Fruit Cart Flicks
Fruit Cart Flicks
Micro-Cart - Ep. 1: Pandemic Love Scenes | Last Three Movies Watched
Ken and I are pleased to launch a bonus series, Micro Cart!
Get ready for some short bursts of listening enjoyment that will be big on movies (streaming and theatrical), micro-movie reviews, Old Hollywood, trivia, on-the-spot impersonations, and much more!
Ken and I talk about shooting love scenes during the pandemic and how the idea of revisiting old Hollywood sounds promising.
We also give quick feedback on the last three movies we have seen.
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Hey folks. So Ken and I brainstormed about smaller doses of fruit cart flex, and thought it best to release a mini sized episode maybe like two or three a month. We both feel that a podcast should be fun and informative for listeners but also a refuge from the blasting of everything COVID-19 that fills up our news feeds. With that said, we want to discuss all things movies, without ignoring what's going on around us. So here we go. the launching of our first mini cart, Episode One in a way we go. So how the hell are you my man
Ken Tabacchi :okay.
Michael Green :How's life treating you?
Ken Tabacchi :Remember what I was going to talk to you about, but guess it's okay. It wasn't important.
Michael Green :So from the last podcast you mentioned, watching the outsiders on a plane. So I put it on my queue. Because you said something that struck me You said it's the most mediocre No, you said something here. solidly media. Yes, solidly mediocre. solidly mediocre. So I put it on my queue and like I I haven't seen it since I was a teenager.
Ken Tabacchi :Yeah, that's don't put at the top now. It's not that it's very, very plain and pedestrian. Ralph macho is just like, what is this kid even? I think it was the karate was it before? I don't know if it's before or after Karate Kid,
Michael Green :but I think it was right before 83
Ken Tabacchi :that's a real stinker of a performance.
Michael Green :And number three, just randomly number 3am I With a sword of doom, because I need to put some more Samurai movies on there from our first quiz cart got
Ken Tabacchi :me thinking. I thought you said Dune. You know, they're remaking Dune.
Michael Green :Yes. Does David Lynch have anything to do with it? No.
Ken Tabacchi :God, that was such a flop. I couldn't even finish it. I tried like three or four times to get through it and like this is awful.
Michael Green :I haven't seen it.
Ken Tabacchi :It's it's the interesting thing is he didn't go the whole sci fi like stainless steel, you know, bright spaceship. Kind of futuristic. It's very, the aesthetic is is like wood, wood and bronze and gold material. So you're in the spaceship and it's like these, these bronze kind of levers. You know, it's not like a typical Star Trek where it's a light up board and you just push the red button right? So the aesthetic is just different than everything in Star Wars 2001 Star Trek, but
Michael Green :That bad, huh? Now there was a wasn't it like a five hour plus version? Yeah. So you saw that one?
Ken Tabacchi :No, it's like three, like that. Okay.
Michael Green :And I never got around to it because of what you and others have said to me about it.
Ken Tabacchi :There's nary a movie that I can not finish. Even if it's bad. I can get through it. Yeah, this was literally three, four sessions like, and it would just be 30 minutes each time I can't take anymore. And that's just weird for especially for David Lynch in me like I love 90% of his movies.
Michael Green :I felt that way seen Inland Empire. I saw that in Pasadena in the theater. And I walked out.
Ken Tabacchi :I appreciate it. Appreciate it for what it is that just like a bunch of vignettes and it's weird and discoverable. But yeah, there's one. There's one scene with I don't know where he found this. This Japanese actress, but pretty powerful and strange. You're talking about
Michael Green :alien Empire? Yes, I might give it another shot.
Ken Tabacchi :You see the scene with a homeless Japanese girl?
Michael Green :I'm not sure if that was in the theatrical version.
Ken Tabacchi :It was well, you might have walked out it was near the end. Yeah.
Michael Green :Yeah, they walked out.
Ken Tabacchi :It was just surreal. Because he's just such a oxymoron. You know? You know, think of like, Japanese female immigrants being druggie and living on the street. And she tells a story about one of her friends. That's just Gosh,
Michael Green :I'll give it another shot
Ken Tabacchi :just just for that scene. I've googled that. I've youtubed that. Laura Dern. It's when she just gets shot. I think she dies on the street. And then there's these two people just commenting about stuff. weird stuff. And this this, this homeless black lady comes up and says, You die and lady. Don't worry. Diane is all.
Michael Green :Oh, I thought it was a self indulgent Lynch. Yeah. exercise
Ken Tabacchi :for sure. Yeah, yeah, for sure. And then there's a little vignettes with Naomi Watts, and she's playing like a rabbit. This does have nothing to do with the movie. And these go to these asides. Yeah, but
Michael Green :I gotta say the opening intrigued me. It was way, way out there Lynch with it with a rabbit watching TV. And yeah, it just had me intrigued. But well, I'll just kick this off, Ken. The format of this is simple, it's small, it's short. And we just throw out a few fun things and Want something new perhaps if you guys suggest, we would love to hear anything, even if it's a curveball with movies, even if it's obscure, so this week, we just want to keep it simple. And who knows under 30 minutes?
Ken Tabacchi :Hello my Droogie. How are you?
Michael Green :I'm great. Good to be here again, with you. Likewise sounding sexy. What a good job and your recollection with the Apocalypse Now recording the source material you had read again. And I really enjoyed that. I really enjoyed to hear everything with deep delving and analyzing and, you know, comparisons to the film and the source materials. Fantastic.
Ken Tabacchi :I thought you did a nice job editing, editing that too Phil Spector.
Michael Green :I'm getting there.
Ken Tabacchi :Looking forward to your wall of sound.
Michael Green :Yes. So I'll jump right into it. You know, with everything going on the obvious doesn't even need to Be the Big C word doesn't even need to be mentioned. But I thought it was interesting to read how, during the pandemic, love scenes are being shot a little bit more differently more creatively. And what struck me about that was that the creativity aspect of it is to pay homage to the classic Hollywood movies were silhouettes, and a lot of fades to black fade to blacks and creative lighting would insinuate that and more artistic Yes, so more of that these days. I'm kind of looking forward to although you know with with soap operas, this is not movie related but with soap operas, that's the theme with the melodrama is sex so the viewers rely on that and I'm wondering how they're gonna tackle that on but but movies itself I mean, there's with a with a larger budget, there's all kinds of things they can do.
Ken Tabacchi :Yeah, for sure. Be creative. It it harkens kind of Reminds me though of a movie that I'm going to talk about was it's 100 year old movie by dw Griffith called intolerance. And there's actually nudity, which, which really surprised me. So, and he kind of pokes fun at some of the reformist it was just pre prohibition at that time. Yeah, it was it was it was the reform culture in America right before prohibition. And a lot of the reformist were kind of maybe religious or conservative reformist. So at that, I think that that that point that movies turned and started being a lot more conservative when what they would show regarding sex and nudity.
Michael Green :So what did they show a breast or full frontal?
Ken Tabacchi :Yeah, there's there. Some girls are wearing some shear outfits. It's historical, like back in the days of ancient Babylon, and they weren't some shear. I think it's the Kings harem or something. So you can definitely See, like, their boobs through there? Or naked butts or just like a side view of a topless woman. But it's it's all you know, there's no high def. So it's it's almost true. It's almost hard to tell it's almost as if I could watch it in with my grandmother and not even be embarrassed that kind of thing
Michael Green :that was lighting a factor to not sort of have this sort of it
Ken Tabacchi :wasn't out there like you know, just boobs in your face but it it was there if you if you noticed it
Michael Green :haven't seen in my man
Ken Tabacchi :topic for Mr. skin. Sure.
Michael Green :Well, you know, any scene that would require close, prolonged contact is challenging, intimate scenes are the most obvious example. So this is just my thought. What could happen as an alternative and Spike Lee comment on this, he said and I quote love scenes. intimate love scenes. That's number one for me, maybe we just do what they used to do back in the day with a couple's kiss. And then you fade the black.
Ken Tabacchi :Sure, why not? Yeah, be more artistic because they've done the whole thing is there so it showed everything they can show. Full Frontal and shocking. I don't think there's anywhere to go with that. But that's a kiss. It's still virus passing. No.
Michael Green :Well, I mean, can they do it with this creative sort of distance where the camera in the you have a subject in the foreground in the background, but then it's shot with that trickery that appears that they're close on? Hmm.
Ken Tabacchi :And that might look a little fake.
Michael Green :Yeah. So that should be interesting. You know, and I, I know that probably very soon, we're going to start to see Whether streaming or in the movies, we're going to see not much of that. Probably not starting until next year because a lot of stuff has already shot before the pandemic. Yes. So it may be a while.
Ken Tabacchi :But do you think Let me ask this Do you think that's going to be kind of a battle cry for the more conservative and prudish that? Oh, we shouldn't. So any sex, human sexuality, because we're just against it. And kind of like a second reformist wave 100 years later. I mean, like, from a
Michael Green :movie going perspective.
Ken Tabacchi :From a from a Hollywood movie perspective, and yeah, the Puritan kind of Victorian okay. I don't know what you call that. Just a prudes, I guess, thing. Oh, there's too much sex in movies. Yes.
Michael Green :for lack of a better adjective. Sure. No, I. I mean, as fathers that's interesting, because as far Don't you feel that you are sort of looking at something and feeling it's gratuitous? And then that it wasn't exactly connected with the plot? So it depends on what threshold we're talking about here.
Ken Tabacchi :Yeah, I mean, you rely on the rating system for that. However, with streaming movies on demand, you know, you may get some things you might not think is appropriate for your kids. Right? But if you go based on the rating, should be fine pG 13 remember when there was PG and R and there was no pG 13? In so PG movies would end up getting like, you know, a butt shot here and there. But these days, that would be automatically pG 13.
Michael Green :Oh, and it was like a kid in a candy store when pG 13 came out. In Red Dawn was the first one dreamscape I think was the second one. And do you know which movie kind of put that in motion Darryl Hannah in Splash? I believe that was Part of it. I believe Steven Spielberg was at fault for Temple of Doom. And also for the penis. Mention from Elliott and ET. And also et Yeah, of all people, I mean of all movies, family movie from Spielberg. And he kind of pushed the envelope with Temple of Doom at the heart pulling out scenes and
Ken Tabacchi :there was never reminds me of Jaws. There was some little bit of nudity.
Michael Green :Yeah, graphic violence.
Ken Tabacchi :But as you know, I'm not a I'm not a sequel guy. Right? You're gonna have to prove to me that the sequels worth a damn otherwise I'm just gonna be kind of snooty and pretentious about it. So I have not seen Temple of Doom. What was what was from that? It's solidly mediocre to quote, to borrow a phrase. Thanks.
Michael Green :It's a decent middle chapter. But are you asking what scene was it that that propels That sort of compelled
Ken Tabacchi :Yeah, the scene you mentioned that was you thought was a little risky.
Michael Green :Well, there was a cult scene very, it was shot very. The tone was very dark and a lot of fire and lava and the cultists pulls the heart out of a guy and the cutting of it quite quite graphic.
Ken Tabacchi :Was this the monkey brain eating thing?
Michael Green :No. I think that got a pass some out. But this scene alone and then when he pulls the heart out, there's a close up and it's on fire. So it's pretty dark stuff. Pretty actually pretty traumatizing stuff for kg
Ken Tabacchi :rider a kid's PG movie.
Michael Green :So speaking of your mention of not being a fan of sequels, so originally, folks wanted to include something in this episode about upcoming sequels. And Ken made a good point well, not a big fan of sequels to with anyone,
Ken Tabacchi :not the one that be talking however, you know, the second Star Wars The Empire Strikes Back was was clearly a better, more well directed movie than the first one. listeners are going crazy. How could you say that? It's classic? Yeah, empires was classic but the second one was, was was really a quality, well directed flick.
Michael Green :Right. And that was Irvin kershner. Right? Yes. Yes.
Ken Tabacchi :Yeah. He gets he gets across some of the themes without without being this, this ties back to what we just said without being overtly gross or R rated, you know, yeah, Luke does get his hand chopped off with the lightsaber in a battle with Darth Vader. But they don't show anything nasty, but they do show him chopping through a piece of metal antenna right before that, and it's smoldering. And so you get the image of Okay, this is This is the this is what how, as a little kid you don't see the thing being chopped off in his hand and the bones and tendons hanging out right? You just see him with his hand pulled back kind of the old. Look, I lost my hand joke.
Michael Green :That'd be fair as they did that that cauterize the wound so there's no blood pouring out.
Ken Tabacchi :That, yeah, well, that's what lightsabers did. Right.
Michael Green :Right. Okay, well, for this next little mini segment, I wanted to just mention the last three movies that Ken and I watched. And can you How about you go first.
Ken Tabacchi :Okay, the last movie I saw was Margin Call recently. And I gotta say I'm a little disappointed. They were bright spots, Jeremy Irons, and Kevin Spacey, his performances. And whenever those two guys are on screen, it's electric. But I just feel like this movie is better as previews or some YouTube snippets.
Michael Green :So as a whole, it's a no go.
Ken Tabacchi :Give it like three stars. I maybe I built it up too much. And just from Seeing previews all this is going to be great but, but not so they rely too much on the topical nature of the recent 2008 financial crisis. And as opposed to developing a good story with an arc and well developed interesting characters, the characters are so one dimensional and flat and not, not developed at all Demi Moore's performance is really weak. Her character was weak. She could have been a great character. And she could have been, you know, the female head of the risk and management department, she could have been a great counterpoint to the greedy salesman who want everything and want it now. And their, their conflict could have been could have been epic, but she was just she just downplayed it and played someone who was downtrodden. And it was completely uninteresting. One bright spot was Stanley Tucci, supporting work and he only appeared in three scenes and I wish they had put him in more scenes
Michael Green :and that little mini meltdown when he gets fired.
Ken Tabacchi :He was great. Yeah. But as a whole, there's just no arc it starts. The arc is it's like a slide. It starts high and goes low.
Michael Green :I hyped it up to for you because I felt the dialogue was less cinematic and more real. And it didn't feel like melodrama to me.
Ken Tabacchi :That's what I was gonna say is the financial people may say, I'm not a finance guy, but they may say, hey, look, this was this was realistic. Sure. And I my answer to that is yes. But however, this isn't reality reality TV this is this is an art form. This is entertainment, this is a movie. So when you see from my perspective, when you see like hackers, you know, some sure I'll roll my eyes and that's not how it is. That's not how software works. But, and one film that got it right, was not a film but made for TV with Mr. Robot. And so it's very accurate. You look at things he's typing and it's realistic, however, it's entertaining as well. So you can have your cake and eat it too sure. You can't just have Oh, this is How the guy talking to the boardroom. You know what, who cares? That's nice for you, but and also the topical nature as well. It was really relevant. Yes. But I was just bored to tears.
Michael Green :But the conference room meeting was a stand out for you.
Ken Tabacchi :Yeah, first that was nice. Yeah, that was nice.
Michael Green :Yeah. doesn't hold up for you, huh?
Ken Tabacchi :No, it's not enough to hold up. Yeah, once I use not enough to hold up an entire movie.
Michael Green :I am in relation to that, you know, with financial themes. boiler room I saw when I was quite young, and still holds up today.
Ken Tabacchi :I think so. Wall Street. Michael Douglas.
Michael Green :well researched directed by 26 year old and Ben younger, just very, very well assembled, cast and plot. I mean, a film. Very nice. Okay, well, my next one I hold my first one is something that actually Allison and I saw tonight. Allison's my daughter, for those of you don't know, she's 13. And she's pretty snooty about things. She, she looks at she judges books by its cover. And the same goes with movie posters. So when she sees and looks like this, or look at that, you know, whether it's from you know, she's looking at an artistic point of view the graphic design of the poster that's going to tell me about what the movie is going to be about. I'm not interested. So she saw this and she's like, oh, wasn't that shot close to your mom's? She remember that because Part Three is going to come out soon. This did
Ken Tabacchi :not interrupt but Geez, does that remind me of someone that you just described
Michael Green :remind you of someone as in a director or actor
Ken Tabacchi :know someone related to Allison?
Michael Green :Any besides her mom?
Ken Tabacchi :Yeah, no, Stacy. reading the book by its cover, rolling the eyes. This again?
Michael Green :Yeah, yes. Yeah, and and That happens where we're just we can probably save that for another episode, but she does and we don't watch many movies together. But once in a while we'll find something. So anyway, we saw bill and Ted's Excellent Adventure had not seen it since it came out on VHS years ago in my early video store days and the early 90s and you know, it can it just doesn't hold up
Ken Tabacchi :this stuff. It was a key on Keanu Reeves is going to be in the sequel.
Michael Green :Yes, with Alex winter, they're both going to be in a sequel way, like 30 years older, while their mid 50s you know, it's like a fun TV miniseries button, not an 80's staple. Like say, say anything or some kind of wonderful, huh?
Ken Tabacchi :So it didn't hold water, but what did Allison think of it. She kind of rolled her eyes.
Michael Green :It's Happy Meal friendly entertainment. So I caught her looking at her phone or iPad. You know, it's not it's a little bit cheesy, but this for nostalgia's sake just like seeing some of the locations that were shot literally minutes walking distance from where
Ken Tabacchi :I grew up oshi recognize it. It's like that's near your house, right? Because when we go home for Christmas, so
Michael Green :that's kind of cool that that was the main reason why I put it on. And when we went home for Christmas this past this past Christmas, we went on a jog and we went down that same road and she recognized the post office so it was it was kind of neat.
Ken Tabacchi :That's nice. But you got to keep the kids interested Mike or else they're gonna go and watch Harry Potter. Right got it. You got it.
Michael Green :You got to grab their attention and Bill and Ted is not the kind of not the kind of seed you want to plant right Ken will kind of more like a Barry Lyndon seed.
Ken Tabacchi :No one's ever radio seed. No. Are you a fan of Keanau Reeves?
Michael Green :I don't like to call myself a fan of anyone.
Ken Tabacchi :There are those that don't appreciate you. And I I actually do appreciate his work.
Michael Green :So where do you stand on that? I'll say this because I just told Allison this tonight. I said to her, he is one of the nicest guys in Hollywood. And because of that, that influences my view of him as both an actor and as a person. And I know it shouldn't. We discussed this, you know, in a previous episode about actors real life opposite. But yes, in this case, the opposite. He is. I mean, he's like the Tom Selleck of Hollywood. Tom Selleck is the nicest guy in the television industry. Still is and Keanau Reeves, you know, there's pictures of him having lunch with homeless people in LA. And I will say and this bears mentioning that when people say Keanau Reeves, they can't help but mention his moments of bad acting, and they will, they will recite the dialogue from Point Break from john wick. They'll bring it up just to illustrate a point about how The majority of people think that his acting is not that good.
Ken Tabacchi :And you feel that the nice guy, decent human being should be supported. Just to kind of move the culture in a better way.
Michael Green :And I wonder direction, those who are scrutinizing his acting style and finding those things. I just don't think it's exactly fair. I think his roles are. I think he performs very well in the roles that he signs up for. And he does a hell of a lot of research, and it's very much reflected in his performances.
Ken Tabacchi :He was perfectly cast for the matrix, you have to admit that.
Michael Green :Oh, yeah. And back then he had that kind of mannequin look sort of statuesque look about him. So yeah. All right. Well, number two for you. Was it so
Ken Tabacchi :this goes way back. 1916 dw Griffith silent film intolerance Now this one. Oh, I just I just heard Stacy's eyes rolling back into her head. I think she's asleep right now. No, she's an all the way over here believe me it's not actually it's filmed on black and white film stock but it's tinted. So sir, there's, there's, it's there's four vignettes that have a common theme. And it's epic. It's two hours 45 for you know, 1916 silent film. Wow. That's, you know, it's hard to pull that off without any dialogue. But each scene is tinted like one is tinted and sepia one is tinted in blue. So you kind of know which senior dealing with air it's in different different points in history. In the last one is modern, you know, 19 16th America. I will say a couple of things. One, it was a commentary on the society and what I just talked about with the reformist and pre prohibition reform era stuff, skathing. Just just burn it one point there. It's it's spoken in dialogue on a card. But it said something to the effect of when women stop getting the attention of men they turn to reform. And then it cuts to the reformist ladies with their Victorian outfits. And they're all every single one of them is not a beautiful woman, just old and kind of, quite frankly, ugly. So that just spurn you know, 1920s burn there. Sure. And it was, it's interesting that his movie intolerance comes after the Birth of a Nation. Now, the Birth of a Nation was criticized for its racist portrayal of African Americans and promote possibly promoting the Ku Klux Klan. And then he comes out with this movie intolerance, where he's bashing intolerance, intolerant behaviors throughout history. So that's a head scratcher.
Michael Green :Was that a response to his previous film?
Ken Tabacchi :Or the reaction? He said it was a response to his critics, I say, Maybe he's trying to look, it's more deep than that. I'm not okay with it. Just that guy
Michael Green :Fair enough. Now, they did remake it with Matthew McConaughey. Right. I wasn't aware of that. I mean, I use the word remake very loosely. It's got the same title, same title, which I have not seen. So I have
Ken Tabacchi :nothing to comment about those mudhole for you. You may have seen the scene where they there's one one part of the story is in ancient Babylon and they recreated this, this set. It must be it's a humongous zoomed out kind of on a crane. The people look like ants etc. So it must be five storeys tall. And they built all this and with elephants and chairman's and sweeping grand staircases, fires burning people coming out of tunnels here and there must be 1000 people on the set, and they just pull back for a while. And it was amazing in that set. was just torn down and destroyed like it was, you know, it doesn't exist today, unfortunately. But if you go to the hollywood, hollywood Highland shopping mall on Hollywood Boulevard, I don't know if you've been there. But that shopping mall was designed to look like this set from intolerance. All the elephants. Now we've been grand arches. Was it shot
Michael Green :in Hollywood?
Ken Tabacchi :It was shot in LA. Yes, the whole thing.
Michael Green :So,
Ken Tabacchi :all right, can you just look at the set design and it's just amazing. So one turning point was the big budget. You know, he financed this big budget thing and it came out in almost three hours. So that was that was ahead of its time from that perspective. Well, the second thing I want to mention is, you know, do pick a silent movie, a one that's renowned. It's gonna be hard to find one. So maybe all the silent movies you find are going to be the ones that are worth saving, but notice how There's there's no dialogue so the actors really must rely on their, their facial expressions and their gestures to emote, sure. Okay, you can't. You can't have dialogue. You can't put emphasis on words you can't raise or lower your voice. It's all with the eyes, which is amazing. You look at these guys, and they're just, whoa, they're just right out there like the sadness, the anger. You can see it and they're just acting and they're so overtly out there acting. I wonder if there was any. I wonder if there was any actors that could make the transition from silent to talkies? I think it was rare because I believe it's really two skill sets. Do you know of anyone that was able to make the transition from a silent movie to a talkie and be successful in both
Michael Green :as far as successful? Lillian Gish had a small role and Night of the Hunter with Robert Mitchum she I mean, she's an icon of Silent cinema but you're right not many.
Ken Tabacchi :That was that was that was that was kind of eye opening. The acting was was different back then. And you had to be a good actor you had to show on your face your emotions you had to act.
Michael Green :And I think also what it comes down to is you're fusing the best of both arts. You're got this theatrical performance combined with the cinematic work and the acting verses are necessary.
Ken Tabacchi :I just had an idea. What if a modern director did a silent movie, the artists and who would you pick to do that?
Michael Green :They did the artist. Did you see it? No chasm Perfect. Perfect example right there Ken.
Ken Tabacchi :Right. I don't think my kids would watch it either is Emma came down and she she sat there for about two minutes and she went upstairs and my wife later told me she said, Daddy's watching a movie with no talking. I don't know why he's watching this.
Michael Green :I can feel the eyes right? rolling over here in Hong Kong. Did you hear that? I did. I just heard the eyes roll. Oh, my goodness. Now I'll be transparent about that. I don't know who the director is. But one many What year was that? That was 2014 or 15. So somewhat recent. Okay.
Ken Tabacchi :Going in my list. Yeah.
Michael Green :Okay. I'll just move this along again. So we can keep this somewhat miniaturized. My second recently watched is actually rewatch it actually, all three of my choices are rewatches and is the game in 1997. with Michael Douglas and Deborah Carr, Unger. And I gotta say, the reason I watched it First of all, big Michael Douglas. I'm putting air quotes fan.
Ken Tabacchi :You know, you don't have you're not a fanboy. yet. You are a fan of certain actors, okay? Sounds a little pretentious to me.
Michael Green :And snooty. So I watched it and I saw that theater 98 and watch it again. I'm like, oh yay according Gekko like a subdued version of Gordon Gekko. But it the one thing I relished in the movie was his performance and but what surrounds him the action set pieces are somewhat routine. And I The most interesting thing I found about it was the writing and the intricate storytelling. And Michael Douglas, his performance but no more than that.
Ken Tabacchi :Okay, what I hadn't seen it what I guess you are like you like me, tend to follow directors and not you won't. You won't see a movie because an actor's in it, but you will see a movie that a director you like, sure created simply because it's that director
Michael Green :and David Fincher. You know, I was, this was a year after seven. So I watched it because of David Fincher. I was really excited about here's his his second directorial effort. I can't wait to see it. And I wasn't disappointed. Is that? I didn't think much about it afterwards. Huh? So okay, number three for you.
Ken Tabacchi :I recently watched Tokyo story. Oh, you did?
Michael Green :This Yeah, Ken you're keeping me in suspense. How dare you
Ken Tabacchi :do the big reveal, reveal?
Michael Green :Because all right, because you mentioned like, Oh, that's gonna go on my queue I'll get to it sometime this summer I, I was saving it for there was a
Ken Tabacchi :there was a queue of the top 20 movies and I was going through them trying to go through in reverse order. So I'll get to the number one movie, according to sight and sound poll. Last and I haven't still haven't watched Fanny and Alexander by Ingmar Bergman but I just said Okay, I got it. I got to finally do the Tokyo story and I watched it. And this is this is regularly on the number one movie of all time for sight and sound AFI etc. Right? So I get it, it makes its way to number one because of its because it's timeless because Ozu was just a master at capturing the human condition with his static, boxy. cinematic style is his camera work, which doesn't really call attention to itself at all. It's the camera is almost not even there, right? You're just seeing these characters in there. Yeah, eavesdropping on their real thoughts and their real emotions. And this movie in particular the themes are relationships between parents and children. Well, I don't care where you're from or what time you've got a parent. So every human being can relate to this and have a box of tissues when you watch it.
Michael Green :It's all say, Ken you are so so right with everything you just said? I mean, talk about this, the static camera that's there, that doesn't draw attention to itself whatsoever. There's I don't believe there's any close ups that I recall. There's medium shots,
Ken Tabacchi :but there's no close. And that's as close as you get. You know, most of them are long shots.
Michael Green :That's to signify just how homespun and simple The story is that there's no added, you know, drama to make it you know, melodramatic or cinematic or appeal to the masses. It's perfectly told. And you're exactly right about for anybody who has had any turmoil within a family, or any difference of opinion about anything or about brotherhood or about anything in regards to that dynamic. This is a movie that you need to watch. so great that you watch it, and you left me in suspense. Fantastic. And you didn't message it to me Because? Because I thought no, because I
Ken Tabacchi :wanted to talk about it. I didn't wanna Yes. Like Yeah, you I'll message you as like, Oh my God, have you seen this movie? But
Michael Green :and I'm guilty of using hyperbole sometimes when I say oh, you know, you got to watch this movie or, Hey, have you seen this? You know, it's great, you know, I got to sort of make it. Use the right adjective to describe because it could be like either right down your alley, whether it's having to do with techie stuff, or another friend who, Oh, you got to watch this because of these themes. So I figured if I hyped this one up, it would be appropriate because it is worth hyping. For sure. Great. Well, my number three is a movie that came out in 1990. And I have a little story to share about it. It's called q&a with the one and only Nick Nolte Amanda Santee Luis Guzman, directed by Sidney Lemet and I was on a trip with my dad, a motorcycle trip and we went to Solvang and there was not much out there. We went to see this movie. It was also with my brother I'll just this is slightly
Ken Tabacchi :you guys were on motorcycles all of you
Michael Green :know I was in the back. I was a passenger My dad was heavily into bikes and he was in a motorcycle club and
Ken Tabacchi :you were on the you were riding bitch
Michael Green :you got it all the way to Solvang. Oh, all the way solid. Gosh, that sounds fun. And we walk in a lightstim trailers Come on, and I will shit my pants. Can you know what trailer came on? Can you guess? What 1990 1990 what trailer movie trailer came out?
Ken Tabacchi :I couldn't guess.
Michael Green :The Exorcist three. Oh, the trailer heat horrified me. I know that's a slight Yes. And that's the q&a just because the Jesus statue the eyes open and it looks so real.
Ken Tabacchi :They didn't they didn't talk about that one scene where it was the best the best jumpscare and all movies now according
Michael Green :to that are no no no, no Save that for, you know, buying your ticket. So anyway, that was a slight aside, but you know, that was my memory from that movie at that time. I don't know. I mean, I was 15 and beef was appreciating more good dialogue, or I was appreciating dialogue more my dad just a couple months before that took me to see Goodfellas and godfather three nice. And then at that point, I started to appreciate more, you know, plot lines and acting and you know how a story is told. And I kind of liked it then QA. I liked it a little more in 1994 when I saw it on VHS, and just recently liked it even more because of the performances, especially in technology.
Ken Tabacchi :So is it a four star movie for you
Michael Green :know, it's like a three and a half. Three and a half. Not quite breaking. You know, open Nick Nolte just powering absolutely tower
Ken Tabacchi :something Well, that's a good segue because I'm going to talk about in my quizzes a little bit something having to do with the exorcist.
Michael Green :Well, there you have it a small microsized cart for your listening enjoyment. Thanks for coming along for the ride. And it's been fun. We're new to this, like I said, but we want to just do things that is fun, enjoyable and a bit of a reminder of just how wonderful movies are. And the movie going experience itself is and Ken give me a great idea. You know, at this time, only five episodes in. We have amassed quite a few blunders, so that will go into an eventual blooper reel and who knows, sooner than you think?