The Darjeeling Limited (w/ Sam Camp)

Eli Price (00:41.205)
Hello and welcome to The Establishing Shot, a podcast where we do deep dives into directors and their filmographies. We are here with episode six today covering Wes Anderson's fifth film, The Darjeeling Limited. And it's been really fun so far. I am on here today with a new guest, Sam Camp. Yeah, welcome. Thanks for joining me today, Sam.

Sam (01:10.746)
Yeah, thanks for having me Eli. Excited.

Eli Price (01:13.569)
Yeah, yeah. Well, people should pretty much know what the show is all about by now. We're doing really deep dives and going into detail about each of Wes Anderson's movies. So let's just jump in and get get to know you a little bit. Sam, what what is it that you do? Where are you? Yeah, just fill people in on on who you are and what you do.

Sam (01:41.71)
Sure, sure. So I am based in Georgia.

Two kids and I, we live south of Atlanta, and I'm the director of media for a small nonprofit called Blackcoby Ministries International. And I wear a lot of hats there. And one of them is, I run a podcast over there about leadership, and Daniel Blackcoby and I do a bunch of stuff.

regarding pop culture and so I'm always interested in the latest movies and so some of that gets to sort of crossover and it's always fun when it does but yeah, that's what I'm doing right now.

Eli Price (02:33.481)
Yeah, great. Yeah, so your work kind of overlaps with movies and keeping up with what's going on with all that.

Sam (02:41.706)
Yeah. Yeah, well, it's interesting. I, you know, I, I, I first kind of got interested, I guess, in movies with I was making just videos and stuff. I sort of went the wedding route for a little while. And, you know, I've done a little bit of. Not not narrative, per se, but

Eli Price (02:56.96)
Mm-hmm.

Sam (03:11.798)
almost music video type narrative. And so several years ago, I was actually filming stuff for Blackabee just on a contract basis. And so that was sort of my foot in the door. And since then we've been able to like build a full studio and like do a lot more with filming. And so that's exciting. And sort of that is kind of neat when those two worlds collide.

Eli Price (03:32.778)
Yeah, yeah.

Eli Price (03:39.125)
Yeah, absolutely. Yeah, it's fun to have people on because I am not a person that like films or knows much about like camera work or and all that sort of stuff. So it's always good to have someone on with that perspective. And

Sam (03:55.45)
Yeah, well, it gives like you just having done it or attempted to do it, I think gives you a lot more appreciation and you notice more or, you know, different things in movies for sure.

Eli Price (04:00.515)
Mm-hmm.

Eli Price (04:06.193)
Yeah. Yeah, absolutely, for sure. Yeah. So what what is kind of your journey into really getting into film and and watching movies? Like, was it early in life, later in life?

Sam (04:22.674)
Um, I think, you know, I mean, I grew up with movies. Um, we would like, uh, we, early on we didn't have a TV and so we'd go to my grandparents' house and occasionally watch a movie there. And so like, uh, I think early days it was things like, um, Old Yeller and, uh, uh,

Eli Price (04:47.794)
Oh yeah.

Sam (04:52.282)
you know, sound of music. So a lot of the classics from back in the day, Black Beauty, I think is another one that I remember as a young kid. And I think just from there, I've always kind of had an interest in it. And then I think as I started making...

Eli Price (04:56.682)
Right.

Sam (05:11.974)
videos and stuff. I think later I became more interested just in the whole process and sort of how the stuff gets made and the fact that what you're seeing is not really reality. There's so many things that are just faked but it's so convincing and compelling when it's all put together so I really like seeing.

Eli Price (05:37.663)
Mm-hmm.

Sam (05:40.886)
that side of it. And so yeah, I was, I got into making videos. I was in Siberia for a few weeks, a couple of months and

The guy I was helping there was making a music video for this, uh, this Altai throat singer, which is, uh, completely like random, but, uh, and, and working with him and he had like, I don't even remember what camera he had, but that I think sort of sparked my interest in making films and making videos and stuff. And so I think from there, I was just like, got super interested in, in the whole process of making a, not movies, but.

Eli Price (06:07.64)
That's awesome.

Sam (06:29.378)
videos I would say.

Eli Price (06:31.345)
Right, right. Yeah. Yeah. And then just like, I guess, growing appreciation for like, you know, kind of, okay, this is what the process looks like and kind of growing an appreciation for what, you know, I guess filmmakers are able to capture and and like, show us. Like, you know, I guess, like, to me, I guess. When I watch films now that I've

Sam (06:49.779)
Yeah.

Eli Price (07:00.541)
really like dug deeper into it over the past like year, you know, five or six years. Um, you just kind of grow an eye for being able to see like subtle things that filmmakers do that, um, you know, tug on your heartstrings or like maybe, you know, make you appreciate something in a, in a different way, see something from a different perspective. Um, uh, yeah, it's for sure. It's interesting.

Sam (07:18.574)
Yeah.

Sam (07:30.85)
Yeah, yeah, and I think that's what's so incredible about movies is you can, there's just so many possibilities that you can do, so many ways to sort of transmit emotion and storytelling and feelings and all the rest of it and wonder. And so I think that's what makes it such a great artistic medium.

Eli Price (07:50.238)
Mm-hmm.

Sam (07:59.106)
to both consume and produce.

Eli Price (08:02.409)
Yeah, and different things work for different people, which is also cool. I think, you know, it should kind of film really brings out like the humanity of humans because, you know, you can, uh, like me, you can make your friends mad that you didn't really think that guardians three was all that fantastic. Um, and they, you know, they loved it and that's great. Like I'm glad they loved it, but, uh, yeah.

Sam (08:06.035)
Yeah.

Sam (08:24.463)
Yeah.

Sam (08:29.67)
Or you're like me and I just haven't seen it so, wouldn't know.

Eli Price (08:32.925)
Yeah. Yeah. Yeah. Yeah. What? What about Wes Anderson? You know, I know you're you're you are into Wes Anderson. I don't I know you said you haven't seen all of his stuff, but yeah, what was your kind of intro into him?

Sam (08:48.922)
No, I was trying to think back what the first movie I saw of his, and I'm tempted to say it was the

Sam (09:06.946)
What's the hotel one?

Eli Price (09:09.991)
Grand Budapest Hotel, yeah Yeah

Sam (09:10.99)
Grand Pouda Vest Hotel. But I feel like that can't be right, but I feel like it maybe was. The first one I saw of his, and then I went back and watched Life Aquatica and Isle of the Dogs. And yeah, I mean, I think just being, he's such a unique voice.

Eli Price (09:27.027)
Mm-hmm.

Sam (09:38.018)
in film. It's just sort of one of these things where I think I remember watching Grand Budapest Hotel and thinking like this, such like it's such a unique way of making a movie and it's so bizarre. Like it's, I just remember thinking how strange it was, but in a totally delightful way. Yeah, and so after that and it's

Eli Price (09:53.61)
Right.

Eli Price (10:01.565)
Right, yeah.

Sam (10:06.422)
You know, I think he can, he's probably somewhat of a polarizing figure in the movies. And so like Wes Anderson is a whole genre now. And so there's that, but I think it's interesting. He's a really interesting character. And I think.

Eli Price (10:12.706)
for sure.

Eli Price (10:20.126)
Yeah.

Sam (10:34.166)
Choosing to make movies that are obviously his, I think is a pretty bold path, I think, to take. But I think it's just interesting. And, you know, love it or hate it, I think, you know, his movies are unique. And I think a lot of fun, if you don't get too serious about it.

Eli Price (10:45.066)
Right.

Eli Price (11:00.992)
Yeah.

Eli Price (11:04.297)
Yeah, they're for sure a lot of fun. Sometimes they're so fun that they really hit you hard when he takes a dark turn. I don't know if you've seen the Royal Tenenbaums, but yeah, so that one, when I watched it for that episode, it had been a long time since I had seen it, and it's so...

Sam (11:16.479)
Yeah, and I'd forget-

I haven't.

Eli Price (11:33.641)
It's really a funny movie. There's a lot of really good comedy, but then like, man, yeah, they are, but man, it takes a dark turn at one point and it really hits you hard because you kind of like, like you know it's coming, but you're so caught up in the, like the, I guess, colors and the fun shots and the comedy that it really hits you, knocks you off your feet.

Sam (11:39.493)
I think most of his are.

Sam (11:57.09)
the fun of it all.

Sam (12:01.47)
Well, yeah, I mean, I think the parallel is maybe in like public speaking. So like, if you can get an audience to laugh, then you're much more likely to be able to make them cry like later on. And so I think that, yeah, I think if there's something about being able to make an audience laugh that.

Eli Price (12:15.633)
Yeah, yeah. Yeah, that's a really good point. Yeah.

Sam (12:27.534)
primes them, I think, better to, like if you want to come around with the one-two punch later on, it's way easier to do because making them laugh is so much harder. And I think if you can do that and then they're, and also just the act of laughing relaxes you. And so people are sort of, they let their guard down once they laugh and then you can come in with the...

Eli Price (12:40.425)
Yeah, yeah.

Eli Price (12:48.758)
right.

Sam (12:55.67)
the unexpected death or whatever, you know, whatever the twist is. And even in Darjeeling Unlimited, I had totally forgotten about the sort of dark turn that it took towards the end there in the third act. But yeah, yeah.

Eli Price (12:57.706)
Yeah, yeah.

Eli Price (13:09.77)
Yeah.

Mm-hmm.

Yeah, we'll for sure get into that. Um, you know, and, uh, as we go, you know, this is, you know, the movie's been out for a long time and this is a deep dive. So we'll, we'll, we'll be doing some spoiling. So, um, but yeah, well, let's, uh, let's jump into Darjeeling on that note. Um, yeah, it hadn't been, I think Darjeeling is one that I saw.

Sam (13:28.627)
Yeah, yeah.

Eli Price (13:41.645)
probably more recently than some of his others. I think it was one of the last ones I saw of his when I had decided to kind of try to watch through. But it wasn't really fresh. For some reason, I guess it was one that stuck less with me. So it was really fun, a fun ride, if you will, being on a train. Yeah. Yeah.

Sam (13:52.224)
Mm-hmm.

Sam (14:05.69)
Yeah.

Eli Price (14:11.753)
Darjeeling was it's it's interesting because in a lot of ways it's It's very like it's very similar to his last movie Which was the life aquatic with Steve Zissou in that? You know, it's on some sort of like transportation You have like oh you kind of have that dollhouse

Sam (14:34.432)
Mm-hmm.

Eli Price (14:39.517)
shot effect of like the different little like scenes that you're looking into between the boat and the train.

Sam (14:40.416)
Hmm.

Sam (14:46.622)
Yeah, which he did that a lot in Life Aquatic, if I recall.

Eli Price (14:51.325)
Right. Yeah, it's that's definitely like the pinnacle of that sort of thing. But yeah, it's it's a little bit here, too, I think. And yeah, it's it's just it's interesting. And it's you know, they're both shot not in America. They're they're both, you know, life aquatic was shot in Italy completely in Italy. And, you know, this is shot completely in India. And so.

Sam (14:57.651)
Yeah.

Sam (15:13.964)
Hmm.

Eli Price (15:20.189)
Yes, it's just interesting that he kind of it's almost like he's kind of Like yeah, you know, I've done my American movies now, let's have some fun somewhere else, you know But yeah, he he actually said um in an interview that he had the idea for this Even before he was making life aquatic and which seems to be a trend that I've that I've noticed he

Sam (15:33.751)
Yeah.

Eli Price (15:50.017)
Whenever he's doing interviews on his whatever movie we've been covering, he's like, yeah, I had this idea even before I did the last movie. So he just, it's almost like he has this constant flow of ideas that he's ready to just jump into the next one.

Sam (16:04.702)
Yeah, yeah, I would imagine with that or if you're writing a book or something, oftentimes like by the time people see the product, you've so moved on and yeah, I would imagine he probably has a lot of ideas turning around up there.

Eli Price (16:21.523)
Yeah.

Eli Price (16:28.381)
Yeah, for sure. Yeah this one Yeah, he he kind of had the idea for it. He knew he wanted to do brothers He knew he wanted them to be on a train Which I guess he just likes like Movie, maybe one day we'll get a plane a Plane Wes Anderson movie to get the full effect I don't know if Asteroid City is gonna be on a I don't know if there's gonna be an actual like spaceship for Asteroid City, I guess we'll find out

Sam (16:46.082)
like a, yeah, maybe like a Zephyr.

Spaceship.

Eli Price (16:57.941)
what, like a month or two? But yeah. But yeah, so yeah, he had the idea. He just didn't know where he wanted to do it. But he kind of talked about in an interview, I'm pretty sure it was Scorsese had invited him to a screening of Jean Renoir's The River, which I have not seen. It's a 1951.

Sam (17:00.187)
Yeah, I'm sure there's gotta be at least a scene or two.

Eli Price (17:26.777)
film by the French Renoir was a French director But it's set in Italy. I mean Italy it's set in India yeah, and so he he came out of that screen and He kind of talks about he had also started getting into Satyajit Ray Indian director and Had recently watched Documentary by

Sam (17:32.566)
Yeah, I don't think I've seen that one.

Sam (17:36.955)
India, yeah.

Eli Price (17:56.597)
Mal, Louis or Louis Mal, I think is another French director. He did a documentary in India. And so it kind of like all culminated and he comes out of watching the river set in India. And he's like, OK, I'm doing it in India, which is, yeah.

Sam (18:04.202)
Hmm.

Sam (18:12.818)
Yeah, because he he went to India, right? And with.

Eli Price (18:21.673)
Yeah, with Schwarzman, with Jason Schwarzman and Roman Coppola. Yeah.

Sam (18:23.806)
Swordsman, yeah. And they were like, yeah. And they like basically went there and to essentially like live out what this movie would be, or at least some version of it. Yeah.

Eli Price (18:37.573)
Yeah, yeah, yeah, yeah, he kind of see so he he started writing it with Schwartzman I think they were in France France and then they were in New York for a bit And at some point Roman Coppola Joined them who I don't know, you know, I probably should have looked this up I don't know if he's any relation to like Francis for Coppola But yeah have no idea

Sam (19:04.326)
Yeah, I have no idea. Maybe.

Eli Price (19:07.189)
but should have looked it up. It's too late now. But he, yeah, so they eventually made, they were like, okay, we're writing this, and they were kind of writing that based on their own personal stories. So just like, I guess, stories of experience that they had and sort of thing, and they were kind of building their own stories into these characters, which I would imagine each character isn't like one to one.

Sam (19:10.975)
Yeah.

Eli Price (19:35.157)
those three guys, but probably like an amalgamation probably of their stories. And then they were like, yeah, let's go to India. And since we're going to, since it's going to be in India and yeah, they, they, a lot of the places where they shot, I think all of the places where they shot Wes said they had gone to already. Like the, those three as they were writing. So it's almost like a.

Sam (19:39.379)
Yeah, yeah, I would think so.

Sam (19:59.714)
Hmm.

Eli Price (20:05.301)
retracing of their, you know, he says they're made, he calls it their made up journey. So, you know, they kind of did a fake journey before the movies fake journey, I guess, which is interesting.

Sam (20:11.857)
Oh.

Sam (20:20.786)
Yeah, well, you know, yeah, because he I think sometimes he has almost a documentary feel to some of his work. And so I would imagine that that would make a lot of sense for his process to kind of go to the if it's going to be on location, go to some of these places and get a sense for, you know, how it's going to be and what he could do there and stuff. So, yeah, that's not surprising at all.

Eli Price (20:28.074)
Mm-hmm.

Eli Price (20:48.189)
Yeah. Yeah. And he, yeah, he talks about that. He talks about how, like, he did want to go for a more documentary feel with this one. So like the like the something that I noticed in this is like the stylization. It feels less a little bit less Wes Anderson than like his last few movies.

And I think it's because he kind of talks about in some interviews that he wanted the style to be more based on, you know, the location and, you know, just the people, whatever was going on there. That's what he wanted to kind of like capture kind of that that documentary kind of, I guess, perspective on it. And so.

Sam (21:42.389)
Yeah.

Eli Price (21:44.945)
I think some of it, especially the scenes not on the train, they feel a little bit less like, maybe not the way that the camera is used, but the style of like, the set, which isn't really a set, it's actually like real Indian streets and stuff, so.

Sam (22:04.382)
Yeah, because to me it feels almost, and again, having not seen all of Wes Anderson's movies, it feels very, almost feels more Wes Anderson, I feel like in some ways than his later stuff, because I feel like his later stuff is so dialed in as far as stylistically, visually.

Eli Price (22:12.399)
Mm-hmm.

Eli Price (22:19.51)
Okay.

Eli Price (22:26.168)
Mm-hmm.

Sam (22:31.782)
And I feel like if you look at like Bottle Rocket, it's like, you can tell that he's going to be Wes Anderson in Bottle Rocket. And it's like, I feel like this is almost somewhere in between, like the French dispatch. And obviously it is like chronologically in his filmography, but it, it, it feels very much, it has that, um,

Eli Price (22:40.465)
Yeah, yeah.

Eli Price (22:52.403)
Yeah, yeah.

Sam (22:59.622)
sort of scrappy hustle of like someone in their early days of filmmaking, but it has enough polish that there's enough intentionality and enough interesting things that he's doing that I don't know, it almost feels like P. Quest Anderson in some ways. That it's not, it's not, I don't know. I feel like some of the like French Dispatch and Graham Budapest, it's almost...

Eli Price (23:01.878)
Mm-hmm.

Eli Price (23:18.913)
Yeah.

Sam (23:27.838)
It almost seems like a caricature of Wes Anderson in some ways, but I don't know. That's just my, my two cents on it, but.

Eli Price (23:33.257)
Yeah. No, no, I can I can for sure see that that perspective. Yeah. And it's funny like that. You say like it's kind of like right in between Bottle Rocket and French Dispatch on that like scale because it literally is like the dead center of his filmography, basically. Yeah, because there's yeah, it's his fifth movie and he's made 10 movies.

Sam (23:48.94)
Yeah.

Sam (23:55.043)
Oh really, yeah. Well that would make sense then.

Eli Price (24:01.641)
so far not including Asteroid City. And so, yeah, it really is sitting right there in the middle.

Sam (24:05.246)
Yeah, because I think the, yeah, because I think the other, like the French dispatch, it's, which they're all, I mean, they're good, but it's like, it's almost like absurdly Wes Anderson, if that makes sense. Like it's so Wes Anderson, it's almost ceases to be, it's almost like a, it's like a parody of Wes Anderson. It's so like ridiculous.

Eli Price (24:16.137)
Mm-hmm.

Eli Price (24:21.19)
Yeah.

Yeah.

Eli Price (24:30.185)
Yeah, no, I definitely can. I definitely like see that for French dispatch. Some people say that about life aquatic and, uh, you know, I've, I think life aquatic is less that way than French this patch for sure. Um,

Sam (24:47.046)
Yeah, yeah, from what I recall, I would say so. But I like I, because I feel like he doesn't really have the I feel like he doesn't have the funding to do what he's going to do later on yet. But you can see like you can see all the the pieces and that and so I don't know.

Eli Price (25:01.226)
Mm-hmm.

Eli Price (25:05.553)
Yeah, well life aquatic was actually his biggest budget For any of his films Oh, yeah You

Sam (25:10.166)
Well, I was thinking of for Darjeeling, I feel like you can see what he's gonna be doing like down the road. But in some ways it's almost like, it's the most pure version before the sets just get insane. And yeah, I don't know, maybe not, but.

Eli Price (25:21.185)
Yeah.

Eli Price (25:28.123)
Yeah.

Eli Price (25:35.017)
Yeah, I think it's pretty pure too, as far as just like him putting like himself into it. I think I read somewhere that Jason Swarchman had said in an interview, something to the effect of, you know, Wes had told him, let's write our stories. Like, let's make this the most personal thing we've made so far. And it does feel like that in some ways. It feels like...

Sam (25:43.522)
Mm-hmm.

Sam (25:59.813)
Hmm.

Sam (26:03.175)
Yeah.

Eli Price (26:05.317)
It does feel like you're on a kind of very personal, private journey with the three brothers in this film.

Sam (26:13.414)
Yeah. And I think, and there's no, there's no voiceover in this either, which I think he utilizes in French dispatch and I think in, um, great Grand Budapest. And so the

Eli Price (26:21.32)
Yeah, yeah.

Eli Price (26:28.805)
and Graham Budapest too.

Sam (26:34.422)
Maybe it's counterintuitive, but I do think that sometimes when you use voiceover, I think it almost has a way of distancing you from the characters and the action because I'm not sure there's probably a more technical explanation for it, but it seems to build a buffer between what you're seeing and...

Eli Price (26:46.702)
Mm-hmm. Yeah.

Eli Price (26:58.657)
Yeah.

Sam (27:02.634)
you know, what you're supposed to be experiencing because there's this, there's this narrator that comes through. And so for some reason that I feel like sometimes that just makes it feel less immersive maybe is the word I'm looking for, but yeah.

Eli Price (27:09.665)
Yeah.

Eli Price (27:20.349)
Yeah, yeah, I think I think so. I think some of it too is like so it can be done Obviously like narration can be done really well um But but it also Right. Yeah, and his is done. Well, I I would say that his um his narration It works for me, especially in grand budapest Um, but yeah, i've definitely seen movies where it does kind of have that

Sam (27:30.254)
Sure. And he does, and it's done well, yeah.

Eli Price (27:47.881)
It's almost like disorienting because you're seeing something, but you're also hearing someone explain what you're seeing. And so you're not really able to fully dial in to either of them. You can't fully dial into what you're hearing explained, but you also can't fully dial into what you're seeing because it's like doubling up on, it's like over giving you what you need in a way.

Sam (28:00.394)
Yeah.

Sam (28:10.137)
Yeah

Sam (28:16.89)
Well, it splits your attention because you're like, do I need to be listening to what's being said or do I need to be paying attention? Because there is a disconnect from like just a narrator voice versus dialogue that's happening on screen. And so, yeah, I think it can be. Something there makes it feel less immediate. And I think maybe the other thing too would be for Darjeeling.

Eli Price (28:18.934)
Mm-hmm.

Eli Price (28:32.938)
Yeah, for sure.

Yeah.

Sam (28:47.802)
I'd have to go back and look at the other ones, but just because it's mostly set on a train, I think all the shots are pretty wide and very close. At least they feel that way. Like he's not shooting on like a 50 mil or 80 mil. Like it's all, I don't know, probably 18 to 35 range.

Eli Price (28:54.189)
Mm-hmm.

Eli Price (28:59.421)
Yes. Yeah.

Mm-hmm.

Eli Price (29:08.745)
Yeah. He shoots on, like, a cinemascope.

It's like an anamorphic widescreen, I think, is what it's called. And it kind of has, yeah, and he started doing that with Rushmore, and it's kind of been, it's something that I've noticed, like he just sticks with it. He started it with Film 2 and here we are in Film 5, and he's still using it. He just likes it, I guess, that wide. It's wide and close.

Sam (29:18.516)
Okay.

Sam (29:30.603)
Yeah.

Sam (29:37.162)
Yeah, yeah, right, right. And I think because it's on a train, I think that's what makes this one feel more intimate. And again, if the stories are also more personal, then I think all of that sort of, I think makes it feel like a, again, feel like peak Wes Anderson.

Eli Price (29:44.301)
Mm-hmm.

Eli Price (29:52.542)
Yeah.

Eli Price (30:00.893)
Yeah, yeah, for sure. Yeah, I do want to get into two, like, you know, there isn't narration, but we will talk about the dialogue, for sure. But there are a couple, like, there was a couple more interesting, like, production points, like, that I thought were interesting in the making of. So, you know, I had.

Noted the the budget and the box office like what it brought in That's interesting. Sometimes it it's really only interesting in like the context of like his career So like life aquatic was his biggest budget with like it had a 50 million dollar budget Which is? crazy And it it was a flop relative to the budget. I think it brought in like 30

Sam (30:47.802)
Oh.

Sam (30:55.99)
The budget, yeah.

Eli Price (30:58.497)
30, 35 million. And so this one was brought in the same amount basically, but on a $16 million budget. So it probably helped that he was shooting in India rather than Italy. I would imagine it's much cheaper to shoot in India. But yeah. But he also, I think another big reason why he was able to make it for so much less

Sam (31:07.307)
Hmm.

Sam (31:15.525)
It's slightly cheaper.

Eli Price (31:27.697)
He kind of took a minimalistic approach to the production like from the beginning so like he from the get-go Like as they were writing that he already had in mind he he wanted no trailers he wanted the actors to just be always on set which Helps that they're on a train the the set is usually like it's literally moving so if you miss it like

Sam (31:56.572)
Yeah.

Eli Price (31:57.613)
You miss work for the day, I guess. But yeah, so he like no trailers, actor's always on set. He wanted the actors to do their own like costume and makeup stuff. And so they do like, they kind of pick up their own shirts. Like they do their own like makeup stuff, like Owen did his own like bandages and stuff like that. Yeah. Yeah. And so. Yeah.

Sam (31:59.756)
Yeah.

Sam (32:18.914)
Oh really? I didn't know that. I knew it was pretty rugged. The filming of it was, you know, it's not your typical Hollywood actors being pampered.

Eli Price (32:30.481)
Right. And they didn't, too, they didn't do like really any like street blocking or anything. So when they were like off the train shooting in town or in the villages, they just let real life happen, which goes back to that documentary feel and and just kind of captured what happened. So like the different takes could have the actors doing like different things. You know, they West and even some other.

Sam (32:40.539)
Hmm.

Sam (32:46.995)
Right.

Eli Price (32:58.697)
like of the actors in interviews kind of talk about. They didn't they improvised basically everything except the words. So, you know, the lines the lines West wrote but like you can't really like write out. Oh this person's walking past you with your groceries and you have to like kind of walk around them sort of thing. And so which gives it that it does give it that documentary feel because they are literally just kind of capturing.

Sam (33:07.362)
Hmm.

Sam (33:18.304)
Yeah.

Eli Price (33:28.457)
what's happening like, you know, in that scene with Bill Murray running through the running through like the train station. There's those people are literally just like catching a train or waiting for a train. They didn't like, there's not, they're not extras. They're like real, real people waiting for their train.

Sam (33:31.094)
Cause it, it, yeah.

Sam (33:42.187)
Right.

Sam (33:46.834)
Yeah, which is, which I think is so cool. And I think in like, I think if you can make movies that way, I think it's awesome. And just to capture, you know, as long as it's not too intrusive, but just to capture real life. And it definitely feels like, it feels very authentic. And so I think I think that's cool.

Eli Price (33:55.168)
Yeah.

Eli Price (34:08.458)
Mm-hmm.

Eli Price (34:12.457)
Yeah. Yeah. And then, you know, they, they, you know, they built basically the set on, they basically like bought a train, gutted it, and then just built the sets into the cars. So, like, I think, I think a couple of them, they kind of doubled up on. So I would imagine like the the Whitman's, you know, sleeping compartment.

Sam (34:29.602)
That's cool.

Eli Price (34:41.321)
I would imagine they had two of those on different cars so that they can kind of like set up one the way they wanted it to while they were like filming in the other one and then, you know, move to the other car. Yeah, it's super interesting. They didn't like, they literally built it. So they were just like squished around. Like I think I saw someone talking about, I don't know if it was Wes or like.

Sam (34:46.291)
Yeah.

Sam (34:56.104)
Yeah.

Eli Price (35:10.057)
one of the actors talking about how like the cameraman would be like up against like Jason Swartzman and like he would have to like Jason would have to know like okay when the camera is like turning he's gonna bump into me and I've got to get out of the way or like I'm gonna mess up the shot sort of thing like they were like in that tight compartment which

Sam (35:32.97)
Well, I feel like you can see that too, like in the movie. Like, it feels very claustrophobic. And like, where on earth is this camera guy, especially because he whip hands all the time. So it's like, you know, like they've got to just be jammed up against each other when they're not on screen. So yeah.

Eli Price (35:38.601)
Mm-hmm.

Eli Price (35:42.631)
Yes.

Eli Price (35:49.641)
Yes.

Eli Price (35:55.553)
they are. Yeah, if you watch like the making of doc, like it's if you're claustrophobic, don't watch the making of this movie because like they're like they're going through those like tiny halls, like with a camera on a track and like squeezing past each other.

Sam (36:03.86)
Yeah.

Sam (36:09.558)
Which is insane because it's, yeah, those halls are tiny anyways, just to get yourself through. I can't imagine like having sound and camera and all that trying to finagle that through such a tight space.

Eli Price (36:25.565)
Yeah. Yeah, but yeah, it's super interesting. They literally shot everything, but one scene was on like a mock up of the compartment. I think it's the scene where they're like looking out and Jack, which is Jason's character, Shortsman's character is like kind of sitting in a booth, like making a phone call like that.

that scene where they're watching him make that phone call is the only one that's on a built mock-up set. And then everything else is on the train, or obviously there's stuff in towns and villages, but it's either on the train or they're outside of the train. They did one shot outside of the train, looking into the train. But yeah, everything's like,

Sam (36:59.045)
Oh yeah.

Sam (37:03.44)
Oh, interesting.

Sam (37:10.653)
Yeah, yeah.

Sam (37:23.154)
Yeah.

Eli Price (37:24.157)
literally on the train. And so when you're seeing stuff pass in the window, it's really passing. It's not CGI added in or anything like that. You're literally watching the real Indian countryside pass by, which I thought was really cool.

Sam (37:33.833)
Yeah.

Sam (37:43.274)
Yeah, which I think is cool. Yeah, and I think he like, and we'll probably get into this in another section, but just it does very much feel like a love letter to India. And you can tell that like it's coming from someone who's been there and sort of experienced all that India has to offer.

Eli Price (37:56.438)
Mm-hmm.

Eli Price (38:05.213)
Yeah, he it comes through in the music too. So all of the music is none of the music was like originally scored. He he took it. He kind of like picked some from here, some from there. A lot of it is from Satyajit Ray films, which he's a director. I definitely want to a huge blind spot for me. I feel like he has like the. Yeah, he has the Panther Panchali.

Sam (38:16.259)
Hmm.

Sam (38:29.503)
Yeah, I had not heard of him.

Eli Price (38:34.145)
Trilogy about it's about an Indian family is like a really popular little like trilogy of Indian drama that he does and then a couple of others that are more I guess, you know not like well known of his but like more well known or like the big city and the music room is one of his and but yeah, he he basically went through and like

Sam (38:59.252)
Okay.

Eli Price (39:03.201)
took music that, and Satyajit Ray actually composed the scores for a lot of his films. And so a lot of the music, probably like half or more is from his films that he composed. And then obviously he has a few kind of soundtrack needle drop kind of stuff that he utilizes. And then, yes.

Sam (39:11.291)
Okay.

Sam (39:21.11)
That's cool.

Sam (39:27.65)
Yeah, for the slow-mos.

Eli Price (39:32.349)
And then, yeah, there's the other ones he took from was James Ivory is a filmmaker, an American filmmaker that's done some films in India. And he took a couple of his scores. He actually did an interview in the Criterion Collection special features. There's like a, it's basically like Wes interviewing James Ivory and then just kind of gushing over like.

Satyajit Ray's music in his films and That sort of thing. So Yeah, it was cool to watch but yeah in that like you see the love for where he is in that way But also just like you know, he's You know I in it there's there's actually a I think I for the first episode I like this is my recommendation but he has

Sam (40:05.614)
That's cool.

Eli Price (40:28.797)
Not Wes, but like there's these books, the Wes Anderson collection books by Matt Zoller Seitz, who's like a film critic that's friends with Wes. So like there's huge interviews in there and Wes kind of talked about how. He just has grown a love for traveling abroad and like, it's it's cool. So like, I think the thing that stood out most in that part of the interview was.

Sam (40:38.387)
Cool.

Eli Price (40:57.365)
He talks about how when he was young, he didn't really do any traveling abroad. So he started doing that when he started his film career. And he said what he actually likes most is not like visiting somewhere for the first time, but like he actually thinks it's more fun and interesting to go back somewhere you've been before and like revisit people that you like.

made friends with and revisit places that you went before. And you're still not of that place. They know you're American and you know they're Indian, but they know you in a way and you know them in a way. And he said that's actually what's interesting to him about traveling abroad is actually becoming more known in a place and getting to know that place more.

Sam (41:46.571)
Yeah.

Eli Price (41:56.661)
which I think you kind of see coming through in the film a little bit.

Sam (41:56.948)
Yeah.

Sam (42:01.118)
Yeah, and I could definitely, I can definitely understand that because I think there's a, there's a sort of, I think, panic when you go, when you visit a place for the first time, because you're like, oh, I've got to see everything and this and that, and you're just, you're trying to like check all the boxes, and I think if you go back to a place, then you're way more relaxed.

Eli Price (42:15.006)
Yeah, yeah.

Eli Price (42:26.369)
Mm-hmm.

Sam (42:26.774)
and I think you notice more and it's way less harried. So I think I would definitely agree with that sentiment.

Eli Price (42:29.047)
Yeah.

Eli Price (42:38.281)
Yeah, for sure. Yeah. Yeah, I don't, what, you know, I've been doing a lot of like bringing up stuff, but what's something that stood out to you maybe like, either stylistically or maybe like thematically in the film that really captured your attention?

Sam (43:02.094)
Well, I think like stylistically, you know, I think it's sort of, I guess just the color of the film is very much like a muted version of what you would get in India. And so it's like Wes Anderson's interpretation of India. But he does, because it's so sort of, it almost feels kind of run and gun.

Eli Price (43:19.04)
Yeah.

Eli Price (43:25.043)
Right.

Sam (43:31.402)
for all those scenes that are like off the train. I think he does a really good job of kind of capturing just the absolute assault on your senses that is India. You know, I think especially as a Westerner, I've been there twice and like it is just.

Eli Price (43:44.458)
Right.

Sam (43:56.074)
it's an assault on your senses. I think in both good ways and maybe uncomfortable ways, just because it's so unusual to what we experience. But I think the coloring of the film, like it's very much sort of the colors of Indio. They're very bright, very vibrant, but it feels kind of muted.

Eli Price (43:58.625)
Right, yeah.

Eli Price (44:03.181)
Mm-hmm.

Eli Price (44:08.075)
Right.

Eli Price (44:19.263)
Mm-hmm.

Sam (44:21.686)
Um, so it's not, it's not like over saturated, uh, in a way that I think adds a real nice, uh, a real nice, uh, touch to it. And yeah, like I said, it feels like a love letter, uh, to India. Um, I think in a really neat way. Um, and I think he does a great job of kind of capturing sort of the, the, the heart of India, uh, in a lot of ways. So, uh, those, I think were the main.

Eli Price (44:25.278)
Right.

Eli Price (44:37.558)
Yeah.

Eli Price (44:47.293)
Right. Yeah, he actually had.

Sam (44:52.44)
Go ahead.

Eli Price (44:53.313)
Yeah, yeah, I was gonna say just kind of like, on that point, something that you made me recall was that they actually got like local artisans to do some of the art. So like the train, I'm sure he had like an idea of what he wanted the train to look like, but he had no control over it really. He kind of handed it over to local.

Artisans that painted the train and he said they just like kept painting and kept painting and it that's just how it turned out and then there was a there's the hut in the village which Like it it's I guess it stood out to me in the moment, but I didn't realize it stood out to me till I was reading About this but he there was that hut that like the inside is like very blue

Sam (45:24.619)
Hmm.

Sam (45:30.163)
Yeah, that's cool.

Eli Price (45:51.801)
And pink and like flowers on the wall and stuff. I don't know if you remember that This was after the yes Yeah, so they that that was a hut that the like the local people built built for them they hired them to like build a hut like theirs that they could like film in for for that scene and

Sam (45:56.278)
Was this the village of the little boy? Okay, yeah.

Sam (46:16.745)
Hmm.

Eli Price (46:20.893)
What he was thinking was like, oh yeah, you know, build one of your huts and that it would look like what theirs look like. But they got like they they got to the finished product and like none of their none of their huts in that village are like painted all blue and like with flowers on the wall and stuff. But he was like, oh, you did this. And they were like, yeah, we did it better than ours. So like they wanted to give him something better than what they have for for the movie.

Sam (46:44.236)
Yeah.

Sam (46:49.858)
Which is not at all surprising.

Eli Price (46:50.185)
But he was, yeah, so like totally like not what he planned for, but he was like, okay, well, this is what we've got. And so like just super interesting. So there are actually like real touches of India in there, not because West planned it, but just because he almost like uncharacteristically handed over some control to, to the local people.

Sam (47:16.503)
Yeah.

Yeah, that's interesting. I think like his attention to detail is also, cause I've seen this movie twice now and like, there's just all these little things that he does. And I think that's typical of Wes Anderson, but like, you know, like Jack is never wearing shoes. And after,

Eli Price (47:43.811)
Mm-hmm.

Sam (47:47.91)
Owen Wilson's character, I forget his name. Francis, yeah, after he, the kid steals his shoe, like in the last part of the movie, he still got like the one just random Indian shoe on, you know, and how Adrian Brody's character, and it kind of annoyed me, but he.

Eli Price (47:51.405)
Francis, yeah.

Eli Price (48:02.282)
Yeah.

Sam (48:10.614)
whenever like they had the whole belt thing go back and forth. Like he would never thread the belt on. He just like buckled it on. It's like, that's not how you, you know, I don't know. It was one of those, but it's like, he was like, oh, thanks.

Eli Price (48:13.181)
Yes.

Eli Price (48:18.304)
Yeah.

Yeah, it bothered me too. He he would always like leave his glasses, which they were like his dad's prescription So it makes sense But uh, but I guess that's another testament to the detail is like every time he was actually having to like see something He would like lift the glasses up like this Because like he couldn't see through his dad's prescription the

Sam (48:28.479)
Yeah.

Sam (48:39.143)
Yeah. Yeah.

Sam (48:44.066)
But yeah, insisted on wearing them. Which I think, speaking of his dad, I think that's an interesting theme throughout. It's like, it was obvious, that's a huge theme, but you never see him. He has no, there's no dialogue of him. There's no, as far as I can remember, there's no photo of him or flashback to...

Eli Price (48:47.358)
Right.

Eli Price (48:54.552)
Mm-hmm.

Eli Price (49:02.101)
Right.

Eli Price (49:10.901)
Mm-hmm.

Sam (49:13.342)
you know, who he was, but which I think is really, I think it's a really powerful way to have a character that's so prominent in a film that you never see. And I think that's, I think that's, that's pretty cool.

Eli Price (49:26.549)
Yeah, for sure.

Eli Price (49:31.029)
Yeah, there's almost like, whenever filmmakers do that, there's almost like, not like a ghost-like, but sort of like a haunted feel to it. Not in like a spooky way, but just like an emotional way. There's like, it's like, there's like the haunting of the grief of that loss, kind of like, as a, kind of like a cloud.

Sam (49:45.219)
Yeah.

Sam (49:54.35)
Mm-hmm.

Eli Price (49:57.717)
Maybe that's a better way of saying it, not like haunting, but more like this cloud of grief that kind of like sits over the characters, like through the movie. And you never see the cloud or what's causing that feeling. But, but it's like, it's there and you know, you know, it's there. They, they talk about it, but you don't see it.

Sam (49:58.014)
We'll just... Yeah.

Sam (50:20.83)
Yeah, and it's one of those things where, like, all the people, the three characters that you're watching all know this person and have a history with this character that you as the viewer never see. And so it's kind of an interesting dynamic, I think, between like the viewer, these three characters and the fourth character that's just...

that they all know and have like history with, but you don't know as the viewer, but you're kind of seeing. So I don't know, I think it's a real effective way to talk about the influence of a father. But you never see him and you don't know what he's like other than what they say.

Eli Price (51:10.891)
Right.

Eli Price (51:15.401)
Yeah. Yeah. And you you've got to like, it makes you think like, okay, like, there's got to be aspects of these brothers that like reflect who their dad was. And I think I think that really came through for me when they finally, like towards the end, kind of meet up with their mom out there and which was like the secret plan for that Francis had the whole time to meet up with their mom.

Sam (51:27.04)
Yeah.

Sam (51:36.46)
Mm-hmm.

Eli Price (51:45.249)
that he doesn't actually like keep a secret for that long. But but I noticed it because Francis, you start to realize like, oh, Francis is like just like his mom, because like she wants to like take control of the room, kind of like order everyone's food for them, like which you see in Francis. And so when I saw that, I was like, oh, I wonder if like these other two guys are like mixes of their dad more than then Francis is more like the mom.

Sam (51:49.32)
Yeah.

Sam (51:56.561)
Oh yeah.

Sam (52:02.343)
Yeah, yeah.

Sam (52:14.022)
Yeah, yeah, again, it's that sort of like, the father is ever present, but he's never explicit, you know, and so, and then you see like knowing that Francis is sort of the reflection of his mom, the strongest, then yeah, you're left wondering, okay, so what combination is the dad?

Eli Price (52:15.265)
But uh...

Eli Price (52:22.604)
Mm-hmm.

Eli Price (52:26.102)
Right.

Sam (52:41.682)
you know, and how does, you know, what was that dynamic like? And so I think it's just, it's a real sort of powerful thread, I think that goes throughout. And it's just a neat way to do that without ever having without ever having him on screen. And then I think like the symbolism as well, I think was pretty, again, what going back and watching this.

Eli Price (53:02.794)
Right.

Eli Price (53:10.967)
Mm-hmm.

Sam (53:11.226)
a second time, like I think there's just a lot of use of symbolism throughout that really stood out to me.

Eli Price (53:18.221)
Yeah, yeah, I had written down. I had written down when I was watching it that like this is probably his most like. Dialogue wise and just like like the objects that you see in the movie, it's probably the most. I guess like. On the nose, I guess, for lack of a better term, like the dialogue, like a lot of the dialogue is very like on the nose.

Sam (53:42.328)
Yeah.

Eli Price (53:46.989)
as far as like what they're going through, then like literally saying it. And then a lot of the objects too, like you have... Well, let me just like flip.

Sam (53:58.379)
Well, they're all abusing drugs throughout.

Eli Price (54:01.417)
His, yeah, they're drugs. They have their different fixes. You have the luggage. They're literally carrying the baggage of their father with them on the journey. You can't get more literal than that, on the nose, symbolica, object. You have Francis's bandages. There's the scene towards the end where

Sam (54:09.972)
Yeah.

Sam (54:15.71)
Yeah. Yeah.

Sam (54:24.533)
Yeah.

Eli Price (54:31.561)
He kind of takes them off and he's like, well, it looks like I've got some more healing to do. And it's like, it's very on the nose, but still like impactful. Um, and you know, the dad's car, which, um, is like the one flashback scene we get is them. Like we don't see them like really at the funeral ever, but they just, like, you see them stopping on the way to the funeral to like, try to get through dad's car.

Sam (54:33.365)
Mm-hmm.

Sam (54:37.056)
Yeah.

Sam (54:41.623)
Yeah.

Eli Price (55:00.309)
And the car is broken. It's not finished being repaired yet. And it's like very obviously like a symbol of like where they are in their like grief process. Like it's, they're still broken. They're not healed from this, you know, loss with their dad. Yeah, it's all like very much on the nose. But, and then like Adrian Brody.

Sam (55:11.882)
Hmm.

Sam (55:18.879)
Yeah.

Eli Price (55:26.969)
which we haven't talked a lot about him, his character Peter, one of the brothers, he's literally like wearing and like using all of his dad's stuff. Like he can't let go of his dad and like he even like it almost makes you wonder if like he had the worst relationship with his dad because he he feels the need to like. Kind of like sneak all of the dad's stuff without his brothers knowing to like kind of like make it be like.

Sam (55:36.715)
Yeah.

Eli Price (55:56.409)
Oh, dad liked me more. And I think he even literally says that at one point, it seems like, if my memory is right.

Sam (56:00.19)
Yeah, because he was, it seems like he was with him when he died, I think. Or at least he said, he said something. He was like, yeah, he told me I was his favorite.

Eli Price (56:06.745)
Yeah, yeah, and they're He said something to the effect of like Yeah, and then later they're like did he tell you that and he's like, you know, no, I couldn't really understand him like

Sam (56:18.586)
Yeah, well, and there's also like, Peter's, Peter is becoming a father as well. So like he's coming to terms with that, you know, and like he's, you know, I also wonder because he seems, at least in the beginning, very terrified of that prospect. And so it's like.

Eli Price (56:24.877)
Mm-hmm. Yeah, yeah, that's true.

Eli Price (56:34.849)
Mm-hmm. Yeah, I think at the end too. I don't think he's still Yeah, that's but yeah, I can see that

Sam (56:42.046)
Yeah, I think he comes around to it, but yeah, I mean, it's still, yeah, fatherhood is a daunting.

Eli Price (56:47.262)
Yeah. Yeah.

Yeah, that's something that is very true. It's like when I became a father, I started noticing like things about myself where I'm like very much like my father and like things that I do that are like my father that I didn't really, it wasn't really apparent to me until like I was becoming a father myself.

Sam (57:05.802)
Yeah.

Sam (57:12.552)
Yeah.

Oh yeah, like it's a trip, I think, for any parent that, you know, you're like, oh yeah, like, I'm just, I'm doing exactly what I saw, you know, growing up, for better or worse. And yeah, it is very much sort of, I think, what happens when you become a parent. And I think it's hilarious that, like,

Eli Price (57:18.918)
Mm-hmm. Yeah.

Eli Price (57:30.277)
Yep.

Eli Price (57:41.447)
Yeah.

Sam (57:44.514)
as they're nearing the end of their journey that he only then tells his wife that he's even in India and it's like okay yeah that's that's interesting like what

Eli Price (57:52.954)
Yeah, yeah, she didn't even know.

Eli Price (57:57.905)
Yeah, yeah, I couldn't get away with that for sure I don't know how he did but uh Yeah, but yeah even at one point You know he he's kind of talking to Jack Peter's talking to Jack and he says like I always just thought I would get divorced and He's like, why did you think that and he's like, I don't know probably because of our upbringing and it's you know, it's

Sam (58:02.664)
No, no. Yeah.

Sam (58:18.087)
Yeah.

Eli Price (58:24.717)
is an example of that like on the nose dialogue, but like, um, you know, that is, that is part of, I mean, that's how we think, um, you know, about our, you know, well, I always thought I would do this. And if someone questions you, you're like, Oh, I don't really know. I guess that's just like, what was normal to me. Um, yeah. Right. And you know, Wes, Wes does have that.

Sam (58:29.715)
Yeah.

Sam (58:44.574)
Yeah, it's what my dad did or you know what my mom did.

Eli Price (58:51.681)
background, his parents divorced when he was young. And so, you know, that's probably an aspect where Wes came out in that character a little bit, you know, when they were writing it is just kind of that dealing with this has been this is like part of my past. This is like part of who I am. I just always figured it would just be what I did too. And kind of like dealing with that.

Sam (58:56.113)
Hmm.

Sam (59:16.65)
Yeah. Yeah.

Eli Price (59:21.257)
You know, making your own journey in life, not just like falling into the patterns that have been like laid out for you, whether from your parents or your society or whatever it may be, that kind of struggle of finding your own identity, not just doing what other people say you should do, but finding...

Sam (59:32.66)
Yeah.

Sam (59:40.33)
Yeah.

Eli Price (59:51.637)
you know, doing that self-reflection and figuring out who you actually are.

Sam (59:56.806)
Yeah. Yeah, for sure.

Eli Price (01:00:01.001)
Yeah, one of the things that I stood out to me was just like the amount of control these characters are trying to grasp onto. Like they want to control who knows what. Like they're trying to control information. Like don't tell Francis, don't tell Jack. Like they're trying to control that. They're trying, like there's just so much that comes through.

Sam (01:00:13.75)
Yeah.

Sam (01:00:22.891)
Right.

Eli Price (01:00:30.645)
You know, Francis has literally like a laminated itinerary, like for a spiritual journey, but he has a laminated itinerary for it with an assistant.

Sam (01:00:42.454)
Well, and that's like such a, I mean, that was his same character in model rocket in some way, you know, it's like, here's the plan. You know, this is what we're going to do. Yeah. Well, and I think, I guess he was the oldest. Do we know what the birth order was? He certainly behaves like the oldest.

Eli Price (01:00:48.061)
Yeah, right, right, the 75 year plan.

Eli Price (01:00:55.297)
Mm-hmm.

Eli Price (01:01:00.685)
I don't know if we know. I kind of, yeah, for sure. Yeah, but I, yeah, now that you say that, I don't think we actually know who is the oldest and the youngest. I get the feeling that Francis is the oldest, Peter is the middle, and Jack is the youngest. That's kind of what it feels like. Yeah. And you know, Wes, they probably wrote it so that they didn't have to say, but you could just tell.

Sam (01:01:20.314)
Yeah, that would be my sense. Yeah. Yeah.

Sam (01:01:30.13)
Yeah. Yeah.

Eli Price (01:01:31.233)
just because that seems like a detail he would think about like I don't want to literally tell you but I'm gonna write it in such a way where you know you know but uh but yeah this this control like they so for one like the it's ironic that it is kind of critiquing this idea of like you can't really actually

Sam (01:01:39.654)
Yeah. Yeah, exactly.

Eli Price (01:02:00.945)
everything in life. You know the irony being Wes is so like in control of the details of what goes on in the film. And his you know just his films in general. He he literally writes every word in the script like he he has everything thought out like when you watch the making of documentaries and you watch like little pieces of Wes like he acted out like the fight scene.

when they get in the fight in the car and like end up macing, you know, Jack end up macing everybody. You have like there's a part in the making of where like Wes is literally like fake wrestling, like an invisible person showing exactly like where they're going to go and what they're going to do. And he just has that all in his mind. And so it's almost like this movie is like.

Sam (01:02:34.154)
Yeah.

Sam (01:02:53.332)
Yeah, yeah.

Eli Price (01:03:00.657)
Self-critical, I guess, in that way. Because he does like to have such a grasp on it. And he's, it's sort of self-critical in the way that a lot of this movie is kind of like, the, I guess, just like life happening to these guys and showing them, hey, like you're not actually in control of any of this.

Sam (01:03:04.021)
Yeah.

Sam (01:03:24.47)
Well, and I think it's fitting then too that it takes place in India, because like, if there's ever a place where like, you really don't have control, then it's, it's gotta be India. So there's like, there are layers of control there that I think he's, he's playing with, and then even just not, you know, not knowing what, what the other brother is going to do and you know, what the train.

Eli Price (01:03:29.037)
Mm-hmm.

Eli Price (01:03:36.801)
For sure.

Eli Price (01:03:43.809)
Mm-hmm.

Sam (01:03:53.494)
whatever that train attendant's, whatever his role is. Like, I don't know if he's like, he's not the engineer, but like the, I don't know what his, what his position would, yeah, yeah. That kicks, that ultimately kicks him off, but like, you know, like there's so many, chief steward, yeah.

Eli Price (01:04:02.389)
Yeah, I don't know what you call that guy.

Eli Price (01:04:10.645)
The Chief Steward, I just looked it up. Yeah, he doesn't actually have a name in the film. So like his cast, yeah. He's just cast as the Chief Steward.

Sam (01:04:16.928)
Yeah.

Sam (01:04:20.358)
Yeah, Stuart. Yeah. Yeah. But yeah, there's just so many layers of, of things that are outside of their control. And so, yeah, that's, but yeah, you definitely see that they're all gunning for control of the situation, like on so many different levels.

Eli Price (01:04:37.513)
Yeah, and I think it's a defense mechanism that we all have a bit of. For sure, some people like to a higher degree than others, but it seems, so like they're going on this, what's supposed to be a spiritual journey, but having a laminated itinerary is literally the opposite of what you need for like...

Sam (01:04:50.679)
Yeah.

Eli Price (01:05:05.581)
to have some sort of spiritual experience in that way. And so it's almost like they have such control, and it's almost like a defense mechanism against not wanting to deal with whatever they're trying, whether it's Jack with his girlfriend back home or...

Sam (01:05:09.984)
Yeah.

Eli Price (01:05:34.489)
You know, Francis obviously is dealing with something. You find out later that his accident was not actually an accident, but it's implied very subtly, well, not subtly, but very quickly that it was a suicide attempt.

Sam (01:05:44.318)
Yeah.

Sam (01:05:54.79)
Yeah, well, and which reminds me of like when he's explaining to his brothers how he got that. And I just I thought it was funny how he was like, well, I don't really, it was all kind of hazy. But then he goes into like elaborate detail of like, and here's, you know, here's this and this person did this. And I was, you know, it's just it was just funny to me, like how, you know, he's like, why, I don't really remember. But here's what happened. Like, and he just had this whole. Yeah.

Eli Price (01:06:01.589)
Mm-hmm.

Eli Price (01:06:12.158)
Yeah.

Eli Price (01:06:19.249)
Yeah, it's that comedy. Like, that's comedy gold. It reminds me of there's a line, we talked about it last episode for Life Aquatic, but there's a line where Bill Murray's kind of talking to his wife that they kind of have a rocky marriage. And he's like, you know how I am about apologies. I don't really like to do apologies. So if we could just move on, move past that and get on with the conversation, that'd be great.

So anyway, I'm sorry, like he literally like goes straight into so anyways, like an apology. And it's just like the setup and the comedy of that is great. But yeah, it's. It's it's just that idea of like. I think they want to change like they want to deal with this thing, but they're like.

Sam (01:06:54.08)
Yeah.

Sam (01:06:59.679)
Yeah, yeah.

Eli Price (01:07:17.373)
They won't let go of that control that they, I guess like that defense mechanism of control so that they can actually like deal with whatever it is, the trauma, the grief, the loss, the, you know, the broken relationships they have, you know, whether it's dad or mom or with each other.

Sam (01:07:23.783)
Yeah.

Sam (01:07:31.288)
Mm-hmm.

Sam (01:07:35.79)
Well, you could, yeah, I mean, they have a lot of relationship issues, but you get the sense that they also just don't know how. Like they don't know, like they're trying, and you see that I think even in like their, like when they go to the various like temples and stuff, and it's like, all right, we're gonna do this, we're gonna go over there, we're gonna pray at that altar. And it's like, okay, like.

Eli Price (01:07:42.272)
right.

Right, yeah.

Eli Price (01:07:54.454)
Mm-hmm.

Sam (01:08:01.314)
good luck. And so I think it's just interesting. It's like they're doing the best they can to try and like overcome whatever issues they have. But you get the sense that they really have no idea what they're doing.

Eli Price (01:08:02.629)
Yeah.

Eli Price (01:08:18.313)
Yeah, yeah, but and I really like You know that you You said they're trying and you know that stood out and what you just said because they're Wes actually in an Interview and with Matt's all the sites was kind of talking about You know, they were talking about this kind of idea of like they they want to change they want to experience something They want to deal with whatever it is but they like

They just like aren't very good at it. And Wes kind of says they, you know, they don't really know what they're doing, but they're, he literally says, but they're trying. Um, and I think that's, that's very relatable just like to anyone in any situation of life. It's like, you know, I don't really know what I'm doing, uh, but I'm trying, you know, we both have like young children and it's like, like, I have no idea what I'm doing, like, but I'm trying real hard.

Sam (01:08:55.594)
Yeah.

Sam (01:09:10.918)
Yeah. Yeah. Speaking of having. Yeah, yeah, exactly. Does it does anyone know what they're doing? I guess is the better question.

Eli Price (01:09:21.841)
Exactly. But yeah, it's so one thing I thought was interesting is in that regard of like wanting to change is that we we don't like necessarily like we see them change, but it's more like the beginning of change there's not like this full like character development of like there's there's not like a fall of the character in some regard and then like a down point

Sam (01:09:41.217)
Yeah.

Eli Price (01:09:50.793)
an epiphany and then like we see them like back on top sort of thing. There's not that like typical plot line. You just kind of like jump in to this train with these guys. They're already broken. Um, like when you jump onto the train with them and then at the end, like they've experienced something, but they haven't like gotten to the point of knowing exactly what to do with what they've experienced. Um,

Sam (01:10:05.304)
Yeah.

Eli Price (01:10:19.517)
And so, and you're, you kind of end on a train. It's a different train, which I think is symbolic. It's not the same train. Uh, but they are still on the journey. They're still like trying to figure out what to do with what they've experienced.

Sam (01:10:19.519)
Yeah.

Sam (01:10:28.366)
Alright.

Yes, and they've also left.

Yeah, and I think the growth maybe that you could, if you wanted to say there was growth would be they're okay with getting on the train without all their dad's baggage. And so there's, it's like, which is like, okay, yeah.

Eli Price (01:10:42.42)
Mm-hmm.

Eli Price (01:10:48.337)
Yeah, yeah, which is a, that's a comedy in and of itself. All that baggage, like way too much luggage.

Sam (01:10:56.162)
Oh yeah, yeah. I mean, you've got like a separate tuk tuk following you, you know, like four guys schlepping your stuff across India. But and so I think it's almost, it ends on a hopeful note. I think that it's like, okay, step one, you know, let go of the, of all that luggage, all that unnecessary luggage.

Eli Price (01:11:00.265)
Yeah. Yeah.

Eli Price (01:11:05.61)
Yeah.

Eli Price (01:11:13.581)
for sure.

Eli Price (01:11:18.423)
Mm-hmm.

Eli Price (01:11:22.621)
Yeah. Yeah. Drop the baggage. Yeah.

Sam (01:11:26.622)
Which I think is, which I like movie endings that are sort of...

Sam (01:11:39.062)
not fully like wrapped up. Like I don't, I don't like there to necessarily always be like a bow on every character or plot. Like I think it's okay if it's like, we don't know, like we don't like, do they live happily ever after? Who knows? Like it seems like they're headed in a good trajectory, but you don't, you know, you don't actually get that sort of closure.

Eli Price (01:11:42.393)
Mm-hmm.

Eli Price (01:11:48.894)
Yeah, no, I agree for sure.

Eli Price (01:11:57.725)
Yeah.

Sam (01:12:06.802)
I think some people when they watch a movie, there has to be closure. And I'm someone who looks at more ambivalent towards closure.

Eli Price (01:12:16.125)
Yeah. Yeah, it's more interesting to not have like, well, because like, it's not, it makes it less, um, like life, you know, you, you don't know, like they're heading in a hopeful direction, but you don't know what's going to happen next. Like, uh, and, and I think that's part of like the letting go of the baggage and the control, um, and you know, that's why it is hopeful towards the end. Um, and like really like.

Sam (01:12:20.703)
Yeah.

Sam (01:12:26.594)
Yeah.

Sam (01:12:31.68)
Yeah.

Sam (01:12:43.608)
Yeah.

Eli Price (01:12:45.333)
So, you know, I guess we can get into a little bit of the scene. I think where it really starts to change is like when the boys fall off in the river and, you know, each brother is trying to save a boy and Peter's character, well, Adrian Bodrie's character, Peter, isn't able to save, rescue his boy. He dies. He says, I wasn't, he literally says, I couldn't save mine.

Sam (01:13:09.29)
Yeah.

I was... Yeah.

Eli Price (01:13:14.817)
something like that. And I think, you know, it's not necessarily like an epiphany moment, but it's, I think in an essay, Matt Zoller Seitz kind of said, it's kind of the moment where their like psychological armor was dented. Like that grasp on control was like destroyed, in a sense.

Sam (01:13:41.675)
Well, and it just they're just brought face to face with death again, and so I think

Eli Price (01:13:44.873)
Right. Again, yeah. And that's when we get the flashback too, to them on the way to their dad's funeral is in the middle of the kid's funeral, which is on, yeah.

Sam (01:13:49.46)
Right.

Sam (01:13:55.378)
Yeah, and yeah, well, and they actually attend.

the kids funeral as well, which you get the sense that like, did they make it to their dad's funeral? I mean, I guess they did, but I don't know. It, it almost feels like it's a, it's a redo for them in some ways. Like, okay, like we're going to like do all the right things. And it's that sense of closure.

Eli Price (01:14:05.099)
Right.

Eli Price (01:14:10.869)
Yeah.

You don't really know. Yeah.

Eli Price (01:14:19.458)
Mm-hmm.

Eli Price (01:14:26.269)
Yeah. Any?

Yeah, that's what I was going to say. You get the sense that they never got any closure with their dad. You know, you don't know if they had like a great relationship with him or not. But like they there's definitely some closure missing. And this is like everything else is kind of the middle. Like you jump in with them already broken on the train, like when they at the end of the movie, like.

Sam (01:14:35.53)
Yeah.

Eli Price (01:14:56.361)
You haven't gotten to an actual ending. You're just like headed in a hopeful direction. Like, and everything is just kind of like in the middle, but that little sequence is the only thing that's like a full, like you have that fall, the like them dealing with the grief and then the closure with attending the funeral. And like, especially with the people like sending them off, the villagers like kind of do a sendoff for them as they're getting on the bus. And I think that is like,

Sam (01:15:21.751)
Yeah.

Eli Price (01:15:24.737)
moment where they're getting something, some sort of closure that they that they haven't been able to get, where they're able to like, you know, actually start dealing with their lives.

Sam (01:15:32.938)
Yeah. I think, I think they...

Yeah, I mean, I think you could say that's probably where they like, they begin the healing process of dealing with their grief. And I think it's a very powerful moment in their lives. And then I think afterwards you see that though they're still flawed, they're again headed in a good direction.

Eli Price (01:15:44.589)
Mm-hmm.

Eli Price (01:16:00.209)
Yeah. Yeah. And they, you know, they get up the gusto to go see their mom, who they obviously have like a, you know, strange relationship with. But, but that actually the moment there's a pretty powerful moment there too, where, you know, she says, let's stop talking. And there's a sense in which like, that's the moment where they're really like starting to give up that control grass that we've been talking about because

Sam (01:16:11.343)
Yeah.

Sam (01:16:29.239)
Mm-hmm.

Eli Price (01:16:29.993)
all through the movie, like part of the ways they keep control is like they're constant. I mean, they're constantly like talking and bantering and like sharing information, but trying to keep it from others. And that moment where they're all just like looking at each other, like staring is is it is sort of like a relinquishing of control. Like if there was like a spiritual experience, I think for them, I think that was probably the moment.

Sam (01:16:38.658)
Yeah.

Eli Price (01:16:59.425)
And you can see it in their faces. Like, you know, Francis kind of has, you know, Owen Wilson kind of always has that natural, like bewildered look, which his character obviously has problems with, like just being, not knowing what to do with light. That's why he like has itineraries and an assistant. And then like Adrian Brody, which was like perfect casting for his character, I think, because he has those

Sam (01:16:59.456)
Yeah.

Sam (01:17:10.908)
Yeah.

Sam (01:17:21.322)
Yeah. Yeah.

Eli Price (01:17:29.389)
those downturned eyebrows that just naturally look sad. And his character, it goes to him and he just looks sad. And then Jack, he kind of looks angry, which I think is something that he's an emotion that he isn't sure what to do with. Not letting out his anger.

Sam (01:17:34.523)
Yeah. Yeah.

Eli Price (01:17:58.953)
And so they're all kind of having like this, they're letting like a real emotion, like what they're feeling out and not saying anything. And then you get the pan to like the dream train sequence, which is a really cool sequence where you're going through and like literally, it's literally like a set on the train that they built where it's like panning through kind of like almost that dollhouse effect of like, you're looking in, it's kind of like a,

Sam (01:18:08.647)
Yeah.

Eli Price (01:18:29.001)
It's not literally on the train. It's kind of like this metaphorical space where you're seeing like, yeah, what were you saying?

Sam (01:18:33.63)
Yeah, I need each.

Sam (01:18:38.695)
No, I just said like each car is a different. It's all obviously a train, but they're all in different places. Like one, this hotel room, one's an airplane, one's, you know, a different train or whatever. So yeah, that's kind of, that's a cool sequence.

Eli Price (01:18:44.357)
Mm-hmm.

Yeah, right.

Eli Price (01:18:56.105)
Yeah, it's really cool, but I think what it does is it puts them all on a level playing field. You have some characters that you've spent some time with that you know that you're seeing in this sequence, like the Chief Steward and... is her name Rita? The stewardess that Jack kind of has a fling with.

Sam (01:19:16.988)
Yeah.

Eli Price (01:19:22.069)
Like you're seeing all of them. You're seeing Peter's pregnant wife, and you're seeing Jack's girlfriend. You see Bill Murray's businessman character that's at the beginning. Yeah, yeah, well, yeah, it's interesting. There's probably some sort of symbolic thing going on there, but who knows what it could be. But yeah, you.

Sam (01:19:36.475)
It's completely irrelevant character.

Sam (01:19:48.27)
Yeah, well, I love that. Like. Good.

Eli Price (01:19:54.805)
I was just going to say you get all these people like in these different places, like literally different times and places and parts around the world. But on that sequence on the train, like it's like both figuratively and literally putting them all on a even playing field. And it's right when these characters are dealing with something, they're realizing like it's it's almost like a common humanity, like we're on the plane. And then you get the pan.

Sam (01:20:21.688)
Yeah.

Eli Price (01:20:24.597)
like the whip pan over to the tiger, which is kind of like, I think symbolic of just death or maybe like the inevitability of what we are as humans, like we live in the, because yeah, they, you know, it's a man eater, the tiger is. And so, you know, we all are going to live and die. And it's kind of like puts you all in this.

Sam (01:20:38.422)
mortality.

Sam (01:20:43.145)
Yeah.

Eli Price (01:20:50.541)
playing even playing field and I think that's something that the brothers are experiencing in that moment is why That sequence happens in the middle of that is because they're kind of coming to terms with their humanity But also like the common humanity of us all like all these people that they've encountered Whether it's you know the people in that village, you know their girlfriend They're they're all dealing with something and I think they're realizing that

Sam (01:20:59.438)
Hmm.

Eli Price (01:21:17.665)
They're realizing what they're trying to deal with, but also that everyone else is dealing with something too.

Sam (01:21:24.166)
Yeah, I think it's just that realization of and, you know, moment of some growth and some capacity that they take a moment to realize that it's, you know, like it's not necessarily all about them and their issues, but you know, it's something that everybody's dealing with this and we're all on the same train.

Eli Price (01:21:32.226)
Mm-hmm.

Eli Price (01:21:46.026)
Mm-hmm.

Eli Price (01:21:52.305)
Yeah, yeah. And, uh, yeah, I think the culmination of just that whole like train of thought is the differences in the feathers, the feather ritual scenes. Like the one where the first one they do, um, they're all like, they're trying to do it the right way, but no one actually knows the right way to do it. Um, but they feel like if I don't do it the right way, nothing real is going to happen, it's that control that they're trying to have.

Sam (01:22:15.542)
Yeah.

Sam (01:22:22.069)
Yeah.

Eli Price (01:22:22.257)
And then when they do it again at the end, you know, after their moms kind of left, left them there at that, I don't know what that place was, but, um, monastery or whatever, um, you know, they're doing this kind of improvise. They're all doing their own like little improvised, uh, little moves and yelps and stuff, uh, and it's kind of like that idea of we don't actually know what we're doing. Uh,

Sam (01:22:33.142)
Yeah, monastery. Yeah.

Eli Price (01:22:51.169)
but we're gonna do something and we're gonna try. And I think that that's very symbolic of whatever changes happened, you can see it there and the differences in those two feather ritual things.

Sam (01:22:53.513)
Yeah.

Sam (01:23:06.215)
Yeah, for sure.

Eli Price (01:23:08.929)
I guess just like a final thought that I had, that I thought was interesting to think about is something that's like kind of a common thread when you, like if you're like me and studying Wes Anderson films and reading a lot of Wes Anderson interviews, then you'll notice a common theme when Wes is talking about like the themes in his movies is

he doesn't really have answers for why this theme shows up. So like, you know, there's kind of a common thread of these deaths or traumas that kind of proceed the view of these characters' lives that you're experiencing in his movies. You know, it's in all of them really. And you know, when

Sam (01:24:04.109)
Yeah.

Eli Price (01:24:06.237)
Matt Zoller-Sise asked him about that. He said the same thing. I've heard him say in interviews with, a ton of different interviews with different people, is just that he doesn't really think about it in terms of what theme he's dealing with. He thinks about it in terms of the characters. So like when he writes, he's writing the character. He's thinking about like, what is this character gonna say or do, or why would they do it this way? And then like, as he writes,

that stuff comes to life out of it. And it's kind of this idea of artists, like whether it's filmmaking or whatever sort of art or whatever you're creating in a sense, like there are themes that come up out of it, but it's not, I guess the best way to put it, it's sort of like, I remember Wes saying something to the effect of,

You can't control the themes or the lessons that come out of filmmaking any more than you can what comes out of life as you experience it. And I think that's interesting just to think about, you know, as we're kind of reaching pretty much like the halfway point of Wes's filmography is, you know, we like to say like, oh, Wes has so much detail and control.

Sam (01:25:19.662)
Hmm.

Eli Price (01:25:35.905)
But when you hear him talk about it over and over through these first five movies, he's like, well, I wasn't really thinking about like, what lesson are people going to learn from this? I was just like making characters and these things came to life out of these characters. And it is very much like life in the sense that like. We are characters in a sense, like in the story of life, like if you want to call it that.

Sam (01:25:52.947)
Yeah.

Sam (01:26:04.482)
Yeah.

Eli Price (01:26:05.157)
We are like real people and we don't like we're not like planning. Oh, I'm going to learn this lesson. But it just life happens as we are who we are interacting with the world around us. And we learn and grow as we just like. Interact with ourselves and with others. And I just thought that was a really cool thing that.

Sam (01:26:16.558)
Hmm

Eli Price (01:26:33.341)
you see with Wes that I really appreciate is just he has that, um, uh, just awareness to know I can't control as much detail as he puts into his movies. He's not like trying to control, like these are the themes and this is what people are going to get out of this movie. Um, uh, he's just, yeah.

Sam (01:26:53.042)
Yeah, which is interesting. Like I wonder if there's other directors who...

Because I mean, that's one way to approach it, right? Like, I think if you start with characters, then the themes are a consequence of the characters. But I don't know that, because I think you could start with a story that contains a theme and you could, again, as someone who's never done either, I would imagine you could begin with a theme.

Eli Price (01:27:04.61)
Mm-hmm.

Eli Price (01:27:11.83)
Right.

Eli Price (01:27:19.853)
Mm-hmm.

Sam (01:27:32.094)
and design your characters around that theme. Like, so I think like it's just interesting that he feels like he has no control over the theme. That's just yeah, that's just interesting. Because I feel like there's a lot of people, a lot of movies made now that I feel like are probably theme first. And then they work back from that and those movies aren't as good.

Eli Price (01:27:35.423)
Yeah, yeah.

Eli Price (01:27:42.685)
Yeah. For sure, yeah.

Yeah, and it, it, it...

Eli Price (01:27:55.147)
Right.

Eli Price (01:27:59.485)
Or at the very least, plot first. This is what's gonna happen, and this is like... This is like the... Yeah. To make the plot happen, yeah. But yeah, but in a less bad movie sense, I guess now that you say that, it makes me think of the difference between, I guess...

Sam (01:28:05.33)
Yeah, and like these characters do these things strictly to like to progress the plot. Yeah. Yeah, that's interesting.

Eli Price (01:28:27.581)
Maybe not to the great extent, but the difference between CS Lewis's approach to fiction and J.R.R. Tolkien's, you kind of hear about how they disagreed about allegory and Tolkien would write characters and stories and language and built a world and you get the themes out of that because...

Sam (01:28:37.821)
Yeah.

Sam (01:28:43.584)
allegorian.

Eli Price (01:28:55.337)
You know, it naturally comes from it, but C.S. Lewis, like, almost had like the opposite approach, like he had this idea of what he wanted to get across and kind of like built the characters to make that happen. And, you know, both are really good in their own way. And maybe it's just maybe it's just like the difference in in our own personalities of what because like, I would prefer like Tolkien's approach, and I feel like his his work.

Sam (01:28:57.494)
Yeah.

Sam (01:29:12.37)
Yeah, but you you.

Eli Price (01:29:25.477)
I love C.S. Lewis's work. I've read a lot of it and it is powerful in its own right and does affect me. But Tolkien's really works way better for me and really speaks to me more. But that might just be because of my personality.

Sam (01:29:28.691)
Yeah.

Sam (01:29:43.722)
Yeah, well, I would just say which story has had a greater impact on culture.

Eli Price (01:29:49.437)
Yeah, that's true too. Yeah, it's talking, yeah.

Sam (01:29:51.518)
You know, yeah, yeah, yeah. Not, you know, not, not, nothing against Lewis and he has other books I think that have had huge impacts on culture. But if you're looking at sort of like fiction to fiction, there's no doubt that, that Lord of the Rings is one of the, if not the most like, like culture shaping books I think ever written.

Eli Price (01:30:01.581)
Mm-hmm. Yeah.

Eli Price (01:30:18.985)
Yeah. Yeah, for sure.

Sam (01:30:21.574)
And one of the best, some of the best books ever written too, like some of the best literature. But yeah.

Eli Price (01:30:26.557)
Yeah, but yeah, it's definitely something that I think is like when we, when you talk about Wes Anderson, like that you have to talk about because there is that, I guess that thought that most people have of like, oh, he's so in control of everything that happens in his movies. But that's like the one thing he even said, um, something to the effect of like, that's the one thing I don't talk to myself about is like the themes or the meanings.

Sam (01:30:54.335)
Hmm.

Eli Price (01:30:55.465)
He, like, he's not interested in, like, he's in, he, you know, he, he knows they're there and that they kind of happen as he writes his, as he does his writing. But he's not interested in, like, exploring that for writing. Yeah.

Sam (01:31:11.818)
Yeah. Well, and I think that's sort of the, you know, true artist approach, I guess you could say is like, I'm, I'm, I'm making my art and

Eli Price (01:31:18.694)
Yeah.

Sam (01:31:24.962)
Go find the meaning in it if you want to, like, you know, like whatever. Yeah, that's, yeah, and here we are. Exactly.

Eli Price (01:31:26.846)
Yeah. Uh huh.

Yeah, and we do and we are that's what we're doing Yeah Yeah, so yeah, I thought that was an interesting way to kind of just wrap everything up but yeah, what would you You know, I kind of always say every time we get to this little part ending talking about a film that like ratings are pretty like Useless and subjective, but I like talking about them anyways

Sam (01:31:59.169)
Yeah.

Eli Price (01:32:00.465)
But yeah, what would you personally rate this as far as like, I don't know, you can use a five star or a out of 10 scale. I don't care what scale you use.

Sam (01:32:13.15)
Yeah, is this just like as a movie or as like within Wes Anderson's catalog? Okay. I think as a movie, I feel like I'd probably give it a...

Eli Price (01:32:16.374)
Yeah.

Let's do both.

Sam (01:32:32.05)
I'd probably give it a seven out of 10. I feel like it's like it's a solid movie. And again, like you have to. I don't know. I always give the caveat that like it's a Wes Anderson film, which is just it's just a real specific kind of movie. And so it's like you may hate that. And so the rating means nothing to you. But I think, you know, I think I think it is a.

Eli Price (01:32:35.389)
Yeah.

Eli Price (01:32:39.337)
Right, right.

Eli Price (01:32:45.197)
Mm-hmm.

Eli Price (01:32:49.685)
Very, yeah.

Eli Price (01:32:53.94)
Mm-hmm.

Exactly.

Sam (01:33:01.35)
I think it's a pretty good movie, yeah.

Eli Price (01:33:03.369)
Yeah. Yeah. And where would you put it in Wes's like, you know, as far as like the ones you've seen? You don't have to like give a specific spot, but like top, middle, bottom.

Sam (01:33:08.014)
Um.

Sam (01:33:12.371)
Yeah...

Sam (01:33:16.914)
I would say, I'd say it's probably towards the top. More towards the top than the bottom, I guess. I liked it a lot better than Bottle Rocket.

Eli Price (01:33:19.744)
Okay.

Eli Price (01:33:23.366)
Okay, yeah. Yeah, I...

Sure, that's fair. Yeah, so for me when I was rating this, like my notebook has where you can kind of rate all the different filmmaking aspects, which is fun for me to sit down and think about. But I don't put a ton of thought into it. I just kind of sit down for a couple minutes and like, well, how was the sound design, whatever. But yeah, I was struggling.

Sam (01:33:29.291)
Yeah.

Sam (01:33:50.024)
Yeah.

Eli Price (01:33:57.301)
between a seven and an eight out of 10 for this one. And I don't think I've actually landed anywhere. Like I think I ended up writing down like 7.5, which I never do for movies. I usually try to stick to solid numbers. Yeah, but I was just like, I didn't know, cause there's aspects of it that I really like, but also just like out of his films, it's not one of the ones that are more like emotionally effecting to me.

Sam (01:34:09.671)
Yeah.

Whole numbers, yeah. Yeah.

Sam (01:34:27.32)
Hmm.

Eli Price (01:34:27.401)
I don't know why I just kind of feel more observer in this one than I do for others of his that kind of hit more emotionally for me, which is for me, like for some people that probably is a lesser degree for their like, if they were writing a film, but for me, like emotional impact is like a big part of my rating. Like I probably have some like

Sam (01:34:37.752)
Hmm.

Sam (01:34:54.007)
Yeah.

Eli Price (01:34:55.317)
Five-star ten out of ten movies that probably like as far as filmmaking goes probably shouldn't be that but they're just so emotionally Affecting to me that for me that that's what they are So that's probably why this one I would say this one is like one of his Like lower to your like bottom bottom third for me But but again like I think like seven to eight is like the lowest I have any of his rated which

Sam (01:35:06.587)
Yeah. Yeah.

Sam (01:35:15.733)
Yeah.

Eli Price (01:35:23.509)
means I like all of his movies. So it's not anything against this one. I just, yeah, it's just for out of his movies, I would, I guess it's like a bottom tier one for me. But yeah, yeah. So there's our useless endeavors section of the podcast. Yeah, so we're gonna.

Sam (01:35:25.664)
Yeah.

Sam (01:35:37.926)
Yeah, cool. Fair enough.

Eli Price (01:35:49.441)
pick up next week with Fantastic Mr. Fox. But we're also going to come back after a break and do some movie news and our movie draft section. So just stick around and we'll see you in a minute.

Eli Price (01:36:09.972)
The recording will keep going.

Sam (01:36:13.367)
Yeah.

Eli Price (01:36:14.209)
But if you need to take a bathroom or whatever, feel free, drink some water.

Sam (01:36:19.342)
Yeah.

Sam (01:36:23.042)
good right now.

Eli Price (01:36:25.481)
game. I'm going to go.

make sure wife and baby are okay and I'll be back in a minute and we'll pick back up.

Sam (01:36:37.398)
Sounds good.

Eli Price (01:39:26.765)
Ahem.

Sam (01:39:48.014)
All right.

Eli Price (01:39:49.121)
Sweet.

Eli Price (01:39:54.377)
I don't know if you can tell, but I'm like literally in my closet and it gets so hot. It gets so hot in here.

Sam (01:39:59.01)
I was gonna ask.

Sam (01:40:04.35)
Yeah, actually you can't see it, but we have a closet there that we converted into an office. So we just, uh, which I think is pretty cool, but yeah, if it was during the day or even now it's probably like, if you have the door closed, it's just like a good real scorch. Yeah. Yeah. Same. But I came out here, we have like bookshelves and that actually have here on a, uh, ironing board right now and I have a light.

Eli Price (01:40:08.256)
Yeah.

Yeah.

Eli Price (01:40:19.949)
Mm-hmm. Yeah, there's no fence in here. And so, but, uh...

Eli Price (01:40:32.038)
Nice.

Sam (01:40:34.374)
janky light setup so Those are slightly slightly better than Just the back of the wall Or the back of the door over there. I don't have any artwork in in our closet converted space

Eli Price (01:40:36.873)
Yeah, I can show you a-

Eli Price (01:40:51.353)
Yeah. Yeah, I was like, man, I've got the first episode. I didn't really have anything. And I was like, man, I've got to get something behind me. Because, yeah, it looks so dull. And I was like, oh, yeah, I have all these posters that are like in a box under my bed from like when I was single and like had posters everywhere. And

Sam (01:41:13.391)
Oh yeah, classic.

Sam (01:41:18.274)
Oh nice, yeah. The old stack of books.

Eli Price (01:41:18.33)
Yeah.

Eli Price (01:41:21.633)
The old stack of books. Yep. There's actually some talking in there, but you can't see it because it's kind of hidden behind the laptop. But.

Sam (01:41:34.378)
Nice. I think I see it talking.

Eli Price (01:41:38.441)
Yeah, I have like a shelf in my, yeah, you can kind of see it. I have a shelf in our, we each have like a small shelf in our bedroom of like kind of like a to read shelf that where we take books off of like our main book shelf and kind of put it on like, well, you know, I want to get to this in the near future. So these are just books from that and that I pull in here and stack up. Yeah.

Sam (01:41:43.948)
Yeah.

Sam (01:41:52.33)
Hmm.

Sam (01:42:01.758)
Nice. Yeah. Cool.

Eli Price (01:42:06.153)
Yeah, it's great. It's it's a. It keeps me humble, I guess.

Eli Price (01:42:16.425)
Yeah, well, I'm good to jump back in whenever you're ready. I kind of add in the call to action and stuff in the post. So I just kind of, I'll just edit it. You know, I'll just kind of clip all this part that we're recording out.

Sam (01:42:22.135)
Let's do it.

Sam (01:42:28.245)
Yeah.

Sam (01:42:35.006)
Yeah, I listened to the one about, um...

Sam (01:42:40.653)
bottle rocket. I thought it was interesting.

Eli Price (01:42:42.014)
Yeah, yeah.

Eli Price (01:42:45.833)
Yeah, so if you're good, I'll just kind of do a little pause for a second and I'll jump back in.

Eli Price (01:42:58.229)
Hey everyone, welcome back. I hope you enjoyed the first section of the show, just talking about Darjeeling Limited and the journey, the train journey that that movie took us on. But yeah, so we're gonna jump right into some movie news for this week and this week we're gonna talk about something I've.

I think is sort of interesting. And that is the, I guess, the time difference between theatrical releases and streaming releases. We're in the streaming age now. And I don't know. It's interesting to me the dynamic there of when is a movie released in theaters? When is it released on streaming? That sort of idea.

I don't know, is this something you've ever even thought of before, Sam?

Sam (01:44:00.53)
Yeah, I mean, I think Matt Damon had an interview recently where he talked about just sort of the business of how movies get made and how there was so much, you could recoup so much of your budget on the VHS or the DVD release back in the day. So like once it came out, you knew that you would...

Eli Price (01:44:10.905)
Mm-hmm.

Sam (01:44:23.854)
you know, even if theatrical release wasn't what you wanted it to be, like you knew you could make a ton of money on the back end when it was released to video. Um, and now I don't think that's there necessarily. Um, and I don't know what the economics of that are like.

Eli Price (01:44:39.517)
Yeah. Yeah.

Sam (01:44:46.838)
when you have major studios who have streaming like HBO Max or Paramount or any number of these, Amazon. What Disney, yeah, there's that one. What are the, yeah, how are they making the money after the theatrical release? I mean, I'm sure there's still a small contingent of like.

Eli Price (01:44:47.21)
Yeah.

Eli Price (01:44:53.466)
Mm-hmm.

Eli Price (01:44:57.694)
Mm-hmm.

Disney.

Eli Price (01:45:13.824)
Yeah.

Sam (01:45:17.346)
4k blu-ray DVDs that are sold like I think those will always be there But like vastly fewer than would have been sold 20 years ago

Eli Price (01:45:19.987)
Right.

Eli Price (01:45:27.52)
Yeah.

Eli Price (01:45:31.351)
Yeah, it's kind of like taking the same road that music took. I think music kind of went down that road before movies did.

Sam (01:45:36.307)
Yeah.

Sam (01:45:39.602)
Yeah, no, definitely, definitely. So yeah, I definitely think there, if it is gonna be a theatrical release, yeah, I don't know, like what is it? I think it used to be like maybe three or four months after a theatrical release that you could see it like at Blockbuster.

Eli Price (01:45:59.793)
Yeah, yeah, I think.

Eli Price (01:46:04.741)
Right, not even like see it just like on your TV immediately, but like you had to like go rent it or something Um or buy it

Sam (01:46:11.61)
Yeah, and hope that you would get, yeah, one of the available copies. Red box or, yeah. So, yeah, I mean, I don't know. I mean, I think it's it's it would still be good. I've never understood that like simul like simultaneous release. Because I feel like you're just. Unnecessarily damaging your.

Eli Price (01:46:16.587)
Yeah.

Eli Price (01:46:22.433)
Be a-

Eli Price (01:46:30.719)
Mm-hmm.

Sam (01:46:41.494)
your earnings at the box office. Like if, cause I think if it's a movie that's worth going to see, but then it's also available on a streaming service. Like at least someone in my position, like I hardly ever go to the movies. And so it's like, if it's available to stream, then I'll do that one. Like, like sure. It'd be great to see this in a theater, but

Eli Price (01:46:56.512)
Mm-hmm.

Eli Price (01:47:01.811)
Right.

Sam (01:47:05.854)
what's better than seeing it in a theater, seeing it at home rather than not seeing it at all. Yeah, yeah. And I mean, there's, and I'm still very much like of the mind that certain movies should be in theaters and there is a value to that. I think my current stage of life is such that like.

Eli Price (01:47:09.001)
Yeah, in your pajamas, you know?

Eli Price (01:47:19.893)
Yeah, absolutely.

Sam (01:47:27.63)
that that's just not a high priority right now. And so, you know, I'm all for streaming, but I also understand that that comes with a, it comes with some downsides for sure. But I don't know, what about you? Like, do you, are you okay with streaming stuff? Or are you a theater purist?

Eli Price (01:47:30.549)
Right.

Eli Price (01:47:41.769)
Yeah, for sure.

Eli Price (01:47:51.761)
Yeah, I don't know. I'm probably somewhere in between. You know, I'm like...

Eli Price (01:48:01.409)
I don't know, like I would like to think that I would be, you know, there's that kind of like, I don't know, him hipster mentality of like, yeah, you've got to see it in the theater, like. But like, that's not that's not really me. It's like I would I think it would be like, quote unquote, cool to be that way. But then just not that way. I watch a lot of stuff at home. And part of that, too, is

Sam (01:48:14.431)
Yeah.

Sam (01:48:25.936)
Yeah.

Eli Price (01:48:31.029)
You know, I've talked about this on past episodes, but just our local theaters, like we Lafayette, Louisiana is not like a huge city. Like we're a decent sized city, but and we have like a couple of theaters. But like they're theaters that will show like a movie. You know, I think I talked about this in episode one. It'll they'll show a movie like tar for like literally like a week and a half or two.

but they'll show Top Gun Maverick for literally a whole year, it seemed like. Every time I checked the theater listings, Top Gun Maverick was still there. Which, you know, it's a good movie in its own right. But I don't know, it's just one of those things where a lot of the movies that I wanna see in theaters, I don't get to.

Sam (01:49:15.49)
Yeah.

Sam (01:49:19.115)
Well, those... yeah.

Eli Price (01:49:26.721)
because our theater just doesn't show it or doesn't show it long enough where I can make the time to go just with the You know that like you said like the state of life I am in right now with you know kids and all that sort of stuff, so Yeah, it's

Sam (01:49:29.23)
Hmm.

Sam (01:49:37.376)
Yeah.

Sam (01:49:41.482)
Yeah, which I think, I think it brings back the idea that we should bring back the dollar theaters. Like, I don't know if you guys have a dollar theater there. But I

Eli Price (01:49:51.073)
Oh yes. We don't, but I went to those when I was a kid and then they disappeared. Yeah.

Sam (01:49:57.086)
Yeah, which I don't know why, but I feel like that would be an interesting venture because you could kind of do whatever movies you wanted to and you wouldn't have to be showing new releases. Which I think I've always felt that there would be a real niche there.

Eli Price (01:50:13.182)
Right.

Eli Price (01:50:20.204)
Mm-hmm.

Sam (01:50:25.706)
for a theater to just have completely eclectic showings of just great movies that do well in theaters.

Eli Price (01:50:32.768)
Right.

Yeah, and I think maybe the dollar theater, just the business model just kind of died out. It was probably the last dollar theater I remember, I was probably like, I don't know, in early teen, I was maybe 15 or so. And so that was 17 years ago that I was 15 is.

Sam (01:50:44.533)
Yeah.

Sam (01:50:59.123)
Yeah.

Sam (01:51:04.81)
Yeah.

Eli Price (01:51:04.885)
kind of the last time I remember there being a dollar theater close, anywhere close to me. But uh.

Sam (01:51:08.694)
Which I just, I just, yeah. I just wonder if there's not a place for them now that we're in the age of streaming.

Eli Price (01:51:19.237)
So, I've, something that I've thought about, if I had the capital and the time, that would be, I think the niche is, would be kind of a unique experience, movie theater. So when you go to big cities like Chicago and New York, you have these kind of art house theaters that might have two screens.

Sam (01:51:37.717)
Yeah.

Sam (01:51:42.248)
Yeah.

Eli Price (01:51:45.781)
but they'll bring in directors or DPs to kind of talk about a movie and then screen it. And they're screening with like real film. It's not digital screenings. They've obtained actual like film reels and maybe like some old movie gets restored and you do a special screening of it. And so I've kind of thought, just what the...

Sam (01:52:01.542)
Yeah, yeah.

Sam (01:52:10.356)
Yeah.

Eli Price (01:52:14.069)
the sort of age we are where people like going to coffee shops and getting real lattes. People are starting to collect records again. Just kind of having that old style movie theater where you have just one or two screens. It's not just like going to the movies to watch a movie, but like a whole experience. That's something that I think like...

Sam (01:52:31.305)
Yeah.

Sam (01:52:38.075)
Yeah. Yeah.

Eli Price (01:52:42.785)
There's probably a market for that, but I don't know. You know, maybe it works in big cities, but not really like anywhere else.

Sam (01:52:51.03)
Well, that's why I think like, I feel like a dollar theater could do well in just about any city. Because I think if you just, if you have a great selection, even if it's, even if it's just two screens, but you know, like you're, you're pumping out the hits or just interesting movies. And again, I, I'm sure it has to do with the licensing and all that, that makes it probably prohibitive.

Eli Price (01:52:56.329)
Yeah.

Eli Price (01:53:05.163)
Right.

Eli Price (01:53:09.302)
Mm-hmm.

Sam (01:53:17.546)
But if that wasn't an issue, then I think, like who wouldn't wanna drop, even if it's two or $3 per ticket, what is it like close to 20 bucks a ticket now to see like a new release, like 15 to $20?

Eli Price (01:53:33.885)
Yeah, like, I mean, in ours, so like, at our theaters, yeah, you're talking like after taxes, at least like 14-ish, 15, for a, not, for like a night, an evening showing, yeah.

Sam (01:53:43.466)
Yeah. I mean that's.

Yeah, yeah, which I mean that just does get expensive too. And so I think I think more people would be interested in movies again, like going to theaters if it also was a lot cheaper. So I don't know.

Eli Price (01:53:51.553)
Mm-hmm.

Eli Price (01:54:00.669)
Yeah, and you weren't paying $10 for popcorn also.

Sam (01:54:04.266)
Yeah, no, that's where you make your money. Like it's a dollar to see the show, but it's like $18. So you get some artisanal popcorn.

Eli Price (01:54:13.969)
Yeah, but yeah, yeah, so I think it seems like I remember reading that like typically the like the industry industry standard was like maybe around 90 days at a minimum before like movies would be released. And so I think that's generally still kind of what you see for most movies. But but like you said, when you have these studios that have their own streaming services.

Sam (01:54:29.879)
Yeah.

Eli Price (01:54:42.089)
Um, there's like a quicker turnaround. Um, and it's just interesting to see, like, I don't think anyone's really figured it out yet. Like what's the best way to do it? Because like you have companies like Disney with Disney plus, like they've done like simultaneous releases with some Pixar movies and they've done. Yeah. They like really quick turnarounds, but I think they're there. They're for them at least. Um,

Sam (01:54:45.301)
Yeah.

Sam (01:54:51.91)
Mm-mm.

Sam (01:55:03.848)
Yeah.

Eli Price (01:55:11.821)
Now you're starting to see like I had noted the Ant-Man quantum mania or whatever, which is obviously produced by Disney, you know, MCU movie. And I think the past few like Marvel movies that Disney's put out, there was one or two where they did like really close releases from theatrical to streaming. But now they are hitting kind of that 90 day mark.

Sam (01:55:22.932)
Yeah.

Sam (01:55:41.018)
Hmm.

Eli Price (01:55:41.213)
before they start streaming. And I think for Disney, you know, I think it's just the fact that it's Disney or it's Marvel or it's Star Wars and people will go to a theater for those movies just because of the nature of them being having that brand on it, that they weren't making enough money for these huge budget. I mean, those are huge budget films. And so.

Sam (01:55:57.271)
Yeah.

Sam (01:56:02.001)
Yeah.

Eli Price (01:56:10.309)
Maybe it is just like, are we making enough money to sustain making these types of movies? But then you have something like Air, you know, we were talking about it before the show. Like it had a really quick turnaround. So it released theatrically April 5th, and it started streaming less than a week ago. So like just over a month before it started streaming.

Sam (01:56:21.225)
Yeah.

Sam (01:56:27.107)
So come.

Sam (01:56:33.321)
Yeah.

Sam (01:56:36.672)
Yeah.

Eli Price (01:56:38.641)
Which is interesting and it actually had a pretty good theatrical run even though it was going to be streaming a month later and that was Amazon is the Production company for for that one

Sam (01:56:50.758)
Yeah. Well, you know, I think Amazon is unique because it like it doesn't rely solely on streaming, right? It's not never.

Eli Price (01:56:59.361)
Very true. But then but then again, like Disney makes so much money from merchandise that like in their parks and you know, I don't know how much money they make from the parks, but they have other they yeah. Yeah, they have other ventures that make make it, you know. I don't know. They're not solely dependent on making money off of the movies like a I don't know, like a A24.

Sam (01:57:05.89)
That's true.

Sam (01:57:12.314)
It's a lot. Like I think it's all a lot. Yeah. Licensing and everything. Yeah.

Sam (01:57:27.838)
Netflix. Yeah. Or Netflix. Yeah. Yeah. Yeah. I think it's interesting. I mean, who knows? Who knows what the right answer is?

Eli Price (01:57:28.689)
All A24 does is make movies. Sure, yeah.

But um...

Eli Price (01:57:38.769)
Yeah, but like I was I was reading and like, I didn't realize this, but apparently like with air, I was reading an article and they didn't even. They weren't even planning to have a theatrical release. Like Amazon came to them and they were like, hey, I think we should do like a short theatrical run, and they were like, oh, I guess we can do that. And but it's actually.

Sam (01:57:54.687)
Oh really?

Sam (01:58:04.856)
Hmm.

Eli Price (01:58:07.661)
The article was kind of talking about how companies are starting to use theatrical runs almost like advertising. So you do like a short theatrical run, you get a lot of buzz around. Now, obviously, it doesn't really work if your movie is terrible, I guess, and everyone hates it before it comes to streaming. But a movie like Air that got pretty good critical response, pretty good audience scores,

Sam (01:58:16.962)
Hmm.

Sam (01:58:28.262)
Yeah.

Eli Price (01:58:38.881)
and really just kind of generally seems like a fun watch or you know an interesting Film like it's almost like they do the theatrical run get the reviews get the you know Get people talking about it, and then they release it on their streaming service, and you have you know I would imagine you have a lot of people do a free trial and then forget to cancel and You get a bunch of you know

Sam (01:58:48.309)
Yeah.

Sam (01:59:05.459)
Yeah, yeah.

Eli Price (01:59:07.509)
people paying you for Amazon, for like Amazon streaming on accident. Um, I mean, that's happened to me. Like, Oh, I want to watch this movie free trial. Oh, there it comes out of the bank account next month.

Sam (01:59:11.455)
Yeah, exactly.

Sam (01:59:15.479)
No, that makes sense.

Yeah.

Yeah, I have to like, if I do that, I have to like set a reminder on my phone, like when I'm signing up. So it's like cancel that whatever service.

Eli Price (01:59:27.085)
Yes, I do too. Yes, exactly. But yeah, it's, it's just interesting. It's almost like different companies are figuring out different ways to, and it's kind of like, it's kind of like a, a post pandemic kind of like figuring out what to do with movies as far as like theater and streaming and all that. Um, but yeah, I think the article even said that.

Sam (01:59:51.432)
Yeah.

Eli Price (01:59:58.181)
The like box office numbers aren't back to like pre pandemic levels, but it's not actually that far off.

Sam (02:00:07.538)
Yeah. Well, I think people want to go to the theater. I think it's there's just a lot of movies that probably don't need to be in the theater. And so, you know, you're getting these mixed messages like, oh, the theater is dead. It's like, well, you just have a terrible movie. Like, it's not don't blame. Don't blame the public for not wanting to go see it. Yeah.

Eli Price (02:00:10.881)
Yeah.

Eli Price (02:00:15.486)
Right. Yep.

Eli Price (02:00:23.595)
Yeah.

Eli Price (02:00:27.453)
Right. Right. Yeah, you know, you're you've made a movie that everyone's already seen before. You know. Right. Yeah, it is, you know, it's interesting. It'll be interesting in the next, I guess, like decade to kind of see where things go. You know.

Sam (02:00:38.202)
Yeah, or that nobody wants to see. Yeah.

Sam (02:00:55.233)
Yeah.

Eli Price (02:00:55.905)
People still go to concerts. It's not like concerts are dead. Then records are making a comeback. It's a whole new industry. So it's just interesting. It'll be interesting to see where things go as far as like theaters. During the pandemic, there was the talk of like, will theater survive the pandemic? And it seems like they've come out on the other side and they're...

Sam (02:01:01.919)
Yeah.

Sam (02:01:05.503)
Yeah.

Sam (02:01:21.916)
Yeah.

Eli Price (02:01:24.845)
almost back to kind of where they were before. But yeah, it'll...

Sam (02:01:29.874)
Yeah, I mean, I think there's a lot of room for innovation, I think, in the theater space. And so I think they'll be fine. But I think their studios will probably just be more selective with what they send to the theaters versus what's straight to streaming.

Eli Price (02:01:33.718)
Mm-hmm.

Eli Price (02:01:46.881)
for sure.

Eli Price (02:01:50.697)
Yeah, or like, yeah, or, you know, just utilizing it in an effective way, like Amazon obviously has of like, basically using it as advertising, like, and get people on your streaming service. But um.

Sam (02:01:58.706)
Yeah. Yeah. Just using it for marketing. Yeah.

Yeah, no, I hadn't thought of that. And that's that makes sense, though, like.

Eli Price (02:02:10.941)
Yeah. Yeah, so we're going to move on and get into our movie draft section. If you are tuning in in the middle of this series and don't know what we're about to do, basically, I just describe it as like you want to pick the best kickball team. Obviously, it's suggestive like you're out, you know, and this is much more subjective than probably

actually being in the schoolyard picking your kickball team, you know, one by one. Um, uh, you know, when you obviously know who the best like, who's got the best leg to kick the ball out of the park. Uh, but, uh, but yeah, you, this is more subjective, but also like, it's just fun to go back and forth and see what each other thinks are the best. So we're going to, for this draft, we're going to.

Sam (02:02:57.164)
Yeah.

Eli Price (02:03:09.341)
stay on theme with a train and draft movies with on trains or with significant, you know, train scenes. So sorry, excuse me.

Eli Price (02:03:37.225)
Yeah, so we're going to basically draft movies with significant train scenes, whether it's just one scene in the movie or movies that take place on a train like the Darjeeling Limited. But yeah, we'll take turns choosing. And yeah, I'm interested to see what selections you have planned out. And I have some that that I really like.

So yeah, I hope you don't steal any of mine, but that I have some backups in case you do. But yeah, I'll let you take the first pick first time guest on the show. So where are you going to go with with the first pick?

Sam (02:04:11.331)
Yeah, yeah, I'm curious to see. Yeah.

Sam (02:04:23.834)
I think for the first pick I would say The Bridge Over River Quay. It doesn't take place on a train, but the whole point is to blow up a train rail and it's a classic film. I forget the director's name now, it escapes me, but it's a great, it's just a classic. And it's sort of...

Eli Price (02:04:33.014)
Mm-hmm.

Eli Price (02:04:36.435)
Right.

Sam (02:04:51.19)
train adjacent maybe, but you know, it's not the train movie. If you think of a train movie, it's not maybe one that comes come to mind, but it's trying to blow up a train. So it's, it counts.

Eli Price (02:04:58.909)
Yeah. No, that's actually...

Eli Price (02:05:04.949)
Right.

Yeah, yeah. Yeah, that's that's one I haven't I haven't ever seen, but it's definitely been, you know, on my radar at times. Yeah, that's that's a fun pick. Yeah. So, yeah, I'm going to go my number one. I've got to go with. I don't know. I have I have a few that I really like.

Sam (02:05:25.042)
Alright, what do you got?

Eli Price (02:05:36.393)
that I would probably put on an even playing field, but I'm gonna go with the one that is the most train, the most on a train, and that's Bong Joon-Ho's Snowpiercer. It's...

Sam (02:05:50.978)
Hmm feel like I started that I don't know that I've actually watched it all the way through

Eli Price (02:05:55.239)
Yeah.

Yeah, so it's one of Bong Joon Ho is, you know, he's Korean director. One best picture for a parasite a few years ago. But but he also has some English language film. Snowpiercer is one of those. And yeah, it's it's really interesting. It's kind of like this class struggle metaphor where you're like the the elite.

Sam (02:06:07.597)
Hmm.

Eli Price (02:06:26.853)
are at the front of the train controlling everything. And the further back on the train you go, the lesser you are as far as your class. And there's a guy that's trying to fight his way to the front of the train. And so there's a ton of like every new car you go onto, like there's something new and interesting as you move up. And there's some great action sequences that come out of that.

Sam (02:06:29.353)
Yeah.

Sam (02:06:36.468)
Yeah, yeah.

Sam (02:06:48.425)
Yeah.

Eli Price (02:06:56.237)
confined space. But yeah, it's a really fun one. So yeah, that's going to be my first train pick.

Sam (02:06:58.421)
Yeah.

Sam (02:07:06.942)
Yeah, that's it. That's a good one. And I think I've seen at least the beginning of it. So I'll have to go back and finish watching that one.

Eli Price (02:07:18.281)
Yeah, it's really fun. Yeah, where are you gonna go with your second pick?

Sam (02:07:23.502)
Um, well this, uh, just because of my affinity for, um, Siberia, I'm going to go with Trans-Siberian. Um, it's with Woody Harrelson. Um, Ben Kingsley, I think, is in it as well. I think maybe Kate, Kate Mara. Um, it's sort of a thriller.

Eli Price (02:07:42.365)
Okay. Yeah. I haven't seen this one.

Sam (02:07:49.558)
but mostly just because it's the Trans-Siberian Railroad and that's where most of it takes place. And so that's just, it's pretty epic. And I've actually been on the part of that railroad as well. So I think it would be, yeah, it's just kind of a neat, you know, the unforgiving cold of Siberia. So, and it's, you know, they get kind of tangled up. I think it's been a while since I've seen it, but there's some...

Eli Price (02:07:53.344)
Right.

Eli Price (02:07:57.771)
Yeah.

Eli Price (02:08:03.617)
That's really cool.

Eli Price (02:08:10.685)
Right. Yeah.

Sam (02:08:20.078)
I think drug smugglers involved and, you know, it's sort of the unknowing tourists that get sort of wrapped up in some nefarious dealings. So it's always fun.

Eli Price (02:08:33.713)
Yeah. Yeah. Yeah, that's another one I haven't I haven't seen. But it definitely sounds fun. Yeah, my so my second pick. I'm going to go with what is my my favorite M. Night Shyamalan movie, who is controversial in his own right.

Sam (02:08:45.665)
Yeah.

Eli Price (02:09:03.582)
or polarizing, I guess you would say. But unbreakable. Have you seen unbreakable?

Sam (02:09:11.238)
Yeah, it's a G.

Eli Price (02:09:11.701)
It's Bruce Willis, Samuel L. Jackson. It's like he becomes like a superhero, basically, Bruce Willis. Yeah, it's so it's really good. But the but it starts off with with he's on a train. There's a train wreck and he survives. He's the only survivor of this, like terrible train wreck. And so like that sparks like.

Sam (02:09:15.938)
Oh.

Sam (02:09:20.962)
I don't know that I've seen that one.

Sam (02:09:31.96)
Hmm.

Eli Price (02:09:41.977)
this like weird M. Night Shyamalan weird kind of route of Bruce Willis discovering that like, oh, I actually have super strength and like, can't get have these like interesting superpower kind of things. But yeah, it's it's a really, really interesting film. You know, has a good Shyamalan like

Sam (02:09:42.974)
No.

Sam (02:10:01.034)
Hmm, that's cool

Eli Price (02:10:11.381)
You know, plot twists, not one of the bad ones. You know, so yeah, it's a really fun film and actually like it's very dark and gritty as far as like the filmmaking goes. But yeah, it starts off with a bang with the train wreck that sets Bruce Willis' character down the road to becoming a superhero. Not your typical superhero flick. So if you're... Yeah.

Sam (02:10:16.715)
Yeah.

Sam (02:10:37.946)
Yeah, I can't imagine M. Night Shyamalan making a typical superhero flick.

Eli Price (02:10:42.933)
No, not in the least bit. This is not at all MCU. But yeah, a really good one.

Sam (02:10:49.786)
That's it. Cool. Yeah, I'll have to check that one out too. I'm glad that we're not overlapping. So I have some great recommendations. Yeah, for sure. This one you've probably seen, but it's, I think, a crowd favorite, which is the first Mission Impossible and the high speed train.

Eli Price (02:10:53.014)
Yeah.

Eli Price (02:10:57.577)
Yeah, this is fun. I'm getting some watch list. Yeah.

Eli Price (02:11:15.259)
Yeah, yeah.

Mm-hmm.

Sam (02:11:19.37)
riding on top of that. That's just, I don't know, I think it's one of the most epic train chase scenes. So I have to give it to the old Tom Cruise for that one.

Eli Price (02:11:27.422)
Yeah.

Eli Price (02:11:31.221)
Yeah, it's actually, I've seen the first one a long time ago, and I've just never gotten around to any of the other ones. So I really wanna do like a little personal marathon so that I can catch up and watch these last two as they come out over the next couple years. So, yeah, yeah, and I believe it.

Sam (02:11:44.69)
Yeah.

Sam (02:11:48.714)
I feel like they're remarkably good, like for being so many of them, you know, it's unlike maybe something like the Fast and the Furious franchise, you know, it's like, there's something about, and it's, you know, I don't feel like they're that complicated necessarily. It's like, it's kind of the same movie, you know, like.

Eli Price (02:11:56.147)
Right.

Eli Price (02:12:00.865)
Yeah.

Eli Price (02:12:11.936)
Yeah.

Eli Price (02:12:15.572)
Mm-hmm.

Sam (02:12:18.658)
the balance of powers and you know, the world is threatened and governments are trying to take power and it's up to Tom Cruise to save the day, but it just works. And I think I don't know, there's something has a lot of staying power with those. But yeah.

Eli Price (02:12:20.737)
Yeah.

Eli Price (02:12:24.439)
Right.

Eli Price (02:12:30.982)
Mm-hmm. Yeah.

Eli Price (02:12:37.041)
Yeah, it kind of like the John Wick films, like they're for some reason, like I still enjoy watching them, even though they all are like the same in some ways. Like. They're just.

Sam (02:12:47.935)
Yeah, yeah, I haven't seen any of those, so I need to... I'm getting a lot of movies I should probably go watch now.

Eli Price (02:12:56.161)
But yeah, yeah, so my third pick, I'm going to go with, I'm going to go with an old one and go with The General by Buster Keaton, which I did, yes. Buster Keaton is just a filmmaker actor that like, I have grown to just really, really appreciate.

Sam (02:13:10.579)
Mm. Classic.

Eli Price (02:13:26.401)
Like the last year, I listened to a podcast called Film Spotting. It's a pretty popular film podcast, but they do kind of marathons through directors or actors or something sometimes. And they did a Buster Keaton one that I kind of watched through along with the podcast. And man, it was it was just like fun and interesting and

There's actually a scene. So the general is the name of the train, his train. And it takes place like during the Civil War. He's kind of like caught in the middle between the two sides of the war. But really, his train gets commandeered, and he just wants his train back. And so there's literally a scene where he's chasing down his train with another train. And the train in front of him is like tossing

Sam (02:14:09.154)
Hmm.

Eli Price (02:14:25.405)
Like, I'm not sure what you call it. Maybe like the rail ties, like the the big, huge pieces of wood that go that, like that make up the tracks like they're tossing those onto the tracks, which would derail a train. And Buster Keaton is sitting. I don't know how he did this, but he's like sitting on the front of the train. Have you seen this? Yeah, it's incredible. Yeah, he's sitting on the front of the train and like. Like hat like.

Sam (02:14:30.751)
Yeah.

Sam (02:14:34.707)
Right, right.

Sam (02:14:44.882)
Yeah, I've seen that this part of it. Yeah. Yeah.

Eli Price (02:14:53.001)
somehow gets one of the rail ties like and is holding it. He saves his train from being derailed. And then like another one's coming up and he tosses that one onto the edge of the other one to flip it off the track while he's like literally sitting on the front of the train like he's the one doing the stunt. And I don't know. It's just like so fun to like you might think, oh, you just ruined that. And I promise I didn't like you have to just go watch it and experience it because it's such a fun movie.

Sam (02:15:03.892)
Yeah.

Sam (02:15:07.223)
Yeah.

Sam (02:15:18.409)
Yeah.

Eli Price (02:15:22.486)
And Buster Keaton is just like, I think he was a genius as far as like filmmaking goes. So.

Sam (02:15:28.362)
He was like a serious pioneer in movie making and like, he just did some wild stuff. Like, I mean, it was, yeah.

Eli Price (02:15:31.602)
Yeah.

Eli Price (02:15:37.081)
Yeah, he was doing meta before meta was popular too, which is really fun. Yeah, The General is a good one.

Sam (02:15:44.19)
Yeah, yeah, that's a that's a good one. Let's see here, I guess. So I'm going to this isn't technically a movie, although it has been made into a movie. It is an episode. So there are several movies of this, but I'm going to recommend.

Eli Price (02:16:01.939)
Okay.

Sam (02:16:11.674)
the version of it that was featured on a TV show called Poirot from Agatha Christie and that's Murder on the Orient Express but it's with David Suchet and that version of it I think is probably the best. I think he's the best Poirot on screen and so I would you know that's a that's a classic

Eli Price (02:16:23.54)
Okay, yeah.

Eli Price (02:16:34.93)
Okay. Yeah.

Sam (02:16:41.57)
whodunit and it's just fun. And I think David Suchet, I think is, I feel like is the embodiment of Agatha Christie's Poirot. If you're not familiar with Poirot, he's the Belgian detective with the mustache and it's a lot of fun.

Eli Price (02:16:43.026)
Yeah, absolutely.

Eli Price (02:16:54.347)
Okay.

Eli Price (02:16:59.359)
Right, yeah.

Eli Price (02:17:04.713)
Yeah, that's that's I'll have to check that out. The only one I've seen is the Kenneth Branagh most like the recent version, and I wasn't a big fan of it.

Sam (02:17:13.702)
Yeah. Which I... No, I'm not either. Like, I just...

Sam (02:17:21.618)
Yeah, I just don't think he was right for the part. Like, I don't think he was, yeah. But I think David's sous-che'd. I feel like he's the best that I've seen anyways.

Eli Price (02:17:25.011)
Yeah.

Eli Price (02:17:34.025)
Yeah, I'll have to check that out because I do like, like I could Agatha Christie's work. Like I think she writes some fun stuff, but it's just not always like adapted very well, I guess.

Sam (02:17:39.786)
Yeah.

Sam (02:17:47.102)
Yeah, well there was one with Bill Nihi or Nahi called The Never-

Eli Price (02:17:52.236)
Yeah. Yeah.

and then there were none.

Sam (02:17:56.866)
Then there were none, yeah. Did you see that? I feel like that was, it was a really, yeah. The movie with Bill is really, really good, I think. But I'm a sucker for those, so.

Eli Price (02:17:58.621)
Yeah, I haven't. I've read the book. The book is great. Yeah.

Eli Price (02:18:12.181)
Yeah. All right. Yeah, I guess it's my turn again. I'm. Man, I'm. I'm struggling here between a few. I wrote down probably too many. That makes it hard for me to pick. I'm going to go with one I actually watched last week. So maybe it's recency bias, but it's the trained abuse on. Have you seen this?

Sam (02:18:42.507)
Mm-mm. No.

Eli Price (02:18:43.069)
It's it's it's a Korean. It's actually a Korean film. Just pull it up. The director is Yon Sang Ho. It's a Korean zombie film on a train. Yes. So it's just the concept is already awesome before you even watch it. But yeah, it's I watched it last week. Just.

Sam (02:18:57.942)
That's awesome.

Sam (02:19:04.251)
Yeah.

Eli Price (02:19:11.421)
It had been a movie that I had wanted to watch for a while because I'd heard great things about it. And I just kind of saw it and was like, I think I'll watch this finally. Just one of those kind of nights. And man, it was for one, it was a really fun movie. Very like he does very well using the train. You know, they're on this train in the middle of a zombie, you know, breakout. But yeah, just using the train for tension.

Sam (02:19:16.712)
Yeah.

Eli Price (02:19:41.341)
he does very well, which sounds easy, but I don't know, the way he does it is, you know, it's not like super campy or just like what you know, what you would think. So yeah, he it's, it's fun just as a zombie movie, but also there's this like father daughter kind of relationship going on that really like

Sam (02:19:41.771)
Hmm.

Sam (02:19:58.061)
Hmm.

Eli Price (02:20:08.989)
grounds everything and like bring some real heart to it. Like, man, I was like, there's a sequence towards the end with a daughter that just like had me tearing up a little bit. And I was just like, man, I did not expect to be like this emotional at the end of a zombie movie. So, yeah.

Sam (02:20:11.17)
Hmm.

Sam (02:20:24.47)
Bye.

Sam (02:20:30.226)
Yeah, well, I've realized that I do not do well with father-daughter story plots. Like, since, because I have two daughters, and since becoming a father, it's like, man, I cannot handle, like, even like, there was a movie with Chris Pratt, I think it was straight to streaming.

Eli Price (02:20:39.176)
Yeah.

Sam (02:21:01.542)
It was an okay mood, like it was fine. Like he has to like go to the future, I think. Alien invasion, I forget the name of it even, but there was a father daughter storyline in there and it's just like, oh, you know, then it's like, yeah. Even Interstellar, like I watched that again the other day and it's like, whoa, man, like that'll just send you on a trip. Yeah.

Eli Price (02:21:04.862)
Right.

Eli Price (02:21:17.131)
Yeah.

Eli Price (02:21:21.253)
Oh yeah, interstellar. Ooh, I can't.

The scene where he's watching, like watching on the screen and like you're not, you're just watching his face and like, like, I don't know, it gets me every time. I know it's coming, but I can't like prepare myself for it, even though I know it's coming. But yeah, there's, there's trained abuse on Korean film. So you know, I'm all about watching foreign language.

Sam (02:21:31.839)
Oh yeah.

Sam (02:21:39.442)
Oh yeah.

Sam (02:21:43.09)
Yeah, yeah, that's cool. Zombies on a train, yeah.

Sam (02:21:57.842)
Yeah. Yeah. Yeah. I've been watching a lot of French films lately, so I'm all about foreign language films as well.

Eli Price (02:21:59.067)
get some different perspectives from around the world.

Eli Price (02:22:09.277)
Yeah, there's a lot of great films that come out of Korea. I don't know. Yeah.

Sam (02:22:13.418)
Yeah, I haven't seen too many Korean films, so I'll have to do a little education.

Eli Price (02:22:18.933)
Yeah.

Um, yeah, so train abuse on my fourth pick. Where are you going with your last pick? We're going to draft five

Sam (02:22:27.358)
Well, I think since this is the Darjeeling limited episode, I feel I must put that one in there. And it is, I think, a great, it is a really good train movie. And I think they use the train exceptionally well. I think it's pretty.

Eli Price (02:22:38.301)
Okay.

Eli Price (02:22:45.802)
Yeah.

Eli Price (02:22:50.629)
Mm-hmm.

Sam (02:22:53.566)
you know, Wes Anderson's a clever, a clever guy and a clever director. And so I think as far as train movies go, it's, I think it's, it's, it's up there. Um, so, and we've spent a whole podcast talking about it, so I won't need to expand on that anymore. Just go see it if you haven't.

Eli Price (02:23:08.165)
Right. Yeah, it's. Yeah, it's it's fun. It's just just watching what he does with the train is just fun. But we've we've talked about that for a while earlier, so. Yeah. It would probably be close to the pick for me, but I'm struggling here. Like I have several written down that.

Sam (02:23:19.284)
Yeah.

Eli Price (02:23:37.173)
Like I'll just blow through these. So like Bullet Train that came out last year was a really fun movie. Just kind of like a, um, not self serious at all kind of action comedy that is just, it's fun to watch when people do those well and that they don't take themselves too seriously. Um, that was Brad Pitt in that, um, it was, it's fun. It was a fun movie. Um, it's not like some fantastic movie, but it was fun. Um.

Sam (02:23:56.471)
Hmm.

Yeah, yeah, yeah, yeah, okay.

Sam (02:24:05.452)
Yeah.

Eli Price (02:24:07.645)
You have, I mean, Spider-Man to the scene where he's like trying to having to decide, you know, he's holding the train up and having to decide to save everyone or, you know, the girl. Great scene. Yeah, classic scene. I could go there. You go planes, trains and automobiles like Steve Martin. Yeah. Yeah. Which is a fun one.

Sam (02:24:15.256)
Yeah.

Sam (02:24:22.227)
Yeah, classic.

Sam (02:24:31.664)
Yeah, throwback.

Eli Price (02:24:36.681)
But I think I'm going to go just to get some more versatility with all of our picks. I'm going to go with the opening sequence in Toy Story 3, where you have it. It opens, you know, it opens with Andy's playing, but you kind of see it animated out like as if it's really happening. And there's Mr. Potato Head is like the outlaw. And you have like Woody and Jesse.

Sam (02:25:04.922)
Oh, yeah...

Eli Price (02:25:06.605)
And I'm forgetting the horse's name, Bullseye. Like there there's a it's a whole like train heist kind of thing going on with Mr. Potato Head. And yeah, those scenes are just so fun where they they kind of animate Andy's play as if it's like really happening and then like cutting cutting back to like his his room and seeing all the toys. Those are just.

Sam (02:25:13.319)
Yeah.

Sam (02:25:17.614)
Yeah, yeah.

Sam (02:25:27.856)
Yeah, yeah.

Sam (02:25:34.636)
Yeah.

Eli Price (02:25:35.681)
Those are just like fun sequences and it's not like anything super meaningful, really, for the for that movie. It's just the opening sequence, just a fun intro. But yeah, it's it's fun to get some some Toy Story and every once in a while. So I'll go with I'll go with that to I don't know, we need some animation in there.

Sam (02:25:47.027)
Yeah, that's great.

Sam (02:25:53.486)
Oh, for sure. Yeah.

Sam (02:25:59.546)
Yeah, for sure, for sure. Well, good.

Eli Price (02:26:01.261)
Hehehe

Yeah, so that's our that's our movie draft for today, the train draft. I'll just read through these real quick. Sam had the bridge over the River Kwai, Trans-Siberian Mission Impossible, Murder on the Orient Express, but the TV version with remind me of the actor's name. David Suchet, that one, not Kenneth Branagh or any of the other ones.

Sam (02:26:24.07)
Yeah. David Soushey.

Eli Price (02:26:33.065)
And the Darjeeling limited so great five Flicks there and then I had snowpiercer unbreakable the general trained abuse on and Toy Story 3 so yeah The fun the fun thing about this section is Hopefully people get some movies on their watch list that they've never seen or heard of and Yeah, that's that's kind of one of the fun things about this segment

Sam (02:26:57.304)
Yeah.

Sam (02:27:01.206)
Well, I've certainly got some on mine, so.

Eli Price (02:27:03.953)
Yeah, yeah. But yeah, so we're just wrap things up with some recommendations of the week. Do you have something planned for your recommendation?

Sam (02:27:17.278)
Yeah, I would, if you want a great, if you're into British television at all, and if you like his work in Top Gear or the Grand Tour, then I would definitely recommend Jeremy Clarkson in Clarkson Farms. Season two is out now on Amazon and it's just, it's a, I mean,

Eli Price (02:27:34.38)
Mm-hmm.

Sam (02:27:46.302)
I really like him as a presenter in his other roles. And the farming one is just, I love it. Like, it's just fantastic. Like, I feel like it's reality TV at its best. And I think it's highlighting, you know, the serious struggles of agriculture.

Eli Price (02:27:57.717)
Yeah.

Sam (02:28:09.542)
um especially in the uk uh but it's it's it's a lot of fun so i would recommend that it's some some easy watching um you know nothing too serious yeah what about you

Eli Price (02:28:20.233)
Yeah, kickback. Yeah. Yeah, I've seen I've seen Top Gear like in passing. My dad, I know my dad's watched that in the past, so I've seen a little bit while he was watching it back in the day. But yeah, I haven't I haven't really watched. So, yeah, that's I'm sure that's interesting with agriculture being on an island. You're like you're in a contained space, like in figuring out what to do there.

Sam (02:28:27.187)
Yeah.

Sam (02:28:36.864)
Yeah.

Sam (02:28:44.035)
Yeah.

Sam (02:28:49.03)
Yeah, well, and you're just, it's amazing, like the regulations that like the UK has for, you know, and of course, like knowing Jeremy Clarkson, it's so anti the man as it were, but so it makes for just some really good, really good TV.

Eli Price (02:28:50.501)
I'm sure it's...

Eli Price (02:28:57.775)
Mm-hmm.

Eli Price (02:29:03.486)
Yeah.

Eli Price (02:29:08.625)
Yeah.

Eli Price (02:29:12.837)
Yeah, yeah, yeah, that's cool. Yeah, my recommendation this week is just to utilize your public library. It's something that I started doing several years ago, really, regularly. Obviously, there's books at your local library.

But a lot of people don't realize there's usually a huge selection of movies, physical copies, in a lot of libraries right now to have a streaming service through your library card. I think there's one called Hoopla or something. Yeah, yeah. There you go.

Sam (02:29:48.683)
Yeah.

Sam (02:30:03.474)
Yeah, I have that. I'll pull it up right here. I'm a huge, huge, huge advocate for the library, so that's great.

Eli Price (02:30:10.965)
Yeah, so my library doesn't have the streaming things. I need to send some emails and get them on that. But they do have a good selection of physical copies. And even if your library doesn't have a film that you can't find streaming that you want to watch, you can get it on interlibrary loan. Like you can request your library to get it from a library that does have it. So.

Sam (02:30:35.182)
Mm-hmm.

Eli Price (02:30:40.393)
Yeah, just I've, you know, I just earlier this week, um, checked out mirror, uh, by, uh, Tarkovsky and, and watch that it wasn't is I think it's streaming on Criterion channel, but I don't have that, that service right now. And so, um, so that was the only way I could watch it and it's free, you know, well, I pay for all my taxes, but it's essentially, I don't see that money. So it's free to me, I guess.

Sam (02:30:56.55)
Yeah.

Sam (02:31:01.696)
Yeah.

Sam (02:31:05.486)
Sure.

Eli Price (02:31:10.065)
Um, but yeah, you know, you don't, you don't have to pay for all the streaming services if you don't want to, you can just use your library and watch whatever movies or even TV shows you want. So that's my recommendation of the week is just, yeah, you use your public, use your public library. Um, you know, take advantage of what you're already paying for with your taxes, I guess.

Sam (02:31:11.477)
Yeah.

Sam (02:31:34.93)
Yeah, here, here. Yeah. I second that recommendation for sure. And I hadn't even thought about getting physical, um, DVD rentals because we have our library, we have like the app and so they have a ton of good audio books on there and, uh, and then, and then there's, they've also got movies and TV, but, uh, but yeah, the interlibrary lending, that's clutch.

Eli Price (02:31:45.982)
Yeah.

Mm-hmm.

Eli Price (02:31:53.771)
Right.

Eli Price (02:32:02.413)
Mm-hmm. It is. And I would recommend, too, if people are unfamiliar with Criterion, they basically get remastered stuff or some stuff is new and doesn't need to be remastered. But they just put out. It's kind of like a curated library that they have at Criterion Collection.

Sam (02:32:25.015)
Mm-hmm.

Eli Price (02:32:28.709)
And the cool thing is on their discs, it's not just like the film, but it's it's like just tons of extra features like and I'm not talking about like, oh, I got the bonus features on my like DVD. I mean, they have like extra documentaries and like they have like galleries of like stills taken behind the scenes. Like I've been watching through all of the Wes Anderson movies so far on like criterion discs like I have.

Sam (02:32:47.403)
Hmm.

Eli Price (02:32:58.377)
Darjeeling limited the little criterion right there And even like this poster this grand Budapest poster behind me Was in the in the sleeve for the grand Budapest criterion this that I bought So yeah, they they just they have so many extra features. So like like mirror has like a Tarkovsky documentary that his son made about his

Sam (02:33:09.326)
Hmm.

Eli Price (02:33:27.881)
I don't know, his fly for filmmaking or something that I think would be cool to watch sometime. But yeah, so I would recommend looking up if a movie's on criterion, then definitely get the physical criterion copy from your library and dig into those extra features because there's some cool stuff in there. But yeah. Yeah, so that's our recommendations for the week. Sam, before we go, why don't you plug?

Sam (02:33:34.367)
That's awesome.

Sam (02:33:47.842)
Sweet. Cool.

Eli Price (02:33:58.542)
Either like your social media or if you want to plug Black Abbey Ministries or Blanking the collision. Yeah. Yeah. Yeah, go ahead and plug whatever

Sam (02:34:09.086)
The collision, yeah. Yeah, I'll plug the collision since that's where stuff happens. And my social media is mostly crickets, but you can check out the collision.org. And we do a lot of movie reviews on there. We discuss a lot of pop culture stuff. We've got...

Eli Price (02:34:23.117)
Hehehe

Eli Price (02:34:32.877)
Mm-hmm.

Sam (02:34:38.214)
a weekly live stream Thursdays at noon that's on YouTube and Facebook. We stream it there. And we just talk about Christ in culture and what's happening in pop culture and how is Christians to engage with that. And we have a lot of great articles and stuff on the website as well.

Eli Price (02:35:01.79)
Yeah.

Eli Price (02:35:07.849)
Yeah, yeah. Yeah, that's that's great. And I've I've. Partaking in some of the content there, it's always really good. So, yeah, I'll I'll make sure to link that in the episode description so that people can can just click that link there and find their way over to the collision. But but yeah, that's all we've got for this week. Thank you, Sam, for joining me for this episode.

Sam (02:35:22.184)
Awesome.

Sam (02:35:29.322)
Yeah.

Eli Price (02:35:37.249)
And don't forget that we will be back again next week to talk about fantastic. Mr. Fox Should be a really fun episode so Yeah, look forward to that and Yeah, we'll see you next time on the establishing shot

Sam (02:35:56.226)
Thanks.