Rushmore (w/ Haydn Fabre)

Eli Price (00:36.258)
Hello and welcome to the Establishing Shot, a podcast where we do deep dives into directors and their filmographies, looking at what makes films special to a director and how each other films have related themes and techniques. And yeah, it's going to be fun. We are in episode three of the podcast.

And today we are on the second movie in our Wes Anderson series, Rushmore, his sophomore film. And so I have on the podcast with me today, Hayden Fobb, Hayden. Yeah, Hayden's one of my friends here in Lafayette, Louisiana. And yeah, Hayden, just share a little bit about yourself and what you do. Go ahead.

Haydn Fabre (01:13.95)
What's going on?

Haydn Fabre (01:25.135)
Yeah, man. Cool. Well, I'm a student pastor here in Lafayette. So I work with students a lot and it's a ton of fun, man, just getting to introduce them to the movies. That means so much to me. My dad growing up, my dad was an FX dad. You know what that means? Like a TNT dad. We were like Gerard Butler on Repeat, you know, like all day long. That was like it was an action movie. That was it. And one day, I mean, I just decided like there's got to be something else other than just this.

Eli Price (01:39.838)
Yeah, yeah, yeah, oh yeah.

Eli Price (01:44.43)
Sure.

Haydn Fabre (01:54.503)
So I found the kind of middle ground between like the TNT FX type dad and like the high Critically acclaimed movie and really I think gladiator was the movie that pulled me in gladiator was the first movie that man I was just like oh you can do more with movies than You know just entertaining someone while they like decompress from a day of work Because it like had that That decompression of just like yeah watch the guys fight, but it was also just like what an incredible story of

Eli Price (02:06.285)
Yeah.

Haydn Fabre (02:24.031)
you know, family and, you know, can't even find the words, but like reputation restored. And it was so much deeper. So I began there into my deep dive into just cinema as a whole. I wrote myself a plan for like film school. So I went to film school on Google and not in person. But as far as Wes Anderson, my first Wes Anderson experience was probably the first movie that

fully grabbed my heart and was like, you have a favorite movie now. Congratulations. And as you know, Eli, that was fantastic. Mr. Fox, the movie that changed the game for me, that's been at the top of my favorites list for years now, that just like grabbed my heart and changed the way that I lived. And I think that's what movies are really meant to do is to grab you, force you to see the world in a new way and, and then challenge you to live with more things in mind than you may have had before.

Eli Price (02:57.39)
Absolutely.

Eli Price (03:19.094)
Yeah, absolutely. Yeah, it's it's really cool to hear here, just like your introduction to the film, just like from action movies to hey, wait, here's an action movie, but there's something more going on here. Yeah. And then, yeah, Fantastic Mr. Fox. I mean, it's for one, that's a very interesting, like favorite movie, like.

Haydn Fabre (03:36.707)
Yeah.

Haydn Fabre (03:47.384)
Oh yeah.

Eli Price (03:47.434)
You know, the thing like, what's your favorite movie? The thing people most most of the time, people's either they have an answer or they have like one that they just say because they have to say something. Right. Absolutely. Yeah. But Mr. Fox, I mean, that's a unique one. So so, yeah, that's it's fun. I when I was texting Hayden about scheduling him to be on the podcast, I was like,

Haydn Fabre (03:58.911)
Yeah, you get the Godfathers, the Shawshank Redemption, you know. Yeah.

Haydn Fabre (04:06.378)
Oh yeah.

Eli Price (04:16.81)
You know, we're we decided he was going to come on for Rushmore, but I was like, man, I've got to have you on for Mr. Fox, too. So this won't be the last year from Hayden. Absolutely. Yeah. So, yeah, today we're getting into Rushmore. You know, obviously in Episode one, we really dove deep into Wes Anderson and just his techniques, his

Haydn Fabre (04:23.279)
Dude, gonna be a five hour long episode. I'm fired up for it.

Eli Price (04:45.322)
his background, his kind of thematic elements that you kind of see throughout his filmography. And man, we actually, me and Jacob talked for like way longer than I thought we would in that episode. And yeah, and here we are on episode three. We talked about bottle racket in episode two and yeah, episode three of the podcast. It's exciting. My second ever host.

Haydn Fabre (05:00.642)
Yeah.

Haydn Fabre (05:12.313)
Dude. Getting some traction.

Eli Price (05:15.47)
Uh, so yeah, uh, yeah, let's get things going. Let's talk about Rushmore. Um, it's, um, it's, it's interesting when you, so, you know, we talked last week kind of about the bottle rockets beginnings and how, you know, it's, it's interesting to think about the transition directors have from like their, their first film, uh, which was bottle rocket for West to their second film. Um, you know, there's probably.

a lot of directors that make a first film and then never really get a chance to make another one. You know, we don't, I don't know who they are because you don't hear about them. They don't continue going. Maybe they would have been great, maybe not, but no.

Haydn Fabre (06:02.595)
You put all your eggs into this one project that you love and maybe if it doesn't end up like you hope that it would, you just run out of that energy to keep writing and keep creating.

Eli Price (06:11.498)
Right. And yeah, we talked about just how that was almost the case for for Wes Anderson and Owen Wilson. Bottle Rocket very easily could have been just a huge flop. And and but instead, you know, it kind of got a cult following. And yeah, they they got picked up to do Rushmore. And I'm pretty sure I'm pretty sure Disney was the studio that produced it.

Haydn Fabre (06:40.047)
Really?

Eli Price (06:41.422)
I'm pretty sure I'll have to double check and in letterboxed in a minute. But yeah, I'm I'm fairly certain. I'm fairly certain that was the case because.

Eli Price (06:59.838)
Yeah, because in some of the interviews I was listening to, he talked about Disney. So. Touchstone says touched on his touchstone on by Disney. Why was he talking about Disney? I don't know. They probably all touched on for, I mean, for all I know, they all touched on. But anyways.

Haydn Fabre (07:13.623)
Perhaps. Disney owns everything. Disney owns the universe. Disney owns everything.

Haydn Fabre (07:24.347)
It says here, you know, halfway done Wikipedia article says that they distributed it. So they were one of the one of the five that were took place in distributing it for. So they were involved.

Eli Price (07:32.639)
Okay.

Eli Price (07:36.734)
Yeah, yeah. So yeah, I know for sure. Like Disney was involved somehow because he talks about Disney like saying no to giving him money for something. Well, we'll get into that. But yeah, so he gets picked up for his sophomore film. And one of the things that stood out about it to me was that transition was Wes and Owen. I mean, Bottle Rocket was their movie. They had some people that kind of.

Haydn Fabre (08:01.54)
Mm.

Eli Price (08:05.246)
led them along the way, Jim Brooks producing it in Poly Plat and these kind of people that were mentoring them, but it was their movie and it's kind of out of Jim Brooks' willhouse as far as like his style and everything. And so he had some input, but he didn't have a whole lot to say. So really they got to make their movie. And so, you know, I can't remember. I think we talked. I think we're...

You know, talking about bottle rocket, I think we talked about, you know, how Jim Brooks was like, man, this created a freedom of expression for these guys making this movie, how they wanted it and getting a cult following. And so here, I think really Rushmore is like the culmination of that. So they, they got to make the movie mostly the way they wanted it. They, they had their hands tied with a few things.

But they get picked up for this one and they've got an actual budget to make a movie with. And yeah, they get to make their movie. Rushmore is like, this is Wes and Owen's movie. And they made it the way they wanted to make it.

Haydn Fabre (09:20.779)
Yeah, it seems like their full heart and soul were kind of tossed into it.

Eli Price (09:24.274)
Yeah, yeah. And it's not just like they wrote it and they got to like shoot all the scenes they wanted, but like they got West got to use the the camera he wanted, he got to, you know, and actually I was in an interview. West even said that there was only one scene they cut. They filmed. They filmed all the scenes. He said, you know, other than like, oh, we cut out a line here, there.

Haydn Fabre (09:45.295)
Wow.

Eli Price (09:53.782)
Like there was only one scene that was cut from what they filmed. So he knew exactly what he wanted to do and he did it. And there was just one scene. It was when Max gets expelled. There was like a scene of him like getting his books out of the locker and some other stuff. And that's the only thing they cut, which is incredible. Like.

Haydn Fabre (09:59.119)
Crazy. Yeah. Wow.

Haydn Fabre (10:15.282)
Oh my gosh, you cut 45 minutes out of a film usually. Like that's insane. Wow.

Eli Price (10:20.33)
Yeah. And so, you know, I don't know how many like extra lines and, you know, stuff like that they cut, how much that might have added up to. But yeah. Yeah, it's, you know, Jim Brooks, who produced bottle rocket, who kind of like was the one that got it made. He in an interview, he was saying, like, because they made that movie the way they wanted to, then they kind of set themself up.

for being able to just make a career of that, making movies the way they wanted to. Not, you know, so many directors end up in this cycle of like one for us and one for them sort of thing. Like one for us, one the way we wanna do it, and one for the studio the way they want it done to make, you know, the box office money. But they, which is really cool. Like it's cool to see these guys that

want to make a movie, get to start their career making two movies the way they want to do it.

Haydn Fabre (11:25.515)
Yeah, very early on, it seems that Wes decided he wasn't as interested in the studio game as he was in the community game. Very quickly, you see him start to kind of gather his posse, gather his team, you know, getting Bill Murray to sort of hop onto that train here and then discovering Jason Schwartzman and Owen and Luke and sort of like developing that like, hey, this is my team and studios are going to have to listen to us. We're not.

Eli Price (11:38.432)
Mm-hmm.

Haydn Fabre (11:52.311)
going to listen to studios and that's how he's been able to make all these incredible movies which are so different from everything else these studios are putting out.

Eli Price (11:53.664)
Yeah.

Eli Price (11:59.806)
Yeah, yeah, and you know they Wes in an interview too. He said you know This concept or this movie like this kind of character and the ideas kind of surrounding it They were even they like they wanted to make this movie before even they made bottle rocket Him and no one kind of had the concept for this you know, I

Haydn Fabre (12:23.787)
Yeah, Max seems like a character that's fully fleshed. Like he seems like a character that was sat on for a long time.

Eli Price (12:30.47)
Yeah. Yeah, for sure. And, you know, he, you know, obviously he's inspired by. Events from Wes and Owen's life, you know, he Owen Owen went to a private school in Dallas and he was expelled from from that private school. Yeah, you know, I guess that makes sense. But and then.

Haydn Fabre (12:51.776)
Naturally.

Haydn Fabre (12:56.184)
Yeah.

Eli Price (12:59.91)
You know, he ended up going to having to go to a public school just like Max. Wes went to a private school in Houston. He directed plays at his school in Houston. Didn't make the best grades, even though he's really smart, you know, just like Max. So it's you know, you've got those things tied up in there. It's funny, though. You know, when you act like.

It's funny, anytime you in an interview, you see people asking Wes questions like, oh, you know, is it inspired by you is Max you kind of thing? He's always he's always kind of like, well, you know. Yes and no. Like he doesn't he doesn't ever want to say like, oh, yeah, it's for sure me. Yeah, he he.

Haydn Fabre (13:41.954)
Yeah.

Haydn Fabre (13:46.595)
Oh yeah. And I'm sure that's the challenge of writing a character inspired by yourself.

Eli Price (13:51.678)
Yeah. And and I think I get it. I get it to a degree. He's like in in an interview with Charlie Rose. He I wrote down a quote he said, you know, he he's he was he was talking about that. Like, who is this character mean? He was like, yeah, it's a little bit of me. It's a little bit Owen. But he's like, it's not supposed to be like, oh, this is me. It's more like he was making a character that was like if I was 15.

If I would have seen this movie when I was 15, like it would have been my movie and it would have changed me because of this character, which I thought was a really cool like way to think about it. Like, yes, it's like inspired by things that happened to me and maybe a little bit of mine and Owen's personality, but also like I wanted to make kind of like fantasy. Like if I was 15, what would I need to see kind of thing?

what sort of character would grab me. So in that sense, it's kind of inspired by a fantasy version of himself almost, which is, yeah, sure. And it wasn't only inspired by Wes and Owen, but also just his experience. He shot it literally at his high school.

Haydn Fabre (14:57.515)
Yeah, a reimagining. Yeah.

Haydn Fabre (15:16.163)
Yeah, that's incredible. Really, at the same school? Wow.

Eli Price (15:16.438)
his alma mater. Yeah. Yeah, he even like in interviews, like, oh, did you see people you knew while you were, it wasn't like surreal shooting like in your hometown, like, and Wes was like, you know, I saw a few people, but he was like, I was in a hotel, and we were like working, and I was shooting at the school, but I didn't like.

I saw my parents, they stopped by. Like his brother was there a lot, but he didn't really like, he saw maybe one or two friends that happened to swing by, but yeah. He actually said his 10 year high school reunion was going on while they were shooting, they had to do a night shoot one night, and he didn't go to his 10 year high school reunion, even though he was in town, because he was doing a night shoot that night.

Haydn Fabre (15:53.815)
Yeah, he wasn't trotting around the city or anything.

Haydn Fabre (16:10.351)
Wow. That's funny.

Eli Price (16:13.434)
Yeah, it's really funny. But yeah, so yeah, so, you know, it's just like, man, this is this is his movie and Owen's movie like this is them and it's I think, you know, I think that's one of the reasons why I love it. But um,

Haydn Fabre (16:29.183)
Yeah, I think that's the perfect, that's the purpose of Coming of Age movies really, as a whole, is for someone to reflect on their life, look at their experiences, look at the things that they did, and then wonder, man, if only I'd have seen someone else talking about it, I wouldn't have made those decisions, or maybe I wouldn't have failed in the areas that I did fail. So I think this is a beautiful testament of like, Owen and Wes desiring to

Eli Price (16:47.141)
Mm-hmm.

Haydn Fabre (16:56.127)
take the insecurity that they had as a high school student and look back to the high school students who they know are still dealing with all the same things and say like, hey, it's okay, we're all in this cycle of growing up together and everyone's got weaknesses from the oldest person, the headmaster of the school, to the teacher that you've got a crush on, to the little kids that are looking up to you. We all have fallen short, we've all failed and it's okay.

Eli Price (17:08.238)
Mm-hmm

Eli Price (17:21.886)
Yeah, absolutely. Yeah. And yeah, I just I love that. That's that's cool. And man, you mentioned like his like kind of posse, his community earlier. And so I wanted to hit on before we get into like key points in the movies, just talking about like making like them making the movie. There were two actors that really like made this thing happen. And one of them was Bill Murray.

Like from the get-go, he had Bill Murray in mind. There were some, he had some movies where he just like saw something in the way Bill Murray acted, like this kind of like confident, like, but sad underneath guy that he was like, this is the person I want in this movie. And so he kind of wrote it with Bill in mind, kind of thinking all along, like, you know, I'll have to find somebody that won't quite measure up to what I have in mind.

Haydn Fabre (18:09.474)
Yeah.

Eli Price (18:21.122)
So he ended up this, I think it was Bill Murray's agents, like his agent student, whatever, they liked the script. And so they get, you know, West got them to give it to Bill. And so like Bill gets the script, they're like, hey, you know, there's these guys, they're making this movie, they, you know, they wanted to see if you would be interested. And like Bill, it's funny, like Bill reads the script and he's like,

Haydn Fabre (18:32.482)
Mm-hmm.

Haydn Fabre (18:37.398)
Wow.

Eli Price (18:50.014)
Yeah, I think I want to do it. And so he he I watched on the Criterion collection. There's a long interview with with Charlie Rose and Bill Murray, and Bill was just kind of talking about how he read the script and he was like he loved it because when he read it, he was like, this guy knows exactly what he wants. He said, it's rare to he says a lot of times he'll read a script and he's like, OK, you know,

Haydn Fabre (18:52.237)
Yeah.

Eli Price (19:20.038)
You know, there's some things to work with here. You know, I can, I'm gonna have to like do this and help out here for this script. But I think I can, you know, I think I'll enjoy doing it. But he said with this one, it was like he read it and he was like, I don't have a whole lot to add. He knows exactly, he knows exactly what he wants. And he was like, so I'm gonna do it. He apparently, Bill too, like in another interview

Haydn Fabre (19:23.119)
Mm.

Haydn Fabre (19:41.538)
Yeah.

Eli Price (19:50.23)
that he read that script, he called Wes and told him he was going to do the movie. They actually talked about some random movie that Bill loves that Wes hadn't seen. And they talked about that for like 30 minutes. And then he was like, yeah, I'm going to do the movie. They didn't really talk about Rushmore. He hadn't seen Bottle Rocket even. He was like, yeah, I'm going to do it. And so yeah.

Haydn Fabre (20:02.383)
Let's get.

Haydn Fabre (20:10.413)
Yeah.

Love that. It's so cool.

Eli Price (20:20.44)
Man, I respect Bill Murray so much more. He's such a cool guy. He was...

Haydn Fabre (20:23.895)
Well then this was the same year as Ghostbusters, right? 98?

Eli Price (20:29.383)
No Ghostbusters was 80s. Yeah.

Haydn Fabre (20:31.824)
No? Oh, it was. Dang. Thought I had a cool insight there. I was gonna be like, man, he's working with some cool stuff.

Eli Price (20:37.631)
No, but Ghostbusters was Was just but Ghostbusters was like peak was like Bill Murray's peak. So this is kind of coming back He did I think Groundhog Day was early Groundhog Day was 80 was it early 90s? Yeah

Haydn Fabre (20:46.849)
Yeah.

Haydn Fabre (20:51.759)
That was nice. Nice movie, I believe. Yeah, it was really nice. That might have been the one. Groundhog Day is a Wes Anderson movie in disguise, man. Like, Wes.

Eli Price (21:00.126)
Yeah. Yeah. And that's one of the movies that he saw that he mentioned, like that Bill Murray was like, yeah, the Groundhog Day. Bill Murray is going to be going to be Mr. Bloom. So yeah, you know, Bill, Bill didn't even you know, he decided he was going to do the film there. So they they got in talks about like, you know, you know, here's kind of what we maybe can pay you. And Bill was like, just give me my sag rate.

Haydn Fabre (21:11.832)
Oh yeah.

Eli Price (21:30.57)
His screen actors guild rate which is like in the several hundred thousands, but Wes said he actually didn't He actually didn't end up taking that he Did you did you catch how much I had in the notes before I took it out? I wanted to see if you could guess what he made. Did you see it? Okay Let me see if you can guess how much of the West said that Bill Murray made making this movie

Haydn Fabre (21:47.807)
No, I didn't see that.

Haydn Fabre (21:56.523)
I can't imagine Bill Murray at that quality to take anything less than like 10,000, 15,000.

Eli Price (22:03.698)
It was said that Bill Murray made nine thousand dollars. Nine thousand. That's what West said in an interview. Nine thousand. I mean, that's that's not. I mean, that's like that would be great for me. But like that would be like me spending like months and months making like, I guess, like the equivalent would be like, yeah, I'll do it for like, give me 200 bucks and I'll spend months making this with you like.

Haydn Fabre (22:07.421)
$9,000.

Haydn Fabre (22:13.521)
Wow. Yeah, he's high caliber at this point, man.

Oh yeah.

Haydn Fabre (22:31.615)
Yeah, yeah. Dude. That's nothing, man.

Eli Price (22:34.482)
Uh, it's incredible. And, and even, um, you know, I was talking about a scene earlier that Wes wanted done, it was a helicopter scene he wanted, um, that was going to cost like $25,000 and the, and, you know, the studio was just like, uh, we're, we're just not going to do, we're not going to fund that, that one. And so Bill Murray like went to wet took Wes a check and he was like, here's a check, you know, you.

You know you if you want to make do a scene, you know, I trust you you know Well, so like so he didn't end up shooting it so he didn't end up doing that scene But he's he said he still has the check Yeah, he still has the check that Bill so basically like Bill Murray was if they ended up doing that scene He was gonna come out negative for sure on the movie like he was gonna make 9,000 and then pay 25,000 for a helicopter shot scene

Haydn Fabre (23:07.043)
So Bill came out negative on Rushmore.

Haydn Fabre (23:13.195)
Ah.

Haydn Fabre (23:16.907)
Man, that's funny.

Haydn Fabre (23:25.643)
Yeah. Walking away with-

Haydn Fabre (23:30.753)
in.

Eli Price (23:31.927)
Which is I mean, that's incredible

Haydn Fabre (23:34.835)
Oh yeah, to be so sold in, just about having a... I must have been so fun to be on that set, man. Like...

Eli Price (23:39.666)
Yeah. Yeah. And you can see if you watch like the making of documentary that Wes Anderson's brother made, there's some like little sections with Bill like interacting with people and it's like, oh, yeah, he won't. He's loving being there. It's it's so cool. And yeah. And I think that's a huge testament to like them being able to get the movie they made when you have like a guy like Bill in your corner. That's like these guys know what they're doing.

I trust them. I'm going to I'm going to make pocket change on this movie because there he even said these are guys that I'm willing to go down on the ship with. So.

Haydn Fabre (24:18.479)
saying. And then he did go down on the ship a couple of movies later in Life Aquatic with Steve Sisu.

Eli Price (24:25.825)
Yeah, sure. But at that point, he was he was sold like he was in with West. So really cool. Yeah. Did you have any any notes on on Bill in this movie or like?

Haydn Fabre (24:30.199)
Yeah, that's awesome.

Haydn Fabre (24:40.915)
Yeah, man. I don't know. This kind of puts Bill in like a nice little niche. I feel like he kind of... He seems like a bit more fun of an actor once he gets into this. Like, not that it necessarily changed the trajectory of his career, but I think in this movie, you can see the personality of Bill Murray, like on full display. Like, I don't know. Whenever I watch Wes Anderson movies that Bill is involved in, I just...

I think that I see his personality there. He's not even necessarily playing a character a lot of times. I guess the way I would frame it is like, if you see like a fantastic actor at like a sketch club downtown or something, like an improv comedy club, just having a good time, shooting it on a whim. It kind of feels like a time in Bill's career where he's like, I wanna, you know, we talked earlier about the one for them, one for me kind of thing.

Eli Price (25:27.043)
Mm-hmm.

Haydn Fabre (25:38.839)
where Bill just kind of transitions and he's like, I'm gonna do one for me and everything. And I'm not gonna make these blockbusters anymore, but I mean, ironically, he's in, you know, quantumania or whatever, that Marvel movie. Ironically, we're speaking about him not cashing out anymore. And...

Eli Price (25:51.796)
Oh yeah.

Eli Price (25:56.688)
He had to make up for only making 9,000 in Rushmore, I guess. Yeah, it came back to bite him.

Haydn Fabre (25:59.275)
Yeah, he's trying to get it full packed. But it's a cool moment. It's a cool season in Bill Murray's career to look at deciding to be a part of this posse and then sort of writing this as his primary, a gig-gitter in Wes Anderson for like this long stretch of his career.

Eli Price (26:12.814)
Mm-hmm.

Eli Price (26:16.234)
Yeah. Yeah. And the other guy that really made this movie work is is Jason Swartz. Schwartzman. This was his first film. Yeah. Yeah. Yeah. His first film. They they did casting for like a year. They went to they went to England and Scotland. Like they were West was like, oh, you know, maybe we'll just have the guy kind of have this English accent and we'll just like kind of pretend.

Haydn Fabre (26:22.863)
Mmm. Dude, that's wild. I read that and I was like, there's no way.

Eli Price (26:45.59)
He's like kind of putting on a fake English accent, but it'll actually really, really be speaking in a real English accent. He like, they were that desperate and, uh, they, it, it was toward the end of casting Jason walks in and he even made a Rushmore blazer, like he walked in with a blazer on with an R on it that he'll like made himself and, um, they did, they did the audition and, um, Wes, uh, it, you know, it's so cool. Wes was like,

Haydn Fabre (26:50.059)
Yeah. Yeah. Wow.

Eli Price (27:13.794)
When he came in and auditioned, I was fine like, okay, I can make this movie. That's all like essential. Yeah, that's how essential it is. You know, he was, his kind of personality and acting was to making this work, which... Yeah, for real.

Haydn Fabre (27:18.711)
Yeah. Awesome.

Haydn Fabre (27:29.687)
And what a max thing to do. What a max picture thing to do. Make your own blazer to show up.

Eli Price (27:35.29)
Yeah, yeah, make your own way. But yeah, yeah, they they made this movie. They had Bill in their corner. And they they really like avoided the the Hollywood plot mechanics. Like when you think about this movie, just kind of get more into the movie itself. You know, you're never like, you know, in a typical like Hollywood, you know, plot, you know, it's like.

OK, I know the character is going to have like a rise and then a fall and then another rise, but really, Max is just kind of like it's a lot of falling and you're not really sure. Is he is he going to like ever grow? What's going to happen here? And and really like he he kind of. I don't know. It's it's interesting. It's there's not really like a plot per se in a lot of Wes Anderson films.

Haydn Fabre (28:13.512)
Oh yeah.

Eli Price (28:31.842)
because he is more interested in characters than really in plot. And you really see that here. With this, but. Yeah, one of the things that I noted about the movie is he got to this is something he wanted to do for Bottle Rocket and really like was kind of had his hands tied with the way he could shoot it and stuff, but he got to shoot this whole movie and anamorphic wide screen.

Haydn Fabre (28:36.088)
Yeah.

Eli Price (29:01.482)
And I don't know if you know what that means. So I don't either. So this is me explaining something about film, filming and lenses that I don't have any clue about, but I've read a little bit enough to talk. So basically, like anamorphic widescreen, one of the things that you get is there's less loss of depth of focus. So like,

Haydn Fabre (29:02.857)
Mm-hmm. Dude, explain that to me. I have no idea what that means. Great.

Eli Price (29:31.686)
One of the reason, you know, there's a little bit of like distortion on the ends, like there's there's a lot of like you can do deep dive into like these different lenses they use, like these different ways they shoot. But the cool that I'm not going to get into all that because I'll just make myself look dumb because I don't know what I'm talking about. No. But what is interesting to me and.

Haydn Fabre (29:52.559)
We're not gonna pretend to talk about something we don't know.

Eli Price (29:59.158)
what I do know about him shooting in this is that, you know, he kind of talks about, uh, you can just fit more information into the frame. So like he, he, um, the quote that I wrote down is at the, you know, Wes kind of said at the end of the day, it's less like, it's less like this, like really thought out aesthetic goal and choice and more. He, the quote I wrote was, Wes said, what a wonderful shape to make these pictures in.

Haydn Fabre (30:29.916)
What a West thing to say. Wow. What a...

Eli Price (30:30.959)
Yeah, yeah, what a Westwood thing to say like he Yeah, what a wonderful shape And you know the big thing is you know when you have that When you don't have as much loss of like the depth of focus you can have So you know you think about the way that West shoots a lot of times He'll like in dialogue cuts cutting back and forth. You'll have like the You know you'll have the character like kind of on one side of the frame

in the dialogue cuts and like the background, what's going on in the background is not like out of focus. It's not like you can see everything. You can, and this, that's what Wes kind of talked about. He said, you can basically like, I can fit more information in here. So when you think about like.

Haydn Fabre (31:16.567)
Yeah. So it's able to open up the F stop is what that's called on the technical end. The F stop would be like, uh, it would remove that blur and Bokeh there. So like you're not having a split focus like what like Hitchcock coined back in the day, you know, you're not having a split focus anything. That's, that's, that's interesting. Cause like even on like the, the montage in the beginning, when it's going through like all of Max's, um, different random clubs that he started up, like it's all, it's all like vision there. You don't see any.

Eli Price (31:20.865)
Yeah.

Eli Price (31:26.83)
Hmm

Eli Price (31:37.378)
Mm-hmm.

Haydn Fabre (31:46.647)
real crazy depth and that's what kind of creates that like dollhouse look that Wes gets so often.

Eli Price (31:50.446)
Mm hmm. Yeah, yeah. And that's that's his thing. Like he he puts so much thought into like the production design and the sets and like what information am I putting? Because that's what that's how, you know, that's how he talks about making movies. Like he has this list of ideas and things. And that's how he starts making a movie is. And so when he's he's like, let me get this big, like wide frame that I can use.

Haydn Fabre (32:05.967)
Mm.

Eli Price (32:19.298)
that doesn't lose any depth of focus so that I can put all this information in the background and the set. Maybe there's someone in the background. You can see them too. He was like, maybe I can... You know, whenever he's like, I can have the character here and then you can have this person here and this person here kind of in the background, but you can see all of them clearly. And so just that idea of he has so much information he wants to...

You kind of get that like the more you watch his movies, the more you're like, man, this, this set, like what's going on in the background? Just like it's all about adding to the character or like the world that the character lives in, which is really cool. So I, I just thought that I had no nothing about, about shooting and lenses. You know, I've listened to a little bit of like no film school podcasts and stuff like that. And

Haydn Fabre (32:56.569)
Anyway.

Haydn Fabre (33:11.168)
Yeah.

Eli Price (33:16.694)
So I'm trying to like grasp that sort of stuff more. But yeah.

Haydn Fabre (33:20.363)
Yeah. Well, and he like, he's able to expertly, like you said, so early in his career, he's already mastering all of the technical sides. He's able to very expertly jump between shots that encompass the entire depth that you see and keeps everything in focus. And then like, I think of the, there's a focus rack that's really hard in the very beginning, whenever the camera looks from the

Eli Price (33:28.992)
Mm-hmm.

Haydn Fabre (33:49.027)
geometry problem on the board that Max is having a dream of straight to the professor and you can see it sort of like warp out and it gives you that cool, you start to feel it already and then he's able to switch it up again and whenever he, whenever Max first sees Rosemary and he's like looking through the classroom, it's completely blurred everything else except for her. So he's like isolating her in this shot as sort of, I guess, a

Eli Price (33:51.763)
Mm-hmm. Yeah.

Uh huh.

Eli Price (34:11.394)
Mm-hmm.

Haydn Fabre (34:14.399)
And a picture of Max's mind is so many places and he's seeing everything all at once. And then he sees this idea of love, this idea of, I guess really his mother in this person and then a desire for a partner, a mate in this person, this infatuation that 15 year olds have with their teachers and everything else blurs away. And he's only focused on him. It's super cool.

Eli Price (34:17.824)
Mm-hmm.

Eli Price (34:30.718)
Yeah. Right.

Yeah. Yeah. Yeah. And he's even looking if I'm not mistaken, he's looking. Maybe he's not at that point. But I think he's is he looking through a fish tank at that point or not?

Haydn Fabre (34:46.739)
He was looking, that was whenever he was creeping outside, when he was being creeped. He was looking through the doorway, because he thought he was in the wrong classroom. Yeah.

Eli Price (34:49.262)
Okay, so this is a... Okay, that's right. Yeah, because you kind of get that sort of effect like looking through the fish tank sort of thing too, but but yeah.

Haydn Fabre (34:58.795)
Yeah, oh and every time it's a repeat thing, every time he makes contact with her when she's not looking, he's completely drawn in and focused.

Eli Price (35:07.166)
Yeah. Yeah. And yeah, it's really cool. The way he shoots is just so good. I had noted there were some Wes Anderson firsts like kind of like cliche Wes Anderson like touches that he puts. So like one you mentioned already is the it's in that club montage where it's going through all like the clubs and like.

Haydn Fabre (35:14.446)
Mm-hmm.

Eli Price (35:32.41)
It's the annotations. So like that's something that like starts showing up in Wes Anderson films is those annotations basically like, you know, the writing on the screen that's giving you more information. Again, it goes back to like, I want to give them as much information as I can. So he was like, I don't want them to just see him in all these clubs. I want them to know, like, this is the name of the club and this is Max's like he's the founder or he's like the assistant or he's whatever. Yeah.

Haydn Fabre (36:02.859)
Yeah, and the Futura right there, the font, Futura shows up and it hangs on to that forever.

Eli Price (36:03.368)
Um.

Oh yeah.

Eli Price (36:10.238)
Yeah, is it? I think future is in bottle rocket, too. Like, I think he's I think he I think he's like sticks to that from the get go. Like, that's him.

Haydn Fabre (36:15.551)
Yeah, it is? Okay, cool.

Haydn Fabre (36:19.839)
Yeah, he's made a switch with Asteroid City, so we'll see how the change of font fares him, but, Wes.

Eli Price (36:26.674)
Yeah, that might mess everything up. We'll have to see. The other thing that is a Wes Anderson first is the closeups and widescreen. So we talked about he shoots in this widescreen, but he has a lot of these closeups. And a lot of them, he mentions, and it's really like,

Haydn Fabre (36:29.903)
It's a complete flop because there's no future.

Eli Price (36:54.366)
You see this in bottle rocket, but it's like even more so here is those straight on close ups where you're looking at like the person that you're looking at is in the center of the frame and you're looking straight on them instead of like at an angle, which is what a lot of directors will do in Hollywood. Yeah.

Haydn Fabre (37:11.959)
Yeah, he definitely breaks the mold. When Max and Rosemary are having a conversation on the bleachers when they first meet, and he's like Latin stupid, and she's like, I love Latin. And he's like, okay, now I'm gonna get Latin back. They're speaking to each other, but it's still just so, they're right in the middle of the frame, which is so unconventional for any framing people out there.

Eli Price (37:18.178)
Mm-hmm.

Eli Price (37:28.746)
Right. Yeah, he West says it's kind of like John. He he's mentions Jonathan Demme in an interview, which if you think of like the one most people probably think of as science of the lambs. So you think of those shots where Hannibal Lecter is just like in the front, like he's just like that, obviously a very different tone that West is going for. But yeah, but he saw that.

Haydn Fabre (37:37.135)
Mm.

Haydn Fabre (37:43.107)
Yeah.

Haydn Fabre (37:49.242)
Yeah, used for a completely different purpose. Oh, yeah. Completely different.

Eli Price (37:56.318)
He saw like in Jonathan Demme films and he was like, I like that. I want to use that. Um, but he uses it totally differently. Like it really cool.

Haydn Fabre (38:01.037)
Yeah, that's all.

Yeah. Different purpose, different mood it gives to the viewer. Absolutely.

Eli Price (38:08.786)
Yeah. Yeah. And so one of the things that I wanted to really like hone in on here is it's something that like I think we're going to see over and over again. There's movies and that's the tension between like really extreme artifice. So just thinking about like this movie is artificial. Like this is when you watch this, you're not like

Haydn Fabre (38:32.949)
Mm-hmm.

Eli Price (38:37.174)
You don't think like, oh, this is the real world. You know that you're watching a movie and Wes even does like things like the curtains. You'll have like the curtain that says like January, it'll like projected on it and then it'll come across. And that's actually like, he filmed those like with the, with the words projected onto the curtain and like coming out and like he filmed those and his agent was like, man, that really takes me out of the movie. I, you know, I can't. And Wes was like, I, he's, that wouldn't happen.

Haydn Fabre (38:45.793)
Mm-hmm.

Haydn Fabre (38:55.584)
That's cool.

Haydn Fabre (39:06.051)
That's the goal.

Eli Price (39:07.05)
You know, it's not it just doesn't feel real like, you know, like, he's like, you know that you're seeing like these curtains filmed. And he's like, it takes me out of the movie. And it's like, West is just like, I know, I like that's how I want it.

Haydn Fabre (39:19.359)
Yeah. Yeah. One of my favorites is like when someone's punched in a Wes Anderson movie, it always looks so fake. Like it's and it's supposed to like it's supposed to feel almost like you're watching a play rather than a movie. Like this isn't an action movie. A punch is hilarious. It's one of the funniest punch lines. Lack of, you know, there's a pun there for you. Funniest punch lines in the Wes Anderson movies when it's just and they're just like, I was punched, you know.

Eli Price (39:25.102)
Mm-hmm. Oh yeah.

Right.

Mm-hmm.

No.

Eli Price (39:43.922)
Yeah, I'll give you one of these.

Yeah. Sorry, I just have a soundboard over here. I had to actually use it for once. But yeah, so, you know, you get this tension. There's that extreme artifice. So, you know, you watch this and you know, you know, it's artificial. But there's a tension between that and this like super authentic emotion. So, you know, you see.

Haydn Fabre (39:54.249)
Dude, keep him coming.

Eli Price (40:13.574)
You watch this movie and you're like, oh, I'm watching something that is not real, that is artificial, that is like this kind of storyboard, kind of like sets and characters. But at the same time, there's just like, like extremely deep and authentic emotion on display. And it's like, what's, you know, what's going on here?

And I don't know, did you have any thoughts on that tension between those two things?

Haydn Fabre (40:41.871)
Absolutely.

Haydn Fabre (40:45.855)
Absolutely. And I think that's a tension that Wes uses throughout all of his films. Like just not to turn this into a Fantastic Mr. Fox podcast, but Fantastic Mr. Fox is the silliest movie ever. You know, it's little Fox people running around that sound like George Clooney and Meryl Streep. But there's so much authenticity. There's so much true and honest emotion there.

Eli Price (40:57.954)
Hehehe

Haydn Fabre (41:13.303)
And it's not lacking at all in Rushmore, where we see this humor in like pain, I guess, if that makes sense. Like we almost laugh at the characters' misfortunes. And then, because it feels fake, it feels like you're watching something that isn't meant to be taken seriously. And then that's where Wes is able to kind of sneak in and plant these seeds where-

Eli Price (41:28.622)
Mm-hmm.

Eli Price (41:32.621)
Mm-hmm.

Haydn Fabre (41:41.547)
you're really thinking about what was your life as a 15 year old like, and you can relate to each different person in this movie because we see them all grow throughout the entire movie. It's not just Max's story, it's Max's and Rosemary's and Blum's, and it's all of them. But no, I think absolutely he's able to expertly balance the portions of this movie that just feel like, okay, absolutely, that would never happen. Like...

Eli Price (41:44.173)
Mm-hmm.

Haydn Fabre (42:09.515)
And I think that's a lot of critique on people have on Wes Anderson, that those that don't like his work, where they'd feel like, oh, well, I can't take it seriously. But if you just buy in for, and you let the curtains go away, and you stay with full attention, something can really, really begin to turn in your heart.

Eli Price (42:19.299)
Mm-hmm.

Eli Price (42:25.492)
Yeah.

Eli Price (42:29.054)
Yeah, yeah, he, you know, the kind of like, oh, this would never happen. Like he, he talks about interview, like would Max actually like ride his bike into a steel factory and like know how to cut the brakes on Bloom's car. And he's like, ah, you know, probably not, but he, he kind of wrote down this quote. He said, it's only in the world of the movie that that's even possible. And so it's kind of this idea of like.

You can do things in movies that are not possible in real life, whether it's like character based or just like what's happening in the world. And so like, why not do it? Because if you like it, then do it. Yeah. Yeah. You know, kind of going off of that, you know, it's those West kind of talks about how all of his movies like are comedies, but they kind of have this turn somewhere in the movie where like it.

Haydn Fabre (43:08.023)
Yeah, is that not what Ruby's are for? Yeah.

Eli Price (43:25.478)
like the motion of it just like becomes full force like and it's like you said it's still funny but it's um there's like just a heavy emotion like it gets dark or it gets deep um and you know you you kind of see this uh like this connection of death between these three characters you know uh

Haydn Fabre (43:40.447)
Yeah, a character has a on-screen.

Eli Price (43:55.754)
his typewriter and you see like, oh, his mom gave him this typewriter. And, uh, and then, you know, miss cross, uh, her, you know, Edward Appleby, her, her husband, like that was like the adventurer, uh, oceanographer like died. Um, and you know, obviously, um, you know, you have, uh, bloom. He kind of has, um, maybe I'm not.

Haydn Fabre (44:06.808)
Yeah.

Eli Price (44:24.918)
Maybe I'm not thinking of this correctly, but like he kind of has like the death of his marriage. Like the death of the life that he's built for himself kind of dies. So it's a more metaphorical, like, I'm not missing, like, did he actually have a real person in his life die?

Haydn Fabre (44:30.9)
Oh yeah.

Haydn Fabre (44:45.496)
I don't think so.

Eli Price (44:46.93)
Yeah, I don't think so. I think it's more of just this idea of like his the life that he has built for himself. Just kind of like he has kids. He doesn't like his wife is like sleeping with someone else. Like he's just like so they're kind of they're kind of like related to each other. And then like and then you have the soundtrack is just like incredible in this movie. You know, the score obviously is very like this is the first like.

Haydn Fabre (44:49.038)
Yeah.

Haydn Fabre (44:59.053)
Yeah.

Eli Price (45:15.914)
It's the same composer as Bottle Rocket, but this one is just like, man, the score is just like Wes Anderson's score. But on top of that, it's it's the soundtrack, you know, you.

Haydn Fabre (45:24.088)
Oh yeah.

Eli Price (45:29.534)
you know you have these needle drops where like something a scene happens and the soundtrack like the the song from the soundtrack just drops You know you drop the needle on that track and it's just like perfect Like this is the perfect track for this moment and Wes's it's very You know, I saw you had written down like it's very Scorsese like and I was thinking the same thing and actually in a Esquire interview Scorsese he was kind of

Haydn Fabre (45:52.717)
Yeah.

Eli Price (45:58.746)
Talking about bottle rocket and Rushmore and he he talks about like how there's that moment at the end of bottle rocket where There's that needle drop Can't remember the the song I think it's a 2000 man or something like that And he said it's like this transcendent moment So like even Scorsese who's like one of the kings of the needle drop is like oh, yeah This guy's got it and I think I think every singles

Haydn Fabre (46:22.774)
Oh yeah.

Eli Price (46:26.406)
like song that plays in this movie is like the perfect song for the moment. Like, oh man.

Haydn Fabre (46:32.779)
Absolutely. He's just got a way to kind of form it. Like across his movies, they're always incredible. Even like Portuguese David Bowie in Life Aquatic. Like he just, it's so absurd, but he's able to nail it.

Eli Price (46:36.242)
Yeah. And it's. Yeah.

Eli Price (46:44.94)
Yeah.

Yeah, and it's not even like it's not just like, oh, this is the perfect song for the moment. But it like emphasizes something about the characters, like going back, like he's so interested in the characters, you know, it it'll emphasize Max's like teenage impulsiveness or it'll emphasize how like Rosemary Cross is like getting herself. She's being reckless and like endangering her job sort of thing. Or like it'll emphasize Bloom's like middle age break breakdown. You know, I think.

You think of the scene that's basically out of The Graduate, where he sees his wife. He even looks over at his wife and you can see, oh, she's sleeping with a younger man. You think of The Graduate. Then he jumps in and he's like, it's the underwater shot. And yeah, it's just like it's the perfect song to emphasize the character, what's happening in that character's life. Yeah.

Haydn Fabre (47:43.915)
Yeah. And then that little kid swims by. It's funny stuff. That is a beautiful scene.

Eli Price (47:49.075)
Yeah, but yeah.

Haydn Fabre (47:51.619)
Dude, I would not have jumped in that pool either. You see how green that stuff was? Uh-uh. Yeah, I'm not hopping.

Eli Price (47:53.97)
Yeah, I don't know. It was pretty gross.

Eli Price (48:00.854)
Yeah, I don't know. Were there any things that you wanted to make sure to highlight as far as just thoughts on the movie themes or techniques? I know you had a few things written down in the notes.

Haydn Fabre (48:14.871)
Yeah, if we're just diving in, man, I guess the biggest theme that I've been hanging on to is just that theme of youthful insecurity. Max is a deeply insecure figure that we're watching here and he's trying to find his security throughout the movie in different places. As soon as there's someone else who seems to offer that amount of security, he latches on. From the first scene when

Eli Price (48:29.424)
Mm-hmm.

Haydn Fabre (48:44.747)
He wakes up from his dream where he's again, in that dream finding insecurity in his like desire to be able to impress an entire classroom. And he immediately wakes up, makes eye contact with Bloom and then he's like, oh, well, this is the person I need to follow. This is the person who has got it all figured out. This is the person who can lead me into greatness. He's got the ideas and following him out of the room. And I think there was even a hint there where you can kind of see that he's

even moving past the affection that he has for Guggenheim, Brian Cox's character, and he's sort of like, okay, I'm done with you, as if maybe before the film, he had some appreciation for him, and then kind of moving on to, this is my new guy here, and then the insecurity begins there, and then he latches onto Rosemary as soon as he sees her, and it's just this journey of him trying to find something to secure himself in, and eventually realizing,

Eli Price (49:18.711)
Mm-hmm.

Eli Price (49:27.595)
Mm-hmm.

Haydn Fabre (49:41.183)
in like the final smash cut of the end of the movie that there really is nowhere to place your security 100% in. There will always be, if you're placing your security in something outside of yourself, there will always be something that will fail you, that will slip from under your feet. I think that's the biggest one that hit me, man. It's just, I saw a lot of my high school self in Max. I was somebody who...

Eli Price (49:49.966)
Okay.

Eli Price (49:59.051)
Yeah.

Haydn Fabre (50:07.011)
I was in all the clubs. I was someone who did all the sports. I was someone who tried to be a leader in every aspect that they could be. And when you're leading for just the sake of being seen as a leader, it gets empty. It gets shallow quickly.

Eli Price (50:21.054)
Yeah. Yeah, man. Yeah. And, you know, he one of the lines that stood out to me, you know, it's towards the end, obviously, like all the characters have gone through a lot of like, you've got this kind of like love triangle, like they go through all this hurt and and pain, you know, and hurting each other. And Rosemary kind of miscrosses to.

Haydn Fabre (50:36.898)
Yeah.

Eli Price (50:48.29)
Max something to the effect of like sorry, you know that I hurt you and Max looks at her and he says I didn't get hurt that bad And it but like it's a it's a funny line, but it's also like it's very it's kind of that idea of like learning from your loss and pain like You know, he's looking back on everything and he's like, you know Yes, like I got hurt but like I really grew through all of this

Um, you know,

Haydn Fabre (51:18.507)
Yeah. Oh, well then I'm sure like he's able to reflect on his life and see that a rejection from a woman that he knows is too old for him is still like nothing into the real pain that he's processing through the whole movie is the loss of his mother. And, you know, like he can say like in hindsight, the pain of losing my mother and the longing that I feel and desire to have her back is really nothing compared to you rejecting me because I kind of knew it was gonna happen.

In the end anyway, if I let my walls down and stop being a sociopath, which Max is, I believe a fully complete sociopath here, drop that from what I'm thinking and be real with my situation that I've experienced a lot of pain and I'm putting it onto you because you're the most recent person who's hurt me, not because you've hurt me the deepest.

Eli Price (52:08.426)
Yeah. Yeah. And yeah, it's really like.

You know, I guess like let's let's kind of move to with that idea. Let's kind of move to kind of the end. We kind of see. I don't know. One thing I wrote down is that it turns as it turns out, you know, Max, who the whole movie, you kind of like pity and you kind of you kind of like feel like, oh, Max is just naive because he kind of envisions this perfect world where like he

He gets to do what he wants to do and have the relationships he wants to have. And he's he kind of like pictures and tries to like control this world because he has this like vision of this perfect world like he. It's like the whole time he's trying to control something that can't be controlled. And you kind of pity him for that. But, you know, I kind of wrote down, you know.

It turns out he's not really so naive for envisioning a perfect world. Um, you know, it goes back to that, um, kind of overarching theme you see in West of like, you, you kind of like. Create this artificial world so that you can put these four characters in and hold it kind of out here and like look at it and kind of fully know, like, this is the world. Um, you know, these are the characters in it.

This is how they've messed this perfect vision up. And like in the end, like Max, instead of like using his art for, you know, his art and his kind of talents for, you know, showing off his own cleverness, which is a very like immature thing to do. And that's kind of how he is for most of the movie in the end, he uses his art to like, heal people, to heal relationships. And, um,

Eli Price (54:11.134)
It's like I was sitting there and he's announcing his play and you see he dedicates it to his mother, Eloise, and it cuts to his dad and his dad is tearing up. And dedicated to Edward Alp will be a friend of a friend. And it cuts to Rosemary and she's like tearing up. And then like you get to the end.

of the play with like Tom Cruise, ask Jason Schwartzman as Max with his glasses and everything. And it cuts like and it's it's very silly. Like you're watching it and you're like, this is kind of like a silly high school play, but it cuts to Bloom, who is a, you know, Max knows is a Vietnam vet and he's tearing up. You know, he's connected to, you know,

It's hard to say, like, is he connecting to, like, the material or is he just, like, emotional over the fact that, you know, Max would make this for so obviously like for him, you know? And it's just like, man, that that's just a cool, like to see Max grow into this person that isn't going to use.

What he loves to like show off himself, but like to try to do some healing um

Haydn Fabre (55:40.279)
Yeah, and it kind of parallels with the with the priest and gangster and drug bust, whatever play that's happening earlier in the movie where he gets punched.

Eli Price (55:48.998)
Yeah, yeah, which that's that's actually a like riff on Serpico, which I've never seen. But yeah, it's apparently a rip on Serpico.

Haydn Fabre (55:55.436)
I haven't either, yeah.

But he gets so mad at the character, the priest character that off the record, I 100% thought was Andrew Garfield. The first time I watched this, I was like, did Andrew Garfield have a sleeper? Go back and watch it and tell me you're not like, oh my gosh. Anyway, going back to that movie, he gets so pissed that he forgot to say like, cannoli, like he was like, what happened to cannoli? And he was like, it didn't feel right. So I cut it out and he's losing that grip on like,

Eli Price (56:03.586)
Mm-hmm.

Eli Price (56:21.77)
Yeah. Yeah.

Haydn Fabre (56:27.903)
I want to make you be perfect in this world that I'm envisioning. And I think that at the end, he's able to realize that he can't move people like they're players in a play. You can't give people lines to say, all you can do is be prepared for the worst and be prepared for the best. And to just be present, just be ready. And I think that...

Eli Price (56:31.984)
Mm-hmm.

Eli Price (56:49.207)
right.

Haydn Fabre (56:54.775)
That is the moment where he begins, not the Serpico moment, but the ending moment is where he decides, look at the success and look at the joy that I can bring by instead of looking inward and trying to satisfy my own desire to be perfect and be secure in what I'm making, I can look outward and like you said, help people begin to heal. Put on something that in hindsight is probably silly for PTSD reasons to.

Eli Price (57:16.899)
Mm-hmm.

Haydn Fabre (57:23.735)
show a Vietnam vet a play about Vietnam, but to have elements all throughout interspersed that are able to bring his dad to an emotional state, Bloom to an emotional state, Rosemary to an emotional state. And really like, I don't think that main character is him in that movie. I don't think that that's him. Like, I don't think this is him saying, look at my life, I'm gonna glorify it. And I think perhaps there's some imagery there. Maybe I'm reading way too far in with like the.

Eli Price (57:27.02)
Yeah.

Eli Price (57:43.211)
Mm-hmm.

Haydn Fabre (57:52.503)
He's the only character to have the deep camouflage paint over his face that is sort of blending him in with the rest of the crowd. But it seems like he's ready to begin telling stories that aren't something that's meant to glorify him. And I think that's where his not so naivety, as you say, lands because he's able to stop looking inward and begin to look outward.

Eli Price (58:05.632)
Mm-hmm.

Eli Price (58:15.298)
Yeah. And I think, too, it like it shows like the maturity of Wes Anderson as a filmmaker, like as a storywriter, too, and a filmmaker this early in his career, like that idea of, you know, I'm going to make what I like. You know, Max makes this play like it's he likes it like it's he's doing what he loves to do and he's doing it the way he wants to do it.

But there's this like, it's not for like self-glorification for Wes. It's like, okay, how can I make this world something that I, how can I do something that I love to do, make this world, so that like maybe people can see something that can be healing for them in some way? You know, and I think that's what art is for. You know, it's not real.

Haydn Fabre (58:54.093)
Exactly.

Eli Price (59:15.166)
Um, but it brings real, um, it makes you face something in a real way. That's, you know, that's something that art does, you know, whether movies or not, you know, you know, it, it takes, it makes something that's not real, but it gives you a perspective on, on it, whatever it may be a painting, a film music. Um,

And it makes you encounter something from a different perspective and, or it helps you like, um, it reflects something about you back to yourself that maybe you had been pushing away, um, and makes you like, forces you to kind of, um, deal with it or like, you know, that sounds kind of harsh, but like, come to terms with it, I guess is a less harsh way of saying, saying it, you know, and, um,

Haydn Fabre (01:00:08.813)
Yeah.

Eli Price (01:00:11.378)
I think that's what Max does at the end of this movie, and I think that's what Wes wants to do, is he wants to make something that's fun and this interesting world, but also have these characters in it that hopefully connect with the audience in a way where they can kind of learn something about themselves or learn something about the world that is...

helpful in building both self-awareness and empathy for others. So.

Haydn Fabre (01:00:48.927)
And that goes back to the first thing that we said starting this conversation, man, that like Rushmore is not a, it's not a memoir of Wes's life, though it's heavily inspired. It's not a memoir. It's a coming of age movie. It's a, it's a, if I had a seen this movie when I was that age, like you said, if I'd have seen this movie, what would I have done differently? And I think that's the big theme here that Wes is wrestling with that.

Eli Price (01:01:00.159)
Mm-hmm.

Haydn Fabre (01:01:17.367)
will begin to project the rest of his career. What are things that I can put artistically into the world that force people? Like we had talked earlier about Darjeeling, which you said is one that tends to be the lower one. Darjeeling is dealing with some heavy themes of reuniting family and all of these themes throughout his films are.

forcing us to deal with these things, sort of sneaking these things in and saying, you need to address this sooner or later because life is not perfect. Life is dirty. Life is broken. And you need to bring these things into the light. You need to have a discussion about them.

Eli Price (01:01:53.406)
Yeah, absolutely. Yeah, let's wrap this up on Rushmore. You know, I'll let you actually. So I'll go I'll go first. I, you know, just ending with ratings. You know, I have I have my handy dandy film studies notebook, which I found on Amazon made for different directors. And they let you like do a little critique of the production. But man, you know.

Haydn Fabre (01:02:13.141)
Mmm.

Eli Price (01:02:22.878)
It was hard for me not to give just everything, just glowing. Um, but man, really like there's, there were some things that I noticed, like that I just felt like we're just, even though this is his sophomore film, even though like he's just getting his career going, I just think like there were a few things that were just like already just 10 out of 10, he just like does so well. Um, for one, like

To me, the writing is just, I mean, it's just so good for, I mean, just think about like Bill Murray reads it, reads the script and he's like, this guy knows what he wants to do. I wanna make this movie for nothing. So I gave the writing a 10 out of 10. I gave the set design nine out of 10 because I think like he grows in that sort of thing, but this is still such a, it's just because he knew it, it was familiar. But.

Haydn Fabre (01:03:05.071)
credit.

Haydn Fabre (01:03:14.976)
Mm.

Eli Price (01:03:21.906)
Another thing like the editing, he already has such an eye for these, he, you know, only doing these two takes and like editing between them, doing the cuts between like people in dialogue. And, um, you know, that symmetry is already there. Um, that, you know, is throughout his films, but yeah, this is, I, this is my second time seeing Rushmore. I saw it years ago and immediately it was like, this is a five star.

10 out of 10 movie for me and it didn't really change on this viewing I just I love so much about this movie it's fun and it's like emotionally mature and yeah I just I love it it's a 10 out of 10 for me did you uh what did you rate it I haven't seen your rating so I don't know

Haydn Fabre (01:04:12.971)
I know, I've kept it a secret. No, man, so I watched Rushmore for the first time this week in preparation for this. It was like my one of two blind spots for Wes. I hadn't seen his first two features and I wasn't entirely sure what to expect because I was hesitant to go back that far and be like, man, all right, his craft is so perfected in something like Grand Budapest, which is just like.

Eli Price (01:04:15.688)
Yeah.

Eli Price (01:04:35.466)
Yeah, go backwards.

Haydn Fabre (01:04:41.855)
everything is exactly the way that he wanted to be and where I was worried that it wouldn't have that perfection. And because I know Wes's quality to just level up his production design and because we have that, we have the blessing of hindsight, you know, of Retro to know that he will continue to level up. It's not a 10 out of 10 for me, but it is a nine out of 10. It comes in at a nine. It's right to the races.

Eli Price (01:04:55.758)
Mm-hmm.

Eli Price (01:05:03.998)
Yeah, yeah, it's not for everybody. Yeah, I can respect that.

Haydn Fabre (01:05:12.335)
Not because it's bad, not because it's missing much, but just because I know that Wes Anderson has the ability to just knock it out of the ballpark. But just at this point in his career, he wasn't fully able to do it with the funding and with the creation, but nine out of 10 for me.

Eli Price (01:05:30.602)
Yeah, yeah, it's you know, ratings don't mean a whole lot. There's yeah, nobody cares what I read it either. But but it's still fun to talk about. So we're going to talk about it. But yeah.

Haydn Fabre (01:05:34.103)
They don't. Nobody cares what I rate Rushmore. Shhh. Shhh. Shhh.

Haydn Fabre (01:05:43.527)
Oh, yeah. Yeah, I think it's climbed into my top five for sure. My top five West movies. I think it's up there. Not sure where, but it feels like a top five. So.

Eli Price (01:05:49.791)
West movies, okay, yeah.

Yeah, obviously being a 10 out of 10 for me, it's up there for me. But yeah, so that's Rushmore next week. We're going to be talking about the Royal Tenenbaums, so make sure you get ready for that. Queue it up on, I don't know what it's streaming on if it is at all. Maybe. Maybe. Yeah. Yeah, that's true.

Haydn Fabre (01:06:07.83)
Woo!

Haydn Fabre (01:06:14.179)
I believe it's on HBO, maybe Disney Plus, because Disney Plus owns weird stuff.

Eli Price (01:06:22.838)
But yeah, check it out from the library. That's what I do sometimes. But yeah, so that was Rushmore. Real Royal Tenenboms will be next week, but we're gonna take a quick break here and we'll be back with some movie news and a movie draft and we're gonna have fun with that. So stick around and we'll see you back in a minute.

Haydn Fabre (01:06:22.935)
You never do.

Haydn Fabre (01:06:26.881)
Yeah!

Haydn Fabre (01:06:47.959)
Woop, sick transit gloria.

Eli Price (01:06:50.806)
Sick Transit Gloria. My favorite, one of my favorite lines. Oh, man, I wrote it down. It's actually like in the first review I wrote, is like the first thing I wrote. What is it?

Eli Price (01:07:06.51)
my notes from the movie. I wrote a hit play and I'm in love with you.

Haydn Fabre (01:07:13.007)
Yeah. Yeah, yeah.

Eli Price (01:07:14.922)
It's when they're at dinner with with Luke Wilson and I wrote a hit play and I love you. Yeah.

Haydn Fabre (01:07:21.092)
Who is ridiculously handsome in this movie? Like he's just a good looking man. He shows up with a buzz and I'm like, man.

Eli Price (01:07:26.171)
Yeah, he's definitely the best looking Wilson.

for sure.

Eli Price (01:07:35.094)
Oh man, um, I am going to.

Eli Price (01:07:43.574)
Go help Robin real quick.

get Elsie up to eat and I'll be right back.

Eli Price (01:07:54.366)
Yeah, so let's not spend a ton of time on the site and sound list. I'll probably just roll through my thoughts real fast and let you do the same. And I want to try to keep... The first episode is going to be like two hours long. And so like this one...

Haydn Fabre (01:08:04.524)
Yeah, I don't know much about-

Haydn Fabre (01:08:18.99)
Let's go. Maybe you could release it as two parts. It's possible.

Eli Price (01:08:26.062)
Yeah, it would I wouldn't even know where to like edit it like to to split it It's just gonna be two hours, and I'm fine with it. It's a good it. It's good discussion So I'm not really that worried about it But yeah, we'll um We'll do okay. We're doing

Haydn Fabre (01:08:30.863)
Yeah, where to cut it. Yeah. Oh, well. Yep.

Eli Price (01:08:51.858)
Sweet and then we'll do the movie draft. I'll probably just decide in the moment how many movies we're going to do. Yeah, and then. Yeah, we'll do recommendations of the week, which did I tell you recommendation of the week can be anything? It doesn't have to be like a movie or.

Haydn Fabre (01:08:58.435)
Cool. Perfect.

Haydn Fabre (01:09:10.115)
Great.

I think I was going to recommend the succession. I think that was going to be my recommendation of the week.

Eli Price (01:09:15.798)
Yeah, go for it. Yeah. Jacob actually, Jacob's recommendation of the week for the first episode is like watching movies while you're running on the treadmill. So, yeah, really good. But I'll be right back. I'll. I'll mute. Yeah, I'll be maybe like five minutes or so.

Haydn Fabre (01:09:25.103)
That's funny.

Haydn Fabre (01:09:30.563)
All right, boss, I'll be here.

Eli Price (01:15:14.1)
Yooo!

Haydn Fabre (01:15:19.907)
Hello?

Eli Price (01:15:21.367)
What up?

Haydn Fabre (01:15:25.038)
Woo!

Eli Price (01:15:27.7)
Oh, it.

Eli Price (01:15:33.126)
Alright, I'm gonna hit the marker. We will jump back. We're gonna jump into the movie news. Movie news. I need some drops for the soundboard. Movie news. Something like that, you know.

Haydn Fabre (01:15:41.347)
We... We knew.

Haydn Fabre (01:15:52.099)
Like that.

Eli Price (01:15:58.53)
All right, I'm marking it and we're going to jump in.

Eli Price (01:16:12.318)
Hello, welcome back to the establishing shot. We are. That's right, we are. I'm still here with Hayden. We are going to do some movie news now. So this is this is something that isn't new news. But it was new. I guess when it came out, 22.

Haydn Fabre (01:16:17.784)
WTRODS

Haydn Fabre (01:16:42.787)
Yeah, it came out like the end there last year. Yeah. November, December.

Eli Price (01:16:43.05)
It came out at the end of last year. Yeah. So yeah, so BFI, the British Film Institute, pretty sure that's what that stands for. Yes, it is. Every 10 years, they release the sight and sound top 250 movies. And they have, you actually, I think you might know.

Haydn Fabre (01:16:54.926)
Yes.

Eli Price (01:17:12.054)
about this you might have looked more into than I did. But I'm pretty sure it's like a mix of critics and directors' choices. They get to submit 10, I think.

Haydn Fabre (01:17:19.863)
Yeah, it depends on the repertoire of the voter. Some get like five, six, and then like Scorsese got like 12, I think. So depending on the skin in the game you have, yeah. Yeah.

Eli Price (01:17:26.5)
Okay.

Eli Price (01:17:33.678)
Yeah, to be Scorsese.

OK. Yeah, so they get basically it's open to you have to get an invite. So it's critics. Yeah, I didn't get mine. So maybe we're looking at for the, what will it be, 2032 site and sound list. Yeah, I'd be happy with one. Maybe we can submit a Fantastic Mr. Fox on Hayden's behalf.

Haydn Fabre (01:17:46.868)
I have not gotten anybody yet.

Haydn Fabre (01:17:56.159)
Yeah, the establishing pot gets five balance, establishing shop pod.

Haydn Fabre (01:18:07.567)
That'd be my one ballot.

Eli Price (01:18:10.947)
But yeah, so every 10 years they do this list from compiled from critics and directors and people in the film industry, they submit their selections for basically just its best movies of all time. And I guess it's kind of subjective of how you interpret that like it could be I guess, you know, movies you think are just important for people to see or just like the movies that you think.

are the best or your favorite movies or those are all kind of different things, different perspectives. Because if you were to ask me my favorite movies, it might be different than if you asked me like, what movies do you think are important for people to see? You know, that sort of thing. So yeah, this is the the site and sound list. Twenty twenty two came out at the end of last year. They do a top two fifty. It ends up being like way more than two fifty just because a lot of them will tie.

But yeah, so the top two, I wanted to talk a little bit about the top two, the top 100. Because there were some interesting like movies and shakings between. Yeah, from the 2012 list to the 2002, I mean, 2022 list.

Haydn Fabre (01:19:21.624)
Oh yeah.

Haydn Fabre (01:19:26.895)
Well, because this was like the list that like established that like Citizen Kane was the number one, you know, like that's where it got there. And everyone sort of followed after what this list said and it's very different.

Eli Price (01:19:32.799)
Right.

Eli Price (01:19:39.154)
Yeah, I think Citizen Kane was like the number one on the list for they started this in 52 I think was the very first list. Yeah, so they've been doing it every every once a decade for since 52 So I'm pretty sure Citizen Kane was the number one. It wasn't the number one for the first year I think it started the second year as number one If I'm not I could be people might write in and be like you're so wrong, but it was number one for

Haydn Fabre (01:20:03.115)
It's been there for a long time. Yeah.

Eli Price (01:20:07.99)
number of years, number of not years, a number of like, sign sound lists. It was the number one, probably like, I want to say like, six, like probably like three or four of them. It was the number one. And then Vertigo took over for Vertigo took over the 2012 list. Or was it? I can't remember if Vertigo was.

Haydn Fabre (01:20:25.068)
Yeah, this year.

Haydn Fabre (01:20:29.359)
So it was in 12, really? Wow.

Eli Price (01:20:34.918)
Number one in 2002 also, but definitely 2012 and we have a new one this year. There's a new number one I have Yeah, so jean dillman Um, it's a movie by shantall ocherman anchorman anchorman Not sure um but anyways, it's um, it's it's

Haydn Fabre (01:20:38.871)
Yeah, we do. When I'm unfamiliar to, yeah.

Haydn Fabre (01:20:52.335)
French people names, whatever. Uh huh.

Eli Price (01:20:58.078)
It's interesting because, so I haven't seen it. Um, it's been on my watch list for a while. Um, film spotting actually did it with, um, they did it like an overlooked altars marathon, uh, a couple of years ago, I think. And, um, I just didn't, usually I try to keep up with their marathons. Um, it's, um, one of the ways I like feeling movie blind spots. Um, but I just never got around to watching that one.

And this apparently is so it's this long Slow like What you would traditionally say is like boring Look mundane look at the life of a woman And so I'm trying to think it I guess it was When did it come out 1975 yeah

Haydn Fabre (01:21:52.383)
You're fired.

Eli Price (01:21:52.886)
So it's like, you know, the look of this woman in 75, very mundane. Um, yeah, I think it's.

Haydn Fabre (01:22:00.343)
It's three hours and 20 minutes long, is that right?

Eli Price (01:22:03.366)
Yeah, yeah, two hundred and two minutes. Yeah. So I mean, once you pass that, surpass the 180 mark and you're up there and, you know, it's one of those movies that like is long and feels long, but it's supposed to feel long. This is all from just what I've, you know, things I've heard other people say, obviously, since I haven't seen it. But yeah, it's really interesting to see.

Haydn Fabre (01:22:06.034)
Oh.

Eli Price (01:22:29.206)
You know, you have vertigo at number two, you know, you have Citizen Kane at number three Two movies that have like sat at the top of the list Consistently and all of a sudden you have this movie Jean Dillman that comes out of nowhere and it's like I I think it's really cool because it shows like It shows a trend in You know these movies that like

are not the Hitchcock, Citizen Kane level, like getting some recognition, and especially a woman director. That's one of the things, when you look at the list, you had some pretty big movies drop out of the top 100. They're still in the top 250, but like Godfather 2, part two, Chinatown, Raging Bull, Lawrence of Arabia, all those dropped out of the top 100.

and we'll talk about some that were added, but one of the categories of added movies to the top 100 that I had were women directors. So you have movies like Cleo from Five to Seven, getting like, I think it's 14 now on the list. And then you have Jean Dillman was in the top 100, but it wasn't nearly close to one, I don't think. So it jumped way up there.

Haydn Fabre (01:23:54.447)
Yeah, I think it was in the 70s beforehand.

Eli Price (01:23:56.786)
Yeah, so you have Daughters of the Dust, which is a really good movie. Wanda, a great movie. News from Home is also a Chantal Archiman. It's a it's actually like a kind of documentary. I've seen it. It's a really interesting, really interesting film. It's basically like her reading these letters, like

from her mom to and from her mom while she's in New York. And the like you just get all these visions of the city. Like these scenes of just like the city life. It's really interesting. Anyways, you have portrait of a lady on fire, daisies, meshes in the afternoon. Meshes in the afternoon jumped way up there too. It's this really like.

Bizarre Um, I don't even know how to describe it. It's it's a short it's 14 minutes Um, yeah, you can you can probably go watch it like on youtube. Um Uh, it's just one of those like really it's from 43 maya duren And it's for one like you have this woman that's making these films in the 40s, which is a big deal um but uh yeah, it's like this kind of like bizarre like

surreal. Oh, it's hard to describe, but yeah, so you have all these women directors jumping into the top 100 and I think that's I think is a good thing. You know, I think for a long time it was like the white male game to be like a director. And, you know, it's it's it's good. It's good to see like lists like this finally giving recognition to like truly like masterpiece movies.

Haydn Fabre (01:25:34.709)
Absolutely.

Haydn Fabre (01:25:41.995)
Mm-hmm. Are these recognized direct?

Eli Price (01:25:53.09)
that are directed by not just like white men. You know, you get similar with like, you have movies like Moonlight jumps up there, Get Out, you know, movies made by people of color jumping in there.

Haydn Fabre (01:25:56.652)
I will.

Haydn Fabre (01:26:06.947)
Yeah.

Haydn Fabre (01:26:12.623)
I think I'm pretty sure they expanded the British Film Institute to include more international voters and stuff. So that's making a huge difference.

Eli Price (01:26:19.23)
Yeah. Yeah. And that's a big part of it. Yeah. I mean, because you have you even have so do the right thing. Like, why do the right thing wasn't already up there? I I don't know why it was not already in the top 100, but it jumped up to 24. You know, I would argue it, you know, it could even be higher. You know.

Haydn Fabre (01:26:27.751)
Oh yeah. Absurd.

Haydn Fabre (01:26:38.413)
You know, I know you have a fondness for do the right thing. That's a special one for you too.

Eli Price (01:26:43.966)
Yeah, it's a good one. But and then even like Totoro and Spirited Away, like if you know me, you know that I love my neighbor Totoro. And so like I guess, you know, opening up to those international, you know, critics and directors more, you get you get a better sense of like, OK, around the world, what are the best movies? And, you know, this is. Yeah, you can take you can take this.

Haydn Fabre (01:26:49.171)
Oh yeah. Why were they not there already?

Haydn Fabre (01:27:08.171)
Yeah, there is so much French involved in this.

Eli Price (01:27:13.35)
List with a grain of salt, but really like at the end of the day when you look at the list you're like, okay Yeah These are all great movies. I Was looking I think when I on letterbox, I pulled up the top 250 list and I've seen I was surprised. They said I've seen 26% of them which I was like, wow I've seen that I didn't expect to have seen that many and I counted through I counted through the top 100 and I've actually seen like

Haydn Fabre (01:27:21.493)
Absolutely.

Haydn Fabre (01:27:32.963)
Wow.

Haydn Fabre (01:27:36.067)
Yeah, no. The whole quarter of the-

Eli Price (01:27:42.146)
48 of the top so almost 50% so it's still some got got a lot of work to do but yeah What I was surprised honestly I was like, you know, cuz a lot of times out It'll be a list like this will come out and I've seen like, you know six 16 percent or like, you know 8% Yeah, right Exactly, yeah, you know some of the thing yeah, I mentioned do the right thing

Haydn Fabre (01:27:45.219)
Wow, good numbers, yeah.

Haydn Fabre (01:27:58.155)
Yeah, and you just feel like you're lying as a cinephile. You're a fraud.

Eli Price (01:28:12.114)
And the move for love is a movie that I think is just a masterpiece. One of the best movies ever made. I think so to, so to, so to see it up there at five is just almost like, yes. Um, and so, you know, Totoro I mentioned already parasite, uh, parasite, just like, I loved parasite when, when it came out, so it's, it's fun to see it jump up there.

Haydn Fabre (01:28:18.291)
Absolutely have a good one board.

Eli Price (01:28:37.794)
But you had mentioned, you know, interesting seeing movies like Parasite, Portrait of a Lady on Fire, and Get Out. A lot of times with these lists like this, it takes movies time to move up the list because it's like, you know, you kind of have to let time go by to see if it stands the test of time. But these movies jumped up quick into the top 100.

Haydn Fabre (01:28:44.792)
Yeah.

Haydn Fabre (01:28:57.899)
Yeah, absolutely. I wonder what that's gonna mean in the future. I wonder if we're gonna look back and think that these movies were just a moment. I would hope not, that they weren't just a moment in history, but it is definitely a strange feeling, whether it be good or bad to see these movies make it into the top 100. Dethroning things like, get out as a head of rear window, Alfred H. Cox rear window, which...

Eli Price (01:29:10.434)
Yeah.

Eli Price (01:29:26.646)
Yeah.

Haydn Fabre (01:29:27.539)
It's just like, you're like, wait a minute, what are the greatest films ever made? We can't call something that came out two years ago one of the greatest films ever made. It's not? Okay. Oh God.

Eli Price (01:29:34.878)
No, it's not a head of real window. Real window's at 40, and get outs like tied at like, with like five movies at 95.

Haydn Fabre (01:29:41.911)
What's like two spaces under? Yeah, what's like two spaces under get out.

Eli Price (01:29:48.182)
Well, so there's some there there's things like Rio Bravo Godfather part two jaws like

Haydn Fabre (01:29:49.198)
the time.

Haydn Fabre (01:29:54.411)
Those are the ones that I was like, wait a minute. Like, just, you know, when you look at in hindsight, Jaws just feels like it should be higher on the list. While I'm wearing my Spielberg Raids of the Lost Ark shirt, higher on the list than something like Get Out or even Parasite, which came out recently, you know, it still feels like, it feels like a freshman who's top of the class. And you're like, wait a minute, have you earned your stay yet, you know? But I hope these movies do own their stay because they are phenomenal pictures.

Eli Price (01:30:03.794)
Right. Yeah.

Eli Price (01:30:18.615)
Yeah.

Eli Price (01:30:23.058)
Yeah, and, you know, I could see so like movies like Port. So Portrait of a Lady on Fire, like if it feels like the sort of movie that. Could easily stay. But then like something like Get Out, which is already on the cusp, feels like, you know, in a decade from now, we might be like, yeah, get out still probably in the top 250, but maybe not top 100. You know, I could see it dropping out. Not that I love Get Out, but, you know, it's just like thinking about

when you think about like the greatest movies of all time that everyone should see sort of thing. It's like.

Haydn Fabre (01:30:57.611)
Yeah, we're talking about the top 100 movies ever made. You know, like we just need a little more time. Yeah, yeah.

Eli Price (01:31:01.362)
Right ever made anywhere anytime So yeah Yeah, so um I I had written down some of my blind spots that I really want to um Take care of uh, so like obviously jean dilman like it's the number one. So I got Gotta move it up the watch list um Gotta find three hours to three. Yeah three hours and 22 minutes

Haydn Fabre (01:31:23.103)
Oh yeah, it's gotta make priority. Gotta find 15 hours to watch it. Three hours to watch it.

Yeah.

Eli Price (01:31:32.226)
Yeah, that's gonna be tough to find but I'll find it somewhere Yeah, yeah It is there you go Yeah, there's some Hitchcock You know Hitchcock is a big blind spot in general for me. I've seen psycho and One of his early movies called the 39 steps and there's only two Hitchcock's I've seen so obviously I need to catch up with vertigo and real window

Haydn Fabre (01:31:35.883)
It's on HBO actually, plug HBO Max right now. So there you go, just fired up.

Haydn Fabre (01:31:46.863)
Hmm.

Haydn Fabre (01:31:57.551)
I've been working through them. My wife gave me the complete collection, the Blu-rays, for Christmas this year. Yeah, I'm working through them.

Eli Price (01:32:03.67)
Nice. Oh, that's cool. Yeah. Yeah, so I want to catch up with those. I want to catch up with Cleo from five to seven. There's a couple of Tarkovsky. I love stalker and Solaris or I just love those movies. So there's a couple of other Tarkovsky's in there I want to catch up with. And then, yep, which I'm actually going to watch that soon because, again, a film spotting marathon, they're going through some sight and sound blind spots. So I've been I've been.

Haydn Fabre (01:32:16.024)
Oh, yeah.

Haydn Fabre (01:32:21.335)
Yeah, mirrors up there too, yeah.

Haydn Fabre (01:32:26.232)
Sweet.

Haydn Fabre (01:32:31.18)
Yeah.

Eli Price (01:32:32.846)
catching up with some of these that I haven't seen. Mirrors next on the list. And then Edward Yang, there's a couple of Edward Yang, which I'll also gonna end up watching one of those in this film, Spying Rhythm, too. Like A Brighter Summer Day and Yi Yi. Those are some of the ones that I've noticed that I'm like, I really wanna catch up with these. Were there any that stood out to you as like, oh, I wanna definitely catch up with these?

Haydn Fabre (01:32:35.203)
Nice.

Haydn Fabre (01:32:50.447)
Mm-hmm.

Haydn Fabre (01:33:00.295)
Dude, I am super interested in all of the French films. Dude, I just like, I feel like I'm, it's just a part of cinema that I don't understand. And I just feel like I'm missing out. And I'll spend, I'm gonna spend some time in France in the next couple of weeks. We're taking a trip over to France. And I'm just like, man, I'm gonna walk through their streets and like the closest thing I have to.

Eli Price (01:33:05.012)
Oh yeah.

Eli Price (01:33:11.198)
Mm-hmm. Yeah.

Eli Price (01:33:19.383)
Yeah!

Haydn Fabre (01:33:25.599)
a French movie is like what Midnight in Paris? Like I'm like, man, I'm missing out on all these French films. I just want to be a part of it. So that's no, I'm not a fan. It's no, my hot take is that Midnight in Paris feels like something that a sophomore in the middle school class wrote about. Like it doesn't, whatever. This isn't a Midnight in Paris. I love you Owen, but make better movies. Stick with us.

Eli Price (01:33:31.954)
Yeah, I'm not even a big fan of midnight in Paris to be honest

Eli Price (01:33:45.782)
People like it, but it's not not for me. Yeah. Oh, Wilson. Yeah. But yeah. Anyway, yeah, maybe I wonder if it's like you should watch some French movies before you go or like go see France and then come back and maybe you'll have a better grasp on French movies. I wonder if that's which which order would be better. Like go to France first or watch French movies first.

Haydn Fabre (01:33:54.734)
Yeah.

Haydn Fabre (01:34:07.117)
Yeah.

I don't know. Because I feel like something like, like, Boltevay would be rough to watch before going. Like, I'd be like, okay, that's my only perspective of France, you know, like something like that. But, you know, I don't know.

Eli Price (01:34:23.626)
Right. Yeah. Yeah, I've caught up with a few one few recently, like 60s, like I watched Breathless recently, which I liked. I was positive on it, but it wasn't my favorite umbrellas of Sherbrooke. I loved that. Oh, you should watch it for sure. It's a musical.

Haydn Fabre (01:34:32.836)
Mmm.

Haydn Fabre (01:34:39.371)
Yeah, it's a different kind of synonym for

Haydn Fabre (01:34:48.845)
Okay.

Eli Price (01:34:50.354)
It's you watch it and you're like, oh, so this is where la la land came from and I know you love la la land. So Yeah, the difference is this it's all sung the whole movie is sung So yeah, yeah interesting Um, but yeah, so i've caught up with a few Yeah And uh, yeah if you listen to Episode one, you'll remember You know, I kind of talked about how? um wes's

Haydn Fabre (01:34:54.895)
Great, absolutely. I'm gonna put it on the list. I'm flying out tomorrow morning and I was looking for a film.

Haydn Fabre (01:35:05.257)
Oh, nice.

Eli Price (01:35:19.842)
Really? Like six like new wave French new wave was like a huge influence on his moviemaking. So But yeah, so that's um Yeah, French movies for sure

Haydn Fabre (01:35:25.943)
I mean, absolutely.

Eli Price (01:35:34.398)
a Dolce Vita, movies like that. Yeah. So, yeah, the site and sound list, if you if you want to find it, if you haven't heard of it, you can, you know, obviously Letterboxd always has a list for these sorts of things, but also just Google it. That's what I always tell people like, oh, where did you find that? Well, just Google it.

Yeah, so that's our movie news. It's a little bit of old news, but still something, you know, interesting to talk about. You know, maybe that isn't news to you. Maybe you're like, I didn't know about this list. So, yeah, go check it out and see what movies that you need to catch up on. Yeah, so we're going to move into our movie draft and we're kind of winging it. I sent Hayden a list. Of movies, right?

Haydn Fabre (01:36:06.968)
Yeah.

Haydn Fabre (01:36:22.972)
Woo! Dude.

Eli Price (01:36:29.902)
before we started recording. I was like, man, because I was like, maybe we can draft from the site and sound top 100. But I was like, you know, it's it's the top 100 greatest movies all time. It's like, yeah, I'll just take any of them. You know, there's no bad. There's no like it would just kind of be us be taking our favorites, which it's going to that's going to be the case in any of it. But. I don't know, I feel like it wouldn't be quite as interesting, so.

Haydn Fabre (01:36:32.419)
Perfect.

Haydn Fabre (01:36:45.199)
I knew I was gonna have a bad lift. Yeah.

Eli Price (01:37:00.49)
Instead, I found a different list. Um, and it is the list of the all time worldwide box office movies. So you have, you know, obviously when you

Haydn Fabre (01:37:16.175)
You're gonna take avatar and he'll be bold. You're gonna go crazy. You're gonna take both the avatars.

Eli Price (01:37:16.414)
Yeah, so I mean, avatar is number one. Avatar is number one in game number two. The actual avatar way of water is three. Did you know that it had jumped up there? I did not. Titanic number four, Titanic was the. Yeah, Titanic was up there for a long time. Yeah. On this.

Haydn Fabre (01:37:28.727)
Yeah. Oh, I knew it. I've been following it. It's fascinating. I don't, I'm not even an avatar guy. I'm just fascinated.

Haydn Fabre (01:37:41.196)
Yeah.

Eli Price (01:37:45.082)
Real quick, I had seen this thread on Twitter the other day, and I didn't know this was a thing, but apparently, like through the years, whenever like a director gets overtaken by someone else on this list, they like kind of write a letter, like maybe they'll publish it in a magazine or they'll just like send a note. But it's like they congratulate each other on like congratulations, like you passed me. And usually there's like some sort of like

Haydn Fabre (01:38:07.373)
Yeah.

Eli Price (01:38:14.862)
graphic that their I don't know studio or whatever is made of like, you know, passing the torch like on to the next thing of the characters from each movie. Yeah, it's pretty cool. I thought that was cool, like Hollywood camaraderie kind of thing. But yeah, so we're going to draft off of this. Yeah, James Cameron.

Haydn Fabre (01:38:18.785)
Hmm.

Haydn Fabre (01:38:23.383)
That's cool.

Haydn Fabre (01:38:32.418)
Do you think James Cameron has all 10 of his, you know?

Eli Price (01:38:35.838)
James Yeah, so we're gonna yeah, I mean he's three of three of the top four So we're gonna draft let's say let's draft Let's do Sevens a good number seven Yeah, seven's a good number seven each so we're gonna draft from this all-time top 100 all-time worldwide box office movies

Haydn Fabre (01:38:43.255)
Yeah, crazy.

Haydn Fabre (01:38:54.167)
Seven? I'm okay with seven.

Haydn Fabre (01:39:00.168)
Oh man.

Eli Price (01:39:06.114)
the box office mojo. So yeah, Hayden, you're the guest, first time guest. I'm going to let you pick first because I'm just that nice of a person.

Haydn Fabre (01:39:17.635)
Oh my gosh, thank you for the honor. Okay, let's get into it. For my first pick, I've got to take The Dark Knight. I have, I know that's what you wanted, isn't it? I have never seen a scene from The Dark Knight and not immediately wanted to put that movie on. It is the possibly most rewatchable possibly movie of all time. And I'm gonna grab it off the board.

Eli Price (01:39:30.67)
Probably.

Eli Price (01:39:40.492)
Yeah.

Eli Price (01:39:44.142)
Yeah, yeah, I mean that makes sense uh That's You know, it's hard I only have It's funny. I don't have any like 10 out of 10 movies on this list. Um but uh So it's it's kind of

With my first pick... Man...

You know...

Haydn Fabre (01:40:10.063)
you're going to do, swing for the fences.

Eli Price (01:40:13.878)
You know, I guess I'm going to go Return of the King, Lord of the Rings, Return of the King wraps up the series. So that way, if you draft another order, the rings movie, at least you don't get the epic ending. Yeah. The one that won all the awards. Not everyone thinks it's the best one, but. They're all pretty on it. They're on an even playing field, in my opinion. But so I'll take the last one.

Haydn Fabre (01:40:18.136)
Mmm.

Haydn Fabre (01:40:25.515)
I don't get the best one, yeah.

Haydn Fabre (01:40:30.361)
Yeah.

Yeah, the one, the highest

Haydn Fabre (01:40:38.207)
Yeah, well Thomas, our Lord of the Rings friend, I'm pretty sure he's a fellowship guy all day, so I guess the real thing is, yeah, yeah.

Eli Price (01:40:43.858)
Yeah, which I understand. Yeah, I get it. So yeah, Dark Knight, Return of the King. What you going with your second?

Haydn Fabre (01:40:53.492)
For number two, I've got to go to my boy Steve and I'm going to take Jurassic Park on that one. Jurassic Park.

Eli Price (01:41:00.354)
Alright, Jurassic Park. What? Jurassic Park, where was it in the list? 32. Okay, 32 all time.

Haydn Fabre (01:41:08.691)
Yeah, Jurassic Park is a movie that I adore. I just, I just that score. The all of the acting is just so fun. I've I when I was a child, I don't remember sweating as much as I did to a movie than Jurassic Park in that kitchen scene, dude. Love that film.

Eli Price (01:41:13.258)
It's a great movie. It's fun.

Eli Price (01:41:27.166)
Yeah. Yeah, great. I actually got to see it in theaters a few years ago. It was fun. No, it was one of those things where it's like someone rented out. It was it was during Covid, actually. Yeah, someone rented like a friend. One of our like friends rented out a theater for a bunch of people. And yeah, we went and saw Jurassic Park. It was it was fun.

Haydn Fabre (01:41:33.207)
I want to come back through. Yeah.

Haydn Fabre (01:41:41.423)
Oh.

Haydn Fabre (01:41:50.264)
Mm.

Eli Price (01:41:56.062)
Yeah, so I'm gonna go the nostalgia pick and pick one of the best Disney animated classics ever in The Lion King. So... Yeah. Return of the King. The Lion King. Got a trend here, going here. Yeah. It's just... It's just a good movie. Yeah.

Haydn Fabre (01:42:06.295)
figured that was where you were going next.

Haydn Fabre (01:42:13.827)
Got it.

Haydn Fabre (01:42:18.059)
All the kings, all the kings. Dude, I'm looking at some of the movies on this list. I don't even know what these are. What is Wolf Warrior II? Is that what it was? I'm not going to take Wolf Warrior II. I'm actually going to take, I'm gonna take, you know, like we talked about in our episode, one for them, one for me, one for them, one for me. I'm gonna go two for them, one for me, and I'm gonna take Star Wars episode three, Revenge of the Sith.

Eli Price (01:42:30.188)
Oh, that's good.

Eli Price (01:42:45.25)
Hmm.

Haydn Fabre (01:42:45.511)
A moment in cinema, a moment in movie going, a moment in sci-fi, Revenge of the Sith.

Eli Price (01:42:49.026)
Revenge of the Sith, huh?

Eli Price (01:42:53.258)
You know, it's a good movie. I, you know, it's, it's definitely the best of, of the prequels for sure. And.

Haydn Fabre (01:43:02.883)
Yeah, of the three. Oh, and it is unrealistically cringy and absurd.

Eli Price (01:43:08.066)
I'll never forget seeing it in theaters and just like the scene at the end, you know.

Haydn Fabre (01:43:13.339)
Oh yeah. Oh yeah.

Eli Price (01:43:15.642)
I have that image stuck in my head. Not of like, I've seen it since obviously, but the image in my head is looking at the movie screen. When did that come out? What year did that come out?

Haydn Fabre (01:43:27.079)
I believe it was 2001, sometime around then.

Eli Price (01:43:33.262)
Was it 2001? I'm trying to find it on the list. 2005, yeah. So I was in like eighth grade or something like that.

Haydn Fabre (01:43:35.279)
There's a, no, not that late. 2005? 2005. Yeah.

Haydn Fabre (01:43:43.499)
I won't tell you where I was in 2005. I was seven years old. I remember vividly going to that movie and then going to Chili's afterwards and sitting there with my buddy Jake and just freaking out about how amazing it was. So it's for me.

Eli Price (01:43:46.634)
Yeah.

Eli Price (01:43:54.667)
Yeah.

Eli Price (01:43:59.418)
Yeah, yeah, it was I was I was around that age when they re released the original trilogy and theaters with like, you know, the terrible CGI and stuff. Yeah. So, yeah. So, yeah. Lord of the Rings for me, then Lion King for three.

Haydn Fabre (01:44:13.325)
Yeah.

Eli Price (01:44:23.348)
This is where.

I mean, so here's what I'm not going to do. I drafted my Lord of the Rings movie. I could draft the other two, but I'm going to kind of let those hang out there. You can have one if you want. Whatever. I'm going to go. I'm going to go inception. It's a it's a good movie, man. Leo. Like that, you know, the totem. You know. I'm a I'm a big proponent of like

Haydn Fabre (01:44:41.271)
Oof, that was when I had my eye on. It's a fun one, man.

Haydn Fabre (01:44:50.894)
Yeah.

Eli Price (01:44:56.902)
Is it, you know, does the totem fall, like does the top fall at the end or not? I remember a proponent of like, you're not supposed to know. Like people, like that was the big thing. Like, like, oh, is it fall or not? Like, oh, you can kind of see it. Well, I'm like, no, no, no, no, no. You're not supposed to know. That's the point. Anyways. Yeah. So, uh,

Haydn Fabre (01:45:06.327)
Yeah, I don't think you are.

Haydn Fabre (01:45:17.684)
Yeah. Yeah. I just like to pick the opposite of what people think. If they're like, it falls, I'm like, no, it's up. It's up the whole time. Like he's not dream.

Eli Price (01:45:21.902)
Hehehehe

Eli Price (01:45:25.782)
Yeah, just a contrarian. Yeah. All right. What are you going with number four?

Haydn Fabre (01:45:27.875)
Oh yeah.

All right, this is a tough one. I didn't think that this list, we would start having slim pickings in this early, but I'm feeling, I'm struggling here, man. Yeah, the box office doesn't say it all. Shoot.

Eli Price (01:45:36.438)
Yeah. Yeah. What you got?

Haydn Fabre (01:45:49.399)
You know what, I'm gonna take a pick that I don't think you'll like very much. Nevermind, I'm gonna hold that to the end. I'm gonna hold it to the end and I'm gonna test you and I'm gonna see. I'm gonna risk it for the biscuit. I'm gonna go with the Avengers at episode, at section four, spot four, the Avengers. The OG, first time we saw the whole gang on screen. A moment yet again in superhero history at its peak, or on its way to its peak.

Eli Price (01:45:53.119)
Okay.

Okay, you're gonna risk it?

Eli Price (01:46:05.006)
The original Avengers. Okay.

Eli Price (01:46:16.823)
Hey.

I remember seeing it. It's number 10 all time box office. Yeah. All right, so this will be my most controversial pick. There will be a lot of people that don't like it. And I actually don't know where you stand on this. I'm going The Last Jedi. I love The Last Jedi. I think it is the fourth best Star Wars movie after the original trilogy.

Haydn Fabre (01:46:20.815)
That's right. It's crazy. Alright, what you got?

Haydn Fabre (01:46:31.46)
Oh no. Go for it.

Haydn Fabre (01:46:37.911)
The last shout out.

Haydn Fabre (01:46:47.031)
Wow. I don't know where I stand on The Last Jedi. All of my friends are Star Wars extremists and they would hate me if I said anything different, so I haven't even explored it yet.

Eli Price (01:46:51.992)
I like.

Eli Price (01:46:57.47)
Yeah. Yeah. So, you know, I'll get some flack from some people for that. And I have I have. But I just think it's I think it's interesting. I like, you know, I have takes on it. We don't have time for all those, though. So you can hit me up. Yeah. Hit me up on Twitter or something, and I'll I'll talk to you there. Yeah, I don't I don't. Maybe we can do Rian Johnson in the future. We'll see. All right. Where are you going? Number five.

Haydn Fabre (01:47:04.942)
Oh yeah.

Haydn Fabre (01:47:14.063)
We'll do it. Tune in for the last Jedi episode. Hm.

Haydn Fabre (01:47:27.372)
Yeah, dude, you keep throwing me for loops here

I keep getting stuck.

Haydn Fabre (01:47:35.019)
Alright, I'm gonna go with a movie that meant a lot to me as a child. A movie that I thought was the coolest movie ever made. That made me feel like a man and made me feel things I never felt before. And I'm gonna go with Independence Day.

Eli Price (01:47:48.562)
Independence Day. OK. That's fine. Ninety four on the list. Pretty low down there. But hey, Will Smith at his peak. Yeah. All right. Cool. That was five for number five for me going back to the animated well and picking one of my absolute favorite Pixar's and Inside Out. Love Inside Out.

Haydn Fabre (01:47:50.071)
That's right.

Haydn Fabre (01:47:54.819)
Pretty low. I need me an alien movie. Oh yeah.

Haydn Fabre (01:48:13.3)
Nice, inside out.

Eli Price (01:48:16.746)
Yeah, Inside Out and Soul are my two favorite Pixar movies. Not that anyone asked, but. Right. Eighty five on the all time list. So. Which, by the way, the last Jedi, number 17 on the all time list. So it's up there, you know.

Haydn Fabre (01:48:21.027)
Inside out made me feel some things, man. It hit me in my soul. Oh yeah, it hit me in my soul.

Haydn Fabre (01:48:34.963)
Wow, it is. What if I just took like Breaking Dawn part two? Just like take it, grab it twice. I know, I know, I can't do it. Oh man, what if I got the live action line, can I? Hmm.

Eli Price (01:48:40.38)
Well, it's your it's your pick, so you can if you want number six. Where are you going?

Eli Price (01:48:51.34)
Uh, is that on here?

Haydn Fabre (01:48:53.171)
It is, it is, yeah. Don't look too deep on this list, you'll start getting sad, man. You'll just start getting sad. Yeah, it's absurd, yeah. It's higher than the original Lion King, yeah. Yeah, I know, I know. Let's just avoid that one altogether. Shoot, man. What do I do here? What do I do here? I'm gonna take the one that I said I was gonna wait until the end and I'll find something else later. I'm going to take...

Eli Price (01:48:59.614)
It's number nine. It's a tr-

Eli Price (01:49:06.488)
movie don't ever see it.

Haydn Fabre (01:49:22.183)
the film that stormed cinemas that saved the movie theaters in America. The film that will soon be one of the greatest action movies of all time. Once it stands the test, I'm going to take Top Gun Maverick.

Eli Price (01:49:29.719)
now.

Eli Price (01:49:37.882)
All right. Hey, I get it. So this is something in my friend's circle, like I get a lot of flack because I did. I had top gun Maverick like pretty far down on my on my twenty, twenty two movie list. But I liked the movie. I liked it. I liked the movie. It was a seven out of ten solid. It got the heart on on letterboxed. You know. Yeah, it got.

Haydn Fabre (01:49:50.327)
Yeah, you hated it. Tom Cruise saved the movie theaters and you put him below 50.

Haydn Fabre (01:50:04.975)
That's all that matters in the end. The House.

Eli Price (01:50:07.406)
Got the little heart with the rating. I like Top Gun Maverick. It just wasn't my favorite. That's, you know. All right.

Haydn Fabre (01:50:14.099)
Yeah. I loved that film and it's on my list.

Eli Price (01:50:20.362)
You got it you you drafted it. We'll see what the people think All right, so if we're doing box office movies, I guess I've got to take you know try to hit some franchises. I'll take my favorite Marvel movie in Black Panther

Haydn Fabre (01:50:21.455)
Take it away.

Haydn Fabre (01:50:39.503)
Mmm, good pick.

Eli Price (01:50:43.95)
I think it's the most interesting Marvel movie.

Haydn Fabre (01:50:47.555)
Yeah, it's definitely a special one man. It's got the hamlet vibes It's got the some of the best costume design I've seen in a movie ever. Oh Yeah

Eli Price (01:50:51.406)
Mm-hmm.

Eli Price (01:50:54.702)
Oh yeah. All right, last pick.

Haydn Fabre (01:50:58.423)
Last... Hic. Oh my goodness.

I don't have any Disney on here. I feel like I need some Disney. Like I've got some Star Wars, but I don't have any Disney. I like some true Disney. So I think I'm gonna check my Disney box here and I'm gonna go with the first movie that I saw in theaters with Finding Nemo.

Eli Price (01:51:07.95)
to get some Disney.

Eli Price (01:51:23.666)
All right, Finding Nemo. It's a great movie. Really is. It's a you know, it's not like Lion King Disney, but it's Pixar. You know, it's it's still Disney. All right. So that was seven. Man, this is where I'm kind of struggling. You know what? We're hitting.

Haydn Fabre (01:51:28.287)
Oh yeah. It's beautiful.

Haydn Fabre (01:51:35.387)
Oh yeah. Oh yeah.

Eli Price (01:51:51.406)
We're hitting all the genres. I'm going, I'm going to go Skyfall.

Haydn Fabre (01:51:56.431)
Skyfall. Let's grab him. James Bond.

Eli Price (01:51:57.998)
Yeah, dude. Number 28 on the all time box offices, which I think it's funny. Casino Royale isn't on this list. No. And it's the best of the Daniel Craig for sure. But Skyfall is right there with it for me. They're they're pretty close to tide. I think Skyfall is is tied with Casino Royale for the best of the the series. But, yeah, it's a good, good, good Bond movie.

Haydn Fabre (01:52:07.235)
It's not even there, no, I was looking for it too, I love that film.

Haydn Fabre (01:52:14.319)
Anyway...

Eli Price (01:52:27.326)
I'm not a big Bond fan. The Daniel Craig ones are really the only ones that I really think are really good movies. But yeah, Skyfall. So yeah, so I'll read off my list and then I'll let you read off yours. I've got Lord of the Rings, The Return of the King. I've got The Lion King. This is going to be out of order because I'm just looking. I've got Inception, Inside Out, Star Wars, The Last Jedi.

Haydn Fabre (01:52:37.731)
Good pick.

Eli Price (01:52:57.25)
Black Panther and Skyfall. That's my seven box office draft in movies. What's your list look like, Hayden?

Haydn Fabre (01:53:07.023)
And I've got The Dark Knight, Jurassic Park, Star Wars Episode III Revenge of the Sith, The Avengers, Independence Day, Top Gun Maverick, and Finding Nemo.

Eli Price (01:53:20.97)
Yeah, great. Good list. Good list. Solid. Solid. I like mine better, obviously. I mean, the dark we're going to put this up for for listeners to vote on and in a poll on the socials. But, you know, I'll let you have the first pick. You know, the dark might might tip it for you. Yeah.

Haydn Fabre (01:53:22.883)
Great draft. Good work.

Haydn Fabre (01:53:39.775)
You gave me the Dark Knight and it was just... And then it will depend on how people feel. Do we have any Star Wars fans up in these listeners? We got some Revenge of the Sith fans.

Eli Price (01:53:45.386)
Yeah. I, you know, and then I set myself up for Phil, you're picking the last Jedi. I'm definitely you're definitely one in this poll.

Haydn Fabre (01:53:51.575)
You did. This is how they're gonna vote. They're gonna vote on which Star Wars movie is their favorite. And Revenge of the Sith is gonna beat The Last Jedi, so.

Eli Price (01:54:00.414)
You know, what can I do except stand here and scream like Darth Vader? I tend to.

Haydn Fabre (01:54:02.223)
You're in the minority, man. That's just what happens. Yes. Mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm

Eli Price (01:54:12.492)
Alright, yeah, so let's wrap up with our last segment. Quick recommendation of the week, what you got for us Hayden.

Haydn Fabre (01:54:19.151)
Everybody go watch Succession. It's one of the most inventive and creative and well shot and well acted And just a great TV show. It's incredible. Just finished season 4 Yeah Definitely on HBO Max an HBO original

Eli Price (01:54:31.262)
Yeah, I've heard great things.

It's on HBO Max, yeah.

Eli Price (01:54:38.802)
Or max, is it max now? When does it turn max?

Haydn Fabre (01:54:42.584)
Probably by the time this releases it may be Max, which I don't like at all. It's Max Fisher. Yeah.

Eli Price (01:54:46.098)
Yeah, I think so. Yeah. Yeah, Max. When I saw that announcement, I retweeted it with the GIF of Max saying, did someone say my name? At the end of the beginning of the movie. Yeah. Great. Great. Just Max. So it's on Max.

Haydn Fabre (01:55:01.296)
Yeah.

Haydn Fabre (01:55:06.035)
on Max or HBO Max. I don't know, figure it out.

Eli Price (01:55:08.638)
Yeah. Anyways, yeah, I haven't seen it. I don't watch a lot of TV. Every once in a while I break away from the movies and watch a show. So I might have to check it out. I've heard great things.

Haydn Fabre (01:55:19.071)
Yeah, it's one of the few and it's, I'm a sucker for TV shows that have a definite beginning and ending and this one definitely does. So, good stuff.

Eli Price (01:55:28.018)
Yes, cool. So my recommendation of the week, I didn't really have anything planned. I'm just kind of winging it. Um, and so I'm going to recommend a book I read actually like listen to on audio books several years ago. Um, it, it, for one, it came to mind because, um, in my, like. Janky setup I have to lift my computer up for a better angle.

on some books and one of them is a book by a more towels. And so I'm going to recommend a gentleman in Moscow. It's a book by a more towels. It's kind of a historical fiction book about the kind of Russia, kind of after the Bolshevik revolution about this guy who instead of getting killed by the Bolsheviks, they basically.

put him on house arrest in this hotel. And that, so he's kind of on just, he lives in this hotel and it's hard to describe what it's about. It has the historical fiction in there, but it's about him and his relationship with some of the people in this hotel, this young girl that he meets. Just a very endearing book. And so.

I listen to it on audiobook. So if you can get hold of that, it's a good listen, but also a good read in general. And I think would make a really good movie. We'll have to talk about adaptations at some point. But I think it would be a great one to adapt to a movie. I don't really, I have to put some thought into who would make it well. But yeah, yeah. So that's my recommendation of the week.

Haydn Fabre (01:57:06.359)
Yeah.

Haydn Fabre (01:57:11.087)
Yeah, it's awesome.

Eli Price (01:57:20.394)
I wish I had it here to hold up, but I don't. I do have the book. I just don't have it here with me. So yeah. Yeah, that's my recommendation. Hayden, where can people find you?

Haydn Fabre (01:57:29.944)
Awesome.

Haydn Fabre (01:57:34.331)
You can find me on Instagram or Twitter at Hayden Fobb. Straight up.

Eli Price (01:57:40.522)
You probably need to spell Fob for the non-Lafayette people. And your first name, your first name isn't spelled.

Haydn Fabre (01:57:42.671)
spell it. Oh Lord. If you're not from Louisiana specifically, my, listen man, my parents, they didn't, they weren't looking out for my future. So my name is Hayden and that's spelled H-A-Y-D-N, no E, because they couldn't afford to buy a vowel. And then my last name, the French name that I don't even know how they even pronounced it this way is Fob, but it is F-A-B-R-E. So follow me at F-A-B-R-E.

H-A-Y-D-N-F-A-B-R-E and let's chat or whatever.

Eli Price (01:58:16.03)
Yeah, Instagram, Twitter, Hayden Fobb, at Hayden Fobb. Figure out the spelling on your own, I guess.

Haydn Fabre (01:58:18.979)
That's, yeah.

Haydn Fabre (01:58:23.575)
Good luck. It's probably gonna be in the description of the podcast. So just go there and you'll see how to spell it. So great.

Eli Price (01:58:27.958)
It will. It'll be there. All right. Well, we're going to head out. It was a good time. Fun discussion on Rushmore. And yeah, we'll see. Well, how the movie draft ends up, but I don't have high hopes for what the people will think of mine. So anyways, great talking with you, Hayden. We'll see you back again for Mr. Fox. Fantastic. Mr. Fox, that is.

Haydn Fabre (01:58:47.457)
Hmm.

Haydn Fabre (01:58:54.151)
All right, man. It's a fantastic time.

Eli Price (01:58:58.058)
Alright. Alright. See you next time.