Calls Last Temptation his college-era favorite Scorsese; loves Scorsese's smaller 80s and the film's closing transcendence and Gabriel score. Cannot stand fundamentalist outrage at it. A sucker for casting trivia and Tom Cruise-silliness.
Stances
Hot take: Last Temptation structurally mirrors New York, New York as a better version
Outrage over the film is stupid; it is respectful to Jesus
Scorsese's smaller 80s work beats his later baroque phases
Humor: Riffs and character bits on the Willem de ___ names and ongoing running gags.
In their words
“I find the ending so incredibly movie.” (0:19:45)
Loves quirky or deep-cut cinema and playful franchise lore (Muppets, Species, Pink Panther sequels), and enjoys the abjectly stressful pool-hall world. Is a sucker for movie-star mannerisms and for fan trivia. Cannot stand Cars 2 or Zemeckis's Pinocchio.
Stances
Color of Money is a stabilizer, not a pure paycheck gig
Cars is bad and indefensible; Cars 2 is worse
Wants Lorraine Bracco redeemed via a Goodfellas episode
Adds stabilizer to the Blank Check lexicon
Humor: Rapid pop-culture riffing and running bits, playing unpredictably with franchise absurdities and mock-serious proposals.
In their words
“But stabilizer is a term we haven't used before. And you're right. Let's add it to the lexicon” (0:19:50)
“Cars is Doc Hollywood basically beat for beat.” (0:07:08)
Treats After Hours as a personal vibe movie and loves oddball details, Scorsese lore and downtown New York. Fond of Pee-wee and Griffin Dunn, plays bits about being named after Dunn. Cannot stand wasteful nostalgia and hates auto-flush toilets.
Stances
After Hours is a downtown, very Griffin movie
Modern remakes fail because phones and piled-up incident ruin it
Wicked 2 killed Wicked
Humor: Deadpan bits that run on, mock outrage, and wordplay about the Griffin theme.
In their words
“This movie also, let's just say, is very much reflective of my temperament.” (0:07:22)
A film completist who loves the weird 1980 corners of the box office and the Scorsese-De Niro dynamic. Cannot stand Jimmy Doyle as a date and worries about Hollywood executives. A sucker for obscure titles and good trivia and for Casavetes.
Stances
Raging Bull is a funny tragedy
Studio decisions based on metrics are ruining movies
Scorsese uses comedy to implicate the audience
Humor: Playful, riffing, bit-prone, with running gags like Hollywood 3.0.
In their words
“We've coined Hollywood 3.0 today for to describe just like the fucking nonsense that goes on day to day.” (0:13:41)
“The problem is those people who make the decisions now are like, it's like saber metrics.” (1:35:40)
He came to the film bored at 14 (no monsters or puppets) and now respects it without it being his kind of movie; he adores Peter Weir's craft, Pirates of the Caribbean-era trivia and Oscar and career-arc analysis. He is a sucker for genre-bending Weir details and franchise history.
Stances
Revisited the film and understands its value though it is not innately his kind
Pirates of the Caribbean hurt this movie
Insists on playing the box office game
Weir is a patient director
Humor: Self-deprecating, quick riffs, bits about his own childhood tastes.
In their words
“It is innately not my kind of film, but I was not disengaged from it in the way I was as a 14 year old.” (0:36:16)
Loves physical media, 4K steelbooks, and calling unlikely films masterpieces. Prone to over-planning and lateness. An anxious flyer who relies on Klonopin and researches crashes. Has a blind spot for studio comedies he has not seen.
Stances
Fearless is excellent but not a three-hour oil-drilling episode
movies are great again
Small Soldiers and Sliver defended as masterpieces by friends
Humor: Rapid-fire riffs, self-roasts, and elaborate hypothetical bits.
In their words
“They announce they announce small soldiers 4K steel book. and I go, obviously, inarguable masterpiece.” (1:00:59)
A heavy researcher who comes with a 'dossier' of production history, interview quotes and box-office data, and loves Coens details, McDormand and Macy's performances, and deep-cut trivia. He is a sucker for the Mike Yanagita scene and the film's tonal balance, and delights in the weekly box-office game.
Stances
Fargo is the best encapsulation of the Coens, the way Blue Velvet is of Lynch
Macy should have been nominated for lead
Searches for essays-worthy meaning in the editing choices
Defends Jurassic Park III
Humor: Dry, bit-driven, and loves a running gag about podcast mechanics and Ben.
In their words
“I'm going to open the dossier now” (0:40:11)
“directing is about tone management.” (0:32:35)
“Okay, now I need to sidebar here for a 2nd because David and I are both Jurassic Park 3 defenders” (1:19:12)
Loves puppet-baby and in-utero comedy, rewatching movies on Letterboxd, and weird Blu-ray ephemera. He is a Shelley Long Cheers loyalist who was cool on Kirstie Alley until this movie, and has a parent's eye on infant safety. He prefers movies that feel made by one person.
Stances
The in-utero Mikey is peak comedy and the infant middle is lazy
Authorship is the show's central criterion for a director
Rebecca-era Cheers was a shadow of the show
Humor: Escalating riffs and tangents (Rugrats connections, Renaissance prequel pitch) delivered in dry mock-formal register.
In their words
“I think this is both such a good movie star performance from him and such a great example of what I would call a movie star movie” (0:37:06)
“everything about this feels like it was made by one person.” (1:49:39)
Passionate about Spielberg's autobiographical psychology and Oscar-race history; loves Lincoln, Catch Me If You Can, ensemble casts, and Malkovich as a flavor. Cannot stand Always and Spielberg's pure comedies; a sucker for deep-dive trivia and dossier research.
Stances
Empire is a very good movie where Spielberg starts subverting his own style
Fabelmans explains Spielberg's trauma
1941 and Always are weak spots
Spielberg suffers from being compared to his own canon
Humor: Self-aware riffs, callbacks, and long absurd comparisons (sun-dried tomatoes on a sandwich), plus bits about Ben's resolutions.
In their words
“I think this movie's excellent.” (0:38:38)
“He's sun dried tomatoes on a sandwich.” (0:01:21)
“I do not have a single happy memory of my childhood.” (1:52:20)
Came to Indiana Jones late, via box sets before Crystal Skull, and prefers Last Crusade for its silent-comedy streak, with reservations about Temple of Doom. Fascinated by how movies were made and by fandom history; a sucker for Spielberg staging, action craft and comics-era nostalgia.
Stances
Raiders is a lightning-in-a-bottle movie the sequels cannot recapture
Modern action imitators reverse-engineer surface elements
Treats Crystal Skull as half working
Humor: Does self-aware impressions and cranky-David riffs, mixes film nerd rigor with asides.
In their words
“Whereas I think, you know, David and I always felt like weird kids were we were paying attention to this at a time when like people were not.” (0:17:08)
He is the first-time Return viewer on this episode, so his taste shows in reactions: he loves Lynch's plainness, simple low-tech tricks and the sense that reality is ripping apart. He wants spoiler-free viewing, the proper Criterion/box-set version, and cannot stand being told to read recaps. A sucker for bits and for a gift-worthy game of ratings guessing.
Stances
Wants to be unspoiled and refuses to read recaps or the behind-the-scenes documentary yet
Treats Part 8 as hypnotic and nearly unsummarizable until the others explain it
Believes in extended bits (Wonka 2, Gethard cut) over discussion
Humor: He builds long running bits and follows riffs to absurd conclusions, sometimes holding straight faces.
In their words
“I'm going to ask dumb questions because you guys have been thinking on these things for years, if not decades, and I'm new to all of this, right?” (1:09:38)
“I felt like I, as a viewer, had like lost control of my point of view watching.” (0:52:12)
Reads the show's research dossier aloud and loves film-history trivia, particularly how directors get hired and what the studios did to them. Identified from lines addressed to him and dossier reads; many individual attributions with David are uncertain. Enjoys the Dune film as a design and sound object.
Stances
Dune '84 is fascinating as the one bounce that redirected Lynch's career
Respects the dossier's production details over speculation
Humor: Dry riffing and callbacks, running bits with Ben and the dossier-researcher JJ.
In their words
“So in the dossier, David.” (1:05:21)
“JJ, while we were recording, texted David and I hope the Dune dossier still made sense once you reach the deeper pages, LOL.” (2:29:32)
Loves plot-driven noir, weird procedural details (chain mail gloves, pockets, eyedrops) and Park's stranger visual gags. He prepares the director-biography research and box-office game. Is a sucker for bits that run for minutes, like the sand-beach and Wheel of Fortune riffs.
Stances
Park's best scenes are the quietly bizarre ones, ten per film
Decision to Leave works because the hero cannot see her directly
Likes long-running meta bits more than the ad-reads
Humor: Absurdist escalation and puns, running a single detail (chain mail, sand beach) into the ground.
In their words
“Okay, so yeah, let's talk about the plot of the movie. Guy falls off a mountain.” (0:54:04)
“Oh, can I just Shout out to she, young Kim.” (1:34:01)
Treats Sherlock Jr. as a perfect film and loves seeing silent comedy in a theater, where he says it transformed him at CalArts. Prefers Chaplin's One A.M. to his features, and is a sucker for meta jokes about film language and for Cabin Boy-style references. He sours on The Navigator's cannibal-island finale for its racism.
Stances
Sherlock Jr. is one of the best movies ever made and a contender for best film covered on the show
Certain films must be seen in a theater with an audience
Short runtimes of 40 to 50 minutes suit these comedies best
The Navigator is Keaton in play-the-hits mode and the racist finale kills it
Humor: Riffs on running bits and pop-culture parallels, then happily trips himself up in his own jokes.
In their words
“which, for my money, is still the best thing Chaplain ever did, over his features.” (0:58:42)
“you can watch rear window at home and appreciate it.” (1:00:20)
“Chris Elliott and Adam Resnick's cabin boy is such a Buster Keaton setup.” (1:51:04)
Loves Selick's visual inventiveness and thinks Wendell & Wild eventually satisfies despite its density; steeped in film-business history and trivia. Defends big sci-fi blockbusters with heavy exposition like Inception and Avatar. Rankings: Nightmare 1, Coraline 2, Peach 3, Wendell & Wild 4, Monkeybone 5.
Stances
Wendell & Wild works in spite of itself
Netflix botched the release
Nightmare edges Coraline on the ranking
Monkeybone is an odd, likable bad object
Humor: Riffs on streaming-era absurdity and takes self-aware swipes at the show's own running gags.
In their words
“I do think it is cohesive by the end of the movie.” (1:54:06)
“I would say it works in spite of itself.” (1:53:03)
Respects the craft of Fosse and defends Star 80 as powerful and aware of its own evil, while admitting it nearly unbearable. Loves the structural play of Fosse's films and Alan Ladd-era filmmaker faith. Cannot endorse or recommend Star 80, hates the soundtrack and dwells on true-crime and victim culture.
Stances
Star 80 is great but almost unwatchable and not recommendable
Fosse is underrated as a filmmaker
Fosse hates himself and does not seek forgiveness
Ranks Cabaret first with All That Jazz a close second
Humor: Self-deprecating, dark and quick, with pop-culture riffs and jokes about his own podcast.
In their words
“I think this movie is like staring into the sun.” (0:04:19)
“He, I do think, is incredibly underrated as a as a filmmaker.” (0:05:55)
Loves the film's elusive, memory-like childhood section and its refusal to explain itself; is invested in Campion's research quotes and festival lore. Can't stand the bedsheet-to-armpits sex scene and heavy-handed biopic cliches. A sucker for oddball 90s trivia like FX2 and Brian Bosworth.
Stances
The film should be a movie, not a three-part TV series
Likes biopics that focus on one slice of life
Wants to protect young Janet and root for her
Collects odd details and quotes from Campion interviews
Humor: Self-deprecating and digressive, jokes about his own obsessions and failures.
In their words
“I was so like moonlight pilled watching this movie” (0:20:22)
“I just wanted to protect her in this sort of 1st half of the movie.” (0:51:46)
Loves classic-Hollywood trivia, obsessive research dossiers, practical effects and the unfussy craft of Bridges' performance. Worships Dean Cundy and wishes he had shot Starman. Cannot stand overstuffed jukebox movies like the Amazon Cinderella. A sucker for Moulin Rouge, Romeo + Juliet and Oscar-clip nostalgia.
Stances
Starman is a good dorky movie; the poster and home-video art are bad
Cundy would have made it better
Carpenter's unsentimental filmmaking helped it age well
Coppola should make Megalopolis now
Humor: Riffs on voices, absurd imagined scenes and dad jokes, then goes deep on obscure Hollywood trivia.
In their words
“I love a road trip movie.” (1:33:30)
“I'm trying to do Jeff Bridges in this movie” (0:04:43)
Loves a good character-driven film with specificity and is a sucker for franchise action (Mission: Impossible) and spirited bad-movie obsessions. Can't stand Joy and Jason Reitman's tone-deaf fan-service sequels, and gets wary when a movie loses its human focus.
Stances
Ricki and the Flash is a good premise executed poorly
Defends Tully until its twist
Blames some Demme decisions for Ricki's flatness
Humor: Quick pop-culture riffs, fake-announcer bits and absurd puns, often at his own expense.
In their words
“Jason Reitman has given Ghostbusters back to the fans.” (0:02:48)
“I was like, we need to ban children from films forever.” (0:05:16)
Loves practical movie-making and visible seams, and gets emotionally floored by sincere pictures like The Farewell and Spirited Away. Cannot stand dense plotting without a map, gun fetishism, and 'Western catharsis'. A sucker for John Wick, Keanu Reeves, heroic dogs, and a perfect sandwich.
Stances
Nausicaä is busy and he would like it better in sequence after Lupin, Cagliostro and Sky
John Wick: Chapter 3 is the best Wick and one of the year's best
Practical animation cheats are charming, not a flaw
Dubs are fine and he regrets not using the dub for the plot
Humor: Self-deprecating, tangential, and bit-driven, he tends to run an absurd joke (the Disney Store greeter, Galactus-sized puppeteer) until the others stop him.
In their words
“I love practical shit. I love the seams of movie making, you know?” (0:55:15)
“this movie doesn't understand that this is fucked up now.” (1:37:12)
“I think it's maybe the best work of Keanu's entire career.” (1:50:14)
Their shows' recurring bits
Running bits, not opinions; a critic read aloud is cited, not present.
The Big Picture
Drafts: Hosts and guests draft films in rounds; every pick is a recommendation with an argument.
Hall of Fame: A star's or director's best, ranked and argued.
Countdowns: Ranked lists, top five or top ten.
Blank Check with Griffin & David
The box office game: Guessing the film's opening weekend and what it was up against.
The sung theme: "Blank Check with Griffin and David", sung; the transcriber garbles it.
unmapped (production method):
The Last Temptation of Christ → Boxcar Bertha.
Scorsese's Corman-style Boxcar Bertha experience let him storyboard and time every shot to make Last Temptation cheaply.
“I never would have been able to make this movie if I didn't have my Corman background and experience a boxcar Bertha specifically”
craft (structural):
The Last Temptation of Christ → New York, New York.
Both run long stretches of repeated set pieces around a central pairing, then a final act turning inward, ending in a tragic blow; Last Temptation reads as a corrective.
“I think this movie is fascinatingly, structurally so similar to New York, New York.”
unmapped (language debate):
The Last Temptation of Christ → The Odyssey.
Modern vernacular dialogue in antiquity draws the same complaints as it did for Nolan's Odyssey.
“Nolan had this happen this year with the Odyssey where people are like, well, I don't understand.”
theme (creepy-child trope):
The Last Temptation of Christ → X2.
Judas recognizing the child angel as Satan is jokingly tied to creepy-girl villains in Resident Evil and X2's White Queen.
craft (craft):
The Last Temptation of Christ → Stan Brakhage.
A cameraman exposing the magazine too early burned the crucifixion-ending image into abstract flashing light, which a host likens to Brakhage.
“And that was because, and a cameraman exposed the magazine too early. Oh yeah. And it fucked up, you know, the film. But it's like Stan Brackett shit almost.”
industry (Oscar oddity):
The Last Temptation of Christ → Blue Velvet.
Like Blue Velvet, it got just a director nomination and no picture nomination; list also includes Mulholland Drive and Short Cuts.
career (Tom Cruise career):
Cocktail → The Color of Money.
Cruise should do a Color of Money legacy sequel instead of Days of Thunder or more racing movies.
“Do fucking color of money with a Kaylee Spainey or some shit.”
unmapped (early old-Newman voice):
The Color of Money → Absence of Malice.
Absence of Malice marks the earliest time Newman plays an old man in the grave voice, with Color of Money as the later full version.
“Absence of malice feels to me like the earliest I can identify. He is playing old man.”
career (late-career persona):
The Hudsucker Proxy → Paul Newman.
In Hudsucker Newman plays the old man as comedic evil, a heightened version of the elder-statesman role.
“Which Hudsucker, he's obviously doing full on old man, but also full on evil.”
theme (thematic lesson):
Cars → The Color of Money.
The lesson of Cars and Color of Money is that excellence is in how you use it, not raw skill, and the hosts tie the tagline line to the film.
“And I would say the lesson of cars and the lesson of, uh, the color of money is, uh, it's in the way that you use it.”
unmapped (final film):
Jackie Gleason → Nothing in Common.
Gleason's last film is Nothing in Common with Tom Hanks, the film that cemented the Videology trivia-night origin of Griffin and David's friendship.
“His final film is nothing in common, which is the Gary Marshall, Tom Hanks. Bad dad comedy.”
contrast (baton-passing contrast):
Top Gun: Maverick → The Color of Money.
Cruise keeps making baton-pass movies where he refuses to pass the baton; Maverick saves Teller instead of elevating him.
“Also, the fact that Cruz keeps making baton pass movies where he refuses to pass the baton.”
lineage (Sorkin legacy-sequel comparison):
A Few Good Men → Heat 2.
A hypothetical Sorkin A Few Good Men sequel is compared to Heat 2 as a legacy-sequel recast by its original creator.
“it's not Fincher doing the legacyquel with an entirely different cast, but it is Sorkin making his own legacy.”
unmapped (world-sharing):
The Color of Money → Tron.
The Tron arcade cabinet in Vincent's game room makes the film feel set in the Tron world; both Disney.
“obviously the Tron cabinet was like real and was more successful than the movie and stayed in arcades for years, but it does make it feel like this is a movie that takes place in the world of Tron.”
people (poor castings):
Lorraine Bracco → Medicine Man.
Blank Check has only covered Bracco's worst performances, Medicine Man and Zemeckis's Pinocchio, with Goodfellas as the promised redemption.
“this podcast has been so damaging to Lorraine Brocco, where we have only covered her worst performances ever.”
unmapped (rebound):
Tim Burton → Pee-wee's Big Adventure.
Burton stepped aside for Scorsese and immediately rebounded onto Pee-wee, which came out the same year.
“And then he just like immediately rebounds onto Pee Wee, which comes out the same year or the year after this.”
career (career):
Martin Scorsese → Thelma Schoonmaker.
Raging Bull is the reunion of Scorsese and editor Schoonmaker, who then cut nearly all his later films.
“this is the reunion of Marty and Thelma Skumaker, who will edit all the rest of his films, basically.”
craft (craft):
Thelma Schoonmaker → Martin Scorsese.
Schoonmaker said her editing Oscar felt like Scorsese's because he designed the fight sequences she cut.
“I felt like I was winning for the fight sequences, and those fight weekend sequences were designed by him.”
unmapped (host-passion-episode):
Master and Commander: The Far Side of the World → RoboCop.
Like RoboCop, this is an episode where a movie means so much to one host the question was whether a guest was needed at all.
“Sometimes there is a movie like Robocop, you know, where it's just like, this means so much to one of us.”
unmapped (authenticity-of-vessel-life):
Master and Commander: The Far Side of the World → Sunshine.
Both films make the viewer feel they know what living on a vessel (spaceship or sailing ship) is like, despite having no firsthand knowledge.
“This is what it feels like to live in a spaceship for a couple years.”
unmapped (dinner-scene):
Master and Commander: The Far Side of the World → Mouse Hunt.
Asked what other movie has a dinner scene like this, the hosts offer My Dinner with Andre and Mouse Hunt (a chef, a cockroach dinner), then Green Card with Bebe Neuwirth.
“Wait a second. Mouse Hunt actually has, because he's a chef.”
“another serious, sober work of seafaring that I look to off in Muppet Treasure Island, in which they are on the ship for so long, they catch cabin fever”
contrast (war-depiction contrast):
Master and Commander: The Far Side of the World → Gallipoli.
Asked how its depiction of war compares to Gallipoli, they say Gallipoli is about doomed innocence in a pointless WWI battle while this film is romantic about naval empire.
“I don't find that with master and commander at all. No, not at all.”
theme (comparison):
Peter Weir → Ang Lee.
Ang Lee looked like a chameleon but had through lines; Weir may be the same, though more consciously different.
“Then you watch the movies and you're like, there are very obvious themes and through lines.”
unmapped (look):
Witness → Fearless.
After the Witness episode, Bridges' Fearless look is judged possibly the top screen look ever, more attainable than Ford's.
“I'm like, this might actually be the number one look a guy has ever had on screen.”
contrast (contrast):
Fearless → Henryk Gorecki.
An original score could not have matched the borrowed Gorecki and U2 pieces cut to the crash, for how the music syncs and for the recognition of what is playing.
“you couldn't actually write an original piece of score for this that would work as well as both the way the music syncs up and like the power you gain from the recognition of what's playing.”
unmapped (commercial track record):
Fargo → Raising Arizona.
Raising Arizona (about $5M cost, about $30M worldwide) is argued to be the Coens' first clear hit; Barton Fink, Miller's Crossing and Hudsucker lost money.
“Barton Fink, Miller's Crossing, Hudsucker all made less than they cost.”
career (career summation):
Fargo → Blue Velvet.
Fargo is the ultimate Coen film the way Blue Velvet is the best encapsulation of Lynch, not necessarily the favorite.
“this does feel like the ultimate Cohen's film in the same way we were saying in our blue velvet episode, like, that's not my favorite Lynch movie”
career (career context):
Fargo → The Hudsucker Proxy.
Fargo came after the Hudsucker flop but was not a reaction to it; the script was already being written.
“this movie was not a conscious reaction to that. They had already been writing it before they shot Hudsucker.”
unmapped (return to roots):
Fargo → Blood Simple.
Fargo is the Coens' most Blood Simple-like script, contemporary and simple, going back to what they tried there with more knowledge.
“It feels like them sort of going back to what they were trying to do in that movie with the knowledge they've gained over the...”
unmapped (false true story):
Fargo → Kumiko, the Treasure Hunter.
Kumiko is a movie about someone who believed Fargo's 'based on a true story' card and went looking for the money.
“is a movie based on an Irvin legend about someone believing that Fargo was true and looking for the bag of money.”
contrast (genre contrast):
Blood Simple → Fargo.
The Coens see Blood Simple as a James M. Cain-type noir; Fargo they wanted drier and less hard-boiled.
“They consider blood simple to be more like a James M. Kane type, you know, noir thriller, right?”
industry (studio patience):
Fargo → Bottle Rocket.
Alex Ross Perry's point: studios once kept investing in talented directors after a commercial flop like Bottle Rocket, as with the Coens.
“Wes Anderson makes bottle rocket for like $5000000 at Colombia and it bombs, but it gets good reviews.”
unmapped (darkness and cops):
Fargo → Manhunter.
Contrasts Marge's coping with Manhunter's Will Graham, who has spent so long in the darkness he can't come out.
“Manhunter is always the one I think about, where that for me is a movie about a guy who's just like spent enough time in the darkness that he's actually never going to come out now.”
people (cast as motor mouth):
Steve Buscemi → Miller's Crossing.
Buscemi was hired in Miller's Crossing as someone who can read dialogue fast, and the Coens wrote Fargo's Carl for him.
“Miller's Crossing is literally hired because they need a motor mouth.”
lineage (character origin):
Harve Presnell → Blood Simple.
The Coens wrote Presnell's character from Texas businessmen they met raising money for Blood Simple.
“they wrote that character, basically, when they were raising money for Blood Simple, they met lots of like Texas businessmen”
unmapped (documentary approach):
Roger Deakins → Fargo.
Deakins's documentary background shapes simple, in-the-conversation setups: the best camera place to capture the actors.
theme (character echo):
Peter Stormare → No Country for Old Men.
Gaear caring about Jerry's cruelty is compared to Tommy Lee Jones's sheriff not knowing whether he belongs in this world.
“This is like his Tommy Lee Jones in no country sort of like conundrum where he's like, I don't even know if I belong in this world.”
unmapped (off-screen violence):
Fargo → No Country for Old Men.
Fargo's off-screen disintegration (Jean's death) is likened to the way No Country hides its violence.
“much like in the move they pull in no country. of just like you can figure it out.”
unmapped (introduced):
Skip Lievsay → Carter Burwell.
Skip Lievsay (said 'Skip Luse') recommended Burwell as a film composer and brought him to the Coens.
“Skip Luse, say, was the one who brought Cutter Burwell in.”
unmapped (scoring lesson):
Carter Burwell → The Birds.
Burwell's first study film for learning scoring was The Birds, which has no conventional score, teaching him that sometimes the move is not to underscore.
“And he watched the birds. And then only at the end of watching the birds, did he realize, oh, this movie has no conventional score.”
unmapped (creative conflict):
Bolt → Chris Sanders.
Sanders's weird American Dog idea was killed when Lasseter took over Disney and demanded Bolt be Buzz Lightyear as a dog.
“Lassiter takes over Disney and immediately is like, this is too weird, fires him”
unmapped (autobiographical):
Look Who's Talking → Harold Ramis.
The speakers say the film is Heckerling's personal grievance about Ramis, who fathered her daughter Molly while Neil Israel believed the child was his.
“The child that Neil Israel thought was his own was actually the byproduct of a years-long affair that she had had with Harold Ramos.”
unmapped (dog-talks hook):
Look Who's Talking Now → Rugrats Go Wild.
Both use talking dogs as a hook, and Bruce Willis voices the dog in Rugrats Go Wild.
“The new hook, much like look who's talking now, is for the 1st time we can hear the dog talk.”
unmapped (authorship):
Look Who's Talking → Amy Heckerling.
Griffin ties the show's criterion that a director's movies reflect one person to this film, which feels personal despite studio calculation.
“everything about this feels like it was made by one person.”
people (casting):
John Malkovich → In the Line of Fire.
Malkovich is the sun-dried tomato on the sandwich; in Empire it is his best use as an American Fagin.
“In the line of fire, is someone making you a ham and cheese sandwich and then like putting one sun-dried tomato on it”
career (career timing):
In the Line of Fire → Unforgiven.
Released the year after Unforgiven, with Eastwood in the same vibe of asking whether to hang it up.
“In the line of fire is the same vibe of like Clint being like, should I hang it up?”
unmapped (late-period Eastwood):
True Crime → Absolute Power.
Bilge and Griffin riff on Clint Eastwood's late-period films and reviews harping on his age.
“specifically should be a plot point in 2 movies a year.”
unmapped (comedy attempts):
Indiana Jones and the Last Crusade → 1941.
Last Crusade is his one fully successful comedy; his clean comedies like 1941 and The Terminal are among his worst.
“basically, all of his worst movies are his cleanest attempts at comedies, like, 1941, the terminal, arguably all these.”
verdict (pivot / better version):
Hook → Jurassic Park.
Hook is where Spielberg turns parent, and Jurassic Park is the better telling of the same father story.
“Jurassic Park is the much better version of what the story that Huck is trying to do.”
unmapped (dry run):
Empire of the Sun → Schindler's List.
Schindler's List is the more successful grown-up film that erased Empire of the Sun from memory; it was seen as the dry run.
“Look back as this was the dry run before he totally cracked it on Shell.”
contrast (method contrast):
Schindler's List → Empire of the Sun.
On Schindler Spielberg refused to storyboard, almost as a reaction to criticism of the puppet-show control in Empire.
“Schindler, the infamous thing, is that he was like, I won't storyboard this.”
craft (aesthetic shift):
Empire of the Sun → The Color Purple.
Both are death-of-childhood movies; Empire is where Spielberg starts bending his shiny style so it does not make everything feel magical.
“This feels like the 1st movie where he successfully, to your point of what you're getting at, figures out how to shift his aesthetic a little bit”
contrast (technique contrast):
Empire of the Sun → 1941.
After 1941's show-off scale, Empire is the first time Spielberg orchestrates huge long takes without them feeling like playing with toys.
“it is the 1st time in his career, he can orchestrate something like that and not make it feel like he's playing with toys”
industry (same-year rival):
Empire of the Sun → The Last Emperor.
Two epics shot in China in 1987, both sold as firsts for China, about the same era; Bilge alternated seeing them in theaters.
“it is very strange that the last emperor and Empire of the Sun, these 2 movies that are like both kind of being sold with the like, no one's ever filmed in China before”
fun, about
Vanilla Sky:
Griffin's casting story: a casting director warned him not to joke about 'can you hear me now?' when the Verizon actor wrote and directed a film.
“the writer and director of this film, who's going to be in the audition is the can you hear me now, guy?”
fun, about
Vanilla Sky:
The recording was spread over years because the hosts kept leaving the country, so references to a breakup will be five weeks stale on release.
“Having to re-listen to me make references to how sad I am right now 5 weeks from now when this episode's released.”