The theme about this movie, because they say it a lot about you're not.
Speaker C:You're not doing what you're supposed to be doing.
Speaker C:I like how the kids staring at him like he gets caught by the kid, you know, after the whole exchange.
Speaker C:And roses.
Speaker C:The chicks married and stuff.
Speaker C:Even the.
Speaker C:To me, the kid looking at him saying, as a married man, that's not what you're supposed to be doing.
Speaker D:Right.
Speaker C:I really like that.
Speaker D:Yeah.
Speaker C:And even the.
Speaker C:The way the camera pans back and forth, like it's.
Speaker C:Like it's the kid's view, you know, looking at them.
Speaker C:I don't know.
Speaker C:I really like that.
Speaker C:But yeah.
Speaker C:The cast happens five minutes into this movie.
Speaker B:Yeah.
Speaker A:Well, that was one of the things I noticed about you talking about the camera.
Speaker C:Yeah.
Speaker A:And that was one of the things I found because I kept asking why is.
Speaker A:He's shooting that way?
Speaker A:You know, is it just his style?
Speaker A:And it.
Speaker A:I found that it said the angles or the way the scenes were shot.
Speaker A:Turns out that M.
Speaker A:Night Shyamalan shot it to look like a comic book.
Speaker C:A lot of panels.
Speaker C:Okay.
Speaker D:Yes.
Speaker A:Yeah.
Speaker B:And when she said that.
Speaker B:And we.
Speaker B:And I looked at him second time.
Speaker B:Totally.
Speaker B:Especially through the window with the curtain when.
Speaker C:Right.
Speaker B:Yeah.
Speaker B:It looked like.
Speaker B:And then.
Speaker B:Because I said, well, you know, he's shooting from a distance to keep the audience at a distance.
Speaker B:Or like, you're an observer.
Speaker B:But a lot.
Speaker B:When you go back and look, a.
Speaker C:Lot of those scenes are like comic books.
Speaker C:Could be panels.
Speaker B:Panels.
Speaker C:Yeah.
Speaker C:I thought it was the same thing on the.
Speaker C:Because there's a line in there about him and Audrey.
Speaker C:About she.
Speaker C:When he and Audrey go on the date, she says, do you knowingly hold Joseph and I at a distance?
Speaker B:Yeah.
Speaker C:And he says, yes.
Speaker C:And I feel like the movie does that until he starts to let them in.
Speaker C:And then we start getting, like.
Speaker C:We don't get hurt anymore.
Speaker C:Very many close ups of him.
Speaker C:Like, there's a closeup when the train's doing its thing and he kind of looks around and does like the signature Bruce Willis look to me.
Speaker C:But.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker C:Anyhow.
Speaker A:Yeah.
Speaker A:There's one scene that I'm like, where is he?
Speaker A:You know, you have to find him in the scene.
Speaker A:Yeah.
Speaker D:So the train crash.
Speaker B:Yes.
Speaker C:So it's the catalyst for.
Speaker D:To me, the train crash is what sets off this adventure.
Speaker B:Well, okay.
Speaker B:Yeah.
Speaker B:So we disagree on the catalyst.
Speaker B:And that's probably because you have got your 15 beats and I.
Speaker C:Right.
Speaker B:I don't.
Speaker B:So still in the setup, like, when.
Speaker B:When he.
Speaker B:He walks out of the hospital and all the other relatives are there waiting on their loved one to come out, and of course, they're not.
Speaker B:And they're all staring at him and they're all.
Speaker B:You can almost hear the question, why are you alive and my loved one dead?
Speaker B:And then the.
Speaker B:His wife comes up and you could tell that they're estranged and the son joins their hands and, you know.
Speaker C:Yeah.
Speaker C:They're so estranged that being the sole survivor of a train wreck is not enough to bring these two.
Speaker C:To drive these two into each other's lives.
Speaker B:Totally.
Speaker B:Very uncomfortable.
Speaker B:I hug him.
Speaker B:Or do I not hug him?
Speaker B:You know, this is.
Speaker B:We're not in that place.
Speaker B:So you had the catalyst as the.
Speaker B:The train wreck or whatever.
Speaker C:That's what starts everything, being the soul survivor.
Speaker C:Well, and Elijah is responsible for that.
Speaker B:Which we find out later.
Speaker B:Yes.
Speaker B:Okay.
Speaker C:So Asher once said, that's your fault if you haven't seen it.
Speaker A:Yeah.
Speaker D:22 years old.
Speaker B:Well, you mentioned that.
Speaker B:There it is.
Speaker B:Very cool.
Speaker B:What Shyamalan did.
Speaker B:Because when.
Speaker B:When later on, when Elijah's mother is encouraging him to go outside, you know, there'll be one out a comic book every day on the bench.
Speaker B:You just have to go get it.
Speaker B:He goes and gets it.
Speaker B:The first one, you know, one we see, she.
Speaker B:It's almost like a wink to the audience, you know, she says to him, I hear this one has a surprise ending.
Speaker C:Sure.
Speaker C:Oh, there's so many lines of dialogue throughout the movie that are like that.
Speaker B:Yeah.
Speaker C:Him talking to the audience.
Speaker B:I was like, yes, sir.
Speaker B:Okay, okay.
Speaker B:So I had.
Speaker B:All right, so I hear what you're saying.
Speaker B:To me, the train wreck and him surviving, to us, it's a surprise, but he.
Speaker B:Even when he's talking with Elijah, there's a scene where Elijah and him are talking and they're both lying to each other.
Speaker B:Elijah's lying about all these accidents that have happened because he did them, and Bruce is lying about never being injured because he has.
Speaker B:And so these two characters are not being honest with each other in the scene, in their dialogue.
Speaker B:Right.
Speaker B:So.
Speaker B:So at this point, M.
Speaker B:Night is lying to us.
Speaker B:Right.
Speaker B:Because it's a big shock that Bruce survived, but it's not.
Speaker B:Not to.
Speaker B:Not to him.
Speaker B:Now, maybe gradually, he learns I've never been sick, you know, so he's got to remember.
Speaker B:But he knows.
Speaker B:He knows.
Speaker B:Even though we don't know that he survived that car wreck without an accident.
Speaker B:Okay.
Speaker C:An injury.
Speaker C:Yeah.
Speaker B:So the.
Speaker B:The train, on some level, has.
Speaker B:Is still part of his ordinary world.
Speaker B:I've been in wrecks, and I don't get hurt.
Speaker B:Okay.
Speaker B:Now he's going through stuff with his wife, and he's very.
Speaker B:It's a very somber, very melancholy performance.
Speaker B:But on some level, to me, that's still part of his ordinary world because he.
Speaker B:Whether he knows it or not, he gets in wrecks and doesn't get hurt.
Speaker B:So.
Speaker B:So hold on.
Speaker C:But you're saying he does know it, And I'm saying I don't think he does.
Speaker C:Like, he's.
Speaker C:He's so much enriched in living his lie that he has suppressed all that.
Speaker B:Well, he may have suppressed.
Speaker C:Suppressed the memories and all that stuff, and that's why he's unhappy.
Speaker B:Yes, absolutely.
Speaker B:But it's still part of his doing.
Speaker C:What he's supposed to be doing.
Speaker B:Still part of his ordinariness.
Speaker B:Right.
Speaker B:It's.
Speaker B:That's not something new, even if he is not aware of it.
Speaker C:No.
Speaker B:He's been a direct before and never been hurt.
Speaker C:But it's still the thing that Starts all the chain events in the story.
Speaker B:To me, it's okay.
Speaker B:I think he would have kept on living the way he had.
Speaker C:Without the train wreck.
Speaker B:Without.
Speaker C:You mean with the train wreck?
Speaker B:With the train wreck.
Speaker B:Okay.
Speaker B:Until Elijah leaves.
Speaker B:And this is where my catalyst is.
Speaker B:Leaves the note of the windshield.
Speaker C:I thought about that.
Speaker C:I thought about that being the catalyst.
Speaker C:Yeah, I thought about that as an.
Speaker B:Addition, you know, so that's what kicks him to go to limit.
Speaker C:I thought it was a double bump.
Speaker C:Catboy does the references double bump.
Speaker C:It's a catboy.
Speaker C:Blake Snyder references a double bump.
Speaker C:Sometimes heroes.
Speaker C:The callous happens.
Speaker B:He definitely needs one.
Speaker C:Sometimes heroes need an extra kick.
Speaker C:Yeah, an extra kick in the pants.
Speaker C:Or he calls it a double bump to.
Speaker C:To get on the.
Speaker C:You know, to go through the door to get on the.
Speaker C:To break into two.
Speaker C:So, yeah, I thought it was a double bump.
Speaker B:That could be.
Speaker C:The callus is still big.
Speaker C:The sole survivor of a train wreck.
Speaker C:That's huge.
Speaker B:It has to be challenged to everybody but him, even if he's not.
Speaker B:No, but I do think it's a double bump.
Speaker C:Yeah.
Speaker B:The train wreck has to be because.
Speaker B:Because that's.
Speaker C:He didn't stub his toe.
Speaker C:He survived.
Speaker C:Freaking.
Speaker D:Yeah.
Speaker D:I would disagree with the every day being the same because the only other event that he's had in his life up until then was the car wreck.
Speaker C:It's not like this guy's constantly dodging.
Speaker B:He's never been sick.
Speaker B:Literally.
Speaker B:Like, I haven't had a sick day.
Speaker C:Never even occurs to him until.
Speaker A:What about in the pool, though?
Speaker C:He forgotten about that.
Speaker B:But the pool is his weakness.
Speaker B:We learned.
Speaker A:Oh, okay.
Speaker D:He's afraid of water.
Speaker D:And they set that up quickly.
Speaker D:And then that kind of breaks into the third movie in the trilogy of the water.
Speaker B:Yeah.
Speaker D:And.
Speaker B:And did.
Speaker B:Does he die in the third one?
Speaker B:Yeah, I think they all in a puddle.
Speaker D:Yeah.
Speaker C:Yeah.
Speaker C:And it's interesting.
Speaker C:He referen.
Speaker C:He predicts his own death in.
Speaker C:In this one.
Speaker C:Right.
Speaker C:Because he talks about when he talks about drowning in a.
Speaker C:You know, when he was younger and he drowned and all that.
Speaker C:You know, he says, you know, yeah, drown on some water or whatever.
Speaker C:He goes, the heroes won't die like that.
Speaker C:And then I thought it was very interesting.
Speaker C:That is the way he ends up dying anyway.
Speaker C:So to me, I wonder if was M.
Speaker C:Night predicting and knew way back then that's how I'm gonna get done.
Speaker C:Did it get rid of David Dunn or did he has his, you know, changed in the storytelling and stuff?
Speaker D:Well, I think it would Set up his fear of water almost drowning.
Speaker D:And then when he confronts the killer in the house, he gets dropped in the pool.
Speaker D:That's supposed to be your.
Speaker C:Yeah, he gets thrown in the fire on his trial run as a hero.
Speaker B:Right.
Speaker B:But.
Speaker B:But he.
Speaker B:He lives out of the pool.
Speaker B:Obviously.
Speaker B:The kids help him.
Speaker B:Yeah, but he.
Speaker B:But.
Speaker B:And this.
Speaker B:And I love M Night, but he drowns in a six inch water of.
Speaker C:Yeah, they hold his face down.
Speaker C:Well, it would have been much better if he had been.
Speaker C:If you're gonna kill him that way.
Speaker C:In.
Speaker C:In glass, have him end up in that big vat.
Speaker B:Yeah.
Speaker B:How can you get out of the pool?
Speaker B:But.
Speaker B:Yeah, but if he's held.
Speaker C:Well, because they held him down.
Speaker B:Yeah, but someone's stronger than him, right?
Speaker B:I mean, who.
Speaker B:Who is the guy that holds some guards?
Speaker D:That was the confusing part to me.
Speaker D:Apparently it was a should have been the Beast special team dedicated to fighting super.
Speaker B:Oh, yeah, yeah.
Speaker B:Okay.
Speaker D:That's the third movie that we're.
Speaker B:Yeah, yeah, yeah.
Speaker B:All right, so.
Speaker B:Okay, so we'll call it a double bump because.
Speaker B:Yes, without the train wreck.
Speaker B:He never gets the note on the windshield.
Speaker B:Never goes to see Glass.
Speaker B:Never even knows about Glass.
Speaker B:Right.
Speaker B:Because Glass is looking for him.
Speaker C:Yeah, because that's all part of the double bump in the debate to me.
Speaker C:Like, he, you know, he starts to question his existence, Right.
Speaker C:What's so special about him?
Speaker C:He goes to the funeral.
Speaker C:Something that's interesting, I thought.
Speaker C:And I don't know if it matters or not, but like at the funeral, he's.
Speaker C:The parking lot's empty.
Speaker C:He's the last one.
Speaker C:He stayed for all of them.
Speaker B:Yeah, yeah, yeah.
Speaker B:I didn't pick up on that.
Speaker B:But yeah.
Speaker C:Then he finds a note on his car.
Speaker C:How many days in your life been sick?
Speaker C:So he asked his boss about it.
Speaker C:Right?
Speaker B:Yeah.
Speaker C:Because he starts thinking when his boss's solution is, I'll give you a raise.
Speaker C:You're right.
Speaker C:He asked Audrey about it and she goes, I think I'm just too tired.
Speaker C:I can't remember.
Speaker C:No one gives a shit really about this answer.
Speaker C:Except for one guy, Right?
Speaker B:Well, yeah, it doesn't.
Speaker B:Absolutely.
Speaker B:Yeah, absolutely.
Speaker A:Now when I brought up the pool, I'm just talking about when he was a child.
Speaker B:Yeah.
Speaker A:He actually died.
Speaker B:He said he died.
Speaker B:Yeah, yeah.
Speaker A:That's what I was talking about.
Speaker A:Okay.
Speaker B:Yeah.
Speaker D:That's where his origin of.
Speaker C:Yeah, but that's his.
Speaker C:That's his kryptonite.
Speaker A:Yes, yes, but that's what I was talking about.
Speaker A:If he's kryptonite, well, he's never been injured.
Speaker A:Well, he died.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker D:It's like a vampire.
Speaker D:A stake through the heart will kill him.
Speaker D:Yeah.
Speaker D:Stake through the heart will kill anybody.
Speaker B:I did.
Speaker B:I did think that.
Speaker B:Okay, so if at any other time, if you have two people asking, well, when was the last time I was sick?
Speaker B:Okay, well, how that is.
Speaker B:Nobody wants to sit around for a conversation like that.
Speaker B:It's a very boring conversation.
Speaker B:However, the acting, the writing, that whole performance of them just talking about, when was the last time I was sick?
Speaker B:At the doorway.
Speaker B:Like, you're.
Speaker B:I was enraptured.
Speaker B:I was, like, totally into it.
Speaker C:Right.
Speaker B:And so.
Speaker B:So to me, right off the bat, it's like, yeah, M.
Speaker B:Night Man.
Speaker B:He's the man can take us.
Speaker B:An innocuous conversation.
Speaker B:Well, when was the last time I was sick?
Speaker B:And make it where you are just.
Speaker C:Hanging on even the bed with the sole survivor or whatever.
Speaker C:Like, you know, why are you looking at me like that?
Speaker C:Well, there's two reasons why I'm looking at you.
Speaker B:I thought that was five minutes.
Speaker C:And I love that shot of the patient bleeds out in the foreground.
Speaker C:Yeah.
Speaker C:So, yeah.
Speaker C:But that conversation in the doorway about how many days we've been sick.
Speaker C:Just the note.
Speaker C:But all that stems from him being the sole survivor of a train wreck.
Speaker B:Right.
Speaker B:But I'm interested in knowing how many days he's been.
Speaker B:If me and you were having a podcast about last time you were sick.
Speaker B:Click.
Speaker C:Right.
Speaker C:Nobody would care.
Speaker B:Yeah.
Speaker C:We'd have to tell them that we were the sole survivor of a train wreck with no injuries.
Speaker C:Right.
Speaker B:It's like Hitchcock would do it, you know, whatever.
Speaker B:But it's attaching great meaning to just the most innocuous thing.
Speaker C:Sure.
Speaker D:I saw a thing yesterday.
Speaker D:Alfred Hitchcock was talking.
Speaker D:He goes, imagine four people sitting around a table, and they're just having a conversation about their day.
Speaker D:And then a bomb goes off.
Speaker B:Yeah.
Speaker D:From under the table.
Speaker D:Well, you're going to be sitting there watching four people talk and be like, what is this about?
Speaker B:Yeah.
Speaker B:You'll be shocked for two seconds, but.
Speaker D:You tell people there's a bomb under the table, then have forehand.
Speaker D:Now all of a sudden, stressful.
Speaker D:That's M.
Speaker D:Night, I think.
Speaker D:Took that right out.
Speaker B:Oh, yeah.
Speaker D:You know, something special about it builds.
Speaker B:It's like the scene with the baby at the hospital.
Speaker B:Opening scene.
Speaker B:All of a sudden, we're not talking.
Speaker B:We know something's afoot, you know?
Speaker C:Right.
Speaker B:It's.
Speaker D:Yeah, it's.
Speaker D:It's.
Speaker D:It definitely tightens the screws throughout the Whole movie.
Speaker D:I like it.
Speaker B:Yeah, absolutely.
Speaker B:Then we.
Speaker B:We cut to.
Speaker C:This is breaking into.
Speaker C:Is going to.
Speaker C:To see Elijah at limited edition.
Speaker C:To me, because it's, you know, it's okay.
Speaker C:The catalyst.
Speaker C:Right.
Speaker C:And the double bump.
Speaker C:And then the.
Speaker C:The only person that cares about the answer how many days he's been sick is this one guy who left the note.
Speaker C:Let me go see this guy.
Speaker D:And we're introduced to glass previous to Bruce Willis walking in with his son, berating the one guy trying to buy the painting for his.
Speaker C:Well, in the flashback of the beginning.
Speaker B:But yeah.
Speaker D:So you're introduced to this guy who's taking this stuff very seriously.
Speaker C:Sure.
Speaker D:That's the first part.
Speaker D:Bruce Willis hadn't met him yet.
Speaker C:You're like, okay, that's an important introduction.
Speaker B:Yeah.
Speaker B:No.
Speaker B:So, yeah, after the note on the windshield, there is this flashback.
Speaker B:And again, M.
Speaker B:Night is skillful because this is the thing that, like with Donner in 16 blocks.
Speaker B:Right.
Speaker B:And we're gonna get to this.
Speaker B:But every choice is intentional.
Speaker B:You watch most of that scene in the glass reflection of a television, then it goes to the glass window.
Speaker B:It's not.
Speaker B:I mean, 99% of that scene is in glass.
Speaker C:Oh.
Speaker C:So we're talking about the.
Speaker C:With the.
Speaker C:In the.
Speaker C:Can't talk.
Speaker C:Sorry.
Speaker C:The comic book is presented to him by his mom.
Speaker C:Right?
Speaker C:That's what we're talking about.
Speaker C:Yeah, I guess I had another note on that.
Speaker C:It starts this motif of the comic book's upside down and he rotates it.
Speaker C:Right?
Speaker B:Yeah.
Speaker C:And then the comic book later on in the store, the sentryman.
Speaker C:That one's upside down.
Speaker C:And the mom basically explains it to me at the end about the.
Speaker C:It's all.
Speaker C:To me, it's his worldview and how it's hinting at us that it's slightly askew.
Speaker B:Absolutely.
Speaker B:100%.
Speaker C:Because they're looking at the world upside down from everybody else.
Speaker C:Elijah does.
Speaker B:Yes, that.
Speaker B:And Sherry.
Speaker A:Yeah.
Speaker A:That was the scene where Bruce Willis son is hanging upside down watching the tv.
Speaker A:It's always something shadow foreshadowing of.
Speaker B:Every time something's upside down, something bad is going to happen.
Speaker A:Yeah.
Speaker A:Sorry.
Speaker D:Very interesting.
Speaker C:Also, I think.
Speaker A:Thank you for finishing that for me.
Speaker C:To me, what I got out of the kid also watching the world upside down.
Speaker C:Right.
Speaker C:Two things.
Speaker C:His world's about to be turned upside down.
Speaker C:What you're talking about also the kids.
Speaker C:The first one that buys into the Kool Aid that Elijah is selling.
Speaker C:Right.
Speaker C:And trying to get him to drink.
Speaker B:Yes.
Speaker C:They both look at the world upside down.
Speaker C:Or willing to, at least.
Speaker B:Right, right.
Speaker B:Yes.
Speaker C:Where Bris was like, you know, his response.
Speaker C:I love it.
Speaker C:Don't take another sip of that water, Joseph.
Speaker C:Yeah.
Speaker B:Yes.
Speaker B:This is because after the flashback, we're immediately into the.
Speaker B:Where he's selling the picture to the guy.
Speaker C:Yeah.
Speaker B:And what I have, what I was talking about earlier, Elijah, present day, running a shop, serious about his work, not a toy store.
Speaker B:And then he says, do you see any Teletubbies in here?
Speaker B:And I swear to God, I heard him say, mother, you know, do you see any Teletubbies in here, Mother?
Speaker C:I think that's.
Speaker C:It shows Elijah's character, but it's also M.
Speaker C:Night talking to the audience, saying, this is not a kids comic.
Speaker B:Yeah, yeah.
Speaker C:This is not a kid.
Speaker C:This is for adults.
Speaker B:Right?
Speaker B:Yeah.
Speaker B:This is the.
Speaker B:This is how superheroes are depicted in the real world.
Speaker B:Real world, yeah.
Speaker B:So that's.
Speaker C:To me, that even talks about the depiction.
Speaker C:Yeah.
Speaker C:The thing to notice about this piece, the thing that makes it very special, is its real depiction of its characters.
Speaker B:Yeah, yeah, yeah.
Speaker C:It's 100%.
Speaker C:He's talking about the drawing, but he's 100% the movie to the audience.
Speaker B:There.
Speaker B:There.
Speaker B:There are layers, like.
Speaker B:And that's a director choice, you know, making conscious decisions on the set.
Speaker B:We could shoot it here, but we're going to shoot it upside down.
Speaker C:Right.
Speaker B:In that television.
Speaker B:Because he's glass and this is glass.
Speaker B:And it's all gonna.
Speaker B:Conscience of.
Speaker B:Conscious of.
Speaker B:Of the.
Speaker B:Of the theme.
Speaker C:Right?
Speaker B:Yeah.
Speaker B:You know that.
Speaker B:Because a director is a visual writer, if you.
Speaker B:I mean, sure, Shyamalan is a writer, but a good director is writing with the camera just like a writer will, you know, in my opinion.
Speaker B:So I have that as sort of the setup.
Speaker B:The catalyst is the note.
Speaker B:And then.
Speaker B:And then I have the word debate, and then I have all the rest of my notes, you know.
Speaker C:All right, so to me, it says, breaking into two is going to see Elijah hearing this crazy superhero theory, Right?
Speaker C:And then the fun and games is him toying with that and testing it.
Speaker C:This guy's full of shit.
Speaker C:Maybe he's not.
Speaker C:Let's look how much weight I can lift.
Speaker C:I've never been sick.
Speaker C:Like, it's.
Speaker C:Which I see what you're saying about that whole thing being this big, long debate.
Speaker B:Yeah.
Speaker B:He's.
Speaker B:He's all the time questioning, debating, is this real or don't drink the water.
Speaker B:You know, fill it up with trash.
Speaker B:Wait a minute.
Speaker B:Let's put some more on there.
Speaker B:You know, weights and stuff.
Speaker B:Because to Me like, if the fun and games should be the superhero doing superhero things.
Speaker C:Lifting.
Speaker C:Lifting weight that nobody else can lift.
Speaker C:And more than they ever had is the fun engage in a.
Speaker C:When the heroes are depicted in the real world.
Speaker C:Right.
Speaker B:Okay.
Speaker D:That was the thing.
Speaker D:That was the thing that took me out of the movie just a little bit is he laid down on a weight bench unaware of how much weight was on that and lifted it.
Speaker D:You and I both know you never lift a bar with.
Speaker B:Well, I think he had to start off knowing, right?
Speaker C:And you know, he starts off knowing, right.
Speaker C:So.
Speaker B:Well, how much weight did you put on there?
Speaker B:Yes, exactly.
Speaker B:Yeah, yeah, yeah.
Speaker D:And then he's like, oh, it's only 300.
Speaker C:He also warmed up too, Right.
Speaker C:I mean, again, you and I both know you're not gonna just lay down and throw everything you got.
Speaker C:You got to warm up, otherwise you're hurt yourself.
Speaker C:Sure, I got that.
Speaker C:He had been at it a while.
Speaker C:He had warmed up, he'd already done some stuff.
Speaker C:And.
Speaker C:And at one point, Joseph said, hey, dad, can I throw some weight on there?
Speaker C:Yeah, sure.
Speaker C:Or, dad, can I put the weight on there?
Speaker C:Yeah, sure, son.
Speaker C:Just don't do too much or whatever.
Speaker C:And then, yeah, Joseph hit it.
Speaker D:And then he took weight off, quote, unquote.
Speaker B:I lied.
Speaker D:Yeah, I lied.
Speaker C:It's like, because the dad's already driven, the kid's already drinking the Kool Aid.
Speaker B:Where David is not, bad things can happen because later he pulls a gun on him.
Speaker C:Right?
Speaker B:You know?
Speaker B:Yeah.
Speaker B:You know?
Speaker C:Yeah.
Speaker C:Again, superhero stuff.
Speaker C:Superman is super strong.
Speaker C:Superman is bulletproof.
Speaker C:These are how it's, you know, the real world depictions.
Speaker C:Right.
Speaker C:I mean, that's what it is.
Speaker C:What does Superman look like when he works out?
Speaker C:How much can Superman bench?
Speaker C:If you have a real world Superman, that is the funny game.
Speaker C:That's a fun scene.
Speaker B:That's a good way fun.
Speaker B:But it's not him.
Speaker C:It's funny games, man.
Speaker B:Right.
Speaker B:And it has to be.
Speaker B:There has to be a three act structure even within it's funny games of.
Speaker C:Him entertaining the idea, am I a superhero?
Speaker C:But it's not him being a superhero.
Speaker C:The way into three is being the.
Speaker D:Superhero the way that.
Speaker C:Doing what he's supposed to be doing.
Speaker B:Okay.
Speaker B:Yeah.
Speaker D:The way that he does it is.
Speaker D:I feel like I was on Bruce Willis side of, he's not a superhero.
Speaker D:Don't do that.
Speaker D:Don't point the gun at him.
Speaker D:Don't put weight on there.
Speaker C:Oh, for sure.
Speaker D:M Night really pulls you along with that.
Speaker D:Of is he or isn't he but.
Speaker C:Again, and I agree.
Speaker C:And when the theme is, are you doing what you're supposed to be doing?
Speaker C:So that's.
Speaker C:This is the whole argument of that theme.
Speaker C:Is he doing what he's supposed to be doing?
Speaker C:Here's all these hints.
Speaker C:He's got the, the instinct.
Speaker C:Right.
Speaker C:He works as a security guard.
Speaker C:I mean, Samuel Jackson points it out.
Speaker C:Of all the professions you chose to protect people.
Speaker C:And here he is.
Speaker C:I've never lifted that much.
Speaker C:But he did it without any issues.
Speaker C:He's lifting more weight.
Speaker C:And then finally he gives in a little bit.
Speaker C:And what else can we add on?
Speaker C:What else can we put on?
Speaker B:Right, right.
Speaker C:Paint cans on there.
Speaker A:Like.
Speaker B:No, no, to your point, it has to be.
Speaker B:Because even, Even if you threw away two thirds of Shyamalan script and he only shot the first act.
Speaker B:Yes.
Speaker B:But you still have to have a beginning, middle and end.
Speaker B:So I am sure you're right.
Speaker B:It just felt like all debate to me.
Speaker C:Sure.
Speaker B:And the fact that two thirds was thrown away sort of reassures me.
Speaker B:Yeah.
Speaker B:Okay.
Speaker B:Because there is really no clear.
Speaker B:Okay.
Speaker B:I'm Superman now and I'm gonna go off and have fun in games by stopping.
Speaker B:If this was an over the top superhero movie, he would all of a sudden be stopping crime and drawing attention from the press and, well, not necessarily trying on his tights.
Speaker C:Spider man has to go, go.
Speaker C:Spider web.
Speaker C:He has to learn his skills.
Speaker C:And what can I do?
Speaker C:How strong am I?
Speaker C:How much can I.
Speaker C:How fast can I run?
Speaker C:Can I jump or not?
Speaker C:That's what he's doing here, in my opinion.
Speaker B:Yeah.
Speaker B:Okay.
Speaker B:I mean, I hear swinging by his web.
Speaker B:I'm sure you're right.
Speaker B:Because there's no way this is all just one act.
Speaker C:Yeah.
Speaker C:That's a really long beat.
Speaker B:Right, right.
Speaker B:But that's, that's the, that's the exact impression I got.
Speaker C:And I get where you're saying with that.
Speaker C:But yeah, this is what I got out of it was.
Speaker B:Okay.
Speaker C:Yeah.
Speaker C:Because he's learned about his instincts.
Speaker C:Developing his instinct at the stadium.
Speaker C:Sorry.
Speaker D:So when he's developing his skills at the stadium, it was M.
Speaker D:Night Shyamalan.
Speaker D:There was the drug deal.
Speaker D:Like he brushed up against him and was testing his powers.
Speaker D:That's part of the fun in games of.
Speaker B:To me, that's what it would have.
Speaker D:To be in terms of the way he's pushing his.
Speaker C:Learn about it.
Speaker C:And even again, when they're talking, the audience, now we know something we don't know, didn't know before.
Speaker C:Like Samuel Jackson says that about the instinct Learning the instinct.
Speaker B:Yeah, yeah, yeah.
Speaker B:But.
Speaker B:But Shyamalan script must have been 300 pages because I guarantee break into two of that original script probably occurred at the end of this movie.
Speaker B:Or they're very close.
Speaker C:There's a lot of weightlifting scenes.
Speaker B:Yeah.
Speaker B:Well the rest of that movie was probably the David Dunn doing more like embracing who he was and doing superhuman stuff.
Speaker B:So when he.
Speaker B:When he lopped off the second and third act, he had to sort of retrain this first act to be all three acts, you know?
Speaker C:Right.
Speaker B:Okay.
Speaker D:Where does it go after that?
Speaker D:He's doing his fun and games.
Speaker D:Testing his limits.
Speaker C:Yeah.
Speaker C:And even I have in here, whatever the.
Speaker C:For the part of the fun of games is Joseph pointing the gun at his dad.
Speaker C:Right.
Speaker D:That's fun, David.
Speaker C:Yeah.
Speaker C:Well, if you think about testing his limits.
Speaker D:Absolutely.
Speaker C:Right.
Speaker C:Am I bulletproof or not?
Speaker C:Right.
Speaker B:He's still debating it.
Speaker B:Right.
Speaker D:That was the emotional pull is you're watching that kid going, I think he's a superhero.
Speaker D:If he pulled the trigger, what's gonna happen?
Speaker C:Yeah.
Speaker D:But is Bruce.
Speaker D:You're still on Bruce Willis.
Speaker B:No, it's serious.
Speaker C:Yeah.
Speaker C:Open the air.
Speaker C:Is there audience member too.
Speaker C:Right?
Speaker C:Okay.
Speaker B:Yeah.
Speaker C:He lifted.
Speaker C:But 350 pounds is not crazy.
Speaker C:Right.
Speaker D:You know, Exactly.
Speaker D:And then.
Speaker D:And then he comes back to the kid of if you pull that trigger, I will survive.
Speaker D:But I'm leaving.
Speaker B:Yeah.
Speaker B:Get to put the gun down.
Speaker B:And because.
Speaker B:Because even I don't think even he's sure at that point.
Speaker B:Because I.
Speaker B:I wasn't.
Speaker B:And then the kids said, well, I'll only shoot you once.
Speaker C:Yeah, I love that.
Speaker B:Okay.
Speaker C:That one.
Speaker C:But also one thing I noticed, he's got the gun at him.
Speaker C:Bruce will his first instinct or David's instinct, I guess.
Speaker B:Yeah.
Speaker C:He steps away from Audrey protection.
Speaker B:Yeah.
Speaker C:Subtle.
Speaker C:Like his first thing is to move away because they're standing close together.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:I didn't pick him.
Speaker B:That's awesome.
Speaker C:This crazy kid does shoot the gun.
Speaker C:It's only gonna hit me, you know.
Speaker C:But yeah.
Speaker C:He steps away from Audrey.
Speaker B:All right.
Speaker B:So I know, I know you have to be right.
Speaker B:Because there is no way this is just a one act movie.
Speaker C:Right.
Speaker B:But I don't have the break into two until he calls Elijah, confesses he has never been injured to Elijah and then says what am I supposed to do now?
Speaker C:That's my three.
Speaker C:That's my break.
Speaker B:Yeah.
Speaker B:Okay.
Speaker B:So yeah.
Speaker B:And then the fun in games is him testing his powers at the.
Speaker B:At the train station or whatever and discovering the.
Speaker B:The home invader.
Speaker B:Because I only have one fun in game.
Speaker B:Really.
Speaker C:And that's my finale, I would think.
Speaker D:I would think when Glass goes with him to the football stadium and they find the guy standing in line with the gun.
Speaker D:Yeah, that would be.
Speaker C:That's funny.
Speaker D:I think.
Speaker D:I think when he invites Elijah to him.
Speaker B:Well, Elijah shows up with a false announced.
Speaker C:Yeah, he shows up on it now.
Speaker D:Yeah.
Speaker D:I think that's more of the prelude to the third act of.
Speaker D:Hey, you got it.
Speaker D:You know, you got it.
Speaker D:You've already done the fun in games.
Speaker D:Let's test it.
Speaker D:I think the third act would be.
Speaker D:Right.
Speaker D:Yeah, that area.
Speaker D:Because then he goes to the bus station to really do a final stuff before that.
Speaker C:Yeah, yeah, yeah.
Speaker D:But I think that in that area would be the third act.
Speaker C:You know, that's still part of the fun and games to me.
Speaker C:And even as far as the debate, right.
Speaker C:About is he a superhero?
Speaker C:Is he not?
Speaker C:Is Elijah full of shit and crazy or is he Right.
Speaker C:We see Elijah so convinced he risked his own self and falls down the stairs and suffers, like, just to see.
Speaker B:Yeah.
Speaker C:That he's right, though.
Speaker C:That guy did have a gun with the.
Speaker C:You know.
Speaker B:Yeah.
Speaker B:It was worth 16 months of rehab.
Speaker C:Right.
Speaker C:He's also upside down there, too.
Speaker C:He's staring at the guy upside down.
Speaker B:Yeah, yeah, yeah, yeah, that's true.
Speaker B:So, yeah, I have the break into two when he's.
Speaker B:When he.
Speaker B:You know.
Speaker B:And so Elijah, obviously is the B story.
Speaker C:Oh, for sure.
Speaker B:Always has been.
Speaker B:From the beginning.
Speaker B:Elijah, the B story tells him what to do.
Speaker B:And he's been the one pushing Bruce Willis in.
Speaker B:I wrote.
Speaker B:Pushing him into the light, you know, pushing him to embrace and be what he's supposed to be.
Speaker C:Actually, I think they're each other to be stories as well.
Speaker B:Yes.
Speaker B:Because now I know who you are.
Speaker C:I know who I am.
Speaker B:Yeah.
Speaker B:At the end.
Speaker B:Yes.
Speaker B:And so I only.
Speaker B:Like I said, I only have one fun in game, which is the bus station.
Speaker B:The bus station and going to the home invader.
Speaker B:And I thought it was interesting that the children.
Speaker B:Like, he saves the children.
Speaker B:Parents are dead, but the children wind up saving him out of the pool.
Speaker B:Okay, so.
Speaker B:Because to me.
Speaker B:Because there's a scene where the.
Speaker B:His son says, oh, I thought I was like you, but I'm not like you.
Speaker B:But that can't be the point.
Speaker B:That only heroes are superheroes.
Speaker B:Right, Right.
Speaker B:Because he stepped up and tried to save that girl.
Speaker B:He got his ass kicked, but he did it.
Speaker B:And then hero does that, even if he loses and those kids save him.
Speaker B:Save the hero.
Speaker B:Right.
Speaker B:So, right.
Speaker B:There has to be this.
Speaker B:This thematic thing.
Speaker B:Okay, yes.
Speaker B:Bruce Willis is gonna be a superhero because Elijah later says, the theme, I think, is stated way late, you know, around this point.
Speaker B:But, you know, we live in mediocre times, and people think there's nothing extraordinary in themselves or in others.
Speaker C:Right.
Speaker B:And yet those kids saving Bruce Willis means the movie has to answer the question.
Speaker B:Yes, there is.
Speaker C:Right.
Speaker B:And so that, to me, is the theme and then the fun and games.
Speaker B:And like I said, the rest of the rest of the two acts would be, I guess, another movie or the two thirds of the script, trash can or whatever.
Speaker B:But.
Speaker B:But I knew writing this, I said, well, I know there has to be a breakdown here, and Chris will probably have it, but I cannot.
Speaker B:I cannot find what I think is the rest of the beats.
Speaker B:You know, I think it's all debate and then acceptance.
Speaker C:Yeah.
Speaker C:To me is the false defeat when.
Speaker C:I'm sorry, the midpoints of false defeat when he learns that he did drown as a kid.
Speaker C:Or if I drown, then I can't be a superhero, no matter if I can make sense.
Speaker C:Matter of fact, I got this little instinct thing.
Speaker C:Superheroes don't die.
Speaker C:Superheroes don't drown in water like that.
Speaker C:Right.
Speaker C:That's what he says to Elijah.
Speaker B:Yeah, that's true.
Speaker C:That's his false defeat.
Speaker C:And then Elijah even buys into it and is depressed, hanging out in the comic book store.
Speaker C:Right.
Speaker C:And.
Speaker B:Okay, Cracker Jack.
Speaker B:Yeah, yeah, yeah.
Speaker C:And I like that.
Speaker C:That's the first reference we get of calling the cops about Elijah.
Speaker C:Because ultimately the cops are called on Elijah.
Speaker B:You're sure?
Speaker B:Yeah.
Speaker C:So there's a first.
Speaker C:Man, you keep that up again, I'm gonna call the cops.
Speaker C:And then later on, when they're after he's done a superhero bit and they're at the table together, Audrey says, hey, I've decided if Elijah shows up again, we should probably call the cops.
Speaker B:Yeah, yeah, yeah.
Speaker C:There's three.
Speaker C:There's two references.
Speaker C:And then it does happen.
Speaker C:Yeah, I thought that was interesting.
Speaker B:But.
Speaker C:Yeah, but he's all depressed, upset, you know, destroying this.
Speaker C:This poor dude's comic shop or whatever.
Speaker C:And then I think if he slams into the comic book rack, right, and it falls into his lap and again it's upside down.
Speaker C:And he turns it, writes it up.
Speaker D:And then he buys that comic book, doesn't he?
Speaker C:Yeah.
Speaker C:How much of this?
Speaker B:Yeah, I'll take this one.
Speaker D:I'm go call the cops.
Speaker D:Wait, no, I want to buy this.
Speaker C:So part of his bad guy, for me, part of bad Guys close in because it's false defeat.
Speaker C:Right.
Speaker C:So I'm not a superhero, so I'm going to go back on fixing, you know, go back to living the lie.
Speaker C:Right, Right.
Speaker C:Fix my marriage.
Speaker C:Right.
Speaker C:So he goes on a date with Audrey, starts to patch things up with everything.
Speaker C:The date goes well.
Speaker C:Right.
Speaker C:Things are good.
Speaker C:So he's in danger of going back to living this life.
Speaker C:The date went well, he gets the job in New York that he went for again.
Speaker C:That's because that's in direct conflict of doing what he's supposed to do.
Speaker C:Supposed to be doing.
Speaker B:Yeah.
Speaker C:And then, I mean, we never learn what the job is, but it's not being a superhero.
Speaker C:You know what I mean?
Speaker B:I would have to assume it's some security job.
Speaker C:Yeah.
Speaker B:Did the girl, the babysitter, mention whether it was.
Speaker B:She might have mentioned security.
Speaker C:Yeah.
Speaker C:But security is a shadow or an echo of what he's really supposed to be doing as a hero.
Speaker B:Well, yeah.
Speaker B:Elijah says that, you know, of all the jobs, you could have been anything but, you know, chose protection or whatever.
Speaker C:Right, Right.
Speaker B:Yeah.
Speaker C:So all these things keeping him from doing what he's supposed to be doing is the bad guys close into me.
Speaker B:Well, he's mad at Elijah initially because he said.
Speaker B:When I got that note on my windshield, it was the first day I woke up.
Speaker B:And I wasn't sad because I thought maybe you had an answer.
Speaker C:He does have an answer.
Speaker B:When he's on his date with his wife, he has already done some of this.
Speaker B:He's starting to warm up to the idea that he's the superhero.
Speaker B:And so now his marriage is getting better.
Speaker B:So.
Speaker B:So his desire to achieve the better, you know, to get back with his wife, is linked.
Speaker C:Oh, for sure.
Speaker B:To the outward call of him embracing the fact that he's a superhero because.
Speaker C:They were happy when they got.
Speaker C:He was happy when they got together, and then he decided to lie for her because she didn't like football.
Speaker B:Yeah.
Speaker C:Right.
Speaker C:And so then.
Speaker C:And he's been miserable.
Speaker C:Right.
Speaker C:From that day on.
Speaker C:Right.
Speaker D:Women.
Speaker C:Right?
Speaker C:So now you know.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker C:Now they're.
Speaker C:She's paying the price.
Speaker C:They're paying the price for him having, you know, decided to lie.
Speaker D:Could it.
Speaker D:Could that be an allegory of just a normal person living their life?
Speaker D:Don't live a lie.
Speaker D:Do what you were meant to do.
Speaker C:Yeah, probably.
Speaker C:Sure.
Speaker D:A cautionary tale.
Speaker D:You're a superhero, too, right?
Speaker D:Maybe don't lift £350.
Speaker C:Right.
Speaker C:So, yeah.
Speaker C:So I have the.
Speaker C:All his losses.
Speaker C:Elijah calls David and tells him that his epiphany about the weakness.
Speaker C:Right.
Speaker C:You know, it's your kryptonite, you know.
Speaker B:That'S all is lost.
Speaker C:Yeah, yeah, it's all is lost.
Speaker C:The midpoint was the false defeat.
Speaker C:So this is a false victory.
Speaker C:Right.
Speaker D:Oh, where he's getting everything he wants yet.
Speaker C:Yeah, yeah.
Speaker C:I'm not a superhero.
Speaker C:This guy's crazy.
Speaker C:You know, that kind of thing.
Speaker C:Yeah.
Speaker C:So David.
Speaker C:David goes to the rail yard, right.
Speaker C:Examines the wreckage.
Speaker C:And we learned through flashbacks that he had, you know, super strength to save Audrey.
Speaker B:Yeah.
Speaker B:He wasn't injured.
Speaker B:Right.
Speaker D:He ripped the door off.
Speaker C:Yeah, he ripped the door off.
Speaker C:And he wasn't injured yet.
Speaker C:And he lied about it.
Speaker C:He loved being a quote, unquote hero on the field.
Speaker C:Right.
Speaker C:But he gave that up for the woman he loved and he's committed to living a lie for her.
Speaker C:Right.
Speaker C:But the sadness feels every day.
Speaker C:That's what's cost.
Speaker C:When we were talking about a second ago.
Speaker C:Right?
Speaker B:Yeah.
Speaker B:Something.
Speaker B:He says that the day something's not right.
Speaker B:I just don't.
Speaker C:Still not right, Audrey.
Speaker C:Right.
Speaker C:Yeah.
Speaker C:So his break into three is in his dark night of the soul is having to admit that.
Speaker C:Right.
Speaker C:He can either admit the truth and ask Elijah what comes next, or he can keep living the lie and he can take that job in New York, or he can patch his things up with his.
Speaker C:Yeah, yeah, right, right.
Speaker C:It's ordinary.
Speaker C:Ordinary or superhero.
Speaker C:Those are his choices.
Speaker C:Right?
Speaker B:Right.
Speaker B:Yes.
Speaker B:Yeah.
Speaker B:Okay.
Speaker C:So he breaks into three by calling Elijah, saying, all right, what do I do?
Speaker C:Then he tells him, you know, go to a public place.
Speaker C:So that all of that, to me, is the finale.
Speaker B:Yeah.
Speaker B:No, I think.
Speaker C:I think transportation and testing it out, and I like how it even escalates.
Speaker C:Like the first person that bumps into him.
Speaker B:Yeah.
Speaker B:He doesn't stop.
Speaker B:A date rapist and a thief.
Speaker C:Yeah.
Speaker D:Gotta go for the big crime.
Speaker C:Right?
Speaker C:Right.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:Well, I actually wrote also all of.
Speaker C:Those had already happened.
Speaker C:There's nothing.
Speaker B:Well, now, see, that was a question he could do about it because he bumps up against M.
Speaker B:Night and then searches him and there's no drugs.
Speaker C:Yeah.
Speaker B:Which means M.
Speaker B:Night was there to buy drugs and hadn't bought them yet.
Speaker C:No, I think he'd already gotten rid of them or whatever.
Speaker B:Well, that's what that.
Speaker B:Okay, that's what I thought, too.
Speaker B:But where would he.
Speaker B:Where would he have gotten.
Speaker B:Like, why would he.
Speaker B:Because that was a drug drop, Right.
Speaker B:The drug dealer put him in the can.
Speaker C:M Night gets him because his jacket was different too.
Speaker B:I thought blue Jacket.
Speaker B:I thought.
Speaker C:I thought he had a different jacket on.
Speaker D:Either way, he was involved in drugs.
Speaker C:Sure, he's dirty.
Speaker C:Like the instincts aren't wrong, but I.
Speaker C:Yeah, well, that.
Speaker B:But that was the question, though, whether he was his.
Speaker B:Because that's what I was asking when I was watching this.
Speaker B:Okay.
Speaker B:Does he.
Speaker B:Does he know future crimes or does he know past crimes?
Speaker D:I think it's past crimes from what I've seen.
Speaker D:Because when he already killed the bad guy.
Speaker C:The.
Speaker C:The.
Speaker C:Yeah, the murder.
Speaker D:When he finds the janitor, he knows through the vision that this guy's still occupying that house and he's where the.
Speaker B:Other lady just got rid of the drugs at that point.
Speaker C:Yeah.
Speaker C:Because he searched them.
Speaker C:He didn't find it.
Speaker B:Right.
Speaker B:Okay.
Speaker C:And that could be maybe his.
Speaker C:And the guy had also already.
Speaker C:Was already carrying the gun.
Speaker C:He wasn't about to carry the gun.
Speaker C:He had already put the gun on there.
Speaker C:Right.
Speaker C:You know.
Speaker B:Yeah.
Speaker B:And he didn't see a problem with him shooting somebody, but he said sometimes people will do.
Speaker B:Like he knew he had the gun.
Speaker C:Yeah.
Speaker C:But never see what he saw.
Speaker C:He just describes a gun.
Speaker B:Yeah, but he describes some people.
Speaker B:They do bad things.
Speaker B:You know, team loses and they.
Speaker C:So.
Speaker C:Yeah.
Speaker B:Did he have a vision of the guy shooting up the place and then made.
Speaker C:It would be before.
Speaker C:Or, you know, I mean.
Speaker C:So.
Speaker B:Yeah.
Speaker C:But.
Speaker C:I mean.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:So I was unclear about whether his power is extended to future.
Speaker C:Sure.
Speaker B:Crimes.
Speaker C:I feel like it's past, but.
Speaker C:Yeah, I don't.
Speaker C:I mean, I agree.
Speaker C:It is kind of unclear either way.
Speaker C:And also I felt like maybe him.
Speaker C:He's first really trying to develop it.
Speaker C:Right.
Speaker B:Right.
Speaker B:He.
Speaker C:With M.
Speaker C:Night, maybe it doesn't work out.
Speaker C:Right.
Speaker C:Because he's.
Speaker C:He hasn't developed it yet.
Speaker C:Right.
Speaker C:He got a glimpse of it, but.
Speaker C:But he can't put the pieces together.
Speaker D:True.
Speaker D:He's still defining because maybe even he doesn't know.
Speaker D:And he says that to.
Speaker D:To Mr.
Speaker D:Glass.
Speaker D:He's.
Speaker D:You know.
Speaker D:Yeah.
Speaker D:You know, you just.
Speaker D:People get rowdy, their team loses.
Speaker D:I just.
Speaker D:He looks like a guy that may have a gun, but.
Speaker D:No, those are your powers telling you that.
Speaker D:Not.
Speaker B:Have you ever developed it?
Speaker C:Yeah.
Speaker C:Yeah.
Speaker C:Right.
Speaker D:So he's still developing it.
Speaker D:So maybe even he doesn't know if it's past, present, future.
Speaker D:He just goes with his instinct.
Speaker C:Yeah.
Speaker B:Yeah.
Speaker B:Because.
Speaker C:So, yeah, so he goes.
Speaker C:He takes out this trash guy or whatever.
Speaker C:And.
Speaker C:Yeah, I thought it was interesting that he gets hit with, you know, trial by fire on his first trial run.
Speaker C:Like it's thrown into the pool.
Speaker C:Not just the pool, but a pool with a cover on it.
Speaker B:Yeah.
Speaker C:Any person would have a hard time escaping from that.
Speaker B:Sherry said we should look for Die Hard moments.
Speaker B:Well, the whole scene of him being thrown into the drywall is exactly how he fought.
Speaker B:Promise it won't hurt you.
Speaker B:You know, in the beginning, he's got the guy around the neck and the guy's bashing his head into the drywall, just like in.
Speaker B:I'm sure that's not intentional, but.
Speaker B:But that's, you know, because what I.
Speaker C:Got out of it is this guy is.
Speaker C:You know, it's like riding a bull.
Speaker B:This guy.
Speaker B:This guy would have crushed him in the drywall.
Speaker C:Do whatever you want.
Speaker C:You can't hurt this.
Speaker B:Right.
Speaker D:I honestly think.
Speaker D:Was the serial killer janitor guy.
Speaker D:Was he on the level of Split with that character?
Speaker D:Like, was he a villain?
Speaker D:Like, when he bumped into him and saw those people?
Speaker D:Was he not just a serial killer?
Speaker D:Was he a superhuman?
Speaker B:I don't know.
Speaker D:Because of the way they were fighting.
Speaker D:Bruce Willis being unbreakable, quote, unquote, extra strong.
Speaker C:Yeah, that's true.
Speaker D:He was getting tossed around by this guy.
Speaker D:So maybe was that something he would sense from somebody of.
Speaker D:Yeah, this lady's just a regular thief.
Speaker D:She stole some diamonds.
Speaker D:This one's just a monster.
Speaker C:Yeah.
Speaker C:Yeah.
Speaker B:Maybe he's.
Speaker B:Yeah.
Speaker A:Do you know the.
Speaker A:The lady and child he bumps into at the stadium when he hears.
Speaker B:We never saw a vision, did we?
Speaker A:Yeah, well, he hears the kid or something.
Speaker A:That is actually the character from Split.
Speaker A:I read the kid.
Speaker A:The kid.
Speaker A:I mean, the kid is.
Speaker A:The character that grows up, is in Split, and that's his mom.
Speaker C:Oh.
Speaker C:Because the mom was terrible in Split.
Speaker C:Yeah.
Speaker B:That's cool.
Speaker D:Okay.
Speaker D:That was the little James McAvoy.
Speaker A:That's what I read.
Speaker B:I mean, I'm sure that's Right.
Speaker D:I would make total sense.
Speaker B:Yeah.
Speaker B:If I'm not.
Speaker C:I don't remember the connection, but.
Speaker C:Because you said somebody said it's called the east rail, you know.
Speaker B:Yes.
Speaker B:I've never heard that, but, yeah, they.
Speaker C:Explained in Split about.
Speaker C:I don't remember what it is, but there's something to do with the train that crashed or whatever.
Speaker C:Splits.
Speaker C:His character is connected to that somehow.
Speaker C:I don't remember what the connection is.
Speaker B:Well, what's.
Speaker B:It's like the.
Speaker B:The.
Speaker B:The trilogy with Simon Pegg.
Speaker D:The Cornetto trilogy.
Speaker B:Yeah, the.
Speaker B:The ice cream.
Speaker B:Right.
Speaker B:Or whatever.
Speaker D:Cornetto is the ice cream, but it's Shaun of the Dead, Hot Fuzz and then the World's End.
Speaker D:Yeah, it all the Cornetto trilogy.
Speaker B:Yeah.
Speaker B:So it might be something like that.
Speaker B:You know, could be.
Speaker D:And that sounds like something M.
Speaker D:Night would do.
Speaker B:Yeah.
Speaker B:And then we get the surprise ending.
Speaker B:Really?
Speaker B:I have really.
Speaker B:This whole movie is the first act.
Speaker C:Obviously you skip stuff, ma' am.
Speaker C:So did I.
Speaker B:Sorry, go ahead.
Speaker C:So just.
Speaker C:I had no idea.
Speaker C:So immediately after he takes out this bad guy.
Speaker C:Right.
Speaker C:So he saved this family.
Speaker C:He saved what's left of this family by saving what's left of the family.
Speaker B:Yeah.
Speaker C:He's able to save what's left of his marriage.
Speaker B:Right.
Speaker B:Yeah.
Speaker C:Because they haven't been able to embrace it all.
Speaker C:Even after a train wreck.
Speaker C:It doesn't drive them into each other's arms.
Speaker C:But then he's carrying her up the stairs and they share the bed together for who knows how long.
Speaker C:Right.
Speaker B:Right.
Speaker B:Well, there's the scene.
Speaker B:And again, to me, it harkens back extraordinary things in people.
Speaker B:Right.
Speaker B:Because Bruce Willis is unbreakable.
Speaker B:You know, you probably could shoot him and he wouldn't die.
Speaker B:But he has a nightmare.
Speaker B:And his wife reassures him and he gets reassurance from her.
Speaker C:So.
Speaker B:So you have this lady who abhors violence, being able to protect this, you know, so it's the quiet strength.
Speaker B:It's the extraordinary things in ordinary people.
Speaker C:Sure.
Speaker B:That.
Speaker B:That he looks to her to feel safe, you know.
Speaker C:Right.
Speaker B:Because that was the thing that I didn't wake you to.
Speaker B:That was when I knew we were in trouble.
Speaker B:But obviously the bookend of.
Speaker B:Yes.
Speaker B:And now I'm asking you again.
Speaker B:Meaning they're okay, but an ordinary person having.
Speaker B:I mean, telling, you know, trying to calm Superman down.
Speaker B:Telling.
Speaker B:It's going to be okay, essentially, what's happening.
Speaker B:Right.
Speaker B:You know, I thought that was.
Speaker B:That was awesome.
Speaker B:You know, amazing.
Speaker C:You know, and just an interesting choice.
Speaker C:So I mean, we talk about like it's, you know, synonymous with him being, you know, is he superheroes?
Speaker C:Nice.
Speaker C:If you're her.
Speaker C:With his marriage.
Speaker C:Right.
Speaker C:They're all happy now again.
Speaker C:But he's still lying to her.
Speaker C:He doesn't tell her.
Speaker B:Well, yeah.
Speaker B:Secret identity.
Speaker B:Yeah.
Speaker C:What he's doing.
Speaker C:Yeah.
Speaker C:He tells the kid.
Speaker C:Right.
Speaker C:He tells the son.
Speaker C:And you were right and all that stuff.
Speaker C:So he's still living a lie, but now it's.
Speaker C:It's a lie.
Speaker C:But I'm gonna be a hero.
Speaker C:And she's happy and I'm happy.
Speaker C:You know, it's.
Speaker B:Well, it's because he's.
Speaker B:He's happy because he can now be who he is supposed to be.
Speaker B:Supposed to be.
Speaker D:It's like a guy that's been married for 40 years, gets a girlfriend, and now he's happy and more attentive to his wife because he's.
Speaker C:He's getting his needs.
Speaker C:Well, that was an interesting choice.
Speaker C:That's what happens.
Speaker D:Yeah, kind of is.
Speaker C:Yeah.
Speaker C:We'll see what happens.
Speaker D:But, you know, you.
Speaker D:He's living his life.
Speaker D:He's more happy.
Speaker C:Yeah.
Speaker C:And I like the opposites of the headlines.
Speaker C:Like, he goes back and looks at the headlines of the previous crashes and stuff, and he was making headlines as a victim, and now this last one, he's making headlines as a hero.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker C:It's kind of cool.
Speaker B:Yeah.
Speaker D:Wow.
Speaker C:So would you want in the twist ending?
Speaker D:Yeah, the twist ending.
Speaker B:Yes, the surprise ending foreshadowed at the beginning.
Speaker B:And then.
Speaker B:And then, you know, and I guess that's why I thought, okay, this is.
Speaker B:I'm so relieved that two thirds of the script was thrown away because at least at some level I'm validated.
Speaker B:Right.
Speaker B:But Elijah says, you know, his final words almost are.
Speaker B:It has begun.
Speaker B:So now we know that this is Bruce Willis life.
Speaker B:He's going to go into the second and third act of his life as the superhero.
Speaker B:Elijah sees this as the origin story, the beginning of their story, you know?
Speaker D:Do you think Elijah saw himself as the arch villain before that conversation?
Speaker D:Because it seemed to me like all was revealed to him.
Speaker D:You were the hero, I'm the villain.
Speaker D:Did he ever see that the train crash was bad?
Speaker D:Like, did he know that the things he was doing, were they evil or did.
Speaker D:Does that make any sense?
Speaker C:Yeah, I feel like unless somebody said, I feel like his reveal, he was.
Speaker D:Very machiavellian, like, I need to find my alternate.
Speaker D:He didn't realize everything I'm doing is evil.
Speaker C:Well, he did, but in the final see his.
Speaker C:When he realized.
Speaker C:I don't think we see that on screen.
Speaker B:Well, he says, so many.
Speaker B:So many sacrifices.
Speaker B:Like, I think he regrets it on certain some level, but he sees them as.
Speaker B:As acceptable losses and the price to pay.
Speaker D:And now that he's like, now I've done all these, and you're the hero, I'm the villain.
Speaker B:I know who I am.
Speaker C:Yeah, now that we know who you are.
Speaker B:He says, what an awful feeling, you know, not knowing.
Speaker C:Not knowing your place in the world.
Speaker B:What an awful, awful feeling.
Speaker B:He thought, I know who I am.
Speaker B:Right.
Speaker D:So now he knows who he is.
Speaker C:This is where we shake hands.
Speaker C:Like, he knew what.
Speaker B:Yeah, because that means they never touched throughout the movie.
Speaker B:Because I thought about that.
Speaker B:Okay.
Speaker B:It has to be a thing now that they never have touched.
Speaker C:Right.
Speaker B:Yeah.
Speaker B:And.
Speaker B:And he shakes hands completely intentionally.
Speaker B:Because if I.
Speaker B:You're who you are.
Speaker B:I can now embrace.
Speaker C:This is where we shake hands.
Speaker C:Even says it.
Speaker B:Yeah, absolutely.
Speaker B:This is.
Speaker D:Now that.
Speaker D:That was the revelation to me, moreover, was Sam Jackson didn't know he was a villain.
Speaker D:He was doing these things because he thought it was.
Speaker C:I mean, you think he found out right then and there?
Speaker B:I think he was hoping he was.
Speaker B:I think he was.
Speaker B:Because he said I was always waiting for those particular set of words.
Speaker B:Sole survivor, no injuries.
Speaker B:And until he.
Speaker B:Until he did, he wasn't sure that he was the villain.
Speaker D:Exactly.
Speaker D:That's what I mean.
Speaker B:Yeah.
Speaker D:Now he's like, oh, I am the villain.
Speaker D:Oh, I did this train.
Speaker C:He's okay with being a villain.
Speaker C:Right.
Speaker C:And as long as there's an opposite out there.
Speaker B:Yes.
Speaker B:If we're an opposite end of a.
Speaker C:Crazy dude that's killing people for no reason, that's terrible.
Speaker C:That's not knowing his place.
Speaker C:He's okay being the bad guy because I found this guy.
Speaker C:I found David.
Speaker D:Exactly.
Speaker D:Now everything is.
Speaker C:The sacrifices are okay.
Speaker B:Which is opposite ends of the spectrum.
Speaker B:I'm here, so it has to be one of you.
Speaker C:Because his view of the world is skewed.
Speaker C:And the mom even talks about that.
Speaker C:Right.
Speaker C:Villains eyes are larger than other characters.
Speaker C:It's a reflection of how they see the world.
Speaker B:He sees these as acceptable sacrifice.
Speaker B:Sacrifices.
Speaker B:Yes.
Speaker D:To find that person.
Speaker D:These are willing.
Speaker B:It even says just to find.
Speaker B:Find you.
Speaker B:Yeah, yeah, absolutely.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker C:And there's even a hint with his conversation with the mom before he goes back there to shake hands.
Speaker C:And when she's talking about the.
Speaker C:You know, the villains eyes are larger and how they see the world.
Speaker C:And Bruce Willis goes, well, he doesn't look scary.
Speaker C:You know, there's like a hand of coming, like, because we've gone to like Elijah by this.
Speaker B:Yeah.
Speaker B:He's Bruce Willis, says we're becoming friends.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker D:He's trying to push him to be better.
Speaker D:And then he's like, oh, if you're this, I must be the bad guy.
Speaker D:And then he reviews all the clips that he has.
Speaker D:I did all these things.
Speaker D:It was well worth it.
Speaker D:Now I know who I am.
Speaker B:Yeah, Bruce Willis, totally.
Speaker B:You can see that.
Speaker B:The horror and the.
Speaker D:Yeah, it's terrible.
Speaker B:Yeah.
Speaker B:And he figures it out or whatever.
Speaker C:And just I guess the thought I had about that I talked about earlier about Unbreakable, the title itself.
Speaker C:Elijah goes through all this stuff despite his feral condition.
Speaker C:He goes through all these things to identify, you know, to discover if his theory is correct or not.
Speaker C:Right.
Speaker C:So he's kind of unbreakable himself.
Speaker B:His will is unbreakable.
Speaker B:He will not.
Speaker B:Because he'll.
Speaker B:He sacrificed 16 months of rehab to find out.
Speaker C:Yep.
Speaker B:His will was unbreakable.
Speaker C:All these people.
Speaker B:And his mother says, you know, there are soldier villains and other villains, you know, that you fight the hero with their mind.
Speaker B:So, yeah, he was.
Speaker B:His mind was his willpower.
Speaker B:His mind was unbreakable as.
Speaker D:Yeah.
Speaker D:The conversation with the mother there at the end was the.
Speaker D:The revelation.
Speaker D:That's where they all started.
Speaker D:It's like you were paying attention what she said.
Speaker D:He's the bad guy.
Speaker D:Yeah, he's absolutely the bad guy.
Speaker D:Cool.
Speaker D:Is that all your notes?
Speaker B:It's all my notes, yeah.
Speaker D:You want to go around and do the pass?
Speaker B:Oh, yeah.
Speaker B:Hard recommend and hard recommend.
Speaker B:This is one of my favorite movies, and like I said, a movie to me is.
Speaker B:Well, I mean, same reaction.
Speaker B:I've seen this movie five times, but I am tearing up at the same time.
Speaker B:I'm cheering exactly the same time every single time.
Speaker B:It grabs you.
Speaker B:And that good writing, good directing and good story will do that.
Speaker B:You know, you want.
Speaker B:Same with, like, Dances With Wolves.
Speaker B:I can't.
Speaker B:Yeah.
Speaker B:I know exactly where I'm going to cross.
Speaker B:Right, right.
Speaker C:You know, definitely.
Speaker C:Obviously a recommend for me.
Speaker A:Oh, yeah.
Speaker A:I recommend.
Speaker A:I like it.
Speaker D:I'm gonna dissent.
Speaker D:I'm gonna say for my own personal.
Speaker D:I'm gonna pass.
Speaker D:Not that it's a bad movie, just the dialogue part of it.
Speaker D:Me seeing Sam Jackson speak those words just didn't scratch my itch.
Speaker B:Sure.
Speaker D:But out of Shyamalan's movies.
Speaker D:One of the top.
Speaker D:Top three.
Speaker B:Yeah.
Speaker D:In my opinion, probably number two.
Speaker D:But I've seen it.
Speaker D:I'm good.
Speaker C:Right?
Speaker B:Yeah.
Speaker D:No, watch it if you want to.
Speaker C:I don't know if this is what you're.
Speaker C:You're picking up or not.
Speaker C:And I think he's a very talented director and writer, but there's some times where I can hear Shyamalan's voice in his dialogue, like, no matter what actor is saying it.
Speaker D:Yes.
Speaker C:So maybe that's what's pregnant.
Speaker C:Especially, like, Drill bad with the happening in Wahlberg.
Speaker C:It doesn't sound like Wahlberg talking to me.
Speaker C:It sounds like Shyamalan.
Speaker C:And maybe his cameos, too, like, don't help that because you hear how his cadence and his own voice and how he talks.
Speaker C:But, yeah, I thought Samuel Jackson did a great job.
Speaker C:I don't have any problem with Samuel Jackson's dialogue?
Speaker C:No movie.
Speaker C:I don't hear that.
Speaker C:If I hear it at all, it's in.
Speaker D:Bruce Willis at times, with the directorial skill that Shyamalan has, the writing skill, just everything.
Speaker D:He is aces all the way across.
Speaker D:He makes good movies.
Speaker D:Maybe the stories are lacking, the twists are lacking, whatever, but the dialogue just.
Speaker D:It wasn't up to the standards of everything else in that movie.
Speaker D:So I think that fell short.
Speaker D:But other than that, great movie.
Speaker D:Bruce Willis.
Speaker D:Great, right?
Speaker D:In his heyday.
Speaker D:So it's good.
Speaker C:All right.
Speaker B:Anything else?
Speaker B:We're good.
Speaker D:Well, that's a fun one.
Speaker B:Good deal.
Speaker B:We're out.
Speaker B:If me and you were having a podcast about last time you were sick Flick, Right.
Speaker C:Nobody would care.
Speaker B:Still, that was kind of flashy.
Speaker B:This, to me, is blue collar superhero movie, right?
Speaker C:The baby is.
Speaker C:Yeah.
Speaker C:This is one of my favorite openings ever.
Speaker D:Okay.
Speaker D:You're being launched into this story, Right.
Speaker A:Why is he shooting that way?
Speaker B:You know, to me, right off the bat, it's like, yeah, he's the man.
Speaker D:It definitely tightens the screws throughout the whole movie.
Speaker B:I like it.
Speaker B:A good director is writing with the camera, just like a writer will, in my opinion.
Speaker B:Well, I'll only shoot you once.
