186: Disclosure Day (2026) | Top 10 Steven Spielberg Films

SPEAKER_00 0:00

Hey everyone, it's Alex sharing an exciting update. Go to our brand new website, waywpodcast.com for all of your what are you watching needs. Write to us by merch, donate, and after long demand, we have finally joined Patreon. What are you watching bonus features is our Patreon feed. We're doing bi-weekly episodes, ton of fun, uncut content. We already have episodes live over there, so please head to Patreon and find What Are You Watching bonus features. Now to the show. How you doing there, War Horse?

SPEAKER_01 1:04

Pretty good impression for someone who hasn't seen the movie. I mean, I I think I know my uh I know it's nothing just like that damn horse. I know a thing or two about a thing or two.

SPEAKER_00 1:14

Oh wow. How uh how you feeling to be here today for this one? Oh man. Half excited, half kind of you know, you know, I'm gonna be honest.

SPEAKER_01 1:25

I think I'm a little bit more, huh, overall. Yeah. This is a tricky one. We've never really spoken about this particular filmmaker much, and with all due respect, he's just not one of my guys.

SPEAKER_00 1:41

Yeah. So we're here today to talk about Steven Spielberg, maybe the most famous director who's ever lived. Yeah, and we, I mean, we've been doing this six years and have had a relatively Spielbergian light pod. Like we haven't talked about it much. Of course, we have the coveted Saving Private Ryan commentary, episode 77. Go listen to that because we're in a not so clear state of mind that kind of happened on accident, but that was a lot of fun.

SPEAKER_01 2:10

I still say that that is one of my favorite pod episodes we've ever done. I love that episode, and I love Steven Spielberg more because of that episode.

SPEAKER_00 2:20

Yes, and you know, we're gonna talk, we're gonna talk, I'm gonna mention every single movie Spielberg has made today. We're not gonna go into all of them in depth. This is not a full Spielberg breakdown. We're scheduling this because he has a new movie out, Disclosure Day. We've both seen the film, and I we just pre-booked that we're gonna dedicate an episode to it and Spielberg. So, what we're gonna do, we're gonna talk about Disclosure Day, then I'm gonna burn through his filmography quickly, quickly, and then we'll do our top ten Steven Spielberg films, which are perhaps more than ever. I have to make clear that these are our favorites. We are not saying that these are the best 10 movies he've made, he's made, because who can even make such a statement? So yeah, they're just gonna be whatever our favorites are, but first we're gonna open it up for disclosure day, which um I this just didn't work for me, man. It it just didn't work. No, it was no it was a big I don't even wanna I can't even say disappointment really because I'm gonna get into this when I get into his whole filmography. Twenty years I've been dealing with this. I mean, the Spielberg we grew that we grew up with, my whole relationship with Spielberg starts at E.T. Okay, I'm born in 1985. The first movie I ever became obsessed with was Cinderella. After Cinderella, it is ET. Oh my god, oh my god, Cinderella. Just I hundreds, if not thousands, of times watching it over and over and over. I still have every single beat second of that movie memorized. That's an animated film I love till my dying day. I love that movie. I oh, I rewatched it.

SPEAKER_01 4:02

I this is news.

SPEAKER_00 4:03

No, I've told you this because I re-watched it um in late last year, and that was my first watch where I ever realized, oh my god, the evil stepmother killed Cinderella's dad. Like, cause they just breeze right over it. They're like, they got Cinderella's dad got married to a woman, and six months later the dad was died, was dead, or something. And I'm going, well, wait, oh, that's what happened. She definitely iced him out. I never even put that together before. Love Cinderella, Gus Gus. Oh man.

SPEAKER_01 4:30

Maybe my memory is betraying me, but this this feels like brand new information. And quite frankly, I am um flabbergasted.

SPEAKER_00 4:37

You're disclosed, you've been disclosed. I've been disclosed. So then after Cinderella, it goes to E.T. And I'm talking like I'm age four up until oh, this goes on for at least five years, and I burn, I break three VHS just playing it over and over. This is the thing about ET. It had this green VHS cassette. This was the first, this is when I realized this movie helped me realize what a movie was because I watched it so many times, then as I was getting more like aware, I assumed then I stopped watching it because I assumed something. And my mom was like all nervous, like, hey, I noticed you haven't watched ET for a month. Like, what's going on? And I thought somehow something had shifted in my brain to where I thought anytime I put on a movie, the actors were performing it live for me. So like I was making them work. I'm you know, I'm five, six years old, and that's really what I thought. I really thought like I was, and I wanted to give them a break. That's really what I thought I was doing. That like every time I put in the tape, like they were performing just for me. So then my mom and dad kind of explained how a movie works. Wait, what I have to ask because this is adorable.

SPEAKER_01 5:50

Um, but 100% true. But when you found out that, like, when your when your parents broke it down for you, were you disappointed?

SPEAKER_00 5:59

No, yeah, you let me keep going. When I found out what a movie was and that there were just a series of images on a little tape inside the VHS cassette, I I broke the VHS cassette open, but I did not smash it. I took it apart very carefully because I wanted to be able to put it back together so I could watch the movie. So I took apart this VHS, small screwdrivers, the whole thing, and I'm studying it. I'm holding the film strip up to the light. I can't see any images, and I'm just trying to understand like how did how does that get on this cassette? How does what's on the cassette get on the TV? Like, I just couldn't put it together, couldn't put the tape back together. We went through three VHSs of ET. So, like ET for me, it is the movie. It's the one that literally where I learned what the art form was, not by anything that was happening on screen, it was just the mechanics of the actual cassette and like researching film or just pictures, 24 frames of them. Okay, okay. I ride that all the way to seeing Jurassic Park in theaters. That's 1993. Uh-huh. My mom takes us to the tiny two-screen theater. We didn't live near any multiplexes. We got there for let's say the noon showing, sold out. We had to buy, she brought myself and two of my friends, my two best friends. We bought tickets for the 3 p.m. show. You we had to wait in line for three hours. You wait till the showtime is done. That's how it used to be. Yeah. We're waiting on the street, and like someone wanted to go to the bathroom, you peel off, you duck into a store, someone wants a water, same deal. And then you go in there and there's no assigned seating. We couldn't even all sit together. I will never forget it. So then Jurassic Park takes over, and I'm like, holy shit, dra oh, it's all this is crazy, Jurassic Park, and you're still feeling like you know, I'm a kid, like I'm allowed to watch this. But then just five years later, it's saving Private Ryan, and that comes into theaters and is a movie sensation. And I'm like, maybe a little too young to see it, but my dad takes me anyway, just like your uncle took you. So we're we can't I kept graduating to these different Spielberg milestones, and I'm like, man, he's just always there. Not every movie he makes is for me. And the movies after, same Private Ryan. I like, you know, well enough. I'm in my formative years. After 2005, I'm in college, uh, things just really kind of fall apart and they've stayed that way. Where I am not seeing his level of spectacle anymore. Uh a lot of the movies are just are really long talkers, and that's fine. I haven't liked how Yamush's Yamush Kaminsky's cinematography has evolved. Where I I mean, i if you go watch like Saving Private Ryan and then Disclosure Day, it doesn't even look like it's shot by the same person. Starting with Disclosure Day, there I don't think there's a single shot without a lens flare, and not one, like ten. And these things are just beaming into the frame and they're indoors, and it's like it's just from a lamp. And I'm going, Well, that lamp has a lampshade, and like, how fucking what is the wattage of that bulb? Like, that why are these lens flares everywhere? I mean, everywhere. So, uh, you know, I just wanted to set that up as a way of like this director is really important to me, but I I don't think it his this late, this back end of his career, he's not making movies that really interest me at all. And I understand they're popular. There are people who love musicals and genuinely consider his West Side story one of the best, most authentic, most well-choreographed musicals ever filmed. I re-watched it yesterday, tried that movie, it is a chore to me. It is a chore. People adore his second most recent movie, The Fable Mans, which is an autobi, you know, very autobiographical about him. Tried that one again. That entire thing is sentimental hogwash to me. And I know people love it. I do so I I'll c I'll bring it back to disclosure day. Like, it, you know, it's two hours and twenty minutes, and the whole time, I don't know, like 40 minutes in, I'm like, when okay, so we're still just like talking and talking and like going somewhere, but they're gonna get there and like do something, right? And like I'm really trusting that there's some big like third act Spielbergian hell of a set piece. Nah, it just it this I don't even know what this movie is. I don't know why he wanted to make it. I d I I virtually when it ended, I I just went, I have no idea what he's trying to tell us with it. I have no idea what the point is, what the takeaway is. I have no idea why it took that long to arrive at this uh really kind of disastrous third act conclusion that I thought did not work at all. The movie just didn't work to me. I was very, very bored. My audience, it was a packed crowd, but we were not into it. There were groans when it ended. I don't think this is gonna be a big hit. I do think this is geared toward particularly men, Spielberg's age, not our age, certainly not younger. Uh, you know, I I don't really know, folks. Like, I we blocked off this episode to talk about disclosure day, but we're gonna spend a lot more time talking about Spielberg and his filmography. If you want to go see it, see it. If you think it's gonna be anything like War of the Worlds or even Close Encounters, it is not. It is not. What do you I mean, what do you have to think about it? What do you have to say about it? About disclosure day or about my relationship with Spielberg? Which one which you can start if you go, I I don't mind hearing your relationship and like how and if you grew up with him, because I know you you didn't see ET until I think the history of this pod. So yeah, I'm a little interested to know like your relationship with him, and then I I guess my whole big speech was that he used to be one of my guys, and then he's just he's filmed himself out of being one of my guys. And I think many, many men in particular, our age, would like if you are a movie fan, Spielberg is involved in some capacity based on one of the many unassailable masterpieces he has made, but that is not the same director we are dealing with now, not to me.

SPEAKER_01 11:57

Well, I yes, I agree, and I suppose when I say that he's not really one of my guys, even as a kid, there's only one movie. There's only one actual movie that because I feel like there is a big difference between our generation is very, very specific because we grew up I would say if you were born in 1980 and or maybe even a little bit before, but if you grew up as a kid with Steven Spielberg, that's a whole different type of relationship you have with this particular director because the way that he made movies and the way the spectacle that you were talking about, there was no other person like him ever. Totally unmatched. And yes, E.T. did not come into my life. So I was not a uh a young, I wasn't a kid when I saw E.T., which is a very, very quintessential child movie for our generation to have seen. But it's my first movie experience I remember having that overwhelmed me and took over everything in my body that was Jurassic Park. So, what you were saying about that, that's exactly true. I think I've seen that movie. I think my mom and I, she took me about eight times. You just you just went constantly.

SPEAKER_00 13:15

Like everyone did. That I cannot, I know people sorry to cut you off. I know people kind of have context for this now. No one had ever seen that level of special effects. You couldn't even tell. They looked like 100% real dinosaurs. The dinosaurs in 1993, Jurassic Park in the theater, looked way more realistic than whatever the hell was in the latest Jurassic World from last year. Way more realistic. All of them.

SPEAKER_01 13:40

Even going into this in Spielberg's second, The Lost World. I mean, every I mean, Jurassic Park, the original, looks so amazing and it is just captivating from start to finish. Yeah, I remember that, and like as a kid, that movie like turned me on to dinosaurs. I became like a huge nerd. I was I was learning about them all. I mean, and it's a crazy thing when you're a kid to watch a movie and then actually become so interested in a subject that you actually take your own like interest to go in and research and learn about all of that.

SPEAKER_00 14:15

That's my entire education. I my teachers, no teacher would like hearing this, but I learned so much more from self-teaching myself what I saw in movies than I did in education, and that's just the truth.

SPEAKER_01 14:28

And um, and the and no, and some of the other movies, you know, and this is a funny thing to say, I can't believe I'm saying this. I was never really a big Indiana Jones kid either.

SPEAKER_00 14:38

Um I oh see, I didn't realize that. So we okay, we're shared here. Those were not around. I I will get into them in the filmography. Those were never around my household.

SPEAKER_01 14:48

They were around mine all the time. And my mom, my uncle, every kid that I knew, it was always about Indiana Jones. So I would watch these movies all the time. But here's my hot take. I'm gonna give it to you right now. Oh, this is a big one. Do it. There's only a couple, a couple Steven Spielberg movies that I think for me, this I'm just talking to me personally, everybody, because listen, he is a beloved director. And I I we are probably already talking sacrilege to so many people. We're not because yes, we are just people love.

SPEAKER_00 15:27

I was gonna say, there's no way in hell anyone listening to this loves every single 35 features he's made. There is no chance.

SPEAKER_01 15:37

My personal as Nick take is that um I have always sort of found his movies to be rough to get through as holes. From start to finish, there's very few that keep me engaged, invested the whole entire time. Most of the time, especially when I was a kid, I would be waiting to get to the next big moment. Now, that being said, this is what I say to Steven Spielberg. There is nobody, and I mean nobody, I don't even care. We can even talk about Scorsese. There is nobody that when they deliver a true cinematic moment, he's unparalleled. Like that, like there, there are certain things that he has done in his lifetime that are just as memorable, iconic, they stay in your heart, they stay in your brain. And I'm talking about like Raiders of the Lost Ark. Yes, you've got the whole entire beginning with the rolling rock. As a kid, that was how I would do it. I go, we're gonna watch Raiders of the Lost Ark again. Okay, let's let's watch the beginning. And then we could we fast forward until we get to this same thing. Like Last Crusade, can we just get to Sean? I like the River Phoenix bit in the beginning. And then be like, can we get to Sean Connery? Okay, then can we get to this part? Can we get to this part? But I still find as an adult, whenever I've reseen these movies, where I'm sort of like, can we get to that part next? Because everything else that's going on here, it's not, I don't want to use the word boring because I don't think that that's the right word. But my interest does get put off to the shelf for quite a bit until we reach a new moment, and I'm waiting for the next Spielberg moment.

SPEAKER_00 17:29

Well, I really don't think that's a hot take because I have notes in here for a lot of his movies that are the same thing, that some of these movies really I don't think are worth your time as a whole, but almost all of them, one in particular, I'll just mention here Amistad, like it gets made fun of a lot, it's this and that. That I didn't even remember this. That movie in the middle of the movie, kind of out of nowhere, has a pure, ingeniously staged, pure Spielbergian depiction of the middle passage about how these people were enslaved beginning in Africa, and then how they made the journey over here. I didn't even remember that was in the movie, and I'm going, that should be the whole movie. Like, I do not care about these old white guys in these courtrooms talking for 30 minutes. It does get a little boring. That should be your movie. But in almost every movie he's made, almost not all, including the most recent one, they have these like set pieces that you can get to and that you can wait for. But yeah, yeah, as like start to finish movies, there uh a lot of them wane a little bit, like they they do, but you are waiting for that next sequence that only one person alive could have made. That's the thing, that's his power.

SPEAKER_01 18:41

It is, and when they and and this is also the power of him, you know, me not being exactly a particular fan of you know kids and types of movies. Um, when I saw ET, I went into that movie begrudgingly because I was like, I have to watch this. You made you, yeah. And and and dude, I was I don't know this only a few years ago. I was so I was like 35 at least. And um I'll tell you what, man. Uh from well, from the very beginning, I was terrified for the alien. I loved, I fell in love with the alien. I wanted to protect the alien. This is a credit to Spielberg because I think this is a big part of what he is able to do, is when he can really latch on to some of those very sort of primal but childlike um fears or excitements. Uh I mean, there's no other director that does it. And then when that fucking thing first takes off and they're flying. Jesus Christ. I I remember sitting there in front of my TV, just a TV, and just being like, I'm 35 fucking years old, and I have just been hit with movie magic, slapped in the face. I have goosebumps right now. I am as emotional as it gets. And I go, this is Spielberg. This is Spielberg. And um, and then we talked about this on our uh Saving Private Ryan uh commentary. We both, I think, have said that there may not be a finer piece of filmmaking, period, than the than the Normandy scene.

SPEAKER_00 20:23

There it like in you one can make an easy argument that it is the best directed scene in the history of film. I myself may even make that argument, right? I've rewatched that scene probably like 10 uh no, that's an I've rewatched that scene like five times just leading up to this episode. Just to kind of I watched a whole breakdown with Michael Kahn, the editor, and him talking about all the footage they had and like how do you begin? Like, you just have to start, you just have to start and assembling it. And it's not that he only that he had all this footage, like it was all perfect, it all just looked perfect. So, yeah, I mean that thing is beautiful staging, horrific. It's it's just everything, and that he could have just made that sequence, that would be like he'd be one of the best directors of all time. Oh, yeah, honestly, yeah. His fur just his first few movies, he could be considered that. So then how how have you gone on, let's say, like, since saving Private Ryan with his career? Since saving Private Ryan, lukewarm, yeah. Okay, yeah, uh it's gonna well what what we're talking about, those big like set pieces. I really do think that stopped in 2005. I think that stopped with Munich. Munich is one that I I've rewatched, I watched that last year just for no reason, just to put it on. And all right, here it goes. I'll admit it. I re Steven Spielberg has made 35 feature films. How many of them did I rewatch for this episode? All but two. Why? Because I just got a little carried away. There are two I don't like. I've seen one of them twice and one of them once. I don't have any reason to watch them again. But I rewatched all of them because a lot of them I had only seen once, they didn't do much for me. I was Younger, but once you get past Munich, Munich is like does have some long dialogue, slower parts, but those set pieces are so hitchhaki. And the one with the girl on the phone, and you gotta run and do this. That Allie got home from work and it stopped her cold. She was like, What is this? This is brilliant. I go, I that's Spielberg, like Spielberg hits, and you don't even have to be have context for the movie. He can stop you cold. I don't see any of that after Munich. I I mean his movies have won Oscars, they've been nominated for Oscars. I can't think of any go-for-broke, outstanding set piece. Again, people call out numbers and West Side story. That's just not for me. Since in 20 years. In 20 years, I really can't call out like a notable set piece that I want to bring up on YouTube and watch. Like it just it it doesn't exist. That stops with Munich. It's really interesting. I mean, you know, he's getting he's older, he has a bunch of kids, he's always been a deeply sentimental filmmaker. Always, but he has leaned so heavy into the sentimentality. And I'm like, I I just the Fable Mins he made for himself. It kind of feels like if you would have stopped making movies after there, after then and gone out, you know, become just an elder statesman and doing all it like writing books or just talking, going on talks, restoring old movies, that would have been appropriate. But this disclosure day and like him, you know, he's doing a bunch of popular podcasts, he's clearly trying to appeal to a younger, the younger generation, and he's it's just being hyped, like it's this he was really big in the press by saying that none of the materials, the trailer, the teasers, none of it features anything from the third act. None of it. First of all, that wasn't true because I caught a few shots in the trailer that was from the third act. And second of all, when you set it up that way, you're making it seem like the third act is gonna be this, I don't know, close encounters, save and prior ET thing. And it's not. It's just that was like the worst part of the movie. It I mean, my god, it I I don't even know how to start like talking about it. Like the movie's about a dude who gets a bunch of like secret government shit, secret government files, steals them, and wants to go to a news station to put them all for the world to see, make them broadcast them live. Emily Blunt, who works at the news station, becomes involved in this. And the whole movie is them about like getting to a news station. And I'm like, all right, and then when they get there, shit's gonna pop off, right? Like, and then people are chasing them. I you know, we talked about this, I think, for the first time on the Megalopolis episode, when you're like, you're watching a movie by a director you trust, a director you have seen make masterpieces. So we're just waiting. Like you're stringing us along, stringing it along, and I'm watching Disclosure Day going, okay, maybe we'll get an action scene or something, some noteworthy scene 20 minutes in, you know, a little first act bump up, maybe 45 minutes in to kick off the second act, nope. Maybe an hour in to speed things up, nope, maybe 90 minutes in to kick off the third act. Nope. He does one thing with the train, one that any capable action director could do nowadays. It just reminded me of Mission Impossible, honestly. And I'm like, so this was it. This was just a bunch of talking and driving and military shit. I I had problems from the beginning, and the problems really only grew. And they never and I and then the end I thought was just a complete. I I mean it made sense. It's not like difficult to comprehend. I just do not know why he made it. Well, I I I just don't get it.

SPEAKER_01 25:30

I I kind of thought this wasn't gonna be good right from the start. I don't know why. It was I mean, it started out with with professional wrestling, which is I remember I sat there and I go, Oh, that's right.

SPEAKER_00 25:41

I saw that and I was like, oh, he's gonna love this.

SPEAKER_01 25:43

This is cool wrestling. And I I do, man, I don't know why, man. It it's very, very difficult for me when I am presented with professional wrestling in cinema, for me to actually look at what I'm seeing and enjoy it. This was one where I did not. It was just I was like, oh god, this is like and I go, and how much are they gonna do with this? Like, what are like then then nothing? They didn't do anything with it, and I was like, oh, okay, this was just a backdrop for this weird, like it doesn't even make sense. Like, why was why was he here? What it seemed like he knew he was supposed to give this bag away in exchange for the girl, right? It it why this weird setup in the crowd when you could just grab the bag. I don't know. And then and then this was the thing that I think was a really big problem for me was like you get this handheld device that clearly does a lot of things, doesn't it?

SPEAKER_00 26:47

It really but what we won't know because the movie will never fully explain it. Yes, it does a lot of things, it's so fucking stupid. They hold like this piece of I don't know this thing in their hand and it glows and it oh my god.

SPEAKER_01 27:01

And and and and yet everyone is scared of it, and everyone's like, Don't don't hold it too hard. Oh no, that's that's that's rule number one. Don't hold it too hard. And yes, and it has all this power and it does, yeah, it does a lot of things, but for reasons that are never explained, we just go along with it and we're like, okay. And then even when it actually starts, when Colin Firth starts to do like a bunch of weird stuff with it, I was like, what are the rules?

SPEAKER_00 27:27

Like, what are the rules? Like because some of you are saying you have to have gloves, some of you saying you don't. This doesn't make any sense. And yes, Spielberg, you're definitely gonna explain this all to me later, right?

SPEAKER_01 27:39

No, no, like like it has mind control, it's got like hypnosis, you can like I don't know. It it it it it you can like you can turn into somebody else, maybe. I don't know. No one will. Uh but here's one thing though. There's one good thing I have to say about this movie, and that is solely Emily Blunt.

SPEAKER_00 28:01

Yeah, she delivers, she they gave her a lot to do. It seemed like she was actually speaking those languages. She she was she was fine.

SPEAKER_01 28:08

I was fine. I just became convinced and watching because I'm I'm realizing that this movie is not very good. I I I picked up on this kind of quickly, and then I just sort of started to kind of watch Emily Blunt just anything that I felt emotionally in any sort of way came from her. The way that she handled every bit of her scenes. And I can't even imagine that she understood what was going on as an actor. But, you know, like the way that she would get lost in something, the way that she like, like all of a sudden she'd start to find out this in these in for this information about people and their lives and all this or that, the way she would go from one person to another. I mean, she's literally in like a crazy, like emotional kind of like train ride. And I believed every second of what she did, and it made me think that I think she's one of those actors is sort of like Hugh Jackman. There, there's nothing that they can't do. And there's there's no like I believe her when she's in action, I believe her when she's in um like devil wears Prada type things when she's supporting. I believe her when she's really grounded. I believe her. I believe her in everything. And I just it just sort of dawned over me that I was like, this is how we talk about Amy Adams, this is how we talk about Jessica Chastain. Let's just add the nother like white girl redhead into the mix of just actresses. Is she redhead technically? I don't know. I don't know. She seems like she is. Maybe she's not, but but she just I I was she's good, but she's not enough to make the movie worth it.

SPEAKER_00 29:46

No, not at all. That's what I mean. No, no, not at all. So, okay, you know, Josh O'Connor's got all these like thumb drives of uh, you know, things to disclose. They never really even like fully you get an idea of what's on them, but you never like fully get it. Where I started, I have a huge problem, a big one, and we're about 25-30 minutes in, is when this is in the trailer, like he makes such a big spectacle of like, I didn't believe any of this stuff either. Like, we have to disclose that aliens are here, blah blah blah. And then I watched a video, and now I'm gonna show you that video. I'm like, okay. So, you know, cues up the video, and she's sitting there. We see like five seconds of it, it's it's nothing, it's like an alien getting like probed in a hospital, like in a lab. This I'm not giving anything away. Where we don't even see the probing happen because when the probing happens and we start to hear the screeches and whatever, she gets up from the computer, walks away because it's so horrible to watch. He can't even listen to it again. He closes the laptop. So that's like eight seconds of footage that she's been disclosed with, and I'm watching this going, what like uh an alien like in a in a hospital? Uh we I can pull up something on Reddit right now that's going on across the world of like people just getting mowed like children getting mowed down with machine guns. I mean, what that is the worst this kicked off your whole adventure to go like disclose everything and maybe get yourself killed. What the fuck are we talking about? Like, this isn't what beyond that, how much new alien shit has come out in the real world, like in the past five years? People like you know, military, yeah. The Obama goes on podcasts. Oh yeah, yeah, they're oh yeah, they give you information, they're out there. No one cares, no one cares in real life. Like, no one gives a shit. No one's actually investigating this shit, like no one cares. I don't know if this is the intention. I'm not even gonna say the name. I'm not because this is not what this podcast is about, but there's a big list going on in the culture right now. Let us see the list. Everyone knows what I'm talking about. Yes, in America. Let us see the list, the list, the what let us see the files, the files, open them up. There's thousands of documents, there's videos, there's pictures. So the I'm watching this going like, what if it's that? What if these are those files and he has all these videos and he's like trying so hoping and he was trying to like get them to a news station and then they're gonna unveil them. Okay, and like and then it just ends. Like before it just it doesn't that I could understand more. Like the world does need to know that. I j I didn't the conviction that all the characters had, I just didn't I I I don't know what they're thinking. Are they think are they thinking this is good, this is gonna change humanity for the better? Are they thinking this is bad, these people are dangerous? For some godforsaken reason, the backdrop of this entire movie. I think we're uh on the verge of a war with North Korea, and that's like on the news, and they keep mentioning it. And I'm like, just tell that fucking story. What what? And it the whole thing, it just it was like nothing to me. I had no idea why it was two hours and 20 minutes. It felt like an X-Files episode, but not even a good one. I'm like, what it really all of Disclosure Day felt like long first act, little bit of a second act, movie done. Two hours and twenty minutes, movie done, no payoff, no nothing. There's no rewards as you're watching it. Emily Blunt is good, but there's like there's just no like building up tension and then releasing it. I mean, you mentioned Colin first, Jesus Christ. The decisions he makes towards the end of this movie are are just bad, they're so incoherent from a character level. Yeah. I almost held up my hands and went, so the thing he's been working for his whole life, we're just gonna literally sit this out. Yeah, why? Why Emily Blunt is trying to be a newscaster, she's trying to like she's the weather person, she's trying to be to deliver news. Unveiled, they disclose the files at her news station, but they cut to some damn reporter in New York that we've never met, like giving all this information. I'm going, your main character's right there. She wants to be a news reporter, like let her deliver. What the fuck is going on? Like, this doesn't it just didn't make any sense. He has his story credit, Spielberg does. Whenever he takes his story or screenplay credit, I really feel like we get into this sentimental stuff, and it just it felt like a kid who had a screenwriter as a best friend and is like, oh no, no, no, we should have that thing, like, and they can grab it and hold it and it glows, and then they can like go wherever. Yeah, yeah. We we need to give Emily Blunt more to do that. What oh, let's give her a wet blanket husband. Oh yeah, Wyatt Russell, yeah, yeah, yeah. You know, my first movie was with Goldie Hahn. Yeah, yeah, let's get Wyatt Russell. Will he have anything to do? No, who cares? That it was just a bunch of shit. He fucking shows her that footage, that alien probing footage, and she reacts like she's watching night and fog. And I'm like, what what what is this? The just the whole thing. And I'm trying to be general about the ending, but yeah, the whole thing. But you know, the the do you remember the scene?

SPEAKER_01 35:04

This was the one where I almost fucking lost it because we're because it's such a ridiculous thing that that took way too long. So it's the scene where Wyatt Russell and Emily Blunt are trying, they're in the car, and and she's been told by Colem Domingo's character that she needs to get rid of her phone. So she she dumps it, she she she dumps it out the window, and then she and then she and then she tells Wyatt to like run it over, but he can't reverse, yeah, but he can't on the first one. So she gets outside of the car, places the phone underneath the wheel, he rolls it over, and rolls it over again with the second wheel. It's not really broke, so she just stomps on it like once or twice and then throws it. And I go, Well, that didn't do anything. You think like two car wheels going over it that just cracks like the the like the confrontal gets to the sim card?

SPEAKER_00 36:02

Yeah, I was like and they spend like two minutes on this.

SPEAKER_01 36:06

Two minutes on this bit, and it's not really funny, so it's not exactly like a comedic, like sort of like break, not that I think you would need one, but like I just I go, I go, when it was all over, she just threw it away. I go, what the fuck did we just see that for two minutes?

SPEAKER_00 36:22

Just throw if you're just gonna end up throwing it away, throw it away. This is like the fucking garlic scene in Cinnards when we're like going around and I'm going, why are you just doing this to like make the audience laugh? This doesn't make any sense.

SPEAKER_01 36:34

I man. It was I and then the other part of it too was when the girl uh that that um when when they get caught in the in the hotel and he gives her all that stuff, right? Like he's like, whatever you do for the love of God, don't look at it. Where the fuck does she go? She's gone. Exactly. She's gone. And like she so easily escapes, like all these inept fucking like cops throughout or whatever they are, military. They are like they are they might as well be from Blues Brothers. They're just like and and she just escapes from this log cabin, like easy peasy, and and she has all and she it seems like she has everything. That's what I was able to do. I love some track of it a a little bit because he gets it back sometime. I thought he gave her everything because that makes sense. Like he's about to get captured, take it all, go. Right, right. But then he ultimately gets saved and they end up at the studio and he has some. And then she comes in conveniently with like the rest of it. So that's what that's how I read it. And I go, Well, where did you put it? Like, where did you have it? Did she what and because it doesn't make sense from where he starts like loading those thumb drives up there where he has everything? I don't know. I was sort of like, and what did she do? Because it's clearly at least been like a day. How did she get to Kansas? How did she get to the news station? She wasn't exactly very like, you know, like he was the one helping her. I was like, she just like there's a whole movie about how she has to get there.

SPEAKER_00 38:19

This this is what I mean. Like, there are so many plot holes and things that are unexplained and things that are just done because they're convenient, and I guess they hope you don't notice. But this is two hours and 20 minutes. Like, I mean, really, the movie, like the last 20 minutes of this movie should have been the beginning, it should have been like the first act of something, and then you start. But I so yeah, all these all these little beats, there was so much of this stuff happening, including like I really I'm not gonna stop mentioning the lens flares because as a cinematographer, I was going, I don't know what the hell you're trying to tell me with this. They are in every scene, even if it is extremely dark, and you just have one little table lamp, and that thing is beaming into our eyes. It's just so overdone.

SPEAKER_01 39:03

I think I know what it was, and I think it's as bad as a reason as it gets. I I think they were just trying to make it look sci-fi.

SPEAKER_00 39:12

Okay, then then that is that is a terrible reason because when I rewatch West Side's story, they're all over that too, everywhere, and that is not a sci-fi. That's not his lens flares. He has lens flares like the sun is bouncing off of a uh a skyscraper and reflecting a lens flare back into the camera. Like they're crazy. I mean, he's doing and I I mean, okay, make it look more sci-fi- I don't know, just very dumb and very, frankly, lazy to me. And then the I mean, a sci-fi movie from the last 10 years that I and most people adore is a rival, and I love that movie. And that movie, the one of the main conceits of it is you have to bring these two people together because one person is a math genius and the other person is a genius with linguistics. And in order to be able to communicate with these beings, we need both of you. That like they just copy and pasted that into this movie that into disclosure day. It I mean, it is they made some variations, but it's still like the man is the math guy and the woman is the linguist, just like a rival. And I'm going, Do you think we haven't seen a rival? Like, I I vote okay.

SPEAKER_01 40:22

Even still, it doesn't make sense because like we don't understand anything about why she is like this weird vessel.

SPEAKER_00 40:31

And and no, that just they were chosen, I I guess. I and she looked at a bird's eye something.

SPEAKER_01 40:38

And they're making and they're making her house. Yeah, they're looking, she's looking at cardinals, and then there's all these yeah, that's right.

SPEAKER_00 40:44

They are they're redoing her house, and it's like, what just what what why all the time? Because we want to make her comfortable. What?

SPEAKER_01 40:51

Yeah, and that they never explain that. The whole entire Coleman Domingo's whole entire performance in this poor movie, man. I love Coleman Domingo so much. I love him, I love him.

SPEAKER_00 41:03

He just has nonsense to spew, and he has to do it with such conviction. And after like his third scene, I went, I don't have the slightest fucking clue what you're talking about, and I don't know why I should care.

SPEAKER_01 41:13

And and and like even Calendford goes to visit him, and it's sort of like, oh, so no one's gonna get arrested here? Like you, you're like, you're like the whole entire time Coleman Domingo's the background of Coleman Domingo is like he's in a studio building some sort of prop house, and and I remember thinking that I go, where the fuck is this guy right now? What what what why why why is there all this crew moving a bunch of like walls and things? And then you come to find that that he's building a replica of Emily Blunt's house so that she can connect to what she needs to connect to, and then they do it, but then when it's over, I'm like, what did we connect to? What what what what what revelation did anyone receive here? And then I just thought about like why the hell was Colin Firth here? And like if he was if he knew that this was sort of like, okay, well, you need to put her into this situation because once she knows this, it's gonna be like a huge thing. Why, if you were those guys, wouldn't you be like, tear this place down to everything's gotta go?

SPEAKER_00 42:19

Well, that's what that's what I mean. What his character arc or lacter, it it made no sense. And it is it is just so stupid.

SPEAKER_01 42:28

If they knew that they were gonna end up here, why not just be like, all right, boys, we're gonna wait for them here? They're coming because they know they gotta get here. So we're just gonna set up shop and ambush them when they get here.

SPEAKER_00 42:41

That would have been why chase them the whole time.

SPEAKER_01 42:43

Why chase them and leave where?

SPEAKER_00 42:44

And why did this like one this one guy goes like rogue and is now on some like I'm gonna kill him and chase him all over a train? Why'd you go rogue? I don't know anything.

SPEAKER_01 42:53

I know that guy's the that guy is the only guy that stuck to his job. That's what that guy was. Because from the second, he's the only one that was sort of like, let's get after him. And then Collin first, no, no, that's what I mean.

SPEAKER_00 43:05

His boss is like, yeah, whatever, but then he goes anyway, and I'm like, what's the chain of command here? I mean, I don't know.

SPEAKER_01 43:11

If if any that's one thing, if there's anyone who actually had a singular soul sustained purpose that actually kept trying to see it all the way through, it was that guy. But and but he yeah, yeah.

SPEAKER_00 43:23

I mean, I have a few we've touched on a lot of stuff. I've had a few notes here in the outline, like things to hit on. You know, cinematography, I've touched on it. I love Yamush, but this was not for me. I felt this way for again, like two decades of Spielberg's work. Music, we got John Williams. I didn't discern anything memorable from it at first.

SPEAKER_01 43:44

Not a single thing that I would be like, oh man, look at that music swell right there. I didn't have even noticed for the spectacle parts of it.

SPEAKER_00 43:49

You know, I 35 features. This is his 35th. I looked it up. How many have not been nominated for Oscars? Just one nomination, just one. There's only five. He's only made five movies that haven't been nominated for an Oscar. Those are really good stats. This one may join it, because I I mean visual effects, okay, maybe, but I think we're gonna have a way bigger uh you know sample size of movies to deal with coming out. Uh sound, maybe, but I and I that's just crazy. Like a big budget Steven Spielberg summer sci-fi movie is probably I don't know how it's gonna do financially. I can't imagine it's gonna do good. This is not gonna make more money than even Obsession, which I saw again for the third time last night, and it was awesome. I love that movie. I also saw Disclosure Day in fucking IMAX because I thought they were at least gonna blow it up and they didn't. It's just that I hate this shit of like filmed for IMAX. No, it's not. You just filmed a regular movie, it's not filmed for IMAX, so go see it if you want to see it. I talked to my dad yesterday, he was gonna go see it, and I went, far be it for me to keep you from it. Like he my dad liked West Side's story in the Fablements, so I went, I don't know, go, but I I don't really know what the point is, and I do I did not walk away with anything. I had a ticket, a pre-bought ticket to see it again. Uh assuming maybe I'll like it and I want to get two viewings in for the pod. That's what I turned in to go see Obsession instead. Oh my god. That's pretty rare for me. That's crazy. Like I bailed on re-watching a Spielberg movie to go rewatch a tiny indie horror film that I had already seen twice. And that is the decision I made yesterday.

SPEAKER_01 45:28

I mean I very well I I yes, I would do the exact same.

SPEAKER_00 45:33

Oh, obsession. We love it. I love it. Nick loves it. My dad loved it. Want to know what we think about it? Head over to patreon.com slash W A Y W and sign up for what are you watching bonus features? We're having a great time over there. So that's disclosure day. I don't really have much more to say about it in terms of his filmography. I would not place it high at all. I would place it uh in one of the lower tiers, I think, of his work. It's well intentioned. It it is I I'm I think I I think it is. Like, I don't I I I don't I don't know, man. I don't know. But we're gonna end that discussion now. I think it just move on to him because this is gonna be fun to go in, mention all of his movies. You can interrupt me whenever if you've seen something and have an opinion on anything that I say. I'm just gonna burn through the whole filmography because I'd seen them all before, but re-watching them, it was fun. I have some new opinions. Some opinions aren't as harsh as they used to be, and like I'm more forgiving of ones from the past now, and I'm even harder on the ones from this the last two decades because I I don't know. It's just I don't think they're as good. You ready? You ready for this? Oh, I'm ready. I'm gonna time myself.

SPEAKER_01 46:46

Yeah, I'm I'm I'm he says he can do this in 10 minutes, folks. He says actually this will take away. I'm gonna sit back and I'm just gonna let you uh you paint this world for me, Stevie.

SPEAKER_00 47:00

Stevie. All right, Steven Spielberg. I'm not even gonna go into any background because we all we all know who he is, what it's about. He starts making movies really young, you know, sneaks on to Warner Brothers Lots, all this stuff. His first like thing, big thing, is a TV movie called Duel, made in 1971. This is a fantastic debut. It technically premiered as a 74-minute movie of the week on TV, but he released it a few years later as a 90-minute feature film. Theatrically, he released it. I bought the 4K for this viewing. It looks and sounds fantastic. It is very well made, easy, scary, fun. You absolutely see early Spielberg flourishes here, like NET, that triple cut of him, boom, boom, boom, right like right before he and his friends go up away from the cops. That's in duel. This triple cut, boom, boom, boom. It's just a truck driver chasing a dude around in like California because he pissed him off like road rage. That's it. That's the whole movie. Oh, that's just it's like you know, if you've ever seen Joyride, it's yeah, Joyride clearly took a lot of influence from duel. Fun movie. His first official feature, 1974, The Sugarland Express, based on a true story. It's basically one long car chase. Uh, husband and wife, Goldie Hahn and William Atherton are a couple on the run. Ben Johnson is chasing them. He had just uh, or he's like trying to deal with them, negotiate with them. He had just won an Oscar for the last picture show. Fun movie. Had only seen it once, rewatch it this morning. Fun. 1975, his second feature film. I counted Duel as one of his 35 features, so I'll call Jaws his third. Or yeah, it's Jaws, it's his third movie that he ever makes. Have you heard of it? Second, second official feature. It it's crazy. He was 29 when it was released. He famously, quite famously, did not get nominated for best director. It's a clip, funny clip on YouTube. Go look it up. But that's that's Jaws. It kind of changed cinema. Perhaps you've heard of it. 1977, he goes personal, sentimental, and writes. Close Encounters of the Third Kind, gets his first best director nomination, his first time as a screenwriter, doesn't do that often. 1979, Big Swing, 1941. It's a pretty big bomb, not financially. Critics don't really like it, audiences don't get it, it's a spoof that has turned into a cult classic. I recommend giving it another chance. The director's cut, which is a half hour longer, works well as a radically over-the-top studio spoof, but for Spielberg, his reputation is hit hard. So, 1981 teams together with his pal George Lucas, they make Raiders of the Lost Ark. I'm gonna I'm just gonna preempt this right now. You already kind of did. I'm just gonna these were never my movies, they just weren't around. Action adventure was not a genre in my household. They just so I did have a few friends that love them, but I did not see Raiders of the Lost Ark until I'm I'm saying I was in college. Like I I it they just weren't a part of my life at all, so I didn't even see these until then. However, everything in this movie works, everything clicks, it is movie magic, it's an uncontested classic. Even folks like myself who have a mild allergy to the logic of action adventure films, it still works. It's just so impressive. He gets another best director nomination. The next movie, 1982, E.T. the extra terrestrial, all timer. This is as good as movies get gets, it's a classic, makes a ton of money, gets another best director nomination. Not a feature film, but in 1983 he has one vignette, one segment of Twilight Zone, the movie. He had a horrible time making it based on what had happened earlier on production. It's I'm still really, really surprised they even went ahead and finished that movie and released it. Noting all that, his chapter is the weakest of the four, and he would agree he did not have fun making it. Similarly to 1984's Indiana Jones and The Temple of Doom, he's admitted after that he and Lucas were both in bad head spaces, Lucas was going for through a divorce. This movie's batshit crazy. I I actually can't believe they got to make it this way because uh it contains rather graphic depictions of men having their hearts ripped from their chests, people burning alive, child enslavement. The PG-13 rating exists because of this movie. The NBA had to basically create it after this movie and the Steven Spielberg produced Gremlins. They pushed it too far, and they're like, this shit cannot be PG, but we agree it doesn't need to be R. It's my favorite of all three of them. Or five of them, I guess, technically. Me too. Yeah, it is my favorite of the franchise too. I think everything in the Temple of Doom inside that actual temple is the best of anything else in the series, and it is nuts. I actually couldn't believe it re-watching this. They're whipping that kid. They're whipping poor Kiwi Kwan, poor Kiwi Kwan. You know, I was like, Jesus.

SPEAKER_01 51:52

This movie's crazy. Like, this movie does nuts. There's monkey brains, there's a a closing dungeon full of crazy bugs. I mean, it's literally it's just it's fantastic. Fantastic. It is, and even the opening scene is just a complete, like, just it's so ridiculous, but fun. It's just really fun.

SPEAKER_00 52:16

Yeah, I mean, it's there's actually a really good like Busby Berkeley dance number in the very beginning of it. Then that the fucking the action movie, action adventure logic I'm talking about, like when they jump out of that plane and they're just falling through the sky, and he just grabs a life raft and it inflates it in the air, and then they just glide that fucker down all the way to like the Alps. I'm going, what? What is this? Like, this is but it's batch it. It's the but it's definitely the most batchit of all of them. But I again I re-watched it for this and was happy that I enjoyed it more than I ever had before. Another one I rewatched, I'd only seen it once. 1985, the color purple. Spielberg goes serious. It's a big deal. Pulitzer Prize-winning novel, extremely difficult subject material, well-made, well-intentioned film, but uh the content is just so unpleasant for me. It the movie garners controversy, makes money. Spielberg wins the Director's Guild Award for Best Director. The movie is nominated for 11 Oscars, but it is not nominated for Best Director. And that is a huge snub. Moreover, the movie wins zero Academy Awards, still tying the record for a movie with the most nominations and no wins. Turning point in 1977 is the other one. Wow. 1987, Empire of the Sun. He tries to go serious again. Serious war film, well made, well-intentioned, but long and not very rewatchable. I had seen it, I bought the DVD, I don't know, two decades ago. Watched it once, watched it again for this. Box office, it does okay, gets some below-the-line oscronoms, but it no one really talks about this movie even still today. The only reason it gets talked about is that it stars a very young, very good Christian Bale, and he is he already has it. He has it in 1987, it is there. But when I watch Empire of the Sun now, it feels like Spielberg getting his reps in before Schindler's list because there's there's an encampment, barbed wire, the way things are shot. I can see him practicing before he gets it 100% right. 1989 is the first of many times he does something crazy. He releases a popular, summer fan family-friendly popcorn movie in the summer, and then a drama in the winter. The first up is Indiana Jones and The Last Crusade. This is the fun one. This is the light one. This feels like a direct sequel to the first one, more than the third film of a trilogy. The chemistry between Harrison Ford and Sean Connery, that's why you watch.

SPEAKER_01 54:47

It might be one of the most fun, dynamic duo uh performances of all time. Like when you look at they really nail it. Yeah. You can't take your eyes off either of them. They're so funny, they're so it it's really. I mean, I that would actually be a really fun pod episode. Like top 10 like duos in like like two actors that just have like the best chemistry together, and that's the whole point of the movie is to watch the ride with watching these two. That would be in that conversation.

SPEAKER_00 55:20

Johnny and Bodie. Johnny, Utah.

SPEAKER_01 55:23

Yeah, it would be in there.

SPEAKER_00 55:24

Johnny and Bodie. His other film of 1989, Always, which everyone has seen 10 times. Just kidding. This is probably, yes. I put it on for the first half hour when I woke up today. Wow. I've been trolling Nick to watch it because it's on Netflix. Always in Schindler's list of the only Spielberg movies on Netflix right now. This is probably the movie Spielberg, the Spielberg movie people talk about the least. It is a remake of a beloved 1940s film, A Guy Named Joe. Always reunites Spielberg with Richard Dreyfus, also co-stars Holly Hunter and John Goodman, and contains contains Audrey Heparn's final performance. It is not a terrible movie. Dreyfus, Hunter, and Goodman are pilots who fight forest fires, and Spielberg shoots the shit out of the first 20 minutes of the movie. Like it's, you know, he's got raging fires going on. The opening shot of the movie is actually really cool, the one with the two old dudes fishing in the lake and that huge plane comes way, way, way in the background. They must have shot that on like a 2,000 millimeter lens. But really, those plane scenes kind of reminded me of Oppenheimer when Oppie is imagining himself in the cockpit and the missiles are like going by them. I'm like, that they shot this the same practical way. And there's a banger scene toward the end too, but then like the rest of the movie, the kind of after the denouement is sentimental, not for me, but it's not, it's just it's the least seen film, the least log on letterbox, but it's just not terrible. I'm glad you gave a shot. At least 20 minutes of it, half hour.

SPEAKER_01 56:51

I appreciate your subtle French accent for denouement.

SPEAKER_00 56:55

Come on, tapel to 1991. This is probably of like in order, the movie that becomes the first Spielberg movie like of my lifetime that's being released in order. I I already knew about ET, but 1991's Hook. I think this is true for damn near every Steven Spielberg film. I'm sure someone listening to this or someone out there, Hook is their favorite Spielberg movie.

SPEAKER_02 57:19

Oh yeah.

SPEAKER_00 57:20

Not mine. I remember thinking that when I was a kid. I tried just out of for no reason, just because I wanted to, and I actually texted you last year. I was like, I'm about to watch Hook, I think, for the first time in 25 years. Man, I mean, a slog to get through. I really really not a fan. Oh, not at all. And then come to find out this is Spielberg's least favorite film of his that he's made. He does not think it works. He thinks, and he's right, it's just so I mean, you get the beginning and it's like, oh, you know, the minimal and all this, and then they go to never, never land, and it's just everything's so like maximalist. He's a very maximalist director, but you really see it here for the like there's there's just too many costumes, too many props, too small of a contained space. It it probably it maybe would work now if he had like digital effects or something. There are, I mean, there are things I like Dustin Hoffman in, and of course I grew up with, you know, looky looky, I got hooky. The the food fight thing when they're all imagining. Like, there are again, maybe some sequences, but no, as a whole movie, like you mentioned in the beginning, does not work for me. As a whole movie, start to finish, slog to me.

SPEAKER_02 58:28

All right, all right, all right.

SPEAKER_00 58:29

Play a cool hotshot. This is really the only time in his career where the bang bang of two films in one year works, and not only does it work, it changes history. 1993 summer Jurassic Park waited in line for hours and hours and hours. It takes the world by absolute storm. Everyone sees it, everyone likes it. And then a few months later, he releases Schindler's List. I don't I don't mean to laugh when I say that, it's just it's a uh crazy year. I mean, it's just months. It's Schindler's list is insane. He started filming that in the beginning of 1993, like in '93, filmed, edited, and it is released, and it wins all these Oscars. He did that in a year with Jurassic Park and pub being the effects being worked on. He's editing Shin or he's filming Schindler's List, and after every day, he's watching cuts of Jurassic Park. Like it's nuts. It's that creative output, and he's done this a lot in his career. This is the only time it really works. 1993 Oscars are insane. Schindler's List and Jurassic Park went dominate. They win 10 Oscars total. They're just winning everything, and he finally wins best director. Deservedly so. Schindler's List is a miracle of a movie. I've I mentioned it before a few episodes ago that this is a film I've revisited often. I revisited it twice just for this episode. I cannot believe he he did that. I cannot believe at how effective and how that movie is rewatchable despite the horror in it. It is, it moves very, very well. That's his 1993. It's insane. Takes four years off. The biggest gap of his career up up until now, in between Fable Man's and Disclosure Day, is four years. He'd only ever done that once before. After Schindler's list, what's his next movie? That's right, The Lost World Jurassic Park. Let's go. Comes back with this. He has said since that he also regrets making this, and basically the only reason he made it was because he didn't want anyone else to make a Jurassic Park movie. And look how that turned out. Wow. Yeah, that worked out real well. Again, some good set pieces, but every time I re-watch this one, it just gets slower and slower, and it's you know, it nowhere near contains the power of its predecessor. Also in '97, he's trying to bang bang again. He has the the fall in the fall winter movie with Almastad, another movie whose heart is in the right place, but I think it focuses on the wrong areas. He has since agreed, saying he was the wrong director to make it. Um yeah, it's just it when it focuses on the people that I care about, the movie is strong. When it focuses on Matthew McConaughey and Anthony Hopkins, I lose I lose interest quickly. But again, two movies in a year. That's twice he's done this. 93, boom, boom, 97, three times because he did it in 89. 1998, Saving Private Ryan. Makes war movie history, wins his second best director Oscar very famously, does not win best picture, but it's Saving Private Ryan. He has changed the art form yet again. Every war movie made since then owes a debt to Saving Private Ryan, and they know it. 2001, AI Artificial Intelligence. We've talked about this movie once on the pod when we did our Stanley Kubrick pod. I, you know, I I enjoyed this movie when it came out. I was young when I saw it, when I had not seen it for about 15 years. And re when we re-watched it, you hadn't seen it before it. When I rewatched it for the Kubrick pod, I did not really like it at all. And I was really surprised at my about face on it. I'm a little kinder to it now. I think the it's like the first 50 minutes are like, okay, I get it like set up the okay. Then it's like 30 minutes of like danger, Jew Law, that stuff. And then the the back 50 minutes are we just get into sentimental hogwash for me, and I just don't care. I I'm I I've tried. I really have, and I know you're not a fan. No, but there are people listening to this and people out there. I saw at least three lists when of top 25 films of the century so far. Yes. Three independent lists that had this at number one. Number one. These were not like these were big publications. Yes, they were particularly men of our age or a little older seem to be latching onto something that I can't really see that's there. I get it. There there are some implications of it that are unsettling of the movie. There are, and I think people like that. And oh no, you're not seeing like the danger and the sadness. And I'm like, oh, I see it. I just I just don't really care. I'm sorry, I just don't.

SPEAKER_01 1:02:59

No, I um and and this is usually something where our particular tastes uh we we tend to kind of divulge a little bit in these types of areas when it comes to sometimes I could like a movie for the exact reasons that you're talking about, where you're like, Yeah, I get it, but yeah, I don't care. This is one where we are aligned because I see those exact same things too with this movie, and it's weird for me because normally I kind of dig all that stuff, and then this is one where I'm like, uh-huh, yeah.

SPEAKER_00 1:03:27

Made it for his friend Stanley Kubrick, who had died a few years earlier. Kubrick had always wanted to make this movie, but wanted to be able to use real robots. Fucking Kubrick. Technology never got there. Kubrick, God, I love him. 2000, another bang bang, 2002. Minority Report is the summer film with Tom Cruise, The Future, Washington, DC, Max Voncito. It's a fun sci-fi flick. He's getting the photography is getting crazy now. He's doing the exposed, hot, white light, like he's uh bleach bypass. He that movie's wild. I bought it on 4K though. I I like it. It is not not all two and a half hours are compelling. I'm not on the edge of my seat for all two and a half hours, so I'm agreeing with the thing you said. His other, his winter 2002 film, Catch Me If You Can. My favorite thing about this movie is that it is all bullshit. The entire thing. The re the real Frank Abignelle, not Abingnaily, Abingnail tustled everyone, even Spielberg, or even Spielberg to a degree. I was I was always surprised this didn't have a better showing at the 2002 Oscars. It got one one, or rather, both films didn't have a better showing. One technical nomination for Minority Report, two noms for Catch Me If You Can, that's it. But yeah, I mean it's it's hilarious to me that after that movie came out, I guess somewhat recently, it's just been admitted that like he just made it all up. So like it's all bullshit. So when I rewatch it now, I'm more thinking about like Frank Abingdale just like sitting in his room thinking of these schemes, but never actually doing them, or trying to do them, but them not working. 2004, The Terminal. I like this a little more at the time, but watching it now, there there are virtually no stakes to it. It's just all very high concept, uh kind of lowbrow, maximalist art. It has its moments, but I don't really care about any of the characters. And there is a romance between Zoe Saldania and Diego Luna that has never made a lick of sense to me. It does not make sense. These people just fall in love, but it is so and then they just get married like a day. It is so stupid. It is so, so stupid. Movies and the ending that goes really is not worth it to move. Movie goes nowhere. I I I mean, again, I it's like a fun, right, breezy, easy movie that I I guess I liked better better in the theater. It just didn't really the whole thing didn't hold up that well for me. 2005, another bang bang, first with War of the Worlds. Truly truly one of the meanest alien vape invasion movies ever. I am serious. It wisely does not have the scale of something like Independence Day. I think it's even scarier than Independence Day because it's so much more personal. And that the first hour of War of the Worlds, fantastic action. I love the first hour of that movie. It gets into issues as soon as that dipshit son runs off to join what? Runs off to join the military? Makes no sense. It just I it's it's the back hour of that movie is real rough because I think the first hour is so strong. The second one in 2005, Munich. Spielberg goes serious again. It's good but long. It's still um I I mean there are whole conversations in this movie that are that you hear I could hear yesterday on the news. It is so topical and so pertinent, but he you know the set pieces are great, and then I just think the movie's done once they've killed their last victim, and then there is like 30-45 minutes left of him back at home. It does not work, it is a mess. It has one of the most baffling out-of-the-ar sex scenes I have ever seen. Spielberg does not do sex scenes, it it makes no sense. It's like there's a hose coming off of Eric Banner's head, just the amount of sweat, and I'm going, who would enjoy? Like, it makes no sense. It is so, so stupid. It is so dumb with a movie filled of so much like important strong content. Still gets a nomination for best director. Then things really have fallen apart for me after 2005. 2008, Indiana Jones and the Kingdom of the Crystal Skull. I think this is the worst movie Steven Spielberg has made. Does absolutely nothing for me. Saw it once in the theater, saw it just a few years ago when I rewatched every Indian Indiana Jones movie. Can't do it. It I just I just it's just money. It's money.

SPEAKER_01 1:07:57

I almost walked out of the theater after the very first scene.

SPEAKER_00 1:08:00

Yeah, terrible. Here is the last and maybe the weakest, in my opinion, bang bang of his career. 2011 starts with the adventures of Tintin. Watch it for the first time for this episode. I get it. Not for me. 2011, Warhorse.

SPEAKER_02 1:08:15

Yeah. War Horse!

SPEAKER_00 1:08:17

War Horse Rivals Crystal Skull as the least essential movie of Spielberg's career. I would say this is my second least favorite film he has made. I have only seen it once. I will not find a reason to see it again. People were just on a horse kick back then. Seabiscuit, Hidalgo, Dreamer, Secretariat. This movie was nominated for Best Picture. I don't know why. Oh no, wait, I know exactly why. Because they allowed up to 10 nominees for junk like this now. This movie is just stupid. I don't get it at all. I don't even know why he wanted to make it, truly. 2012 Lincoln. Fine film. It does get a little better every time I watch it. It is uh quite wordy, obviously, but all-timer Daniel Day-Lewis performance. You're just totally unassailable. He makes history by becoming the first person to win, first actor to win three best actor Oscars. Spielberg is nominated for best director, but uh more notably, this is kind of baffling. DDL's win marks the first time an actor wins an Oscar for a Steven Spielberg movie. It had never happened before. I don't know. Wow. 2015 British Spies. I only saw this once before. I was happy to revisit it for this episode. The Cohen brothers are credited on the script, and the dialogue has their sense of humor. Tom Hanks is actually, I didn't remember him being funny in it. Like he's funny. Yeah, he's funny. He's he's a little cranky, he's tired, he has a cold, he's over it. It's the movie's a tad long, it's two hours and 20 minutes. Uh, my favorite thing to talk about with this movie is best supporting actor because it was wild this year. This is the first Oscars you and I watched together in my tiny apartment in Loma. We're sitting there watching it. Well, first of all, best at Best Supporting Actor was crazy in the lead up. Sylvester Stallone wins so the supporting actor Golden Globe for Creed. Idris Elba wins the SAG for Beasts of the Southern Wild, Beast of the Southern Wild. No, is that what it was called? Yeah. Yeah, it was. Yeah, was it? Yeah. No, it wasn't. Yes, it was. Beast Beast Beasts of No Nation. I typed that wrong. No, Beast of the Southern Wild was like that really tiny one where the director got nominated in 2012. Okay, so no, wrong. So sorry, Idris Elba wins the Screen Actors Guild supporting actor for Beasts of No Nation. Here are nominees for the Oscar. Idris wasn't even nominated. Yeah, here are the nominees. Christian Bale, the big short. That probably could have been the Elba nomination, honestly. Tom Hardy for the Revenant, the Pales, who I would have wanted to win. Yes. Mark Ruffalo for Spotlight, a sleeper favorite to win. Sylvester Salone for Creed, the odds out, by far, odds out favorite to win. And then this guy, not a lot of people have heard of, called Mark Mark Rylance for Bridge of Spies. And I think he was ranked last in terms of probability to win. The envelope opens and Oscar goes to Mark Rrrrr. Not Ruffalo. Nope, Rylance. It's just a crazy win. It is so awkward to watch because I think it's Patricia Arquette reading it and she goes, Mark Rrrr. And you see Ruffalo, like you see his little box going. Oh wow. And then when it's not him, he's like, oh, and Stallone's just like, yep, yep, Stallone uh kind of famously left the ceremony after that because he didn't win. Anyway, okay, that's Bridge of Spies. 2016, the BFG. Watch it for the first time for this episode. I get it. Not for me. 2017, the Post. Only saw it once before in the theater, bought the $5 DVD for this episode. I was bummed to find that my opinion uh hadn't changed. I'm not the first person to make this claim, but when you watch the post, you're just watching stuff happen. When you watch all the president's men, you are an active participant in this story they are investigating. All the president's men is about two Washington Post reporters who broke up open Watergate. The Post is about the Washington Post revealing the Pentagon Papers, but it is also equally about female leadership in the workplace, taking a private company public, whether the Washington Post can beat the New York Times to break a story. There's just way too much going on, and certainly not enough of the nitty-gritty journalism stuff that I love in all the president's men. That movie, in part, inspired me to go to journalism school, and I don't I would be stunned if the Post did that for anyone ever. And Tom Hanks, I mean, you know, damn it, I love you. I love him. I know how much he loves Ben Bradley, but the characterization he gives him in this movie does not contain one-tenth of the authority of Jason Robard's performance of the same man 40 years earlier. It's kind of a miss of a Hanks performance to me. I just I really don't think that movie works, unfortunately. 2018, Ready Player One, I get it. Not for me. A monster hit makes a ton of money. I get it. Very, very high maximalist uh art reliant on so much popular IP. It is very loud, it is very green screen, it just feels kind of soulless. I actually saw this with friend of the pod Taylor in the theater because he liked the book and had read that. And I think in the theater it was because it was so much, it was like, okay, we're here, like we can't do anything else. We just sit with this like assault of the senses. At home, when I'm watching something that feels like Transformers meets Marvel meets a video game, I tune out. I tried to rewatch it for this, and it the whole movie feels like you're just watching someone play a video game, not for me.

SPEAKER_01 1:13:39

And I think that I think that's what people there's it's just very popular. A lot of people like that one. I think for that reason.

SPEAKER_00 1:13:46

2021, West Side Story. Not a lot of people were going to the movies in 2021, but West Side Story is one of the biggest bombs in modern Hollywood. It tanked huge flop, hundred million dollar budget. It makes 76 million worldwide. This is the only Steven Spielberg movie to not make its money back. It always made its money back. West Side Story is the only one. Still nominated for best director. Ariana DeBose becomes the third person to win an Oscar for being in a Spielberg movie. People who love it, love it. Tried to watch it again. Not for me. Same thing with the Fablemans, 2022. This is the only time he's nominated for best picture, director, and screenplay. Very autobiographical film, entirely too sentimental for me. I tried again just three days ago. Call me crazy, it's kind of what you said about professional wrestling. As I was this kid growing up. Not only was I obsessed with movies growing up, I was obsessed with a Steven Spielberg movie growing up. Noting that it is not very enjoyable to watch movies about young kids who love movies. And it is not enjoyable at all to watch movies about young kids editing movies. It's just not. I was that kid. I did that. I I just I will I I will in part love it forever for its final scene because it is a wonderful love letter to David Lynch and his memory. I really, really love that. But I can watch that on YouTube. I don't need the context of the whole movie. Feature 35, 2026's disclosure day, which is what we're talking about here. That took me about 25 minutes, but I just I was gonna say you lost your bet, Haas. I didn't even bet you shit.

SPEAKER_01 1:15:28

Well, you you bet yourself, and when you put yourself out there like that, it's a bet.

SPEAKER_00 1:15:32

And you lost bets to myself every day. I know all about that. I no one can disappoint me more than myself, believe me. But I still think people hopefully enjoyed that.

SPEAKER_01 1:15:45

I was gonna say, you may not have taken less than 10 minutes, but I was compelled every second of the way.

SPEAKER_00 1:15:51

Oh, thank you.

SPEAKER_01 1:15:52

Well, yeah, so if you waited for the compliment, Jesus.

SPEAKER_00 1:15:55

Well, they're so rare. They're still rare.

SPEAKER_01 1:15:58

You tell me how great you do.

SPEAKER_00 1:16:00

Because you all get my Halloween take.

SPEAKER_01 1:16:01

It's not a take. By the way, I gave that take to someone else and they thought it was hilarious and that we should do it.

SPEAKER_00 1:16:09

I bet you polished it up and didn't ramble for 45 fucking minutes saying.

SPEAKER_01 1:16:13

Well, I mean, that's the only way I kind of know how to do it, but I got the point across, and they thought it was hilarious.

SPEAKER_00 1:16:19

Least log, I'm gonna do a few other things before we get to the top 10. John Klein loves it. He's he loves pretty much everything that we say, and for that, he is a wonderful and gracious man. Well, yes, he loves it with all my heart.

SPEAKER_01 1:16:32

But he he he he appreciates. There's dozens of us, okay? Dozens.

SPEAKER_00 1:16:38

Um, I said his least popular, least logged movie on Letterboxd was always. Would you like to guess his most popular? I'll give you a hint. It's you like it, but it's not what you're expecting. Ooh. Jaws. Right? Jaws, Jurassic Park. Catch me if you can. Most logged movie on Letterboxd. So that probably gives you an indication of the median age of Letterboxd, but I said he's he's written, he's taken five screenplay or story credits, Sugarland Express, Close Encounters, AI, The Fablements, and Disclosure Day. Ratings! Every single movie he made until the color purple was PG. The color purple is his first PG 13 movie. He has only made four R-rated movies out of 35. Those are Schindler's List, Amstad, Saving Private Ryan, and Munich. Only five movies he has made have not been nominated for an Oscar, and a few of these are kind of baffling. The Sugarland Express, I I get that, not nominated fine. Always, I guess I get that too, not nominated fine. The terminals surprised me because they built that whole damn airport. So production design seems like a gimme just for a nomination. Kingdom of the Crystal Skull, not surprising. And then the BFG, I thought I like some visual effects award, like the visual effects were good. I I was surprised that wasn't nominated either. Anyway, just thought I'd mention that. His five most expensive movies. Number five, disclosure day, 115 million. And I could not tell you why. It costs 115 million. Genuinely couldn't tell you why. Number four, War of the Worlds. War of the Worlds. I can tell you why that costs 132 million. Adventures of Tintin is number three, fully animated. It's $135 million budget. Ready Player One, number two, $175 million budget. I get that. $185 million budget went to number one, Kingdom of the Crystal Skull. Ooh.

SPEAKER_02 1:18:26

Oh my gosh.

SPEAKER_00 1:18:27

Ooh. Spent a lot and you may have made money, but the profit margin wasn't couldn't have been that high. Here are his biggest grocers. I'll just do five. Number five, ready player one, six hundred and seven million. Number four, Lost World Jurassic Park, 618 million. Number three, Kingdom of the Crystal Skull, 786 million. But again, that's not that big of a profit margin on $185 million budget and maybe a hundred million more for advertising. Number two, ET worldwide total gross with re-releases and all that. And number one, Jurassic Park with 1.1 billion in grosses.

SPEAKER_01 1:19:08

That's crazy.

SPEAKER_00 1:19:09

Yeah, because they re-release it and people see it. I go see it.

SPEAKER_01 1:19:12

Oh, I saw it at least. Yeah. Yeah.

SPEAKER_00 1:19:13

Cool. So that's you know, just some general Spielberg thoughts. And the only thing I'm going to say as I set up our top 10s, my top 10, I'm just getting out this out of the way now. I usually don't do this. There is no Indiana Jones mentioned. And I I I'm just this is who I am. I can't, I'm not saying that Raiders of the Lost Ark is like a worse movie than the movies I'm gonna list. I'm not saying that. People are gonna hear my number 10, and this is why I'm preempting it because I don't want people to hear my number 10 and go, all right, this guy's out of his mind. There's no way this movie is better than Raiders of the Lost Ark. It isn't. It isn't better. I'm just I'm just flat out saying that. My number nine, I have huge issue issues with like like I don't think the entire movie is good, but I think aspects of it are good. But I just I'm just preemptively saying you're not gonna hear any Indiana Jones i movies. I do respect the first two. I do like Temple of Doom. If one was gonna make my list, that would have been here. I'm not taking anything away from them, but they just they weren't a part of my life, they never have been.

SPEAKER_01 1:20:14

And and and I'll and I'll say it was hard to it was hard to make a top ten. Oh wow, you know, well, I'm I'm not no, because I'm not really you know what's funny?

SPEAKER_00 1:20:28

I was actually I was actually gonna ask you, do you have 10 or what do you just want to do five or do you want to No, because I because I think I think there's an interesting I think there's an interesting six. Yeah, I'm cool with my top eight. The first two though, yeah, like I I did stretch a little bit. I did a draft where I had Raiders of the Lost Dark in here because it makes sense. Like I love movies, you know, more than anything. I'm this huge movie buff. Like, why don't I have that? And I looked at the list and I went, the my number one rule for my list, you don't have this problem at all because you look at lists differently. I have to be true to myself. You're trying to be true to whoever the hell else. No, I did that one time and it was a big mistake. It was the biggest list in this podcast history. Yes, it was. I understand it. If I was making a list privately, a private letterbox list, I wouldn't have Indiana Jones on there. And I'm not gonna lie to people and like try to say, no, yeah, that's it's on here because like I like it more now. You're you're getting a me list, but yeah, like I could have this list could have been a top eight for me, and I would have been satisfied. But yeah, it's it's fair to do 10.

SPEAKER_01 1:21:27

Yeah, I agree. I had to struggle to kind of put ones in here. Um, so that but yes, this is a me list, alright? God damn it.

SPEAKER_00 1:21:36

Well that that's good. That's the point. So you're gonna start with 10 and then we'll go round robin back and forth. All right. How oh wait, wait, wait, wait. How many are we gonna have in common? Oh, we always do this. Oh, this yeah, well, I think we'll have quite a bit. I do. Placement, we never count placement. I actually think I actually think we might have eight. I think we I think I think we're yeah, I I think we're gonna be pulling from the same list of movies, honestly.

SPEAKER_01 1:22:03

And I do, and I can say I do have two Indiana Joneses in my mind.

SPEAKER_00 1:22:08

No, that's yeah, yeah, that's fun. Of course. I think just about anyone, I've seen all of his movies. I I know you haven't, that's fine, that doesn't matter. Like, you don't need to see always because it's not gonna make your list.

SPEAKER_01 1:22:19

The ones that I haven't seen, I don't think, yeah, like like uh always is one of them. I I didn't see the post that was like one need to, that's what I mean. Yeah, and yeah, and like and war horse. Those are like the three that were on the like that I was looking through the list, I was like, okay, those are three that I really haven't seen.

SPEAKER_00 1:22:38

And I just knowing you, I can promise you none of those would scratch the surface of a Spielberg top 10 for you. So yeah, that's what I mean. I think we're gonna be going from the same kind of sample size, but all right, here we go. Top 10.

SPEAKER_01 1:22:50

All right, top number 10. And and uh you've said it when you were given the breakdown for it. Um, but I completely agree that the first hour of this movie is absolutely fantastic, and that is War of the Worlds. Wow. I uh I love it. I love that. I'm putting it in here because of how good that first hour is.

SPEAKER_00 1:23:10

I'll jump ahead. This is this is my number nine, so I'll just jump ahead of that because because I did tee that up when I said, like, my number nine, like I yes, I totally agree with you. Like, yes, the first hour is great. It is there's a very clear cut point. It is directly when Robbie goes off and joins them. If that makes no sense, his whole thing of like, I'm gonna go join them, and then especially Spielberg has an issue with third his not even third act with the denouement sometimes, which is just like including just a little too much. And this one, every if you're gonna criticize a Spielberg movie, a lot of the criticisms come in the third act. Like, the only time anyone has anything critical to say about saving Private Ryan is tell me I've been a good husband, tell me like that's it. So he can kind of tack some stuff on, and you're like, Lincoln is the biggest betrayer of this because you have such a good cut point of him walking away, and then they show it's ridiculous how that movie ends. But yeah, War of the Worlds, first hour, love it. Bought the 4K for this, looks fantastic.

SPEAKER_01 1:24:05

Yeah, it's it's almost as uh as egregious as uh you know his uh input for the end of Twisters, but that's a whole other story. And it I don't want to rile you up. But one thing I'll say about War of the Worlds is that um I'm still waiting for a really, in my opinion, I think the idea of aliens coming down and attacking us and doing all of this. Arrival is the only movie that I can actually look at and be like, I like this from top to finish.

SPEAKER_00 1:24:34

Start their well, that's because they don't attack us in arrival.

SPEAKER_01 1:24:38

Well, I know, but that's really like they're they're here to chill. But like if you're looking at that idea, right? Like the Independence Day idea, you know, that idea that, you know, like these aliens come out of nowhere, they're here, and then it's a fight against us versus them. I still don't think there's ever been a movie that's actually done this right. In my taste, I'm I'm waiting and I don't know what I'm waiting for. I don't really have an end idea to how this goes, but any I'm always fascinated by this idea. And every time I go and see a movie, I'm always like, yeah, that didn't really turn out the way I think I might have wanted. But, anyways, yeah, this is probably my favorite first act of any alien invasion type situation like that.

SPEAKER_00 1:25:19

Yeah, I agree. Actually, when I was watching the 4K, I just got this thing in my head, and I'm like, is this my favorite alien invasion movie? Like, yeah, how many actually good movies are there about aliens coming here to fuck us up? Exactly. Thought of like Independence Day, and you think of some others, but you're like Invasion of the Body Snatchers is sort of right, but that does not have spectacle at all. That's just cool and like terrifying, but there's no spectacle. I'm talking like the spectacle stuff. It I it might be War of the World. I mean, that first attack when he's running from them, I think might be the best alien attack in all of film. It is fucking terrifying. He is fantastic, crews in that scene. He is so good, but then again, you get the Spielberg stuff that makes no sense. Like he gets home and the kids are so unaware of anything that's going on, and I'm like, you would hear there were cars blowing up like a block away, buildings were going down. They would hear it, trust me. It's it's so Spielberg, and they're like, What's going on, Dad? Why do you look like that? You would hear it. Cars are loud when they're flipped over, like you would hear it. Oh, Stevie, God, Steve. Good. No, okay, so that's your number 10. Good, good pick.

SPEAKER_01 1:26:27

Now, number nine is actually No, I gotta go.

SPEAKER_00 1:26:29

I haven't done my number 10. Oh, yeah, sorry, I'm sorry. You're not just burning through. Okay, good. Oh, he's genuine, folks. He took it, he leaned back and bit his bit his lip. Number 10. Oh, god, I'm serious. I bought the Blu-ray for this. I watched the director's cut. I was absolutely dumbfounded at how much I was genuinely laughing out loud during 1941. I I was laughing so much and so often I went, I'm just gonna put it on, I'm gonna put it at number 10 just to see if it holds, and it does. This is imperfect by a large margin. I'm gonna talk about it a little more later. But yes, I'm not I'm not being a troll. Like, I think if people gave this another chance, it's uh you know, there's a lot going on in it that I think you and I like the big swingness of. I mean, there's Babylon in here, like it's huge. There's just so you know what it reminds me of? It's Spielberg's New York, New York. It is like what Corsese did, where you're doing like everything and you have all this control because of your success, and because of that, it just doesn't fully land. But I still I don't know. I think it's it's held up like it's just crazy. I I I like it. So yeah, my number 10 is the director's kind of 1941.

SPEAKER_01 1:27:42

And I have not seen that one too. So there's another one that I have not seen, but okay. Yeah, it sounds kind of like it. I would definitely appreciate the swing. It's a huge swing, absolutely. All right, no number nine. We I am I I I put this on here because of my enjoyment of it. When I first saw it. But you did bring up some things because you when you were going through your list that made me wonder if I would still have it. Does this hold up? But I was, and still, when I think of it, very, very heartwarmed by the terminal.

SPEAKER_00 1:28:14

Oh, okay, good. Yeah, that's yeah, yeah. It's not this is the thing I'm talking about. Let me drop that fucker into my editing bay. I can give you a good a pretty solid one-hour, 45-minute movie. There's just so much extra stuff in it that we don't need. But it is, again, it's hard, it's in the right place. Like it's fun and like light. Like, yeah, I get it.

SPEAKER_01 1:28:34

It has that boppiness to it, and I think there is something just inherently fascinating about living in an airport. I just think like we all kind of have like that sort of like that imagination where like what would that really be like? And I feel like this movie actually does do in a very fun way a real depiction of what that would be. You would make friends with these people, like you and they would be a crazy eclectic kind of like you know cast. Yeah, yeah. So I always remembered having a some fondness for that, even though it has been a long time since I've seen it, but I still think that if I was stated maybe some parts didn't hold up, I I don't think the the heartwarming aspect of it goes away.

SPEAKER_00 1:29:21

That's yes, and that's I'm glad you said that because I know I gave a lot of opinions in my like when I burned through his whole filmography, but yeah, like you're never gonna reach to find sentimentality or like heartwarming stuff in a Spielwork movie. It's almost like it's always there. Yeah, and you know, you had Catherine Zeta Jones was popping big, she just won the Oscar, so she's in it. So it it does like I like the Stanley Tucci stuff. I like the yeah, I kind of like all the work mechanics, like how he gets hired to like work with that crew. And there's there is one really funny scene when Tucci and his guy, um, you know, the guy from Miami Vice and stuff, he's like, Yeah, he makes $19 an hour under the table. And Stanley Tucci's like, do you know that's more than I make? It's just funny. And the whole like wheeling and dealing, gotta get quarters. The process of it I do like a lot. I do I love process movies, and there is a process to like, how am I actually gonna pull this off? And you know, he goes to like the abandoned terminal and sets up, that's where he sleeps and stuff. So that's cool. I don't I don't hate it, I don't really like hate uh any of his movies. Hate is a strong word, I guess uh crystal skull, maybe, but not even hate, but I don't know. So okay, that's your number nine. My number nine was War of the Worlds, your number eight.

SPEAKER_01 1:30:36

So I definitely give this up, even though, as we did talk about, they weren't exactly my favorite, but I can't really kind of discount how many times I've seen this movie. Uh, and that's Raiders of the Lost Ark. I mean, um it's yeah, and it and it when you think of adventure movies, this this is movie, this is one that comes to the list.

SPEAKER_00 1:30:56

Imagine the action adventure genre. It's this movie that pops up, truly, even as like not like a diehard fan of it. Yeah, yeah.

SPEAKER_01 1:31:03

And when you just talk about that idea of heroes, there is nothing more iconic than Harrison Ford, tip of the hat, swinging with the whip, and then you've got that music behind it. It it is it will, it's timeless. This will never go away. There, and there will never be, there will never be another Harrison Ford. And I think I just want to point this out because that's someone we don't really talk about. Yeah, no, it and he he's pulled off a very successful career since becoming a very um specific type of star. And I really appreciate his older stuff that he's doing. Now, I'm not necessarily a very big fan of the show shrinking, but I've seen it. I watched it just because I wanted to see Harrison Ford's work. He's a credible, like what he does show.

SPEAKER_00 1:31:53

Oh, yeah. I haven't seen it either. I have no desire to, but I've I mean, because you know, I think he's gotten like some nominations and stuff, so I've wondered if he's good. It it's really amazing to see him when he's just acting, you know.

SPEAKER_01 1:32:07

Like you you strip away Harrison Ford, that idea, and I think so much of that was that idea of what achieved starting with kind of. I mean, there is Han Solo, but I think it was really Indiana Jones that started.

SPEAKER_00 1:32:23

It was, it was it Star Wars was Star Wars, that wasn't Han Solo. He was a breakout character from it, but it was not enough. We never got a Han Solo movie. Oh, wait. Oh, yeah. But you know what I mean. Yeah, you know what I mean. And and then you get like the 90s of Clear and Present Danger, all of these That's my favorite because Presumed Innocent is my favorite acting from him, and that's 1990. I love him in that, and I love the fugitive, of course.

SPEAKER_01 1:32:50

Oh, well, the fugitive, yeah, but I there's like so many other movies that I really like from him, like that uh the um Frantic Henry, yes, yeah, um, but then also that Mosquito Coast, which I can never fucking remember the title. Yes, yeah, but he's a really good actor when he's not doing the typical like Air Force One, you even though he's amazing in it, but you know what I'm talking about, right? Like Harrison Ford. I'm trying to save my family. There is nobody that is better that understanding that the danger of a situation in any given moment than Harrison Ford. He lets you know when something's like, shit. Raiders of the Lost Ark.

SPEAKER_00 1:33:28

Find that man. Raiders Lost Ark, number eight for me. Number eight from me. Hey, you know, I've I've come around to it a little bit. Um, it's can be a little difficult to know which version to watch, but I watched the most recent one, the director's cut, Close Encounters of the Third Kind. Here's the thing. Yeah. Yeah, here's here's the thing about it though. It takes a while to get there. Yeah, I just I don't really remember that, but it takes it takes a while to get there. But the third act, once they are there, whatever the hell it is, that mountain, that hilltop thing, you're you're cooking. And it's just it's it's great. It's a it's a classic Spielberg thing. I love that Francois Truffaut is the one like directing this all, and when Spielberg offered him the part, he's like, I can do it, but I'm not an actor. I have to play this as Francois. And Spielberg goes, That's what I want you to do. Like, just play it as yourself. So I love yeah, I love that. The um obsession with between with within Richard Dreyfus. Good, yeah, good, good movie. I like it. I've but I've come around to it because when I watched it as a kid, I was not a fan. I thought it was way too long and slow. But as an adult now, I kinda I also I just really appreciate that he, you know, the end. I I it's crazy. Same way I appreciate Indy, Indiana Jones, like he shoots guys, he doesn't just like you know disarm them, he shoots them dead. Richard Drives is like, audios, I'm gonna go see what's cooking, cooking over here. I don't know, I like it.

SPEAKER_01 1:34:50

That was one that never ever did it for me. I've seen that movie a bunch of times and I know. We've talked about it. Even the ending, I even though I agree that I see I understand that spectacle, but I've I've even even that one, I'm like the fucking. I'm like, I think I've got an issue. I I've realized that I've I you know I don't like once upon a time in um in the west for this reason. Like these sort of like musical sort of cues that certain movies have that just really harp on it for a really long time, I get really annoyed by it.

SPEAKER_00 1:35:29

I guess uh Once Upon a Time in the West, the theme to that is my favorite piece of Eno Maricone, Eno Maricone score. That harmonica? No, that's just the harmonica. I'm talking about the grand theme. The harmonica's just he doesn't keep doing that over and over. Oh, he's it's all the fucking time he's doing it.

SPEAKER_01 1:35:51

I had the whole fucking first hour, I was like, when is this guy gonna stop fucking playing this thing for so long?

SPEAKER_00 1:35:57

But the you but the YouTube cut, cut, cut, cut, cut, cut, cut, cut, cut, cut, cut, cut, cut, cut, cut, cut, cut nature of everything all oh whatever that fucking disaster works for you. Great. Which one? Everything everywhere, none at once. The bullshit movie that swept the Oscars in 2022 that you love, that you declared is your favorite movie of the act that you're gonna be. I've retracted. I've retracted. You retract that bit about my kids. Um, okay, so close to counter. I went right there where they had that beer and had a beer at that cafe when I was in Bruges on purpose. I felt great about my life. Well, good. I couldn't get up in the tower because it was gonna take too long.

SPEAKER_01 1:36:34

Number seven. All right, and I will be wrapping up. I'm going to include Temple of Doom into my list as well. And this is the one that I've always liked. This is the one we have now reached the point of Steven Spielberg's my top 10 list where I don't really have anything really too negative. Yeah. Yeah, same here, same here. I enjoy Temple of Doom because it is absolutely ridiculous. I feel like I know you were saying like Spielberg wasn't exactly in a good headspace, but whatever was headspace was going on for them and they just wanted to get weird. I think I appreciate Spielberg when he wants to get weird.

SPEAKER_00 1:37:11

Yeah, amen to that. And this has, for weirdos like me, a fun sleuthy Wikipedia read because you know the star of the movie is Kate Capshaw, who he but he was like with Amy Irving at the time. Sure was. He's been with Kate Capshaw for like 35 years now, but a child I don't know, a child was born with Amy Irving after Temple of Doom. I don't know. It's all really interesting. That's all I'm saying. I don't have any insight into the wise. Yeah, I would say so. Stevie. Little Stevie there. My number seven is Minority Report. I don't know. I like it. I I another 4K I bought. I um I upgraded a lot. I have I have quite a few. I'll read them out. I have Duel, Jaws, Close Encounters, E.T., Schindler's List, Saving Private Ryan, Minority Report, War of the Worlds. Yeah, all in 4K. I have 21 of his movies total. I had 22 and my color purple DVD broke. So I had to stream that and to get rid of it. It broke. Empire of the Sun still spinning fine. Color purple when it was lagging during that first scene. I hate that. And you can't get out of it. Like your DVD player breaks. It like freezes. I'm like, great, so my color purple DVD is the one to do this device in. Great. I'm glad you get a kick out of that. I'll read them all while he's in his giggling. I'll list every single Spielberg movie I own. Here we go. Duel, Jaws, Close Encounters, 1941, Indiana Jones 123, Empire the Sun, Hook, Jurassic Park, Schindler's List, The Lost World, Amistad, Saving Private Ryan, AI, Minority Report, Catch Me If You Can, War of the Worlds, Munich, Bridges Spies, The Post, which I just bought.

SPEAKER_01 1:38:59

Ladies and gentlemen, Alex Whithrow.

SPEAKER_00 1:39:02

Thanks. Thanks. Thanks. Minority Report. Number seven. All right, your number six.

SPEAKER_01 1:39:08

Number six.

SPEAKER_00 1:39:09

We are not gonna have eight by uh one.

SPEAKER_01 1:39:13

Um, but my number six is Jaws.

SPEAKER_00 1:39:16

Okay, cool. Wow, ranking number six. Yep. Jaws, which I just showed my wife last year, never seen it, and wow, did it work? So it's just proof that it still works. She was like, she was fucking terrified, man.

SPEAKER_01 1:39:29

It's it's as an effective movie as you'll ever see. It there's a reason why it never gets old. Um never. That being said, I am so fucking sick of this fucking movie. If I never see this movie again, I will be A-OK. This to me it's gonna live forever. No, it will be, but I never need to see it again. I feel like I don't I this is this is Nirvana to me. I respect Nirvana, they changed the world for music, they've got all these iconic songs. Anytime it comes on the radio, I'm like, nope, I'm not listening to it. This is how I feel about Jaws. I've seen Jaws so many times, and I have had everyone from the world tell me that Jaws is the best thing ever fucking made. And I'm like, yeah, it's that good. It really is that good. But now I've it's ruined. I can't go anywhere. I can't brush my teeth to this movie anymore because it doesn't want you to. Anytime someone says, hey, it's the summer, let's go to the Hollywood Forever Cemetery and see Jaws, I'll be like, no. Anyone's like, hey, let's go see the new, like, like new cut or whatever, like the you know, the American Cinematech of Jaws. I'd be like, no, thank you. I've seen it, I know it. I'm out. Number six. Yes, it's all it's very.

SPEAKER_00 1:40:53

We have to get that off of our minds and in pop culture, but what ET did for me, I cannot fathom being that age when Jaws came out. Like, I just can't imagine if you saw this in the theater when you were like five, six, seven. I cannot imagine. So I get it. I yeah, this is one that I I didn't even really watch this one for this episode because I watched it last year, and I will say one flawless way to experience this, although it's very difficult, if you manage to find someone who has never seen it, showing it to them is a lot of fun. It is a lot of fun. I think that would be a way to do that. I mean, I yeah, I don't I mean at this point it's gonna be like you're gonna have to find kids, but I that having children must it must be fun if you're like if you have kids and you're a movie buff because you know Spielberg's getting introduced sometimes. Some of the pleasure, some of the joy of Spielberg is watching some of his movies a little too young. I saw E.T. a little too young. It scared the shit out of me, scared the fucking shit out of me for years. Saw Jurassic Park, probably a little too young. Saw Same Private Ryan, probably a little too young, but it's like these gateways of getting there, and you feel like cool, like I'm maturing because like I can handle these movies, you know. Jaws would still you could show a five-year-old Jaws and they may never want to go in the ocean again. Like you could still do that to someone. Oh, yeah, you could start the hair. But you could start it right here. But I get it, yes, it is a lot too. You've seen it a lot. We all have, most of us. My number six, I did a bang bang. Oh my god. Seven segs 2002. Catch me if you can. Ah, yes, yes, yes. Nothing? Good, okay. No, well, I'm just I'm I'm just saving that one because that that's a good one. Catch me if you can in 2002. Uh one of those weird years, you know. I love the Oscars. Um, Chris Cooper just walked away with this award, like, for adaptation. There were, I mean, Walken was nominated. He really did. He had some good, but he did that because he I say I say this a lot. Like, Chris Cooper won the Oscar for October Sky, American Beauty, and Adaptation. That's the thing. You're taking in, like, he didn't get nominated for those other two movies. He definitely should have been nominated for American Beauty. So people remember, and you take in that goodwill, and then suddenly it's like Christopher Walken. Who? I mean, he was up against some really heavy hitters, and he just walked away with it. I but I love that. But yeah, catch me if you can. It does hold up, it is very fun, and it's just fun. It's just a fun fucking movie. Leo's great in it.

SPEAKER_01 1:43:15

Leo's great, Tom Hanks is great in it. Yep. Oh, I I I I very much enjoy that movie, and you'll see why. Top five. Give me your five. Top five, baby. All right, so it it made it. Yeah, E.T. is on. Good. Yay! Wow, what a top five. Yes.

SPEAKER_00 1:43:32

What a reach.

SPEAKER_01 1:43:33

Well, we uh we we made it. I'm glad it made it. And and and and well deserved. I mean, um, I I enjoyed every second of that movie from the start of it. Um, I was terrified for E.T. when the cops were chasing them. I loved even just like that simple idea of us never seeing their faces when they're starting. And then just yeah, the vulnerability of that alien. It it just got me in all the ways. And then also realizing, too, that this is a this is a kind of a rough movie when it when it comes to these kids. Like, oh yeah. Like this is a like that this is a broken home. Big time. I did not expect that. Like when I first saw it, I was sort of like, oh, this isn't like a typical, like, you know, like, oh, here's the mom and dad where they've got a good relationship, but they just don't believe they're they're kids because you know, aliens, you know, that divorce in there, the absolute divorce be able to do it, yeah. And you feel that and the the look of the movie. Um, I loved how the camera was always so low, so you're always sort of at like a little kids sort of level. Yeah, I loved it. Yeah, so uh ET. I I that that that yep. I really, really big win.

SPEAKER_00 1:44:47

Yeah, big win. I I have a big loss here because I I'm just remembering right now that I I was struggling of what to call you in the beginning, and I went with Warhorse. I absolutely meant to call you penis breath. That's such uh a fail. Shut up, penis breath! What a great insult. And I love it that she laughs, the mom laughs. I always love that in movies when the kids say something bad, but then the mom laughs. She's like, Hell yeah. Well, then we wouldn't have gotten my horse impression. Horse. Yep. Oh, that's right. That was a god, that was so well worth it. My number five kind of feels weird to put it all the way at five. It is Jurassic Park. What a picture. What a picture. What a picture. Watched it again, can kind of watch it just anytime. Really smart decision to see what is happening as you are filming and not kill Jeff Goldblum because he was not supposed to come back when he gets thrown down. That was supposed to be the end of that character, but they're seeing that it's working, the chemistry's working, and then you bring him back and you just slab him out on a table, shirt exposed.

SPEAKER_01 1:45:45

Oh, that's where everyone wants to see.

SPEAKER_00 1:45:47

That's what everyone wants to see.

SPEAKER_01 1:45:48

They just want to see that, they want to see that belly out and they want to be like gold bloom. I love when he takes over the walkie-talkie.

SPEAKER_00 1:45:54

He's like, What's the matter with you? You don't know how to read a blueprint. He's like, he's like, You see the pipes up top? Follow those. I love that.

SPEAKER_01 1:46:01

Spare no expense.

SPEAKER_00 1:46:02

Oh, we spared no expense. Yeah, we spare no expense. Spare no expense. It's also kind of funny. That guy is Richard Attenborough, who beat Spielberg for best director in 1982 because he won for Gandhi. And right after he won, like not in his speech, but very shortly after, he's like, This should have been Stevens. Like, he should have won this for E.T. I think he's right too, but I I just love that. And then you cast, you know, him, and he's perfect in it. Everyone's great in it. It's great casting to not go with the biggest movie star possible, which you could have gotten, but you go with Sam Neil, Laura Dern, and Jeff Goldblum. Great, great, great, great. Spare no expense. Spare no expense.

SPEAKER_01 1:46:38

Number four for you. Okay, now now we're now we're really talking. Uh, number four, Schindler's List.

SPEAKER_00 1:46:45

Wow, okay. Okay. I don't you haven't seen this one a lot, right?

SPEAKER_01 1:46:49

Just like once. I just well, I just re-watched it. Uh oh, you did? Okay. I did, but but I think this was probably my third time seeing it. This was one where in school, like, they show you a lot of these scenes from this movie because they want to give you an idea of the Holocaust, you know. So they're they're so I I see, but I remember being so kind of like moved by what I was watching in these history classes where they would just give you clips. Um, that I ended up just watching the movie, and I'm just being like, well, uh, okay. But I did not know for a very long time that this was actually a Steven Spielberg movie. Oh, okay. So that was a big thing where I remember when I found that out, I had already seen the movie and had a relationship with it. And then finding out that Steven Spielberg directed it, I go, no, that's not correct. No, no, that no, there's no Yeah, when you're young, it doesn't fit.

SPEAKER_00 1:47:50

It doesn't feel like it fits. You're like the Indiana Jones guy, the the Jaws and E.T. guy made it the most realistic movie about the Holocaust ever, really?

SPEAKER_01 1:47:58

Yeah, and I and I was just sort of like, and then I I learned it was true, and I was go, wow, that is uh really something. But I'll say this is this is undeniable filmmaking. It's very hard to watch because what can you say? You know, you're talking about this really happened. Honestly, though, uh freaked me out a lot this time watching it because I literally just watched it like two days ago. Oh man, I mean, we don't really talk too much about this, and we don't really need to get into it, but I think when you're younger and you watch something like this, there was a weird uh sort of disconnect that I think I had thinking about something like this when I was younger, because there was just sort of this feeling of like, well, we're past that. We're like that that that did happen, but ancient history, like that's just not something that we would ever do again. And just seeing it two days ago and realizing, like, oh, I could absolutely see this happening again, and how terrifying that is, and the fact that it actually is happening in certain areas of the world. That's that's what I was gonna say, and the fact that it could actually happen here, it is not as uh it is not as disconnected as it was when I was younger.

SPEAKER_00 1:49:27

Yeah, we're we're older now, we've seen more of the world, and that brutality in the world doesn't it doesn't go away. It just doesn't work. It does always terrible shit going on. Yeah.

SPEAKER_01 1:49:38

If you move ahead with a certain kind of direction on something, you can get a lot of people to join in on it. That to make it a little uncomfortable for our conversation. That all being said, that was definitely an emotional impact I had watching it, but that also, again, in terms of just filmmaking, this is um this is masterful. Yeah. You you you really can't do better if you're just even talking about. Cinematography, a shot construction, character, blocking. I mean, you you you have it all here.

SPEAKER_00 1:50:08

Yeah, you really do. It's uh fantastically shot. The first one that Yamosz Kaminski shot for him when won the Oscar. So and then he's shot every single Spielberg movie since. Oh, really? This was their first. I think part of why he wanted to hire him is because he's, I believe Yamush is Polish and had experience with documentaries, and he's like, I Spielberg goes, I don't want this to look like another, like I want this on the ground, gritty, handheld. There's no fancy crane shots in it. I mean, it's very minimal photography on purpose. It yeah, every decision that was made was the correct one, even to have Nazis speaking English because he didn't want people to be distracted by the subtitles, even having it in black and white because he thought this story was about the absence of light, because it is. It's all wise, everything worked. Everything. Everything. Great pick. I'm glad I'm you know, I'm glad it made the list. My number four, liven things up a little bit. Your other favorite Jaws that you're gonna rewatch after this episode. Oh, I can't wait. And it's only our second one in common so far. This is that's wild, but it's it's good, it's cool. Top three, give me your three, or yeah, your number three.

SPEAKER_01 1:51:18

So, number three, we got saving private Ryan coming in right now.

SPEAKER_00 1:51:22

That's my number three as well. My number three as well.

SPEAKER_01 1:51:25

Yep. Again, uh, you know, my listing of four and three for Schindler's List and Saving Private Ryan. I think these are his two most well-made movies. If you're just talking about the art of filmmaking and and in some ways, I actually think Schindler's List as a whole might actually be a um a better, a better movie. Not a better movie, but you know what I mean. Like a as just a complete piece of business, I think Schindler's List is is that. But but I mean, saving Private Ryan and that Normandy scene, and I am basing a lot of the my third placement on the miracle of filmmaking of what that opening scene is. And we always joked about that, is where if you've been following us Madden Movie Buffs, we do have that common uh catchphrase that we say where you could really start the movie here, because it all stems from us watching that and just going from each scene as the movie keeps getting on and on. I mean, like you could actually really start the movie here.

SPEAKER_00 1:52:27

Uh well, because the the genius thing is that that invasion has nothing to do with the movie. It has nothing to do with the movie. That's what we talk about a lot in the commentary. Like the I a few Ryan brothers, or one or two, at least one was killed because we get the you know, the close-up of the back of his of his uniform as that segment ends, but it doesn't and it it's just us meeting the characters, like that's just the way he has us meeting them. And to do that is I still can't believe it. I will never forget the I know the theater I was in where my dad and I were sitting, and as soon as that fucking door came down, I will I'm getting chills just talking about it. I've never seen a reaction like that in the theater. I mean, veterans were there in suits, like it was it, it was just an experience, and you I mean, people had their heads down, we were like, oh my god, and that I will just never forget my dad going, oh my god, in in that voice, like and then you think this is what it was like, like these are these were kids. Oh man, man, yeah, yeah. All right, so that was my number three as well. Give me your two, all right.

SPEAKER_01 1:53:29

Number two, I mean, again, first time ever experiencing a movie where it just took over my entire soul, Jurassic Park 1993. You, I just like the this this is where this the Steven Spielberg uh spectacle and all of the things that he does really well. This is the one where it got me. Yours was E.T. Yeah. This was my personal one where I was like, I remember being a kid and being like, I didn't know I could ever feel this way.

SPEAKER_00 1:54:03

Yeah, oh yeah, absolutely. So I know what your number one is. Why don't you do that and I'll do my two one?

SPEAKER_01 1:54:09

All right, yes, my number one. We we skipped over it when you said it, but I have I have stood by this statement. I have said this since I've seen this motherfucking movie. My favorite Steven Spielberg of all time is catch me if you can.

SPEAKER_00 1:54:24

You've said it on the pod at some point. I don't remember when, but because I remember you told me that in person, and I was like, whoa, that's a really cool take. And it's just I don't know. When I put it, I would have bought the 4K, but for some reason it's still like expensive. Like a lot of the other 4Ks I bought, but I don't know, maybe they're on sale or something, but this one's kind of expensive, but I bet it just looks great. Even those credits, man, the credits are like fun as hell.

SPEAKER_01 1:54:48

John Williams music, the animation, like it's just this is the reason why I like this movie so much is well, one, it's also supremely well done. Like, you like I remember I actually um did uh something for my my high school class in terms of like a film study on um I I can't remember which fucking sequence it was, but I I I use this movie for lighting because I remember thinking about how it's all natural, well, not natural necessarily, but the idea of the movie is that all the lighting comes from daylight from outside. Right. And um, and I never really thought about that as a kid, and I'm like, oh wow, it really is. But there's something that that's that I don't even under really understand it. There is a sadness in this movie that is permeating throughout every single second of it, it never goes away, even when it's fun, there's a real sadness to it.

SPEAKER_00 1:55:44

That is exactly what people who love AI say about it. So that's really interesting and close encounters. Yeah, yeah, that this that there is this inherent sadness that's going on, but because it's so it can be so fun to watch, people miss it. Just like a lot of like love's like, I want to hold your hand by the Beatles. That's a sad song, but it sounds funny because yeah, because it sounds fun rather because it's so boppy. So yeah, that I've I have heard that too, and I do I absolutely feel and catch me. It's it's the damn parents thing again. He just keeps going back to the parents, yeah. And it's yeah, his conviction of like, no, no, you just you need to go to moms and tell her, and he's like, Your mom married like my my friend, like this has been done. Like, Frank, come on, man, like what's going on here?

SPEAKER_01 1:56:32

Oh, it is my favorite Christopher Walken performance of his entire career.

SPEAKER_00 1:56:36

More than yeah, the big D, the deer hunter, more even more than the big D.

SPEAKER_01 1:56:41

Yeah, Nikino. Um, you know, there's man, he gets me every time. The and that, and there's so much of that sadness is actually from Walken, too. Like, he that man, like this at times when that guy walks into a frame, he's literally the embodiment of a ghost, yeah of someone who's like they're still alive, but everything that they that's been about who they are is gone. And like it's in his bones. It you just in and Leo is fighting so hard to get that person back, yeah. His dad, what he remembers, and it's just not gonna happen. No. Two mice. Which mops am I? Which mice?

SPEAKER_00 1:57:32

Two mice, uh two mice fall to a bucket of cream. Love it. All right, I'm gonna do my two-one. So I had a lot of trouble with this. This is the only time probably anyone would watch a double feature of these two movies, but I really couldn't figure it out. Which one do I am I gonna say is my number one? Because you got ET, and I've gone into that about how like that is the movie that broke open movies, not even the content of it, just but it was that because I was so obsessed with the content, but like breaking that green VHS open, studying it so much over and over. That movie can make me. I mean, the second the chase starts when they're chasing after the kids all the way to the end, is perfect. I it's just perfect filmmaking. It might be my favorite 20-minute stretch in any Spielberg movie. I'm not saying it's more impressive than Normandy, but it's just oh my god, it's perfect. And then, you know, the triple cut it takes you. Yeah, the triple cut on the street, right? And then the close-up of E.T. and they send all the friends up, and then you know, I'll be right here, like all that stuff. I sob every time the music just he's fucking on one often, but man, when those credits come for E.T. it's like it's so nuts and like loud, and he is just banging those pianos. It's like obviously I have to put E.T. at number one. But then I decided to re-watch Schindler's list, as I'm prone to do. I watch it typically about once a year.

SPEAKER_01 1:59:00

I'm sorry.

SPEAKER_00 1:59:01

I don't know what to tell people. I don't know what to say, and here this is where I'm gonna also bring the pod down and explain some things. This movie should be, should be, and is at times as grim as cinema gets. But there's a really weird thing going on throughout the entire movie that I didn't really catch on to until like now. This entire fucking thing is about paperwork. It is about process. Process.

SPEAKER_02 1:59:31

Oh yeah.

SPEAKER_00 1:59:32

Cut the whole thing, put this name here, make that form, disguise it so it looks old. This get this piece of get this lighter to pay off that guy. It's all moving stuff around, this and that, this and that. But the thing that they're every deal being made is for a human life. So, but when yeah you see kind of the I don't know, almost like carelessness of Oscar Schindler, like, whatever, I'm spending money here, doing money here, and you and the way that we never it's never explained to us when he changes, because he doesn't change when he sees the red coat. That like startles him into something, but you don't really know like when does he make the decision to like have this factory or why? And so it's the process thing, we're just watching it like over and over, and then one of the grand magical tricks in the movie is that the title of the movie is about a document, like it's about paperwork, the entire movie is about paperwork, and just no, you can't do this, like so there's that aspect of it. There's also the aspect of how well it is shot and how well it is paced because the movie is three hours and 15 minutes and it moves, you are never bored, it is never stuffy. I don't know how the hell I I risk to call this entertaining, but I don't I just don't know how he assembled this in a way that made it anything other than unwatchable, but he did. I don't know how, but I am so compelled all the time to go back to it because I'm studying the technique of it, I'm studying how the pacing of it, like scene that there are a few long scenes, but not really, like he's moving things constantly. And then yeah, there's another really strange aspect to it that should have no business being in the movie and is not present in other Holocaust movies. This movie, forgive me for saying this if you haven't seen it in a while, is fucking funny at times. It is beyond or below Gallo's humor. Even I I Pardon you, that is played in a series of threes, like a comedy bit, and how that ends is horrific. But the the biggest sign of this is when Ben Kingsley gets taken, you know, where's where's Stern? And he's talking to the two guys on the platform, gets it, what is your name? And they're being they're being all aggressive, and he's like, Gentlemen, thank you. I can all but guarantee you'll be working in East Russia by the end of the month. And then we cut to Liam Neeson walking, yelling, Stern, Stern, and then they just walk up right next to him. It is a comedy bit, and they go, Stern, Stern, because now they know that okay, this is a guy with power. That is funny, and they are rescuing someone from a fucking concentration camp train car. That is I don't know how he did that. And I laugh when I see that. And then, of course, the uh this is this is like tough. The liquidation, there are two sequences in this. The liquidation of the ghetto is it's it's so disturbing, and it is just something where you really see we have seen the Nazism take hold, we've seen them carelessly kill people, but then you know, Ray Finds just says today is history, and then they start, and it's everything from you know poisoning the hospital patients so they don't get shot, which they do anyway, to where everyone is hiding. And it I mean, they're literally cleaning house and like getting them, cattling them to to these cars, and then I didn't I don't know why I didn't really have a good um memory of this. It gets me I get a little choked up talking about it. There's a scene when they um it begins with Schindler just walking on the street and it's is it snowing? Is it what what is that? And it's no, that's ashes, it's ashes falling down. Oh, where's that coming from? That's okay. And then it gives us a title card, which the movie doesn't do a lot, and it basically says that I'm in Girth. I'm sorry if I'm not pronouncing that correctly, you know, the Ray Fines character. He we we cut to it says that he's been given an assignment to exhume and burn all the bodies they buried. Now, exhume what that means is you have to dig up those buried bodies. And Nazis didn't dig up these bodies, they made the Jewish people do it, they made the prisoners do it. You could be digging up your husband, your wife, your child, and they're doing this, and the first time we see them pull a body out, this the music has been so still, and then this requiem just fucking blares and it just goes, and then the next shot we see are these dead human beings on a fucking conveyor belt being fed into this pit of fire, and this requiem is just raging. There is no humanity, there is no hope. And the first thing we hear is Ray Finds go, can you believe this? I already have so much to do, and now they put this on my plate, bringing it back to the bureaucratic process. Never any mention of look at all these human beings we're killing. It's my god, as if I don't already have enough to do all this, this whole balance, this is one of the most important and special movies ever made. It has to be my number one, it just has to be. It is, I I cannot believe he did it. I urge everyone, I implore you to please go re-watch it. And then me, Mr. Hard and Mr. I don't like this hogwash sentimentality. Go watch the final 15 minutes, the color portion of this movie. If that doesn't get you, then I I genuinely I have no idea what will. I'm just a mess every time I watch it, an absolute mess. I think this is truly, I could probably say this is one of the top 10 best films ever made. If I was ever making a list like that, this is up there with the best of them. This is the godfather. Uh, he's given us so much, but I really can't believe that he did it this way. And I I think it yeah, Schindler's List is my number one. I think it's a profoundly moving film and such a disturbing one. I'm really glad you rewatched it. I didn't know you had, but yeah, it the 4K looks and sounds amazing, but wow, really what a movie. I mean, so many of them. My Schindler's List, ET, Sam Private Ryan, Jaws, Jurassic Park, they're all like unassailable masterpieces. But my long way of saying I do think Schindler's List deserves to be at the top. And it's a tough one to put at the top, but goddamn, that movie.

SPEAKER_01 2:05:46

No, it's but you're everything you're saying is exact and everything you were saying, I felt. Yeah. Like uh, it and it it's um it it's not an easy movie, but you are right in the way too where it does have that Spielberg sort of um it you are compelled throughout all of it. It's not it's not unwatchable in the way that like you know, something like Night and Fog would be, or yeah, you know, some of these other type of things where you're like, listen, I can't really sit through this.

SPEAKER_00 2:06:21

Well, even even as hard as this is, yeah, there's a terribly disturbing scene when a half naked Ray finds just is uh bored, has just waken up and goes and just decides while he's having his morning cigarette to snipe a few people out who are just sitting around because he feels like it. That's that's so important to show, as hor as horrific as it is, because then you see like his lover in the bed who's annoyed that he's making noise. That that's the only reason why she's annoyed. And I mean, he like you know, um chambers a bullet and it goes on her and falls, and he's like wakey wakey and then goes and peas with the door wide open. It's important to show this stuff because not only did it happen, I've watched documentaries about people who were at this camp and said he would do that routinely. You have to see how little impact this how this does not impact them at all emotionally. You have to see that to understand, like that's how this happened. That I mean, you know, we don't argue with these people, shoot her, and then rebuild it, tear it down and rebuild it, just like she said. Like, yeah, that woman can be right, but she's not allowed to tell us what to do. Just the complete, you know, there they really there's no humanity here. There's there's just none, and you have to show all of that, like all of it. And it's yeah, I I I really can't believe there's a lot of his career that even if he isn't whatever, one of our guys, even if nothing from our lists has been made past 2000, or you know, we didn't have any movie past 2005 on either of our lists. That it doesn't it just doesn't matter because all the greatness that he has given us, he's gonna be in the top tier for the rest of our lifetimes, let alone his, and he deserves it. But yeah, go back, don't go, you know, go back for the good Spielberg, that's all.

SPEAKER_01 2:08:03

And I and I have to say, I'm really happy with how we got here because I know at the very top of this podcast, you know, we kind of started out with this sort of lukewarm uh tone for for Steven Spielberg. True, but I never wanted because the because the thing of what we're talking about is like there is a reason why he is revered in the way that he is.

SPEAKER_00 2:08:26

That's why we talked how we did in the beginning, because he's given us masterpiece, masterpiece, masterpiece over and over and over. And that luster, like it or not, to me, is not there anymore. And that's okay. It's okay. It's not that's what I'm that's what I have trouble with.

SPEAKER_01 2:08:41

That's all. And even though, like, I'm still even in some of his things that some of these, like, you know, Hook, for example, I love that you brought that up. I cannot tell you how many people I know that Hook is one of their all-time favorite movies. Because they saw it when they were, yeah, it's five and exactly they are my age. So, but it it he's got this quality about him that um you this is why I I I we never felt I never felt like we were kind of like speaking of him ill or in a disrespectful way, because we have appreciated him on levels where certain filmmakers you just can't, you don't get what he gives you. So I'm glad that I feel like at the end of this top 10, we have landed on why we do really appreciate him, even if he is not particularly a director that for either of us kind of strike right to the top for us personally, in terms of like, oh, who are your favorite directors of all time? Spielberg won't really come into my kind of conversation for that. But I also don't want that to mean that when we're talking about something like Schindler's List or ET, Jurassic Park, um, you know, Jaws, like there, there are there are things that he has done with the art of filmmaking that no one is ever able to do, and and it's not lost on us, even if he's not exactly quote unquote one of our guys.

SPEAKER_00 2:10:11

Yeah, yeah. It's just don't if you have started his career, I don't know, based on age for whatever reason, like if you start in 2008 and you've kept up and haven't gone back a lot, I don't think there are a lot of people like that. But that's kind of what I'm getting at. That they're I mean, his output has not changed. He's still releasing a lot of movies, but I don't think I really did think Disclosure Day might be somewhat of a return to form. I did not think they were gonna be mean aliens like War of the Worlds, but I thought he would give us something of that a flash of the old Steve. And it's just a flash of the new Steve. That's that's all it is, and that's you know, that is okay, but yeah, I'm I would never take away anything from him. His my sweet spot is 93, beginning with Jurassic Park, to like War of the Worlds or even Munich. Like those years, I have just like 12 years of really great movies, and of course he has ones earlier that I love too. But yeah, I that's why I wanted to use Disclosure Day as a jumping off point to talk about him, but not necessarily just covered that. Like I really did want to open this up for the full Steven Spielberg kind of experience. Um, honorable mentions, I'll go real quick. I did have Temple of Doom because I love everything inside that temple. And I did have Amistad, not as a whole movie, but just like if you haven't seen it, go try to check it out just for that middle passage, or just find that clip. It was it was really well done. It surprised me. War of the Worlds was my number nine, but I did want to have the caveat that I'm really just giving it to that first hour because I uh Sunleaves, Tim Tim Robbins. It's I I don't know. It just yeah, it kind of falls off. But any honorable mentions from you?

SPEAKER_01 2:11:53

I I'd throw in the last crusade out there just because uh I've got the two other ones in there and last crusade. Um, you can't deny I I I texted you this, but I also do think that's one of my that that whole end sequence is so much fun when he's going through all the traps. Oh, yeah, yeah, that is fun. And you finally get to the end guy, and I mean that's one of the most like like quoted lines ever. Like he chose poorly. Yeah. And uh, you know, all that. So Last Crusade, Sean Connery, and Harrison Ford in that movie. You really can't beat that duo. I I threw in Munich into mine. Uh I pretty much agree with everything you said, though I never thought how much about the the sex scene. Oh my god. That was crack of your.

SPEAKER_00 2:12:38

The thing is, like he sets it up in the beginning. They have a um, before he goes on his mission, like they have a nice, you know, very like kind of romantic lovey-dovey scene. It isn't his graphics, so I get what he's doing, but you don't need that either. I I gen I would love I I don't know if I've ever heard him like talk about it. I would love to know his reasoning behind it. And like the way that she's receiving it, she seems like I get it. This is he's like working it out, and I'm going, what? Like, what the f I don't know. It has some good sequences, though. It does.

SPEAKER_01 2:13:08

And then I threw the last one in there. This this actually made your list. I've I never really was a huge fan of it. Um, a minority report.

SPEAKER_00 2:13:17

Okay, cool. Yeah, it's not from start to finish. I remembered it being really great from start to finish, and then sadly when I put on the 4K, I went, Oh, this is kind of stretching a little bit. It's kind of reaching, but just stretching my patience, but it still has a lot of cool shit in it. And by the way, we did we ended up having seven in common, so we made it right onto the wire. Not eight, but seven. Oh man, that's I was I was actually surprised.

SPEAKER_01 2:13:40

I figured, I figured we were gonna yeah, no, it doesn't seem like it, but yeah, we did.

SPEAKER_00 2:13:44

All right, what do you want? That was fun. That was fun. Well, I'll go. We had that was we had War of the Worlds, Jaws, Saving Private Ryan, Jurassic Park, E.T., Catch Me If You Can, and Schindler's List in common. Very cool. I I do like your list too, and I don't, yeah, I don't think there's anything you haven't seen. I would like you to see 1941. I think that's the first one.

SPEAKER_01 2:14:01

Yeah, the 1941 sounds like it might be kind of fun. Yeah, yep.

SPEAKER_00 2:14:05

Well, I'll go first. That's my what are you watching recommendation? Look at that. I'm not selfless. I just leaned right into it. I didn't know I was gonna do that. It's my what are you watching? You what you're doubling down? I'm going first, yeah.

SPEAKER_01 2:14:15

You, you, you son of a bitch, you told me that literally in terms of this outline, God help you if you double down.

SPEAKER_00 2:14:24

I meant disclosure day. Like if you like disclosure day. No, when we're talking about 35 different movies, you can pick one of those if you want. I just don't like if if we both really like disclosure day, it'd be like, yay, disclosure day. No, that's what I meant.

SPEAKER_01 2:14:38

I thought you were I thought you were launching into what are you watching, and then you were gonna double down with 1941.

SPEAKER_00 2:14:43

I am. That's what I'm doing. What why are you confused? Oh, you am I am I being unclear, listeners? When I put in the outline, God help you, if you double down, I meant don't double down on the main movie at hand, disclosure day. I wrote this outline before I knew we didn't like it at all. So I didn't talk about doubling down in one of your top tens. Well, also when I put that 1941 wasn't in my top 10. That was a late decision. And I wanted to be able to explain it here, but while I talk, you can put any movie except Disclosure Day as your buddy watching. Any film. All right. Okay, 1941, May 1979. Okay, I saw this movie once in 2012 when I covered Spielberg on my blog. I basically towed the general line uh intentionally outrageous comedy that doesn't work, too much, too big. I get it, it's a big miss. Moving on. Quentin Tarantino and Brett Easton Illis love this movie, they never shut up about it. And while those, while those are two men with batshit movie tastes, their passion will get me to reinvestigate stuff. So this episode's coming up. I buy the Blu-ray for seven dollars. Why not? Has a director's cut that's 30 minutes longer. And I'm just I did this three days ago. I'm prepared to just dig in for a two and a half hour mess. I do put the phone on the other side of the room. I don't want to be distracted. I can't lie, I thought this movie was hilarious. Hilarious. I was stunned, as I mentioned, how often I laughed aloud, how often I rewound certain bits. The majority of the humor is so low brow that a child would laugh at it. It's slapstick, spoof. These are not difficult bits to understand. But a lot of the movie, a lot of it, is deeply crass. I think younger audiences would just flat out call it racist today. Um, it is very unexpectedly horny, historically intriguing, and just plain dumb fun. It's very uneven, it's silly, but just one hell of a big studio swing, and there's a lot to appreciate about it. It was written by Robert Zemeckis and Bob Gale a few years before Back to the Future, a few years before they wrote Back to the Future. It has their wicked sense of humor, but John Milius has a story credit and it has his sense of cynical history. So in 1941, it uses a lot of historical reference, but of course plays with them. All this shit happened. The bombardment of Elwood when a Japanese sub attacked a naval base near Santa Barbara in 1942. I didn't know that. The Battle of Los Angeles was a response to that when basically all of LA thought they were being air raided by Japanese forces, but it was just a false alarm. Like all this shit happened. The um, oh, there was a story of the army placing a giant, I mean giant anti-aircraft gun in a citizen's front yard in the main on the coast of Maine. So they do this on the coast of California. They put it in um, oh Christ, Ned Beatty's yard. It's fucking hysterical. So funny.

SPEAKER_01 2:17:41

Oh my god, that's funny.

SPEAKER_00 2:17:42

The Zoot Suit riots, I've heard a song about that, but those were in LA in 1943 when a bunch of servicemen fought people of color in the streets of LA. All that is in this movie. It's fun, it's huge. It is Capital MAX maximalist, but it deserves a first or second chance. I'm just saying, it does. I really think you would laugh at some parts of it. Huge cast, like anyone who is everyone at the time is in it, from John Belushi to I mean, everybody is in it. It's it's just crazy. But yeah, I definitely feel a lot of New York, New York from Scorsese, where he doesn't necessarily have a lot of rules. I feel a lot of Babylon. It's things like that. It's these big swings. I like yeah.

SPEAKER_01 2:18:21

I and I mean that's the thing. I like New York, New York.

SPEAKER_00 2:18:24

That so do I. I appreciate like the swing of it, but I I can't speak to the the theatrical version of 1941. I don't remember it that well. I watched the director's cut and for a seven dollar Blu-ray, because it was gonna be five to rent. And I went, well, I'll just buy the damn Blu-ray. It's got two editions, why not? Feature length making of I liked it. I like it. I'm a fan. I don't know. I'm surprised. All right, all right. That's my recommendation, 1941.

SPEAKER_01 2:18:48

All right, well then. What you got? I'm gonna double down with one because I we you know that we did talk a lot about it, but I um I do think that maybe it is uh important viewing for anyone that really hasn't seen Schindler's list. Oh, wow, you're doing that. Wow, yeah, I'm gonna do it because I think it's um well, I I the reason I is it's kind of the reason what I was saying a little bit in my my experience with it, watching it this last time is uh it is I it hits different now. That's all I'll say. And and um and and while that's not comfortable, it might be important just because it just This is a very important film.

SPEAKER_00 2:19:28

Everyone should watch it, they should show it in school unedited, like at a young age. I'm dead serious.

SPEAKER_01 2:19:33

No, I completely agree. And um, just because of the world being in the state that it is right now, and just seeing this right here, it's just sort of like just a reminder that this is um history will repeat itself in these sorts of ways unless we actually like try to not let it happen. It's also just brilliant filmmaking. And I think the the way that both of our voices drop when we talk about it, you know, I think that sort of just kind of bears repeating that um if you haven't seen this, or if you've been sort of uh somebody where because I feel like this might be a case for a lot of uh listeners where maybe that's been a movie that you've kind of always had on your to-do list.

SPEAKER_00 2:20:19

My stepmom, who you know, I mean, her her mother fled Amsterdam to get because Nazi Germany was overtaking it, like they were invading it, so she had to flee. She can't watch it, she's never seen it. And and I get it. I can understand that, yeah. Yeah, yeah, I get it.

SPEAKER_01 2:20:34

I get it. But yeah, just in terms of like a film like list that you've had where you're like, oh man, yeah, I keep hearing about Schindler's list, but it feels like it's gonna be daunting because you're like, all right, it's a three-hour Holocaust movie.

SPEAKER_00 2:20:48

To your point, as as difficult as some things are, this is not exactly like a uh this is yeah, this I don't know how Spielberg, this when we mean talking about Spielberg, like it's not like a boring academic thing, it's an important movie, but this is not like an eating your vegetables movie, like all right, I'm I'm becoming a film fan, there's some I gotta knock out. Yeah, there's some I was given I'm gonna give you shit on an upcoming episode about um Citizen Kane and your take on that. This is I understand that that one can be, yeah, that's like a challenge, it's a slog. I get that Lawrence of Arabia can. Schindler's List is not that, it is not slow, it is not dull, not ever. It is not a boring movie, not at all, not at all.

SPEAKER_01 2:21:29

Not nope, not not one, not not one second of it. So, yeah, so yeah, Schindler's List. Watch it, everybody, re-watch it.

SPEAKER_00 2:21:35

I'll report back because that's another one Allie, my wife, has not seen, and we just got done. Her favorite movies ever are the Harry Potter movies, so we just got done re-watching those. And Ray finds is Voldemort, like the main bad guy, and we kind of have a deal where I'm gonna show her, because there's seven, however many Harry Potter movies, that same amount of movies, but with actors from those movies that she like hasn't seen anywhere else. So, like when I showed her Grand Budapest, she was like, What the hell? Voldemort can be like funny, and I went, Yeah. And then I said, You think Voldemort's bad? I'll show you this dude playing the biggest monster of monsters. So she actually does want to see it, and she's heard that it I think she thought it was like an important movie, but probably was gonna be a little academic and a little boring. And then I was like, Oh, no, no, no, it's not. No, it's it's that's that's the magic of it. I don't know uh just like how he did that and how someone like me, I don't know, can be compelled to rewatch it because uh the filmmaking of it is so beautiful. All of it, it's just I don't know, it's it it really is a miracle of a movie, and I'm yeah, I'm glad you're doubling down with that one. I am.

SPEAKER_01 2:22:43

Yeah, yeah, deservingly so.

SPEAKER_00 2:22:46

Spielberg, we love Steven Spielberg. No fan of cinema or no casual viewer can discount what this man has done for this art form. True. He has done more than he has done as much, I'll say, as anyone. Anyone in the history of the art form, he is on their level, he is their equal, he has their respect and ours. It's okay if his most recent wave of films don't necessarily work for you. Like I said, my dad is kind of into I mean, he was into West Side story and the Fablemans. I know uh the Fable Mans is repped very well. Peep some people love that movie. I see it on Letterboxd. People say that's the best movie he's made, his whole career was leading up to it, all that. Like, it's all good. There's something to appreciate. There's some even in Kingdom of Crystal Skull, it's so funny at how bad that refrigerator bit is that we're sitting here like making fun of it. It's I mean, it's something to talk about. I don't know, part-time, like it's something to talk about. It's funny.

SPEAKER_01 2:23:43

War horse is try to give Crystal Skull anything. All right. That you're you're better than that.

SPEAKER_00 2:23:51

Well, that and Warhorse are the only ones I didn't re-watch, and everyone I watched, even the cut the color purple, which I didn't have the biggest the I wasn't the biggest fan of before, but now I have a new appreciation for Empire of the Sun. Always even there are there's stuff to appreciate in Spielberg films. So yes, I'm glad that we I hope people make it to the end. You know, we got we got it all out, we got all of our Spielberg discourse out. I just wish Disclosure Day Dis was hit a little harder, but it doesn't, and that's okay. We got this back catalog that I'm gonna be enjoying for the rest of my life, and that is the truth. Will Disclosure Day get a single Oscar nomination? No, no, fuck. I don't know. I guess I'll think one or two, maybe. I don't know. No, no, none, none. He's going none. I'm going maybe with one. I don't know. We'll see if it joins that coveted list of movies that were not nominated, but W Aywpodcast.com, find us on there. We're having a lot of fun on Patreon. What are you watching? Bonus feeds come find us on there. You want to know what we think of obsession in backrooms? Oh, we've seen him, we reviewed him on Patreon. Can hear us there? Go find merch at WAYW Podcast.com. But as always, thanks for listening and happy watching.

SPEAKER_01 2:25:07

Hey Alex. Yes. Listen.

SPEAKER_00 2:25:14

I was like that. That's what we're doing. Ah Jesus Hey everyone, thanks again for listening. Go to our brand new website, waywodcast.com, for everything. Episode categories. You can write to us, donate if you're feeling generous, buy our brand new merch, and you can find our new Patreon link. That's right, what are you watching? Bonus features. We are on Patreon now. So for just a few bucks a month, you can get so much more WAYW content. Go to WAYW Podcast.com for all of your what are you watching needs. Next time we're gonna talk about Damien Chiselle's whiplash, gonna dedicate an entire episode to it, talk about how it was made, its never-waning popularity, and of course, Nick's crazy take that it is his favorite movie ending of all time. I'm really excited to open that up and explore it. Stay tuned.