Apocalypse Now
Apocalypse Now: The Heart of Darkness, Coppola's Masterpiece, and Cinema's Greatest War Film
Can a film about the Vietnam War transcend its genre to become a philosophical meditation on human nature? Join Kyle, Seth, and Marianna as they journey into the jungle to dissect Francis Ford Coppola's magnum opus—a movie that nearly destroyed its director but created one of cinema's most haunting and unforgettable experiences.
In this deep-dive episode of Movie Wars, we explore why Apocalypse Now remains the definitive war film 45 years after its release. We break down the legendary troubled production—from Martin Sheen's near-fatal heart attack to typhoons destroying sets, Marlon Brando's refusal to learn his lines, and Coppola mortgaging everything he owned to finish the film. We analyze the iconic performances, especially Brando's improvised brilliance as Colonel Kurtz and Robert Duvall's unforgettable Kilgore ("I love the smell of napalm in the morning"). We compare the theatrical cut versus Redux, examine the film's adaptation of Joseph Conrad's Heart of Darkness, and discuss why this surreal, hallucinatory journey up the Nung River continues to influence filmmakers from Christopher Nolan to Denis Villeneuve.
What You'll Discover:
- Why the Vietnam War setting makes this story more powerful than Conrad's original
- The genius behind the film's sound design and immersive cinematography
- How Coppola created one of cinema's most quotable scripts through improvisation
- The symbolic meaning behind Kurtz's compound and the descent into madness
- Whether Redux or the theatrical cut is the superior version
- Why Apocalypse Now towers above modern war films like Dunkirk and 1917
Whether you're a film student, war movie enthusiast, or cinephile curious about Hollywood's most legendary productions, this episode delivers the definitive analysis of a film that changed cinema forever.
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Keywords: Apocalypse Now, Francis Ford Coppola, Vietnam War movies, Martin Sheen, Marlon Brando, war film analysis, Heart of Darkness adaptation, Redux vs theatrical, film analysis podcast, cinema history, 1970s filmmaking, Movie Wars podcast
Companies mentioned in this episode:
- Francis Ford Coppola
- YouTube
- Nashville Electric Service
- American Zoetrope
Transcript
Foreign.
Speaker A:Ladies and gentlemen, welcome back to the Movie wars podcast.
Speaker A:I'm Kyle.
Speaker B:I'm Seth.
Speaker C:I'm Mariana.
Speaker A:And it's actually we're covering Apocalypse now today.
Speaker B:We were so mad at Dracula last week.
Speaker A:Yep.
Speaker B:That we were like, let's give Francis Ford Coppola a chance to redeem himself.
Speaker A:And these two.
Speaker A:It's a top ten film all time.
Speaker A:I, I, I love it.
Speaker A:And every time I watch it, it gets better.
Speaker A:But we've also this week that YouTube just finished watching it because Marianna has been fighting a war of her own.
Speaker B:Yes.
Speaker A:The war against the ice storm.
Speaker B:Oh, my God.
Speaker A:And if you're not aware, Nashville is under siege.
Speaker A:Even though a lot of the ice is gone, the power is also still gone for 90, 000 citizens.
Speaker B:Yep.
Speaker A:Our mayor is a jackass.
Speaker A:And the head of nes, the Nashville Electric Service is a jackass.
Speaker A:Old people are dying.
Speaker A:So anyway, this is the only form of social justice I've ever enacted on this podcast.
Speaker B:I like it when you get political.
Speaker A:But this is why I say fuck the power structure.
Speaker A:That's why I don't vote.
Speaker A:So I don't have a political party.
Speaker A:It doesn't matter how much you pretend to care about people.
Speaker A:At the end of the day, old people are dying in their homes.
Speaker A:My elderly in laws were trapped in their house, and they finally left because they're not getting power for 10 more days.
Speaker A:So anyway, fuck you, Nashville government.
Speaker A:Yeah, but, yeah, and Marlon Brando.
Speaker A:It's actually, it's actually worth saying that here.
Speaker B:Yeah.
Speaker A:And for those that don't remember our format, as we do a little bit of film history, we do the randos, which are the most interesting factoids that we uncover.
Speaker A:And then we do the questions, which are just meant to unearth funny and amazing conversation.
Speaker A:And we end with our War Zone, which is our poor category scorecard.
Speaker A:We'll just get right into it, man.
Speaker B:Yeah, let's, let's go.
Speaker B:Because I'm gonna preface any of my opinions today by saying there is a lot to love about this movie.
Speaker B:The cinematography is absolutely flawless.
Speaker B:I, I think the music from, from the score to the soundtrack, all of it is absolutely incredible.
Speaker B:The sound design, especially for having been done in the 70s, is insane.
Speaker B:It is so well done.
Speaker B:That's about where it ends for me.
Speaker B:There's a lot in this that I'm just like, for the most part, I did not give a shit about any of the characters the whole movie.
Speaker B:Like when, when, when Lawrence Fishburne died, I was sad because it was Laurence Fishburne not because I cared about his character.
Speaker A:Also known as Larry at the time.
Speaker B:Yes.
Speaker A:Still owned by Larry.
Speaker C:I didn't even notice Laurence Fishburne in the movie.
Speaker A:Yeah, there's no credits on the version you watched, so you wouldn't have even known that he went by Larry.
Speaker A:It's like, who.
Speaker A:Wait, there's a fish burn in this at all.
Speaker B:He's so skinny.
Speaker A:Yeah, he is Mr. Clean.
Speaker C:He also dies in, like, the first 30 minutes or so.
Speaker B:No, it's in the middle.
Speaker C:Really?
Speaker B:Yeah.
Speaker C:God, this was the longest.
Speaker A:The first 30 minutes after the first hour.
Speaker B:Yeah.
Speaker C:The first hour killed me.
Speaker C:Well, you know, I think the first hour.
Speaker C:You know what?
Speaker C:We'll get there.
Speaker C:First favorite.
Speaker A:Yeah, I.
Speaker C:This is hard for me, cuz, like, I've watched this movie a few times.
Speaker C:I loved it the first time I saw it, mainly due to the cinematography and the music and different elements about it.
Speaker C:And honestly, I do really like a lot of the characters, but, like, I like Robert Duvall.
Speaker C:I like the guy at the end with the headband.
Speaker C:Shouldn't say, I don't know.
Speaker C:Kill me.
Speaker B:Dennis Hopper.
Speaker C:Dennis Hopper.
Speaker C:We looked this up just a second ago.
Speaker C:Dennis Hopper.
Speaker C:I like.
Speaker C:I like the.
Speaker C:The characters, but, man, overall, I don't know what happened.
Speaker A:You can't land on a fraction.
Speaker A:That's what happened.
Speaker A:You can't land on 3/8.
Speaker A:1/16 of the moon, man.
Speaker C:Yeah, that's how I feel.
Speaker C:I'm just like.
Speaker C:I can't do the math of this movie.
Speaker C:I don't know what happened.
Speaker A:Well, and it's.
Speaker A:It's.
Speaker A:And I'm glad.
Speaker A:I'm glad to have some opposition.
Speaker A:And this is.
Speaker A:And I was telling you guys this before.
Speaker A:I.
Speaker A:There's a few movies that I.
Speaker A:That are on my top 10 list that if you said you thought they were bad movies, I would be offended.
Speaker A:Yeah, this is not one of them.
Speaker B:Yeah.
Speaker C:Okay, good.
Speaker A:I.
Speaker A:And I also.
Speaker A:I'm.
Speaker A:I'm on the outs with Coppola, you know.
Speaker C:Yeah.
Speaker A:The Godfather is not in my top 50, and neither is the second one.
Speaker A:I. I admire them and think they're great, but the Apocalypse now is in my top 10.
Speaker A:I am a sucker, though, and you've probably learned this by now.
Speaker A:I am a sucker for.
Speaker A:For psychedelic Fever Dream.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker A:Books, movies.
Speaker A:Like, I love reading and feeling like.
Speaker B:You might actually like the Holy Mountain, then probably.
Speaker B:It's kind of crazy.
Speaker A:Yeah, I like that kind of stuff.
Speaker C:I love Alejandro Jojorowski.
Speaker B:He's.
Speaker C:I have a shirt that says Jojorowski.
Speaker B:Oh, yes.
Speaker C:I should wear that.
Speaker A:And I admire Coppola in this instance.
Speaker A:You know, and we are doing this because Dracula was such a shit show and Coppola really hasn't.
Speaker A:You know, American Zoetrope, his production company has been on the brink of bankruptcy multiple times and Dracula literally was to bail him out.
Speaker B:Yeah.
Speaker A:So, you know, and, and it's funny, even though this is absolutely in my top 10, I still had to ask myself, it's like, can Coppola make a complete movie?
Speaker B:Yeah.
Speaker C:Yeah.
Speaker A:And it's a valid question.
Speaker C:I think that's the problem I have with it.
Speaker C:I'm like, I would have been okay.
Speaker C:I need to watch the longer version.
Speaker C:I would have been okay if there had been more plot that put it all together.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker A:And I found it.
Speaker A:You probably think there I. I have to call out my own hypocrisy when I call out Zack Snider for all of his cuts.
Speaker A:And, and here I am, I'm an expert on every cut of this movie.
Speaker A:And I watched, you know, all of them.
Speaker A:And I prefer the Redux, which is almost four hours long.
Speaker B:Yeah.
Speaker B:Cuz here's, here's what I'll say with this movie in particular.
Speaker B:I feel like the complaint people have about Zack Snyder, which is it's all beauty and no substance.
Speaker A:Yeah.
Speaker B:That's what this felt like.
Speaker A:Yeah.
Speaker B:And.
Speaker B:And I'm.
Speaker B:I'm willing to have my mind changed by the director's cut, the.
Speaker B:Whatever he's decided his true cut is.
Speaker B:I'm willing to have my mind changed about that.
Speaker B:But kind of blows my mind that this is the version that one can.
Speaker A:Yeah.
Speaker B:Because it's, it's just, it's same problem I had with Dracula.
Speaker B:Even though it's two hours, this one's two and a half.
Speaker B:It feels like a four hour movie.
Speaker A:Yeah.
Speaker B:And I'm just like, I know we're about to hear some crazy shit about what went down to make this movie.
Speaker B:And I think my biggest question is going to be, was it worth it?
Speaker A:Yeah.
Speaker B:Was this movie actually worth what we're about to hear?
Speaker A:Yeah.
Speaker A:What's interesting is the intention behind the movie was definitely.
Speaker A:There was definitely a commentary on the Vietnam War.
Speaker B:Yeah.
Speaker A:That was driving it.
Speaker A:And Coppola's whole thing was.
Speaker A:And he was obsessed with Heart.
Speaker A:Heart of Darkness.
Speaker A:Like he was obsessed with it and always wanted to make it.
Speaker C:Yeah.
Speaker A:And then the Vietnam War became the vehicle for that.
Speaker A:And this is during a time where there were still a lot of unknowns, a lot of malaise, like you know, we.
Speaker A:We now popularly, popularly, popularly accept the Gulf of Tonkin incident as a.
Speaker A:As a false flag.
Speaker A:Like, there's all this stuff that we now kind of accept.
Speaker A:Unless some of you still think that's a conspiracy, that's just the truth.
Speaker A:Sorry.
Speaker A:But there's a lot of stuff about the Vietnam War that I think we just kind of settle on and agree now.
Speaker A:But this is during the haze.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker A:And I think this.
Speaker A:This.
Speaker A:This movie was almost looked at as a way to reveal a lot of that stuff.
Speaker A:And I think there.
Speaker A:It's interesting that there was a heart behind it, but you think there's a lot of.
Speaker A:I actually.
Speaker A:Just knowing the history of the Vietnam War, I feel it.
Speaker A:And, and it's not just in the performances, but in the way the movie's made the haze of war.
Speaker A:You know, the, you know, the, the personalities in the movie.
Speaker A:Like, it almost.
Speaker A:Almost has a.
Speaker A:Like a Homer Odyssey feel to it in some ways.
Speaker C:Yeah.
Speaker A:To me, it's very Odyssey.
Speaker A:And, and I.
Speaker A:To me, it's.
Speaker A:It matches.
Speaker A:And.
Speaker A:And that was intentional.
Speaker A:John Melius wrote the screenplay, and, and Melius was adapting a lot of stories he was getting from friends that were in Vietnam.
Speaker A:And so a lot of the stuff.
Speaker A:For example, Robert Duvall's character is based on real air.
Speaker A:Calvary man.
Speaker A:Yeah, that.
Speaker A:That's how they were.
Speaker A:They were insane.
Speaker A:Like, they were the craziest people.
Speaker C:He felt real.
Speaker B:Yeah.
Speaker B:He's the only character I liked.
Speaker A:Yeah.
Speaker C:Yeah.
Speaker C:Love him.
Speaker A:He's a complete dick.
Speaker B:Yeah.
Speaker C:Well, it's because he's accurate, you know?
Speaker A:But the surfing thing.
Speaker B:Yeah.
Speaker A:You have to admit, it's.
Speaker A:It's weird to laugh at this movie, but the comedy with the surfing thing is amazing.
Speaker B:Oh, absolutely.
Speaker A:It was hilarious.
Speaker C:I know.
Speaker A:And they steal his board, and let's get right into that crazy history.
Speaker A:What do you say?
Speaker B:Yeah, let's do it.
Speaker A:1939.
Speaker A:Orson Welles attempts to adapt Conrad's Heart of Darkness.
Speaker A:He wanted to do it, but no studio would do it.
Speaker B:And do you know what the original Heart of Darkness was about?
Speaker B:Yeah.
Speaker B:What is it?
Speaker A:I think, isn't it based on, like, I, I.
Speaker A:The South African.
Speaker A:There was.
Speaker A:It's like a South African ship voyage.
Speaker B:Oh, okay.
Speaker A:Right.
Speaker B:I don't know.
Speaker B:I've never.
Speaker B:I'd never heard of it before this.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker A:It's Kurtz.
Speaker A:Kurtz is the name of the character in that as well.
Speaker A:But it's a different setting.
Speaker A:I think it's like a. I'll have to.
Speaker A:I'll probably have to cut this out because I don't want to sound like a. I read it a long time ago.
Speaker A:I just can't remember.
Speaker C:I feel that.
Speaker A:But in the 70s, Milius, Lucas, and actually George Lucas was helping Copal.
Speaker A:It's funny.
Speaker A:Lucas is in Spielberg's life.
Speaker A:You know, they're this.
Speaker A:What they call them, the brat Pack or whatever is what they call them.
Speaker A:So you got Lucas, Coppola.
Speaker A:They're like the trinity during this time.
Speaker A:And.
Speaker A:But Lucas is in everyone's business.
Speaker A:He's helping Spielberg keep Indiana Jones on budget eventually.
Speaker A:He's in everyone's world here.
Speaker A:And he's the.
Speaker A:And I hate the interviews with him in Heart of Darkness.
Speaker A:He's such a dry son of a.
Speaker A:But they were pitching the film.
Speaker A:None of the studios wanted it.
Speaker A:The Vietnam War was still ongoing.
Speaker A:It was ugly.
Speaker A:People were not understanding.
Speaker A:Americans were starting to turn on the effort because they were starting to sense that there was no reason to be there.
Speaker B:Yeah.
Speaker A:So.
Speaker B:So.
Speaker A:And executives were not.
Speaker A:They just did not want.
Speaker A:And what Copa says is they, quote, unquote, lack the social courage to.
Speaker A:And the social bravery to tackle the subject matter.
Speaker A:After Godfather, American Zotrope.
Speaker A:He made Godfather 1 and 2.
Speaker A:It put him on the map.
Speaker A:And he finally secured $13 million in independent funding.
Speaker A:He puts his house up for collateral to maintain complete creative control.
Speaker A:Huge mistake.
Speaker A:Even though I love the way it turned out, I do wonder how it would have gone had he not had full creative control.
Speaker B:Yeah.
Speaker B:Had someone been able to tell him, hey, buddy.
Speaker B:No.
Speaker A:Yeah.
Speaker A:Well.
Speaker A:And his wife, who made the.
Speaker A:Who made the documentary.
Speaker A:Eleanor.
Speaker A:She just loves it.
Speaker A:She just loves living in his insanity.
Speaker A:Yeah.
Speaker A:She's almost documentary.
Speaker B:Are they still together?
Speaker A:I think so.
Speaker B:Wow.
Speaker A:Yeah.
Speaker B:Good for you guys.
Speaker B:Honestly.
Speaker A:I think so.
Speaker A:I don't know.
Speaker A:I need to verify.
Speaker A:I lost interest in him after Dracula.
Speaker C:After this, I feel like you have quite a strong relationship.
Speaker C:If this didn't break you, nothing will.
Speaker B:Yeah.
Speaker A:This is insane.
Speaker A:So after that, they send Brando a $1 million advance to secure his role in the film.
Speaker C:Oh, my God.
Speaker A:US Government refuses to collaborate because they're obviously.
Speaker A:You know, it's funny because eventually, like Top Gun, they would use that as a recruiting tool for the Air Force.
Speaker A:But this they wanted nothing to do with.
Speaker A:So Coppola, to his credit, went out and secured a deal with the.
Speaker A:The Philippine government.
Speaker A:My people.
Speaker A:And I'm going to do that again because it looked like I held Hitler.
Speaker A:My.
Speaker B:My.
Speaker A:My people.
Speaker A:I don't.
Speaker A:I don't want to get Elon Musk but the, the Philippine government did a deal with him where they had access to military pilots, choppers, all kinds of stuff.
Speaker A:They had 600 people a day on set, paying, getting paid one, $1 a day to build these sets.
Speaker A:For example, the Kurtz's temple, each brick was weigh 800 pounds.
Speaker C:What?
Speaker A:Yeah.
Speaker A:Maybe that's how they built the pyramids.
Speaker A:Maybe it was Francis Ford Coppola's great, great, great, great, great grandfather underpaying a bunch of people to lift 800 bricks.
Speaker B:There we go.
Speaker A:A bunch of.
Speaker A:A bunch of my people in the Philippines lives in a bunch of bricks.
Speaker B:Yeah.
Speaker A:Week one of filming.
Speaker A:This is the craziest thing.
Speaker A:Coppola does one week of filming, reviews the footage with his editor, and decides immediately that he was going to fire Harvey Carter Keitel.
Speaker A:Harvey Keitel, who was originally the lead instead of Martin Sheen, fires him on the spot.
Speaker A:You can do all the research you want.
Speaker A:They don't talk about why in Hearts of Darkness.
Speaker A:He doesn't talk about why he didn't like Keitel.
Speaker A:I actually can't see it either.
Speaker A:Even though I love Harvey Keitel.
Speaker A:I think he's fantastic.
Speaker A:He flew to LA that week and they.
Speaker A:That's when he recruited Martin Sheen for what was at the time a 16 week shoot.
Speaker A:1976, typhoons and monsoons start flooding the island.
Speaker A:Shuts down filming for two months.
Speaker A:And Copa didn't.
Speaker A:And Copa didn't understand at the time.
Speaker A:He's just like.
Speaker A:He's like, this is actually great.
Speaker A:This is what it looks like during Vietnam, has these.
Speaker A:So it's like, let's do that.
Speaker A:And so they keep filming.
Speaker A:He thinks they could keep filming.
Speaker A:And then he goes outside and realizes that almost all the villages have been wiped out.
Speaker B:Yeah.
Speaker A:Standing knee deep in water, ankle deep in mud.
Speaker C:Wow.
Speaker A:During that break.
Speaker A:So during the break from filming, Copa realizes that he cannot continue with Milus's script.
Speaker A:He doesn't like the vision, he doesn't like the ending, so he tries to rewrite the ending.
Speaker A:And, and it, you know, it's.
Speaker A:They have two different skill sets as writers and filmmakers.
Speaker A:You know, Copal considers himself a writer too.
Speaker A:So that's.
Speaker B:That's up for debate.
Speaker A:Yeah, yeah.
Speaker C:Considers himself.
Speaker B:Might be the only one.
Speaker A:Yeah.
Speaker A: And then: Speaker A:Crawls in the mud, almost dies.
Speaker A:And if it wasn't for a doctor that had.
Speaker A:That was driving by in that mud road, it picked him up, took him to the hospital, he would have died.
Speaker C:Oh my God.
Speaker A:Massive heart attack.
Speaker B:Whoa.
Speaker A:So he was offset.
Speaker A:So they did as much as they could.
Speaker A:They started filming scenes without him that they could.
Speaker A:So some of the boat scenes, if you look close enough, you can't really see Sheen there.
Speaker A:You know, he technically should be.
Speaker B:Well, he's like lying down in a lot of it, so.
Speaker B:Feel like that was their way to just like cover them up.
Speaker A:Yep, exactly.
Speaker A: happened In March and May of: Speaker A:They finally wrap after 238 days of filming.
Speaker A:Sixteen months, the budget doubled from 12 million to 30 million, which you said in today's monies would be about 138 million.
Speaker A:Glow.
Speaker A:That's a low grade fever of a Marvel movie.
Speaker B:Yeah, yeah.
Speaker B:That's like a thunderbolts.
Speaker A:Well, Coppola said, I've never seen so many people be so happy to be unemployed.
Speaker A:Quote post production between 77 and 79, Coppola spent nearly three years editing a million feet of film.
Speaker A:200 hours plus of raw footage.
Speaker A:Walter Merckx was his spent four months assembling the sound.
Speaker A:In the summer of 77.
Speaker A:The release date kept keeps getting pushed back.
Speaker A: th of: Speaker A:But it wins.
Speaker A:It wins Palm deor, which is the highest esteem that you can get from can.
Speaker A:And then August that year, they finally did the theatrical release.
Speaker A:Since then, there's been the final cut and then my favorite, which is the three and a half hour version, which is the redux.
Speaker B:Yeah.
Speaker B:And which I think the redux actually came first.
Speaker B:And then he took the redux and edited it down to the three hour version that the final cut ended up being.
Speaker B:Yeah, I remember correctly.
Speaker A:Yeah.
Speaker C:That's insane.
Speaker B:Yeah.
Speaker A:And that's a gloss over, right?
Speaker A:I mean there's a lot I recommend everyone.
Speaker A:That's the.
Speaker A:I almost love the documentary Hearts of Darkness better because it's just so crazy.
Speaker A:It's so crazy.
Speaker C:Yeah.
Speaker A:But I recommend you watch that.
Speaker A:There's a lot more.
Speaker A:There's some randos that will tackle some of that Brando stuff.
Speaker A:But yeah.
Speaker A:Yeah.
Speaker A:So maybe you got malaria or you took acid on a boat.
Speaker A:Or maybe you maybe like what Seth said before we started.
Speaker A:Maybe you came in 70 pounds overweight and they had to throw all your costumes away.
Speaker B:Like Marlon Brand, completely in shadow and.
Speaker A:Put you in shadow because you were ashamed of yourself.
Speaker A:If that's you, maybe movie wars will help.
Speaker A:You know, I know it's tempting.
Speaker A:You're walking through the Cambodian forest and you want to start a cult.
Speaker A:I get it.
Speaker A:I've been there.
Speaker A:We all have.
Speaker A:I'm Filipino.
Speaker A:My last name's Castro.
Speaker A:But we've all been there.
Speaker A:Listen to Movie wars and maybe you'll just enjoy that and not start a cult.
Speaker B:Subscribe on YouTube.
Speaker B:Let's get those numbers up, baby.
Speaker A:Love it.
Speaker A:Love it.
Speaker C:Free.
Speaker C:I need to mention that.
Speaker A:Yes.
Speaker A:Stop making fun of Mariana's 4am Jogging.
Speaker B:Yes.
Speaker A:We have a viral video right now, and she's getting attacked for her fitness.
Speaker C:Goals by people who can't hear.
Speaker A:Yeah.
Speaker A:And sit in beanbag chairs.
Speaker B:Yeah.
Speaker C:In their parents basement.
Speaker A:Exactly.
Speaker A:Rando.
Speaker B:Randos.
Speaker A:It's like a fever dream, baby.
Speaker A:Here we go.
Speaker A:I love these, though.
Speaker A:No matter.
Speaker A:No matter how much you like or dislike this movie, the factoids are the most interesting.
Speaker B:Yeah.
Speaker A:It's like.
Speaker A:It's like the Hindenburg going down.
Speaker A:It's like, I know that was bad, but it's kind of fun to watch.
Speaker A:The mirror scene was very real chaos.
Speaker A:Martin Sheen at the time, and he actually talks about this.
Speaker A:Or Charlie Sheen talks about Martin Sheen's alcoholism in his documentary on Netflix.
Speaker C:Yeah.
Speaker A:But Martin Sheen was still a very heavy drinker, heavy smoker.
Speaker A:He got really intoxicated before doing that scene.
Speaker A:And so much so.
Speaker A:The underwear scene where he's in the.
Speaker C:Mirror, that's my favorite scene.
Speaker A:Yeah.
Speaker A:And they filmed that for a long time, so there was a lot more of that footage.
Speaker A:Okay.
Speaker A:And you like that scene?
Speaker C:I love that scene.
Speaker A:Yeah, me too.
Speaker C:It's really realistic.
Speaker B:Yeah.
Speaker C:Like, if you're, you know, doing a lot of drugs.
Speaker A:Yeah, yeah.
Speaker A:And it's got one of my favorite songs.
Speaker A:I'm a gigantic Doors fan.
Speaker A:The end is just so perfect over that.
Speaker A:And, you know, and the whole point of that scene is that he's.
Speaker A:He's bored because he's.
Speaker A:He is a warrior.
Speaker A:He is supposed to be a warrior.
Speaker A:And he's misses the haze of war.
Speaker A:He misses the war.
Speaker A:And so he's just drunk and, you know, basically just, you know, living in misery.
Speaker A:But anyway, he was really drunk and he actually.
Speaker A:When he punched the mirror, that wasn't supposed to happen.
Speaker A:He didn't know he was that close to it.
Speaker A:Severed a large part of his thumb, had a huge cut.
Speaker A:And.
Speaker A:And Copalo wanted to stop to get him a nurse, and he started bleeding all over himself.
Speaker A:And Sheen didn't want to.
Speaker A:He wanted to keep filming.
Speaker A:That was his decision.
Speaker A:He rubs his own blood all over himself.
Speaker A:But at one point, Eleanor says in the documentary that they got really scared because he was so just incensed and drunk that they thought that he might attack a cameraman.
Speaker A:They thought he was going to attack Francis, and so there was a lot of concern that it was going to break out really violent.
Speaker B:Why is everyone trying to attack Francis?
Speaker B:I know.
Speaker B:What is he doing?
Speaker B:What are you doing, sir?
Speaker A:Why?
Speaker A:Something tells me that he.
Speaker A:He's an unbearable person.
Speaker B:Yeah.
Speaker A:As much as I love him as an artist, like, he's one of my idols.
Speaker A:Specifically during this time afterwards, I could.
Speaker B:Care less, but, like, if Gary Oldman doesn't like you, there's something wrong with you.
Speaker A:Yeah, yeah.
Speaker A:Like Keanu, but it kind of sounded like he was a pet dog for France.
Speaker A:He's like, well, at least he doesn't question my genius.
Speaker C:Yeah.
Speaker B:He's like, we can question you.
Speaker A:Yeah.
Speaker C:Yeah.
Speaker C:I can't imagine.
Speaker C:His name's Francis.
Speaker B:Francis could have gone by Frank.
Speaker B:That would have been cooler.
Speaker C:I wonder if they called him Franny, if they were mad at him.
Speaker A:Franny.
Speaker A:Franny.
Speaker A:Bo Banni.
Speaker C:All right.
Speaker C:Franny.
Speaker A:Dr.
Speaker A:Beard.
Speaker A:Yeah.
Speaker A:And then so let's get to the Brando stuff.
Speaker A:This is the most controversial stuff.
Speaker A:So, first of all, he shows up to set and he finds.
Speaker A:Francis finds out really quickly.
Speaker A:He never even read the book.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker B:I mean, at that point in his career, I'm pretty sure he was notorious for never reading a script and only having his lines fed to him through.
Speaker A:An earpiece and cue cards.
Speaker B:Yeah.
Speaker A:And he was using cue cards.
Speaker C:Does sound amazing.
Speaker A:Yeah, it does.
Speaker C:Does sound like something that I would like to do.
Speaker A:And I think Coppola was like, I gave you a million bucks, like, a year ago.
Speaker B:Yeah.
Speaker A:And it's not a.
Speaker A:It's not a long book.
Speaker C:Yeah.
Speaker A:I think you can listen to it in three hours.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker B:I mean, it's a novella.
Speaker B:It's not even a full book.
Speaker C:Yeah.
Speaker C:No.
Speaker C:No punctuation.
Speaker C:There's a 13th of the budget is yours.
Speaker A:Yeah.
Speaker A:And you didn't read the book.
Speaker A:He shows up.
Speaker A:I think there's a lot of different estimates.
Speaker A:Around 70 pounds overweight.
Speaker A:So originally, he was supposed to begin at a lot more.
Speaker A:He was supposed to be in daylight a lot more.
Speaker C:Yeah.
Speaker A:He was supposed to be in uniform a lot.
Speaker A:He was supposed to actually have army greens and fatigues.
Speaker A:He didn't fit in them anymore.
Speaker A:They had to get rid of them.
Speaker A:And so when he showed up, finally, he was literally getting paid every day to sit in his trailer, read Time magazine, and he would argue with Copal over the script, because really, what it was and Coppola had worked with them, obviously, so he was a little used to Brando, but I don't think Brando had quite become the monster he became here on the Godfather.
Speaker B:Yeah.
Speaker A:And so they're arguing because they're basically.
Speaker A:Brando said he was ashamed of his weight and he didn't want to be on camera anymore.
Speaker A:So they basically had to rewrite the script, rewrite the ending to get around this idea that he needed to be in the shadows, that he needed to not be in the daylight.
Speaker A:And the Redux has a few daylight scenes that are not in the final cut that you guys watched today.
Speaker A:But there.
Speaker A:There is some more.
Speaker A:But he was so ashamed that he didn't want that.
Speaker A:And so they actually spent a lot of time arguing about what that would look like.
Speaker B:Again, everyone seems to argue with Coppola.
Speaker A:Yeah.
Speaker A:And it actually did work because I think one thing they leaned into, it's like, well, if this guy really is a poet warlord, you know, he's going to eat all the food, they're going to bring him all the fruit, all the best, and he's going to overindulge.
Speaker A:And so the fat poet warlord thing does kind of work, actually.
Speaker B:Of all the things that.
Speaker B:All the problems I had with the movie, like, actually that last 30 minutes was not part of it.
Speaker B:Like, that was a really well done it.
Speaker B:I liked that whole idea of, like, he.
Speaker B:He almost killed me.
Speaker B:Why do you almost kill you?
Speaker B:Because I took his picture.
Speaker B:He said, if you ever take my picture again, then I will kill you.
Speaker A:Yeah.
Speaker B:Like, I kind of liked that idea of, like, you never really know who this guy is, man.
Speaker B:You hear a lot about him, but you don't know who he is.
Speaker A:Yeah.
Speaker B:Though he did kind of look like the.
Speaker B:The mummy.
Speaker B:Like the guy from the Mummy.
Speaker A:Oh, really?
Speaker B: In: Speaker B:Yeah.
Speaker B:Like, just the way his face was outlined in the lighting and everything.
Speaker B:He looks just like him.
Speaker A:Yeah.
Speaker C:So funny.
Speaker B:He does.
Speaker B:Yeah.
Speaker C:I really thought that, especially with, like, the makeup and the Mummy.
Speaker B:Yeah, yeah, yeah, yeah, yeah.
Speaker C:That's so funny.
Speaker C:I feel like the weight that he added really added to the character a lot.
Speaker C:And I like the way that they worked around it, because I feel like if you had been there and you've deviated so much from, like, the military perspective, like, maybe you would be everything that the military is not, which is kind of like.
Speaker C:Yeah, you know, this relaxed, relaxed, bigger guy.
Speaker C:And, like, you just kind of let yourself go in a way because, like, that's not important anymore.
Speaker C:Whereas, like, all of the army Guys are like, so thin and like.
Speaker B:Yeah.
Speaker C:Like meager looking almost.
Speaker C:Because they're children.
Speaker C:They're like 21, 18.
Speaker C:One of them 17.
Speaker B:I mean, Lawrence Fishburne's character is 17.
Speaker B:Yeah.
Speaker C:Oh, my God.
Speaker C:That's Laurence Fishburne.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker C:That's why I didn't recognize him because he's 17 years old.
Speaker C:Oh, my God.
Speaker C:That's why the whole time I'm like, who is Laurence Fishburne in this movie?
Speaker B:Yeah, yeah.
Speaker C:Okay.
Speaker A:At the time, Larry.
Speaker A:Mr. Larry Fishburn.
Speaker A:God, he would go on to be a legend.
Speaker C:Crazy.
Speaker A:Yeah.
Speaker A:So.
Speaker A:And because you guys didn't watch the Redux, we were trying to figure out what version to watch, and so we agreed that we would watch the OG Yeah.
Speaker A:As a group.
Speaker A:But I've seen them all.
Speaker A:Multiple my favorites to Redux is I'm a. I'm a glutton for punishment comment.
Speaker B:If you want us to do a comparison of all three versions.
Speaker B:Because I actually think that would be a fun.
Speaker B:Fun episode to do.
Speaker A:It would be fun, but you both would be miserable.
Speaker A:Just going to say it.
Speaker B:I've suffered through.
Speaker B:I've suffered through five Quick Crow movies.
Speaker B:I think I can get through Apocalypse Now 2 more times.
Speaker A:If you didn't like this version, the Redux is.
Speaker A:Is gonna hurt.
Speaker A:It's not gonna help you.
Speaker A:It's.
Speaker C:And I was hoping that adding time to it would help because I was like.
Speaker C:I feel like what they cut out of this was the plot.
Speaker A:Yeah.
Speaker A:No.
Speaker B:Yeah.
Speaker A:In fact, that's the perfect segue into this random.
Speaker A:Because one of the most controversial parts of this movie was this French plantation scene they did.
Speaker A:Yeah, they're.
Speaker A:They're going down the river and it's in the Redux.
Speaker A:And it's a.
Speaker A:In itself.
Speaker A:Like, in and of itself.
Speaker A:It's a fun scene.
Speaker A:It's a really well made scene.
Speaker A:It's a very well acted scene.
Speaker A:But it slows the momentum down a lot because it's supposed to be this allusion to time kind of had stand stood still because, you know, because of the involved the French involvement with Vietnam, there were all these rubber farms that used to be there from the French.
Speaker C:Yeah.
Speaker A:And this family never left, so they stayed there.
Speaker A:And they've had generations of French farmers on this rubber farm.
Speaker A:And so Coppola had flown in real French wine, real French food, real French chefs, French actors, all this stuff.
Speaker A:And he wanted the wine chilled even though they're in the middle of the freaking Philippines, which is 120 degrees on a cold day.
Speaker C:Yeah.
Speaker A:Yeah.
Speaker A:That he said, keep the wine chilled at 58 degrees cuz he's pompous.
Speaker A:I love you, but you were pompous, Francis.
Speaker A:And, and the scene cost thousands and thousands of dollars ultimately because he didn't get the actors he wanted and he.
Speaker A:All of them anyway.
Speaker A:Some of the actors are fantastic in it, but there's some French actors he didn't like and he just kept getting more and more angry at the scene and he threw away the whole scene and it didn't get, it didn't get shown until the redux.
Speaker B:Oh my God.
Speaker B:Again, who didn't show up that he wanted?
Speaker A:I don't know.
Speaker A:I really don't know.
Speaker A:They're all real French actors.
Speaker A:I don't know who he wanted.
Speaker A:And you can kind of tell there is one that you're kind of like, that's not very good.
Speaker C:Is it Gerard Depardieu, dude.
Speaker A:Yeah.
Speaker C:I mean, that, the one.
Speaker A:Insert French actor here.
Speaker C:I mean, that's the only one I know.
Speaker A:Yeah.
Speaker A:It's an interesting scene and I, I, I think it does accomplish what it sets out to do, which is like almost that war makes things, makes time warp and, and, and the idea of colonial, colonialism in various parts of the world, like it's exemplifying all that.
Speaker A:But it does like it, it slows the film down dramatically.
Speaker C:Yeah.
Speaker B:An already very slow film.
Speaker A:Yes.
Speaker C:Yeah.
Speaker C:I was, when you said that, I was like, how we're already crawling a snail's face.
Speaker C:But I love that, I wish that that had been included because I do love the, in the Last City of Z they talk about the operas that they would have in the jungle.
Speaker A:Yeah.
Speaker C:During that time period.
Speaker C:Because like, people were obsessed with bringing anything not that culture to the jungle.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker A:And it's worth watching.
Speaker A:And like I said, in and of itself, it's a really good scene.
Speaker A:But it's long.
Speaker A:It's not, it's not like going, you know, when you go watch deleted scenes on the special features, it's, it's like a deleted act.
Speaker B:It's long.
Speaker A:I think it's probably 25 minutes.
Speaker B:Oh, wow.
Speaker C:Why did the Coppola do that?
Speaker C:All of them are like this.
Speaker C:You know, all of them.
Speaker A:I will say this.
Speaker A:The thing about Coppola was, is that he was deployed on the Godfather for a lot of reasons.
Speaker A:You know, there was a lot of studio happenings.
Speaker A:The way that we talk about Hollywood today is not dissimilar to the way that we talked about Hollywood in the 50s and the 60s.
Speaker B:Yeah.
Speaker A:There was this idea that.
Speaker A:That Hollywood was heading for bankruptcy, that they had made all the good films that they could make.
Speaker A:People weren't taking risks.
Speaker A:The financial aspect of filmmaking was.
Speaker A:Was destitute.
Speaker A:And so Paramount.
Speaker A:I can't remember.
Speaker A:I think it was Paramount merged and there was this big merger within the studios.
Speaker A:And the Godfather was seen as like this.
Speaker A:This thing that was going to revive it because Puzzo's book was such a big deal.
Speaker A:Right.
Speaker A:And I've read it.
Speaker A:It's not a very good book.
Speaker A:The movie's great.
Speaker A:The book sucks.
Speaker A:It's really soapy.
Speaker A:Soapy as hell.
Speaker A:It's horrible.
Speaker A:Read it anyway.
Speaker A:It's fun.
Speaker A:But Coppola was this way then.
Speaker A:But it worked for that.
Speaker A:Because there's a lot of stuff Coppola wanted to do that wasn't in the book.
Speaker A:And he wanted to change the tonality of the book because he.
Speaker A:He figured that the stuff wasn't going to translate well.
Speaker A:And he literally hid footage from the executives until the Michael scene in the bathroom or in the bathroom, and he gets the gun out of the bathroom and.
Speaker A:And does that whole thing.
Speaker A:And he.
Speaker A:It was not until that he showed them that scene that they said, we buy into your vision.
Speaker A:Until then, they were shortcutting him.
Speaker A:They were.
Speaker A:They were criticizing him.
Speaker A:They were like, this is not our guy.
Speaker A:Like, do what's exactly in the book.
Speaker A:Because this is a bestseller book and this is going to revive Hollywood.
Speaker A:Like, you have to do what's in the book.
Speaker C:Yeah.
Speaker A:And it worked for that because in a way, it revived independent.
Speaker A:It revived independent filmmaking.
Speaker B:Yeah.
Speaker A:Because he.
Speaker A:He very much saw himself as like, if I'm going to really.
Speaker A:If we're really going to revive Hollywood, we can't do it doing what the executives are telling us to do.
Speaker B:So.
Speaker A:But that attitude, it either over inflamed this muscle that he has.
Speaker A:I don't know what you could say.
Speaker A:Godfather 2, obviously, is incredible.
Speaker A:It's even better than Godfather 1.
Speaker A:But he.
Speaker A:Something happened.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker A:And.
Speaker A:And here.
Speaker A:Yeah.
Speaker A:Anyway, I mean, like.
Speaker B:Like I said.
Speaker B:I don't know if I said it on the podcast or off, but I feel like Coppola probably should have just been a cinematographer.
Speaker A:Yeah.
Speaker B:Because this was stunning to watch.
Speaker B:I.
Speaker B:Every.
Speaker B:Every bit of lighting.
Speaker B:Because here was the fascinating thing with this movie for me, and it really.
Speaker B:It really showed me why I think film is the perfect medium for movies versus digital or tape even.
Speaker B:And his use of under exposure with the shadows, but also the stark overexposure sometimes, like especially during the USO scene.
Speaker A:Yeah.
Speaker B:There's a lot of just lights directly in the camera, and a lot of it feels washed out, but you still see what you need to see.
Speaker B:And a lot of people try to kind of do that with digital.
Speaker B:And the.
Speaker B:The best example of this, in Lord of the Rings, when you first see Arwen, Peter Jackson very much overexposes Frodo's face and the light behind Arwen, and it looks incredible.
Speaker B:Gives you this otherworldly feel that he's trying to get for the elves.
Speaker B:But in the Hobbit, which was shot digitally, he tried to do the same thing, and it just looked like utter dog shit.
Speaker B:And it's like.
Speaker B:I think the medium of film helps with that.
Speaker B:But clearly, visually, he knew exactly what he was trying to do, and he nailed it 100% here.
Speaker A:Right?
Speaker C:Yeah.
Speaker C:I feel like you could, like, do the whole movie and dub over all the lines and just make it different.
Speaker B:Yeah.
Speaker C:And make it somehow make more sense.
Speaker B:Yeah.
Speaker C:Or just take out some more lines, because then just make it more visual.
Speaker B:Part of me felt like the narration actually really took away from the rest.
Speaker B:Oh, really?
Speaker A:I think it's the best narration of all time.
Speaker B:I would rather have just seen what was going on.
Speaker A:Gene is crushing that.
Speaker B:I also think Martin Sheen and Harrison Ford should have switched characters.
Speaker A:Really.
Speaker B:I think Harrison.
Speaker A:Harrison's three minutes in the movie.
Speaker B:Yeah.
Speaker B:I think Harrison Ford would have pulled this character off way better.
Speaker B:I think I actually would have given a.
Speaker B:About this character, played him.
Speaker A:I love Sheen.
Speaker B:He didn't do a bad job.
Speaker B:I'm not saying he did a bad job, but I don't think think he was the right guy for the role.
Speaker A:He's so cold.
Speaker C:Yeah.
Speaker A:I love it.
Speaker A:He's.
Speaker A:He's part of the jungle, man.
Speaker A:I feel like once they descend on that river, he's part of the jungle, he's part of the river.
Speaker A:He.
Speaker A:He becomes part of the boat.
Speaker A:I feel like he belong.
Speaker A:That's where he belongs.
Speaker C:Yeah.
Speaker C:I think there's a wildness to Charlie.
Speaker C:Or not Charlie Sheen.
Speaker C:Definitely Charlie.
Speaker B:Definitely a wildness to Charlie Sheen.
Speaker C:I feel like this is where Charlie Sheen got it.
Speaker A:Yeah.
Speaker C:From being a child on set in this movie.
Speaker B:Yeah.
Speaker C:But.
Speaker C:Yeah, to Martin Sheen, but Harrison Ford.
Speaker C:That was so funny when we were watching it.
Speaker C:I was like, is that Harrison Ford?
Speaker C:That looks like Harrison Ford.
Speaker C:And he was like, that's definitely Harrison Ford.
Speaker C:Now it looks like my brother.
Speaker C:Is that my brother?
Speaker C:Is it my brother?
Speaker A:Yeah.
Speaker C:I. I like Martin Sheen for this.
Speaker C:He has a craziness to him that does not translate to him now as an adult.
Speaker C:Like an old adult.
Speaker A:Yeah.
Speaker C:In the West Wing, he's not like this.
Speaker A:Yeah.
Speaker A:He settled down.
Speaker C:Yeah.
Speaker A:Devout Catholic.
Speaker A:He settled into that.
Speaker A:I mean, he's.
Speaker A:He's chill.
Speaker A:He's a chill boy now.
Speaker C:Yeah.
Speaker A:He don't dance in the jungle no more.
Speaker C:Bring any of this into the West Wing.
Speaker B:Feel like watching your son get HIV would probably make you calm yourself down.
Speaker A:Yeah, probably.
Speaker B:Yeah.
Speaker A:Yeah, yeah.
Speaker A:Being a Hollywood parent, I think so.
Speaker B:Yeah.
Speaker A:HIV was the least of Charlie's worries.
Speaker A:By the way, that book's really good.
Speaker B:I've heard great things and I want.
Speaker A:Yeah, documentary is good too.
Speaker B:Yeah.
Speaker A:Like.
Speaker C:Like that was not the most stressful thing that happened to him in his life at all, by any means.
Speaker A:He's very.
Speaker A:He's very introspective.
Speaker A:Yeah, he's actually.
Speaker A:And he's quite brilliant.
Speaker C:Yeah.
Speaker A:Hearing him talk and reading his book and I'm sure it's ghost written, but he's quite.
Speaker A:He's.
Speaker A:He's actually pretty brilliant considering everything he's done to his brain.
Speaker B:Yeah.
Speaker A:He talks at a very high level.
Speaker A:Yeah.
Speaker A:Sam Bottoms, speaking of drugs, Sam Bottoms, who played Lance, the surfer, he was.
Speaker A:He was on acid, basically through the whole film.
Speaker C:Nice.
Speaker A:And.
Speaker A:And that's interesting because this is like.
Speaker A:This.
Speaker A:Watching this movie is like being on acid in some ways.
Speaker A:And.
Speaker A:But he.
Speaker A:Because that.
Speaker A:The bridge scene, when they're at the bridge with all the fireworks and stuff that's going on, they were exhausted by that point by the time they got to that scene.
Speaker A:So he did speed for that scene.
Speaker A:Yeah, so he was on speed.
Speaker A:And.
Speaker A:And he's very.
Speaker A:He has no qualms.
Speaker A:Like when they interviewed about him for Hearts of Darkness, like.
Speaker A:Yeah, we were on everything all the time and it was fun.
Speaker A:Yeah.
Speaker B:This seems to be a trend with Coppola that everyone's either always on drugs or always drunk when they've worked with him.
Speaker A:He's high, too.
Speaker A:I mean, he's high all the time, apparently.
Speaker A:Mega opou.
Speaker A:He was smoking weed the whole time and groping waitresses or waitresses, actresses.
Speaker C:Oh, my God, seamstresses.
Speaker B:But Seth Rogen is high all the time and he makes great movies and doesn't grow people.
Speaker B:Yeah, this.
Speaker C:Okay, you just.
Speaker C:Now I understand why these are not as finished as they should be.
Speaker C:Because of the weed smoking.
Speaker A:Yeah.
Speaker C:Yeah.
Speaker C:I think Seth Rogen takes enough of a break when he's smoking weed.
Speaker B:I don't think he takes any breaks.
Speaker C:He doesn't look high, though.
Speaker B:That's the thing.
Speaker B:He's always high.
Speaker C:Okay.
Speaker A:He's very sharp for being a high guy all the time.
Speaker A:I, when I, I, I've not rarely tried it, but when I do, I just melt into a couch.
Speaker A:It doesn't matter what blend.
Speaker C:Yeah.
Speaker A:My buddy's like, try this one.
Speaker A:I'm like, okay.
Speaker B:And then I'm like, that's the funny thing with me is like, I, I smoke so much weed and used to drink so much that like, people would always be like, I can never tell when you're drunk.
Speaker B:And I'm like, cuz I'm always drunk or always.
Speaker B:So like, on weed, when you see me, like, you've never seen me sober, so that's why you don't know.
Speaker A:Yeah.
Speaker B:And I feel like that's the way it is with Seth Rogen.
Speaker B:He's always smoking weed and it's just like, that's who he is now.
Speaker A:Yeah.
Speaker B:It's called living in the cloud.
Speaker A:Living in the cloud.
Speaker B:Yeah.
Speaker A:Well, I just live down here in the dirt with the rest of them.
Speaker B:Yeah.
Speaker C:This explains a lot for me.
Speaker A:I feel like such a loser now.
Speaker A:Me and my decaf last rando.
Speaker A:Sorry, this is a little longer, but there's just way too much.
Speaker B:It's all good.
Speaker B:Now give it all.
Speaker A:The civil.
Speaker A:Because they were using the civil war.
Speaker A:There was an actual civil war happening in the Philippines during this time.
Speaker A:And so, yes, they had made a deal, but they would rehearse for weeks with.
Speaker A:Because they didn't do a lot of rehearsal for this movie with acting, but they did for the, like, the pilots and the choppers and the military equipment, because they were using real Vietnamese choppers.
Speaker A:But because there was a sal.
Speaker A:There was an actual civil war happening.
Speaker A:They would rehearse for a week doing a scene with pilots, and.
Speaker A:And then they would get deployed, and so they would have to get new choppers, new pilots.
Speaker A:And then, like, they would show up and Coppola would be like, who are you?
Speaker A:Yeah, he'd be like, oh, the other guy's fighting the war.
Speaker B:Yeah.
Speaker A:And he'd be like, so you're just gonna do the scene today?
Speaker A:He's like, I guess, what are we supposed to do?
Speaker B:Yeah, tell me what to do, bro.
Speaker A:And there's actual footage.
Speaker A:And this would drive you insane as a, as a filmmaker, especially considering this is film.
Speaker A:One of the reason there's so much film is because they would come in with these new pilots that had never rehearsed.
Speaker A:And like, for example, when they're bombing the bay area during the great sequence, by the way, Incredible.
Speaker B:Incredible sequence.
Speaker B:Possibly the best sequence of the whole movie.
Speaker A:Oh, yeah, it's very good.
Speaker C:Yeah.
Speaker A:Well, they kept flying too high or too low, and so they were never in the frame enough, so they had to film it over and over again.
Speaker A:And it's kind of funny.
Speaker A:It's kind of funny watching Hearts of Darkness because they're showing the footage behind the scene, and it looks like it's epic, but it's.
Speaker A:Because it's Eleanor filming her documentary camera, and she's capturing it, but they're not flying in frame.
Speaker A:And so it looks really epic.
Speaker A:But then the guy just casually.
Speaker A:Roman Copel or whoever, just casually goes, hey, they weren't in the frame.
Speaker A:And Francis, like, damn it.
Speaker A:So they read, back to one, back to one.
Speaker A:So these rookie pilots are just having to refly over the cameras over and over again.
Speaker B:It's a miracle this movie got finished.
Speaker A:Yeah.
Speaker B:Not much less three versions of it.
Speaker A:Yeah.
Speaker A:Anyway, there are 6,000 more randos that I could have gone into.
Speaker A:Those are my favorites.
Speaker A:Go watch the documentary.
Speaker A:I recommend it highly.
Speaker A:The questions.
Speaker B:The questions.
Speaker A:And now that you know the history, I'm gonna add this question back.
Speaker A:We'll do it.
Speaker A:All that stuff I just said.
Speaker A:Brando, Sheen's heart attack.
Speaker A:Civil War, Monsoons.
Speaker A:Firing Harvey Keisel.
Speaker A:Hiring.
Speaker A:Firing your lead actor.
Speaker C:Yeah.
Speaker A:Week one.
Speaker B:Yeah.
Speaker A:Was it worth it?
Speaker A:No.
Speaker A:Okay.
Speaker B:I don't think it was.
Speaker B:I'm sorry.
Speaker B:Come at me, Internet, come get me.
Speaker B:I'm ready for you.
Speaker B:I don't think this movie was worth the hell that Coppola put everybody through.
Speaker A:Okay.
Speaker B:And it's.
Speaker B:It's.
Speaker B:It's.
Speaker B:It's fine.
Speaker B:It's beautiful.
Speaker B:But I'm just sitting here thinking, like, it's a fucking movie.
Speaker B:Is.
Speaker B:I rarely think anything like that.
Speaker B:Putting people in danger.
Speaker B:Like.
Speaker B:Like whoever did the Revenant did.
Speaker B:Like, I refuse to see the Revenant because the director almost got seven crew members killed in an avalanche.
Speaker B:Yeah.
Speaker B:And I'm like, it is never, never worth anyone getting hurt or dying for something like that.
Speaker B:And I'm just like, why?
Speaker B:Why?
Speaker B:After you, like, realized how poorly this was going, why didn't you just cut your losses?
Speaker A:Well, his house.
Speaker A:He was.
Speaker A:He was.
Speaker A:He was.
Speaker A:He would come back to nothing.
Speaker A:He would have nothing.
Speaker A:He literally put everything.
Speaker A:He put everything he owned as collateral.
Speaker C:Yeah.
Speaker B:Some people.
Speaker B:Some people just need to have someone else to rein them in and just be like, hey, maybe we don't need to put our house up as collateral for this movie.
Speaker A:Well, it wasn't his wife.
Speaker A:She loved It.
Speaker A:She was like, oh, Francis.
Speaker A:And he kept threatening to kill himself.
Speaker A:She's like, that's cute.
Speaker C:That's adorable.
Speaker A:What do you think?
Speaker C:It's so funny.
Speaker C:I fell asleep during the Revenant.
Speaker C:So it was not worth it for them either.
Speaker A:You couldn't bear it.
Speaker A:Okay, shut up, Seth.
Speaker C:You want to go watch?
Speaker B:Anyway?
Speaker C:I just don't understand if you're gonna.
Speaker C:If.
Speaker C:If I was gonna put my house on the line for a movie, I feel would have been a year, two years, three years.
Speaker C:Like the pre.
Speaker C:Like, he didn't plan enough.
Speaker C:He should have had more people that had like the.
Speaker C:The business minds on it because, like, I just think it was worth more than this.
Speaker C:And I think it could have been better.
Speaker B:Yeah.
Speaker C:And like, with all the beautiful cinematography and the music and how much money the music must have cost to have it in the movie and all that going into it, I just feel like, why do you put so much into it if you're not gonna.
Speaker A:Right.
Speaker C:Do that little extra leg work at the beginning.
Speaker B:Yeah.
Speaker A:You know what Lucas says in the documentary is like.
Speaker A:He basically is saying how he's different than Lucas.
Speaker A:He's like, he doesn't plan.
Speaker A:He says he wants to flow.
Speaker A:He says he wants to feel the flow of the film.
Speaker B:Those are the worst filmmakers I've worked with, people like that, and they are the absolute worst people to work with.
Speaker C:This is.
Speaker C:Yeah, this is not a fun way to make things.
Speaker B:I was on a 48 hour film festival project and I was the assistant director.
Speaker B:We.
Speaker B:We had a script at.
Speaker B:So.
Speaker B:So for those of you don't know, the 48 Hour Film Festival from 7pm Friday until 7pm Sunday, you have to write, shoot, and do all post production on a three to five minute short film.
Speaker B:We had a script.
Speaker B:We had a very cohesive script.
Speaker B:At 12pm or 12am sun or Saturday morning, we were shooting at 8am I show up on set at 8am and this director has literally thrown the script out and is typing away, making her own script on set as I'm trying to get people set up.
Speaker A:Wow.
Speaker B:The way this project ended was seven hours later, I ended up directing the last three scenes because this woman had no idea what the hell she was doing.
Speaker B:Literally.
Speaker B:She kept looking to me and just being like, what else do you think we should do?
Speaker B:And I'm like, bitch, you're the one who wrote this script.
Speaker B:I don't know what is going on anymore.
Speaker B:What happens in this scene?
Speaker B:Okay, you do this now.
Speaker A:Action.
Speaker B:And that's how that ended.
Speaker B:So I hate working with people who cannot sit there and let the plans that we've made beforehand happen.
Speaker B:Flowing.
Speaker B:When you're, when you're making a movie with so many moving pieces, it is impossible to just let it flow.
Speaker C:Yeah.
Speaker C:There's no flow in this.
Speaker C:Like, that's why the movie doesn't flow.
Speaker C:Actually.
Speaker C:I think to me, that's where it, it there the issues are.
Speaker C:I'm like, I don't know.
Speaker A:I, yeah, I couldn't be more opposite.
Speaker A:I think it's wonderful.
Speaker A:I, I, and I listen, like, I fully.
Speaker A:Like I said, if you were to criticize Taxi Driver the same way or, you know, some of my other favorite films, I, I would take more.
Speaker A:I would probably argue a little more about it.
Speaker A:I take no argument.
Speaker A:I get it.
Speaker A:It's like, it's, it's, it's.
Speaker A:But it just hits me in all the right ways.
Speaker A:I love how it, it's a fe.
Speaker A:I love the flowiness of it.
Speaker A:Probably because I'm a very structured person myself.
Speaker A:Like when I write, like, I'm very structured in my approach to writing, for example.
Speaker A:And just the idea of just going with it, you know, is, it's, it's enticing to me.
Speaker A:And I, I love what happened here.
Speaker A:I love what he captured.
Speaker A:And he's.
Speaker A:Such as the cinematography, but I love the dialogue.
Speaker A:And I, I love hearing Brando's lines.
Speaker A:Like, there's a lot here that I love.
Speaker A:And it's just, it sucks me in and I can't explain why.
Speaker A:I feel like I am telling myself like, you shouldn't like this, but I just get sucked into it every time.
Speaker A:Like, when you said we were going to cover it, I was like, yes, redux time.
Speaker A:You know, And I'm just like, three and a half hours.
Speaker A:French Plantation.
Speaker A:I don't care if it slows down a movie.
Speaker A:Let's go.
Speaker A:You know, And I'm just in.
Speaker A:I can't explain it.
Speaker A:It's one of those weird things.
Speaker A:I can't explain to you why I, I'm so fond of it.
Speaker B:Yeah.
Speaker A:But it works for me.
Speaker A:It pulls me and it inspires me.
Speaker A:Creativity.
Speaker A:Like, creativity wise.
Speaker A:I just love it.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker B:This is one of those times.
Speaker B:I don't think you're wrong for that.
Speaker A:Yeah.
Speaker B:No, I fully understand how this movie can hit people very differently.
Speaker A:Yeah.
Speaker B:But even as a lover of long movies, it just, it felt, every moment felt drawn out to a point that I'm like, okay, we get it.
Speaker B:Let's move on.
Speaker C:I wish that they had brought a Little bit more of the end and the beginning of the Fever Dream esque into the middle.
Speaker A:Right.
Speaker C:I do wish, because I love A Fever Dream as well.
Speaker C:And I do like going with the flow, but like not a way to make a movie.
Speaker C:Yeah, but yeah, I just, I love the Fever Dream aspect.
Speaker C:I wish that there had just.
Speaker C:It had almost been more fantastical.
Speaker C:A little bit.
Speaker A:Yeah.
Speaker C:Yeah, crazy.
Speaker C:Like a unicorn out of nowhere.
Speaker A:It also doesn't explain anything.
Speaker A:The only, the only real narrative that's getting explained is his discovery of Kurts and who he is.
Speaker A:Yeah, like that's it.
Speaker A:That's kind of the only mechanism.
Speaker A:Like, and I like that.
Speaker A:I like show versus tell.
Speaker A:So I love that.
Speaker A:I'm just seeing.
Speaker A:I'm just being left to interpret.
Speaker A:And to me it's like it's time travel is what it is.
Speaker A:This river is almost like this, this.
Speaker A:The farther they go and then like when they go.
Speaker A:That's Cambodia, sir.
Speaker A:You know, it's like you.
Speaker A:They go into the bridge.
Speaker A:That was the last stronghold, the last American stronghold before they go into Cambodia.
Speaker A:And to me that was saying this is, this is disintegrating and we're going back to, you know, prehistoric pre evolutionary roots.
Speaker B:Yeah, I didn't get that at all.
Speaker A:Really.
Speaker B:I did not feel that.
Speaker B:Any of that.
Speaker A:Yeah, I think it's.
Speaker A:I think it's going back in time.
Speaker C:Yeah, yeah.
Speaker C:I think I need to watch it again now.
Speaker A:Yeah, yeah.
Speaker B:I need to watch it for the third time in 24 hours.
Speaker C:Weird.
Speaker C:24 hours.
Speaker A:I love it.
Speaker A:And I still you not to do that to yourself next.
Speaker B:Like, honestly, that was something I, I feel like could have been done better.
Speaker B:Is.
Speaker B:Is just character development and story development just wasn't there for me at all.
Speaker B:I, like I, I've said it before, I didn't care about any of the people on that boat.
Speaker B:Even Martin Sheen to a point.
Speaker B:I was like, I don't really.
Speaker B:Okay, so you're an alcoholic at the beginning, but now you're kind of this straight edge dude and you're, you're not reacting to anything.
Speaker A:Like, he's on baby.
Speaker A:He's a killer.
Speaker A:He's a cold blooded assassin.
Speaker B:See, I didn't get that.
Speaker A:He's a CIA assassin.
Speaker B:I did not get any of this out of this movie.
Speaker A:Oh yeah, he's cold.
Speaker A:He cold hearted Martin Sheen versus you don't have to just say Harvey Keitel.
Speaker A:I guess the real question is, did Coppola make the right call firing Keitel after a few weeks?
Speaker B:I mean, probably famously, Peter Jackson fired Stuart Townsend from Aragorn's role.
Speaker A:Oh, really?
Speaker B:Yeah.
Speaker A:Oh, interesting.
Speaker B:Yeah.
Speaker B:Aragorn Viggo Mortensen was not brought in until they had been filming for like three or four weeks already.
Speaker C:Vgo.
Speaker C:Wow.
Speaker B:So, no, I.
Speaker B:Absolutely.
Speaker B:Any director who is willing to have the balls to fire an actor, especially your lead actor, in the middle of filming.
Speaker B:Good for you.
Speaker A:Yeah.
Speaker B:Because I have a feeling, even though I don't necessarily love Char or Martin Sheen in this, I have a feeling if he fired Harvey Kitel there was a really good reason he did.
Speaker A:Yeah.
Speaker C:Yeah.
Speaker C:And then.
Speaker C:But every time I'm starting to hear about Francis now, I'm like, maybe there wasn't a good reason.
Speaker C:He was just like, I don't like the way he looks at me.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker C:Like he's kind of a diva.
Speaker C:He's just a pot smoking diva.
Speaker A:Yeah.
Speaker C:He was like, this guy's just.
Speaker C:Something's off.
Speaker C:I don't know.
Speaker C:Doesn't.
Speaker C:I don't feel it.
Speaker C:I don't feel the flow.
Speaker A:Yeah.
Speaker B:Honestly though, I'm not very familiar with Harvey Keitel in general, so I couldn't tell you just based on even his personality if I think he would have fit the role or not.
Speaker C:Yeah.
Speaker B:You know, what has he been in?
Speaker A:He's been.
Speaker A:He does a lot of mob stuff, but his.
Speaker A:One of his most notable is Taxi Driver.
Speaker A:He plays sport, which is basically Jody Foster's character's pimp.
Speaker B:I haven't seen it, so.
Speaker C:And he's.
Speaker A:He's nasty.
Speaker B:Okay.
Speaker A:Yeah, yeah.
Speaker A:Bad Lieutenant.
Speaker A:Did you guys see Bad Lieutenant?
Speaker A:Oh, my God.
Speaker A:I. Parental advisory.
Speaker A:He plays a crooked cop who like snorts heroin and like accost prostitutes and.
Speaker A:Oh my God, he's a bad boy in that movie.
Speaker A:But he's really good.
Speaker A:But no, Kitel.
Speaker A:No, and I get it, man.
Speaker A:Like.
Speaker A:Yeah.
Speaker A:Oh, he.
Speaker A:Reservoir Dogs.
Speaker A:Oh, yeah, sorry.
Speaker A:I was trying to think of something you have seen.
Speaker B:Yeah, yeah, yeah.
Speaker A:Okay.
Speaker B:Okay, okay, okay.
Speaker A:He in to me.
Speaker A:Oh my Copland with Sylvester Stallone is probably my favorite other role besides Taxi Driver.
Speaker B:But you know, he.
Speaker A:He's really good and I like him, but I don't see him ever really shed that mob thing.
Speaker B:Yeah.
Speaker A:And that maybe just because all my favorite roles.
Speaker A:He's doing bad stuff like that.
Speaker A:But I don't know that he had the flatness here.
Speaker A:Martin Sheen.
Speaker A:Martin Sheen is almost undetectable.
Speaker A:Like he doesn't have an accent.
Speaker A:He doesn't.
Speaker A:He seems very straight forward in every way possible.
Speaker A:He's just a straightforward assassin.
Speaker A:Besides the drunk Scene.
Speaker A:Yeah.
Speaker A:And so I'm like, maybe Kitel had a little too much flare.
Speaker A:Maybe he wasn't.
Speaker A:He was too animated.
Speaker A:Maybe his accent was too New Jersey.
Speaker A:I don't know what it is, but.
Speaker A:Yeah, but I. I think Martin Sheen was a great choice here.
Speaker A:Like, I think it's interesting to hear.
Speaker A:Maybe Harrison Ford.
Speaker A:But I. I like it here, cuz.
Speaker B:Like I said, I don't think he did a bad job.
Speaker B:I just think the character could have been brought out better by someone else.
Speaker A:Yeah.
Speaker C:Yeah.
Speaker A:Next question.
Speaker A:We're going to skip that one.
Speaker A:Was Marlon Brando.
Speaker A:Now that you know the story, was he a genius here or a disaster?
Speaker B:Oh, Marlon Brando was a disaster.
Speaker B:I think if there's anything genius going on, it was the fact that Coppola was able to salvage what was going on and was able to come up with an insanely artistic reason to.
Speaker B:To keep.
Speaker B:Like I said, that last 30 minutes was my favorite part of the movie.
Speaker A:Yeah.
Speaker B:And.
Speaker B:And I think.
Speaker B:Yeah, that was absolutely Coppola trying to just make do with a shit situation.
Speaker A:Yeah.
Speaker B:So I think in a lot of instances like that, it can breed some of the most creative decisions people will ever make.
Speaker A:Yeah.
Speaker B:So, no, I think.
Speaker B:I think Brando was a piece of.
Speaker B:For doing what he did.
Speaker B:And Copola figured it out.
Speaker A:Yeah, totally.
Speaker C:Yeah.
Speaker C:I just feel really bad for Marlon Brando for whatever happened to him to get him to that place where he was in such a bad way that he showed up.
Speaker C:So unprofessional.
Speaker A:Yeah.
Speaker C:And like, this is like.
Speaker C:This is Superman, you know?
Speaker C:Like what?
Speaker B:Well, Superman's dad.
Speaker C:Superman's dad.
Speaker C:You've come so far anyway.
Speaker C:He's just.
Speaker C:I don't know.
Speaker A:What's crazy is this is not even the worst.
Speaker A:Like, he eventually.
Speaker A:For the island of Dr. Moreau with Val Kilmer, like, that movie is 10,000 times worse.
Speaker C:Yeah.
Speaker A:Go research.
Speaker A:Yeah.
Speaker C:And that's one of my favorite stories.
Speaker A:Yeah.
Speaker C:Like, not even going to.
Speaker A:He.
Speaker A:Apparently he.
Speaker A:He made a director quit.
Speaker B:Oh, wow.
Speaker A:He was so bad.
Speaker A:The director.
Speaker A:Coppola just won't.
Speaker A:Because he loves trauma and he's.
Speaker A:He's addicted to.
Speaker A:He needs chaos.
Speaker A:Like, he.
Speaker A:That's probably why he's.
Speaker A:Yeah, he needs chaos.
Speaker C:We just hit on it.
Speaker C:He needed Marlon Brando for this.
Speaker A:Yeah.
Speaker B:Yeah.
Speaker C:But I do think again, just like what you said, they handled it really well.
Speaker B:Yeah.
Speaker C:And I think that the end of the movie is not the worst part.
Speaker A:Yeah.
Speaker A:I agree here.
Speaker A:And I actually wonder.
Speaker A:I actually wonder why, like, what were they going to do with The.
Speaker A:With the uniform.
Speaker A:Like, what was the plans for the original?
Speaker A:You know, uniforms and all the things.
Speaker A:And he was going to be a lot more prevalent.
Speaker A:But again, this is the Jaws effect coming in here.
Speaker A:We don't meet him really, till the end.
Speaker B:Yeah.
Speaker A:Even then, he's disguised, and he's got all these crazy rants dialed up.
Speaker A:And there are hours of those.
Speaker A:So there's hours.
Speaker A:And you can see some of.
Speaker A:On the documentary, there's hours of him just reading crazy, and he.
Speaker A:And they just kind of picked the most random ones.
Speaker A:And then the polio one kind of became the one that.
Speaker A:That demonstrates his journey as to why he became who he was.
Speaker A:But I love what they captured, and as much.
Speaker A:As much as I think he's a prima donna.
Speaker A:And I hate when people give him so much credit as one of the greatest actors of all time, because even though on screen he has captured some of the greatest performances, he's such a deplorable person to work with.
Speaker A:I don't care how creative it is.
Speaker A:I don't care what he needs.
Speaker A:But again, I do think after re.
Speaker A:Watching the documentary, again, Coppola had to have chaos.
Speaker B:Yeah.
Speaker A:If he would have filmed this.
Speaker A:Think about it.
Speaker A:Dracula was done 99 on set.
Speaker A:Yeah.
Speaker A:With actors who were drunk but not stoned.
Speaker A:And no.
Speaker A:And yes.
Speaker A:Gary Oldman was.
Speaker A:Was kind of a diva, but he wasn't Marlon Brando diva.
Speaker B:Yeah.
Speaker A:And it turned out really bad.
Speaker B:Yeah.
Speaker A:So I just think he's addicted to chaos.
Speaker C:And yeah.
Speaker A:I think on Megaopolis, he probably.
Speaker A:The reason is probably bad is because he.
Speaker A:He had to create the chaos.
Speaker B:Yeah.
Speaker A:Probably people did show up prepared because Shia LaBeouf does not show up unprepared.
Speaker A:He's a very dedicated actor.
Speaker A:And Copel was probably like, what the.
Speaker B:Yeah.
Speaker A:He was like, no, you're.
Speaker A:No, no, you gain.
Speaker A:Gain some weight.
Speaker B:Well, because, like, literally.
Speaker B:And I. I sent this clip to Matt to put in for.
Speaker B:For some of the clips from last week, but there's this moment where.
Speaker B:Where Shy and him are arguing so hard about, I need a reason to get over here, otherwise I feel like I should stop here.
Speaker B:And Coppola's like, what is wrong with you?
Speaker B:You go there because I told you to.
Speaker B:And he's like, no, this is not how it works.
Speaker A:Yeah.
Speaker A:Last question.
Speaker A:Did Coppola go too far filming the water buffalo slaughter?
Speaker A:And to him, what he said was, it was part of the exchange in a deal to let the tribe be in the film.
Speaker A:They wanted to have.
Speaker A:They wanted to have the Ritual on film.
Speaker A:And he says, and he basically claims it was a part of the deal that he made with the locals, but he did not direct that scene.
Speaker A:Oh, he didn't direct it.
Speaker A:They were just capturing it like it was.
Speaker B:So he just set up the camera.
Speaker A:Yeah, set up the camera.
Speaker B:Okay.
Speaker C:Amazing.
Speaker B:Honestly, based on other things I've seen out of the 70s, that's not even the worst.
Speaker B:Yeah, that's not even the most graphic, gory thing I've ever seen happen to animals on screen.
Speaker B:So, I mean, it's.
Speaker B:Yeah, I could call it unnecessary, but in, In.
Speaker B:In the context of why he was filming it, I. I guess it makes sense.
Speaker B:I do have this weird thing though.
Speaker B:If you're not making a documentary, if you're, you're.
Speaker B:If you're utilizing something for fiction, I just, I do feel like at times like that there's other ways it could be done because I get wanting to capture what they're doing, but you're also representing what they're doing as something that it's not.
Speaker A:Right.
Speaker B:And so I don't agree with him that it was about capturing this historical situation.
Speaker B:It was.
Speaker B:It was about doing something up for a movie.
Speaker B:Movie.
Speaker A:Yeah.
Speaker B:That's really what it boiled down to, whether he wants to admit that or not.
Speaker A:Right.
Speaker B:But at the same time, people were doing like that on a much weirder, crazier scale in the 70s and 60s.
Speaker B:So it's like.
Speaker B:Yeah, it's.
Speaker B:It's unnecessary.
Speaker B:Not the worst thing I've ever seen in that.
Speaker B:In that realm.
Speaker C:Sure, it didn't necessarily bother me to watch, but I feel like it's almost like happenstance that it happened.
Speaker C:Like they just happened to be there and those people that do that stuff.
Speaker C:Ceremony.
Speaker C:But I.
Speaker C:When you told me that it was a real cow that got slaughtered, I.
Speaker A:Was like, oh, yeah, it looks real.
Speaker C:I mean, I know.
Speaker C:And I don't.
Speaker B:Like, I was surprised there wasn't more blood.
Speaker A:Yeah, yeah, yeah.
Speaker B:Like, that was.
Speaker B:What was shocking to me was that there wasn't this, like, gush up blood.
Speaker A:Hell, that would have been an Arby's commercial in the 70s.
Speaker B:Yeah.
Speaker A:We bring the meats.
Speaker B:Wham.
Speaker A:We've got the meats.
Speaker B:And we killed it right out back right here.
Speaker C:Oh, my God.
Speaker C:That was cool, though.
Speaker C:I like that whole.
Speaker C:That part of the movie is good.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker A:You know, I, I have a. I have a weird thing about this.
Speaker A:I. I think.
Speaker A:I think it was hard to watch.
Speaker A:It actually did get harder to watch for me after I found out it was real.
Speaker A:Yeah, I think people are interesting.
Speaker A:I, I just think people are interesting in general in this realm.
Speaker A:I think it's a little bit of a selective thing that people get mad about this because I do think that films have depicted some of the most horrific things.
Speaker B:Yeah.
Speaker A:And yes, it sucks that a real animal would die, but there's also rape and there's also these horrible things that filmmakers really.
Speaker A:And some filmmakers indulge in horrific.
Speaker A:One of those being like Von Trier.
Speaker B:Oh, yeah.
Speaker C:Oh, God.
Speaker B:First one that came to mind.
Speaker C:Irreversible.
Speaker A:And, and there is outrage, like you hear, but it's more pocketed, like you hear pockets of outrage to things like that.
Speaker B:Yeah, but.
Speaker A:But when animals get slaughtered on screen or impacted, people come out of the woodworks.
Speaker B:Yeah.
Speaker A:I mean, I, and I, I used to do a comedy bit about this.
Speaker A:I got really curious after I was examining this concept and, like, I was like, what does PETA think about killing cockroaches?
Speaker A:You know, and they're like, well, we don't advocate.
Speaker A:This is literally their stance.
Speaker A:We don't advocate for the killing of any animal.
Speaker A:Have you tried essential oils or potpourri?
Speaker A:And Mike, bit was, if you're having cockroach infestation, I doubt that you got potpourri or essential oils around to ward off the cockroaches.
Speaker B:That's a good bit.
Speaker A:Yeah.
Speaker A:It's funny and it's, it's the truth.
Speaker A:I mean, so I just, I don't get it.
Speaker A:I, I get it.
Speaker A:I, I, I think if any animal dies or is tortured, that shouldn't happen.
Speaker A:But also, people ignore a lot of other that gets depicted on film.
Speaker A:That's horrible.
Speaker A:So that's my perspective.
Speaker B:Yeah.
Speaker B:No, I feel, I feel very much the same way.
Speaker B:Like, but again, at the same time, it's a, it's a fictional movie.
Speaker B:Yeah, it, it was kind of unnecessary.
Speaker A:Yeah.
Speaker B:Not egregious, but definitely not necessary.
Speaker A:Yeah.
Speaker A:But I don't know how scary these tribes folks were.
Speaker A:They said they were headhunters and they were killers.
Speaker A:And they were like.
Speaker A:But they were, but they were truly.
Speaker A:They, they pulled them from their habitat.
Speaker B:Watch them be just completely normal people.
Speaker B:And that was Coppola on so many drugs just being like, they're crazy, man.
Speaker B:They're headhunters.
Speaker B:They're coming at us like, dude, he.
Speaker A:Hired them at a kfc.
Speaker C:Yeah.
Speaker A:He was like.
Speaker A:And they, they convinced him, because he was on coke.
Speaker B:Yeah.
Speaker A:That they do this ritual and they were literally ordering a bucket of chicken all acid.
Speaker C:I actually kind of disagree with that.
Speaker C:And that with animals, it's different because the animals don't know what they're doing.
Speaker A:Right.
Speaker C:When you're depicting a rape scene, the actors are very well aware of what's being depicted.
Speaker A:That's a good point.
Speaker C:And I just feel like with animals, you cannot explain it to them.
Speaker C:This is what me.
Speaker C:I'm always.
Speaker C:I'm talking about with my husband.
Speaker C:I'm like, you can't scare Hans as a joke.
Speaker C:My.
Speaker C:My cat.
Speaker C:Because he doesn't understand the concept of a joke, you know?
Speaker C:So I'm like.
Speaker A:So unless he does.
Speaker A:I know.
Speaker C:Unless he happens to.
Speaker A:And he's.
Speaker A:He's got one long joke he's been running on for years on you, and he's fixing to pull.
Speaker A:He's fixing to pull the plug.
Speaker C:Yeah.
Speaker C:So I don't know.
Speaker C:I see the.
Speaker C:I see the point, but it's tough.
Speaker C:Yeah.
Speaker C:I'm a big animal person, though.
Speaker A:It's tough.
Speaker A:And here's the thing.
Speaker A:Like, when I read a book.
Speaker A:An animal didn't get killed reading that book.
Speaker A:And it's a fiction book, It's a fiction movie.
Speaker B:Yeah.
Speaker A:It's very weird.
Speaker A:It is.
Speaker A:You kind of hit on something interesting there.
Speaker A:This is fiction, whether you love animals or not.
Speaker A:It's like, why does.
Speaker A:Does it.
Speaker A:Would a human need to die?
Speaker B:Yeah.
Speaker A:For the purpose of this movie would.
Speaker A:You know?
Speaker A:And, like, there is definitely a sliding scale.
Speaker A:So I get that the closer here.
Speaker A:Who or what won this movie for you and who or what lost.
Speaker A:I can't wait to hear which thing you guys pick.
Speaker C:But.
Speaker B:If.
Speaker B:If I had to pick one thing that won this movie for me, it's a cinematography.
Speaker A:Yeah.
Speaker B:Like, flawless.
Speaker B:Oh, my God.
Speaker B:There's.
Speaker B:There's.
Speaker B:I Strictly from a visual standpoint, I get why it's such a beloved movie.
Speaker B:Like, there's.
Speaker B:There's.
Speaker B:You.
Speaker B:Like you said earlier, you don't see many people play around with light as much as he did.
Speaker B:Light and shadow.
Speaker B:Even.
Speaker B:Even David Fincher, I don't think goes to quite the level that.
Speaker B:That this movie went to.
Speaker B:Even though I love that one, like, camera test that he did with Leo where Leo just lights a cigar and the only light that they use is from the match and from the cigar.
Speaker B:Even that, like, wasn't quite as crazy artistic as this was.
Speaker B:So that absolutely, like, that's what kept me finishing the movie, was how beautiful the cinematography was.
Speaker B:I think overall, what lost it for me was the fact that I did not connect with a single main character.
Speaker B:No one on that boat did I feel anything for I was very confused when they were getting on that boat with the.
Speaker B:With the.
Speaker B:The Vietnamese people, and they're looking for.
Speaker A:The food, transporting the rice.
Speaker B:They're just all mad.
Speaker B:Like, there's.
Speaker B:For me, at that point, other than it just being hot, there's no reason why everyone should have been that mad and freaking out about stuff.
Speaker B:And it's like, I feel like in some ways, the Heat was kind of supposed to be a villain in this movie, but I did not get that.
Speaker B:The same way I did from when we watched do the Right Thing.
Speaker A:Right.
Speaker B:Do the Right Thing.
Speaker B:It was so clear that the Heat was what was making people go crazy in this.
Speaker B:It just felt like one second everyone's normal, and then another second we're just shooting everybody because why not?
Speaker B:Why not just shoot everybody around?
Speaker B:So I think ultimately that's really what lost it for me, was I. I found no way to connect with any of the characters outside of Robert Duvall's character and outside of the.
Speaker B:The mystery of Marlon Brando's character.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker A:What do you think?
Speaker C:For me, the three key scenes, the Begin, the mirror scene, the Flight of the Valkyries, and then the ending scenes with Marlon Brando.
Speaker C:Those three, I guess they happened upon, like, some brilliance, because those have stuck with me so long since the first time I watched it till now.
Speaker C:And I just watched the movie for those scenes.
Speaker C:Everything in the middle, though, is what lost it for me.
Speaker A:Yeah.
Speaker C:It's like the losing.
Speaker C:The plot is just gone all of a sudden, which is.
Speaker C:And I think I mentioned this earlier, I'm obsessed with Sofia Coppola, and then Sofia Coppola, his daughter, I think, is now making movies, too.
Speaker C:They don't have a lot of plot in their movies, but I think it's so toned down.
Speaker C:The story is so toned down that, like, the cinematography is on spotlight.
Speaker B:Yeah.
Speaker C:And then you don't have to be following these, like, weird threads all the time where you're like, is anything happening?
Speaker B:Yeah.
Speaker C:So.
Speaker C:Yeah.
Speaker C:But I feel like they stumble upon brilliance with the cinematography and the music and then these three scenes that happened to me in the beginning, the middle, and the end.
Speaker B:Yeah.
Speaker C:So, yeah.
Speaker A:Yeah.
Speaker B:What lost it for you?
Speaker C:Oh, that.
Speaker C:Sorry.
Speaker C:I thought I melded those two together.
Speaker B:Okay.
Speaker C:Everything that lost it for me was what was in the middle of those scenes.
Speaker B:Okay.
Speaker C:Yeah.
Speaker A:Yeah.
Speaker C:Kind of like where the.
Speaker C:Wherever happens to the plot.
Speaker A:Yeah.
Speaker C:Kind of gets lost.
Speaker A:I get it.
Speaker A:What won it for me was, gosh, there's so much that I love, but I just.
Speaker A:I love the Duvall Scenes.
Speaker C:Yeah.
Speaker A:That whole sequence, even though they're doing horrible things.
Speaker A:But that's really great.
Speaker A:That's really grafted right from what they were doing in the war.
Speaker B:Yeah.
Speaker A:With the napalm and stuff.
Speaker A:But his performance and, and I don't think he gets enough credit for how he bounces between.
Speaker A:And he's not really changing his tone.
Speaker A:But when he's talking to Lance, like, he's literally like bomb.
Speaker A:And then he's like, oh, have you heard about these waves?
Speaker A:And they made like the way he kind of just seamlessly shifts between talking about surfing and bombing.
Speaker B:He takes some of the worst written lines and gives them so much gravitas.
Speaker A:Yeah.
Speaker B:If anyone else said, I love the smell of napalm in the morning, I would have died laughing.
Speaker B:He said it.
Speaker B:And somehow he said it in such a way that I was like, I believe him.
Speaker B:Victory.
Speaker B:Yeah.
Speaker B:I believe him.
Speaker B:Like, it, it did not feel stupid the way it probably should have.
Speaker A:Yeah.
Speaker A:And maybe the most profound line of the entire movie.
Speaker A:And, and Sheen's character later reiterates it when he says, someday this war is going to end.
Speaker B:Yeah.
Speaker A:But he' it in a way that makes you think he's, he's saying it negatively.
Speaker A:Like, he's like, I don't want this vacation to end.
Speaker B:Yeah.
Speaker A:Cuz they're, they're doing whatever the hell they want and they have too much money, too much firepower.
Speaker A:Surfboards.
Speaker C:He's having fun.
Speaker A:Yeah.
Speaker A:He's having a blast.
Speaker A:Playing freaking classical music.
Speaker A:War.
Speaker A:Yeah, playing war.
Speaker A:And his face is so perfect there.
Speaker A:Someday this war is going to end.
Speaker A:And he leaves it on that pregnant pause.
Speaker A:He's like, oh, like he doesn't want it to end.
Speaker B:Yeah.
Speaker A:And so that crushes me.
Speaker A:So what lasted for me.
Speaker A:It's funny, most of it's offset stuff.
Speaker A:I just will never understand two things.
Speaker A:Brando's constant, just Prima Donna bullshit and, and, and Coppola's need to create chaos.
Speaker B:Yeah.
Speaker A:Like I think you can say that, that it came out good because I love it.
Speaker A:It's in my top 10.
Speaker A:But I, I'm not a person that thinks you have to be a horrible person and subject everyone else to your process.
Speaker B:Yeah.
Speaker A:You know, and a lot of method actors, Daniel Day Lewis never gets accused of this.
Speaker A:But you know, like Jim Carrey when he did man on the Moon, he really, he really.
Speaker C:Yeah.
Speaker A:Pissed off a lot of people.
Speaker B:Yeah.
Speaker A:He drove a car through the freaking set.
Speaker A:Like he just did all kinds of horrible.
Speaker A:I just will never understand.
Speaker A:Like, we're playing Pretend here.
Speaker B:Yeah.
Speaker B:I can literally.
Speaker A:I love listening actors talk about their methods.
Speaker A:I think it's interesting.
Speaker A:But sometimes I'm like, bro, you're just playing pretend.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker A:And the glorification of that and the fact that it leads to that kind of behavior, I just don't think any professional in any setting should subject people to this kind of behavior.
Speaker B:Yeah.
Speaker C:Still a job.
Speaker A:It's still a job.
Speaker A:And there's a lot of people that do it very well, and they show up and they leave and they clock out and they go home to their families, and they act like normal people.
Speaker A:Yeah.
Speaker A:And there's a lot of them in Hollywood, but you don't hear about them because you hear about the Brandos, and.
Speaker A:Yeah.
Speaker A:Anyway, that.
Speaker A:That loses it for me.
Speaker A:I just will never understand the need.
Speaker B:That reminds me of that story that Tom Hanks tells.
Speaker B:He was early in his career, and he showed up on a set, and the director was not happy with the way things were going.
Speaker B:And Tom Hanks asked him about something, I guess, like, his motivation or something.
Speaker B:He looked at me.
Speaker B:He was like, no.
Speaker B:You have three things that you have to do.
Speaker B:You have to show up on time, know your lines, and have an idea.
Speaker A:Yeah.
Speaker B:And that, to me, is like.
Speaker B:I feel like if every actor would just do that, would just know your goddamn lines, get here on time and have an idea so that I don't have to tell you how you should be your character.
Speaker A:Right.
Speaker B:Boom.
Speaker B:Whenever I see people do that, those are usually the performances that I just think are insanely good.
Speaker A:Yeah.
Speaker B:And I.
Speaker B:It.
Speaker B:It always makes me sad when I hear about someone like a legend, like a Marlon Brando who just gives up and just makes everyone else's life miserable.
Speaker A:Yeah.
Speaker B:Because they made it.
Speaker B:And don't have to work hard anymore.
Speaker B:Don't be in movies anymore.
Speaker A:Yeah.
Speaker C:I mean, everybody else on the movie is at work, too.
Speaker B:Yeah.
Speaker C:So, yeah, they're all working.
Speaker B:Most of them are depending on this movie to feed their families.
Speaker C:Exactly.
Speaker B:Not just to throw another couple million in the bank account.
Speaker C:Yeah.
Speaker C:It's not like a vanity thing.
Speaker C:Yeah, exactly.
Speaker B:Most of them might make 30 grand from the movie, and it's like a.
Speaker C:Year of their life.
Speaker B:Yeah.
Speaker C:They put everything into it, and they're having a horrible time.
Speaker C:Like, at least the actors get to go sit and, like, in air conditioning.
Speaker C:Like, the crew did not.
Speaker B:No.
Speaker A:Yeah.
Speaker C:You know, they were dehydrated the whole time.
Speaker A:Yeah.
Speaker A:And getting malaria.
Speaker B:Yeah.
Speaker C:Oh, my God.
Speaker C:Even imagine.
Speaker A:And hearing explosions from real civil war.
Speaker A:Yeah.
Speaker C:Can you imagine how Dirty these people were the whole time they were shooting so bad, I can't even watch.
Speaker B:Nose plugs every day.
Speaker C:Migraines.
Speaker A:All right, the War Zone.
Speaker A:Our scorecards.
Speaker A:Remember, we do cast, directing, writing, and then film composition, which is everything else.
Speaker A:The editing, cinematography, music, sound design, all the.
Speaker A:All the things.
Speaker B:Yeah, acting, it's a squeak over for me.
Speaker B:I think outside of.
Speaker B:Of Robert Duvall, everyone did okay, and Robert Duvall is the only thing that said it beyond okay for me.
Speaker B:So it's a squeak over.
Speaker B:It's.
Speaker B:I don't think any of the performances outside of him were memorable for me, but it is what it is.
Speaker B:Writing that one is hard for me because I don't know how much of it was the original writer.
Speaker B:I don't know how much of it was.
Speaker B:Was Coppola.
Speaker B:I don't.
Speaker B:I don't know how much of it was just people just saying shit on set and he was like, oh, hey, yeah, we'll keep that in.
Speaker B:So.
Speaker B:But ultimately, I think it's gonna have to be a squeak under for me because ultimately nothing in the writing made me care about any of the characters.
Speaker B:I. I just.
Speaker B:I.
Speaker B:The.
Speaker B:The only thing that got me through the movie was how beautiful it.
Speaker B:It was.
Speaker B:So I think ultimately the writing is going to be a squeak under for me, and it's going to be a no.
Speaker B:Directing is going to be a hard no for me because I just.
Speaker B:I don't.
Speaker B:I don't respect directors who purposefully put people through shit.
Speaker B:Even.
Speaker B:Even Kubrick, like, it just bothers me when I hear those stories about him.
Speaker B:As great as the Shining is, as great as Eyes Wide Shut is, I feel like there's other ways you could have gotten those performances.
Speaker B:You don't have to put people through marriage ending to get them through that.
Speaker B:So it's going to be a no on the directing for me.
Speaker B:But everything.
Speaker B:Film composition, that's the flawless part of this movie.
Speaker B:The cinematography, the editing, the music, the sound design, all of that came together so well.
Speaker B:The choreography in.
Speaker B:In the goddamn helicopter stunts.
Speaker B:Masterful.
Speaker A:Yeah.
Speaker B:Like, all of that is.
Speaker B:Is really what kept this movie together for me.
Speaker B:So it's.
Speaker B:It's going to be a two and two up for me.
Speaker A:Cool.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker C:I feel like the acting was a little bit subpar, but only because there really wasn't a lot of.
Speaker C:There wasn't a lot of room for acting.
Speaker C:It was almost like a lot of landscapes and then, like, some words spoken under.
Speaker C:You can't hear them.
Speaker C:You can't hear anything.
Speaker C:Anybody's saying, I don't know, Acting wasn't there for me.
Speaker C:Brando, oddly enough, like, probably the most grab.
Speaker C:Like, I.
Speaker C:Well, I don't know.
Speaker C:I say Robert Duvall actually is the best.
Speaker C:Yeah.
Speaker C:Again, yeah.
Speaker C:Robert Duvall wins it for acting.
Speaker C:Other than him, it's pretty subpar writing and directing.
Speaker C:I don't know what you're talking about.
Speaker C:I don't think there's either of those in this movie.
Speaker A:It's hard to score something that doesn't exist.
Speaker C:Hard to score something that's not part of the film.
Speaker B:Yeah, this feels like that.
Speaker B:That thing about you put monkeys around a typewriter long enough, they'll type out the works of Shakespeare.
Speaker C:You.
Speaker B:You put enough chaos in this, you could put a film together.
Speaker C:Yeah, yeah, exactly.
Speaker C:I don't think.
Speaker C:I don't believe there was ever a script.
Speaker C:I don't believe you guys at all.
Speaker C:I don't believe that there was any directing whatsoever.
Speaker C:I feel like he was just high me like.
Speaker B:Go to this.
Speaker C:But yeah, film composition, everything else perfect.
Speaker C:You said flawless.
Speaker C:Yeah, I want to say perfect because it's a different word, but yeah, everything visually, everything you hear, everything else gorgeous.
Speaker C:I feel like Francis Ford Coppola would be the best cinematographer in the whole world.
Speaker C:Yeah, yeah.
Speaker C:So unfortunately.
Speaker A:Yeah, yeah.
Speaker A:So that was a.
Speaker A:Is that a 2?
Speaker B:2.
Speaker A:What is that?
Speaker B:Or 3?
Speaker B:1.
Speaker A:3.
Speaker A:1.
Speaker A:1.
Speaker A:3.
Speaker C:This is like a 3.
Speaker C:1.
Speaker B:1.
Speaker B:Okay.
Speaker A:Okay, cool.
Speaker A:So 3 nose 1.
Speaker A:Yes.
Speaker A:Yeah, cool.
Speaker A:Let's go.
Speaker A:Cast.
Speaker A:I think it's brilliantly acted.
Speaker A:Yeah.
Speaker A:I do think there are some bad.
Speaker A:I think.
Speaker A:And I love Laurence Fishburne, but Larry Fishburne's not good here.
Speaker A:Larry.
Speaker A:Larry, he's, he's.
Speaker A:But here's what I'll say.
Speaker A:Part of the way that these, the actors in the boat were directed was they, they needed to act like they were boys that were pulled out of everyday life and sent overseas to fight a pointless war.
Speaker C:Yeah.
Speaker A:And you get that from Larry Fishburne.
Speaker A:He is a boy.
Speaker A:And those.
Speaker A:How long were they on the boat?
Speaker A:They said they had been on the boats for six months straight or something like that.
Speaker A:They'd been on the boat for a long time.
Speaker B:Oh, really?
Speaker A:Yeah, like before Martin Sheen.
Speaker A:Because that was their job to be on the boat and they were just doing a favor by taking them to his classified mission.
Speaker A:Yeah, they, they were acting like boys would act if you took them out of their normal lives, sent them to fight a pointless war and stuck them on a boat in a mosquito ridden river war zone for months at a Time.
Speaker B:Yeah.
Speaker A:Away from home.
Speaker A:So I do think, even though the acting's a tad annoying in that way, I do think it actually proves the point.
Speaker A:I think Brando, for all the flaws, I think what Coppola ended up choosing and the way they rewrote the ending for.
Speaker A:For where he was at the time, I think it's brilliant.
Speaker A:I love the diamond bullet through the head monologue.
Speaker A:I love the.
Speaker A:The.
Speaker A:You're a grocery clerk.
Speaker A:Like, all those lines, I think are incredible.
Speaker A:So I do think Brandon.
Speaker A:And again, I just.
Speaker A:Duvall is just.
Speaker A:He'.
Speaker A:He's the amazing, most amazing part of this film.
Speaker A:I don't even know how he did it as an actor.
Speaker A:Not flinching with those explosions, because those were real on set explosions, even though they weren't real bombs.
Speaker B:My only guess is he saw the guy.
Speaker B:Like they had the guy pushing the button in his line of sight, so he knew when it was coming.
Speaker C:Yeah, smart.
Speaker B:That's my only guess.
Speaker A:His mouth doesn't even flinch.
Speaker B:Yeah.
Speaker A:I mean, it's just so good.
Speaker A:So I do like it.
Speaker A:I like Sheen here.
Speaker A:I.
Speaker A:You said you don't.
Speaker A:You thought the narration took away.
Speaker A:I think it's the best use case for a narration ever in a film.
Speaker A:I love how he narrates it.
Speaker A:I love that it's.
Speaker A:It focuses really on the only structure of the movie which is.
Speaker A:Is going down the river of Kurt's.
Speaker A:You know, who is Kurtz, where he come from?
Speaker A:He admires Kurtz, actually.
Speaker A:And.
Speaker A:And I think he wanted to get there.
Speaker A:In my mind.
Speaker A:I think he wanted to get there and not.
Speaker A:And find out he wasn't insane because he had orchestrated this unbelievable path in the military as a young man.
Speaker A:And I think in his mind, like, I'm a warrior.
Speaker A:This is a warrior's path.
Speaker A:How could he end up insane?
Speaker A:And then he shows up in a course and sees he's insane, so.
Speaker A:And I think Sheen nails that.
Speaker A:And actually Hopper.
Speaker A:Dennis Hopper's amazing.
Speaker B:Yeah, I'll give him that.
Speaker B:He was really good.
Speaker A:Those lines.
Speaker A:And.
Speaker A:And the way he talks in the movie is.
Speaker A:It's funny because he's very straight laced and sober now, but when in the.
Speaker A:In the documentary he talks exactly the same way as he does in the film.
Speaker A:He's very much probably under the influence.
Speaker A:Like, man.
Speaker A:And he's talking to Copa.
Speaker A:He's like.
Speaker A:And he argued with Coppola constantly.
Speaker A:He was like.
Speaker A:He's like, man, I don't understand what I'm supposed to do or say.
Speaker A:He's like, smoking a coppola is like, just so angry at Hopper and, and, and he's just fighting him every inch of the way.
Speaker A:And really Hopper's character is not that important.
Speaker A:Yeah.
Speaker A:But I do love the lines he delivers.
Speaker A:Some like the, you can't land on a third or an eighth man.
Speaker A:You know, I love that.
Speaker A:So writing, I think, I think it's exquisite.
Speaker A:I. I love.
Speaker A:I love the fever dream aspect of it.
Speaker A:I love it.
Speaker A:This is about an insane person.
Speaker A:And I.
Speaker A:And I felt like I was in the mind of an insane person.
Speaker A:I think, you know, for all.
Speaker A:It's not flawless.
Speaker A:You said the word flawless earlier.
Speaker A:You used that to describe some of your responses.
Speaker A:Not that it was flawed, but there is nothing flawless about this movie.
Speaker B:It's.
Speaker A:It's flawed.
Speaker A:But I love it.
Speaker A:I love it for how it is flawed.
Speaker A:I love living in the pores of this movie.
Speaker A:The writing, it just sucks, man.
Speaker B:Yeah.
Speaker A:Directing.
Speaker A:Did I go to writing writing already?
Speaker A:Not yet.
Speaker A:Directing.
Speaker A:I give it a hell yeah.
Speaker A:I mean, I just.
Speaker A:I.
Speaker A:You can't make movies like this anymore.
Speaker A:You just can't.
Speaker A:You can't get the equivalent of $138 million today and just go willy nilly overseas for 16 months without reporting back to any entity.
Speaker A:You know, I mean, I love it.
Speaker A:I.
Speaker A:It's.
Speaker A:To me, it's a total slap in the face of the man.
Speaker A:And it could have turned out worse, but it didn't.
Speaker A:To me, it turned out to be a masterpiece.
Speaker A:And.
Speaker A:And again, it probably was a few other decisions away from being a complete wreck in my mind.
Speaker B:Yeah.
Speaker A:But I. I love it.
Speaker A:It's a slap in the face.
Speaker A:I love how Coppola really leaned into his creativity here.
Speaker A:I wish maybe there was more of that for his future films because he pretty much, from here on out, would not do anything good.
Speaker A:But I. I love it.
Speaker A:And as far as film composition, I can't say anything else.
Speaker A:The lighting, cinematography, music, the use of my favorite door song.
Speaker A:I mean, it is just brilliant, beautifully lit, incredible camera work.
Speaker A:Some of it done by Coppola himself.
Speaker A:And I couldn't.
Speaker A:I couldn't say anything.
Speaker A:So for me, it's four hell yeahs across the board, top 10.
Speaker A:But I understand where you guys are coming from totally.
Speaker A:So.
Speaker A:Well, this is the end.
Speaker A:My only friend.
Speaker A:The end.
Speaker C:Cue the music.
Speaker A:Thanks for chilling with us.
Speaker A:It's a little longer episode, but we had a lot to talk about.
Speaker A:I'm Kyle.
Speaker C:I'm Seth Mariana.
Speaker A:Turn the power back on.
Speaker A:This is the end.
Speaker A:Movie Wars.
