Reads the dossier and loves Kubrick's behind-the-scenes fights and the Harris partnership. Loves noir, character actors like Timothy Carey and Elisha Cook, and a good gimmick structure. Can't stand puns on a movie's title and is hard on bloated studio epics.
Stances
The Killing is Kubrick's first film he respects
Kubrick's control hardens after the Harris years
Bed of Fear is a worse title than The Killing
Humor: Deadpan riffs and bits about invented writers' rooms and Fox execs, plus affection for the bit that goes one step too far.
In their words
“I love how much this movie comes out of Kubrick's chess life in multiple ways.” (0:09:39)
“Because people hate puns.” (1:06:50)
“I just like imagining whoever the Fox exec was who was like, hey, Frank” (0:15:04)
Admires Kubrick more than he loves the films, though he loves The Shining and counts Eyes Wide Shut as a favorite; has never seen Barry Lyndon or Spartacus. Loves rough, process-visible first films and tactile photography. Skeptical of war films and of overlong thin plots.
Stances
Fear and Desire is not a good movie and should be shorter
The Killing and Killer's Kiss show Kubrick's rapid growth
Mythology around Kubrick is inflated by his silence
Humor: Rapid, profane riffs and movie-trivia bits that spiral into digressions.
In their words
“I've always admired him a lot more than I love his movies.” (0:11:35)
“This movie is interesting because he doesn't, really.” (0:36:52)
Griffin loves Lego Batman as the definitive Batman movie, Lego bricks, and animation limits that are exploited rather than hidden. He admires clever craft decisions (the shoulder-dislocation trick, the flame pieces) and sincere sentiment. He is a sucker for toy lore and trivia. He thinks the IP-cameo mashup is the film's one valid flaw.
Stances
Lego Batman is the best Batman movie, with the most complete understanding of the character
Robin works best as a contrast point, not a dark mirror of Batman
Limits (Lego rules, stop-motion look) produce better art
The Lego Movie is still the pinnacle
Humor: Rapid, pop-literate riffing and trivia dumps, plus running jokes about David's daughter and his Lego desires.
In their words
“I think this is the best Batman movie period.” (0:01:10)
“Lego movie is still the pinnacle for me, though.” (1:38:30)
Griffin runs the screening and knows the film cold, down to Becker's DVD commentary. He loves a film of stunning chaos and star-driven studio excess, and gets a kick out of continuity breakdowns and impossible geography. He pauses constantly to underline plot logic.
Stances
Old Dogs is demented but made by experienced professionals
Becker is a studio-comedy auteur of illogic
Pauses the film to explain what just happened
Humor: Deadpan lawyerly narration of absurd plot points, with the audience reacting.
In their words
“This is the most demented movie ever made.” (0:09:39)
“Now, as I press play again, I want you to take note of, there being zero puppets on stage.” (1:18:04)
Loves the self-aware comedy of the Adam West show and the density of its gags, and recounts comics lore (Robin lineage, Damian Wayne) with relish. Can't stand lazy branding on villains like the Riddler's single question mark. A sucker for gadgets, vehicles and Conan-style shorthand humor.
Stances
The 1966 movie is better written comedy than its camp reputation
Robins and rogues galleries are the weak spots of the film franchise
Humor: Rapid bit-building on villain puns and impressions.
In their words
“By the way, this is a blank check special features. I'm Griffin.” (0:13:50)
“For 5 seconds, I think people thought Crisis on Infinite Earth was gonna tie in the tick universe.” (0:05:04)
Likes Roger Moore Bond and the Apes films as franchise building blocks, and enjoys the structure of the bracket. Not stated much beyond this in the audio. Enthusiastic about doing Psycho.
Stances
Defends Apes as the root of franchise storytelling
Humor: Plays straight man to the Chip Smith bit and riffs on Oscars production.
Newly converted to In the Cut from a 'morbid curiosity' first viewing with David; deeply knows New York geography and nightlife, since he lived on the Lower East Side. Likes Practical Magic and Mark Ruffalo's balanced career, and is skeptical of Unfaithful. (Speaker labels are inferred; the transcript has none.)
Stances
The film is uncomfortable even if most criticisms at the time were stupid
Humor: Riffs on the podcast's own name and contractual obligation, and chases movie-trivia tangents.
In their words
“with morbid curiosity more than anything else, you know?” (0:10:45)
“I lived on 2nd Avenue and 6th Street” (0:44:56)
“I don't understand why people were going David loves it.” (0:13:01)
Went in ready to reappreciate the franchise and loved the first two films (came out of midnight screenings thinking of them as giddy, teenage and emotionally charged). Hates movies where characters refuse to make decisions and the plot stalls for time, and dislikes the permanence/teen-marriage logic of the books. Suckers for a bold swing, such as the last film's big deviation, and for Slade's horror-genre scenes. Attribution is partly inferred from context (baby, steel book, signing off at 2:12) so confidence is moderate.
Stances
Eclipse is lifeless and rudderless after the first two
Slade only seems to like the bad-vampire scenes
Twilight fandom deserves respect against gatekeeping
Humor: Dry riffs and long shaggy-dog trivia, escalating bits like Burger King toys and hand stuff.
In their words
“Here's my take on this movie.” (1:57:03)
“I'm so pro-kissing.” (0:43:06)
“Target canceled my steel book order for the 5th time.” (0:10:57)
Loves Jane Campion, Martin Brest underdog crusades, and franchise chaos like Twilight. Mixed on Terrence Malick relative to peers. Wary of revisiting Her.
Stances
Brest is his favorite uphill cause
Wants to treat bracket decisions fairly
Revisiting Her feels risky
Humor: Self-aware grandstanding bits and absurd matchup-logic riffs.
In their words
“I think it has like an incel quality to it.” (0:29:36)
“I'm half kidding, but actually, I'm not kidding.” (0:25:50)
Loves the franchise's iconography and design and tracks toy merchandise; sucker for actors who commit to weirdness and for Alien-series trivia. Admires Ridley Scott's business sense and finds the CGI creature the least interesting stretch. Cannot stand being distracted by texters in a theater.
Stances
Covenant should have kept the Franco prologue
Scott is a company man who slips interesting things into blockbusters
Actor-swap effects are only impressive when objects pass between the doubles
Loved the first three Alien movies in 7th grade and felt a massive drop-off with Resurrection, but is won over by the practical effects, the wet sets and Sigourney Weaver. A collector who owns every Ripley action figure but one. Cannot stand the generic villain casting and is sentimental about French cinema through his mother.
Stances
Resurrection is fun for the first hour and bogs down when characters stop to talk
Sigourney Weaver rules; Winona Ryder is a bore here
The ending should have stayed with the alien nest instead of heading to Earth
Glad an Earth-set Alien never happened
Humor: Self-deprecating storyteller who spins long tangents and doubles down on bits.
In their words
“It was the thing I looked forward to in 7th grade that I got to watch another alien movie at the end of the week.” (0:04:54)
“I'm now feeling like I might have to go back on.” (0:30:27)
Loves the Alien series enough to have made a weeks-long VHS triple feature of it as a kid, and defends Alien 3. Hates it when studios replace classic logos. A sucker for toy lines, chains, and bits that run on wordplay.
Stances
Alien 3 earns its place in the franchise and is better than its reputation
Bringing Ripley back as a clone is worse than killing Hicks and Newt
Studios should not swap old logos for new ones
Humor: Escalating riffs and puns, with a big appetite for tangents about menu-board details like toys and trivia.
In their words
“I think it totally earns its place within the franchise.” (1:26:00)
“I think the tuba is the funniest of all instruments.” (0:08:31)
Loves Rogue Nation and McQuarrie's practical, analog Cruise films, and takes film history personally. Can't stand Pixels-type junk but is a sucker for odd actors, villain tracksuits and wardrobe jokes.
Stances
Rogue Nation is the best M:I film
Practical stunts and clarity of stakes make the best action
Humor: Stacks absurd bits and running gags such as Luther's hat and the thigh move.
In their words
“I auditioned like 5 times for screen four, including 4 Wes Craven” (2:22:37)
Loves digging through the Blu-ray extras and commentaries for a movie and reporting back. Fond of rom-com construction and the industry backstory of how a film got made. Grew up downtown, and his mother's anti-chain-store politics shaped how he saw this movie as a kid.
Stances
Ephron's films are quietly experimental rather than generic
Fighting chains and protecting small bookstores shaped his view of the film
Actors' craft stories (Kinnear's ending, the Lalo scene) are the heart of the movie
Humor: Self-deprecating, bit-driven; owns his fumbled bits on mic.
In their words
“I fucked up the bit that we were trying to do, which is I am confident in the fact that he lived in England and him being from the Upper West Side surprises me.” (0:25:05)
“my mom's entire life that she was bringing my brother and I into was all about, like, we have to fight like Banana Republic.” (0:22:33)
“Hanks was saying he was pulling his hair out and he couldn't make sense of the Lalo scene” (1:41:52)
Loves the box office game and can recall almost any weekend from release dates; has a childhood devotion to Snow Day, Chris Elliott and Vin Diesel. Researches the filmography (Keaton's directing career, IMDb trivia) and likes the idea of a movie being a family or sibling reference point. Hates cable-edited versions of films on streaming sites.
Stances
Hanging Up does not cohere; each actress seems to be in a different movie
The last 20 minutes with the sisters together is where the juice is
Mourns the loss of varied theatrical box office weekends
Cable-edited streaming versions are unacceptable
Humor: Mock-obsessive precision about trivia (taglines, grosses, release weekends) delivered with self-deprecation.
In their words
“It is the only thing that gives me grounding in my life.” (1:31:35)
“Well, now I'm telling you, you motherfuckers should be watching Snow Day.” (1:23:33)
“I still found it not as bad as watching Braveheart on Pluto.” (1:15:18)
“I wish this had been the entire movie.” (0:27:31)
He is ready to submit to a silly pop-up and treat the staff with respect, and he reads the movie's plot and cast aloud with relish. He plays along with the Quibi bit and loves a long gag.
Stances
Staff of the experience deserve credit
The film is less palatable than the experience
Humor: He builds long deadpan bits, such as the Downton Abbey cast working the Trolls pop-up.
In their words
“Let me go step by step, okay?” (0:12:32)
“Now, we, of course, did this in the correct order because” (0:08:43)
Loves puppetry and practical creature design (Jabba, Yoda, the rancor), the speeder chase, and Wicket the Ewok. Dislikes the special-edition CGI additions and the Max Rebo band number, and wants Han and Leia to have real jobs in the third act. A sucker for a gag that gets dragged across the whole commentary.
Stances
Jabba's palace is the favorite stretch of any Star Wars film
Han and Leia are sidelined after the Ewoks arrive
Lucas's special-edition changes are weak and goofy
He is hosting a final Star Wars farewell to the Big Nice room
Humor: Escalating callback bits and absurd impressions, undercutting his own sentimental turns.
In their words
“I just, I fucking love puppetry, David.” (0:46:55)
“This my least favorite thing that he did.” (0:15:45)
Loves chaos picks and big swings (Judi Dench in Cats, Rebecca Ferguson in Doctor Sleep), cats and Pain and Glory are tangled up in his head, and he champions Portrait/Parasite/Us. Skeptical of Toy Story 4 going in. A sucker for movie-star arrival performances and the Fast & Furious franchise.
Stances
Cats is a real favorite, 'A slash F'
Removed Farewell and Her Smell from his own consideration because of friendships
Best original/adapted screenplay should include genre swings like Glass
Humor: Self-deprecating, riffs on running bits (Forky, nicknames like Florence Candice LeBron Bergen Pugh) and escalating panic over the F9 trailer.
In their words
“Best comedic performance of 2019, Little Women.” (0:12:56)
“I'm genuinely having a panic attack waiting for this trailer, so I'm ending this episode right now.” (1:41:14)
Loves Endgame, can be talked around on Infinity War after a rewatch, adores comics history (Kirby, Fourth World), fan-casting games and Marvel trivia. Can't stand corporate killing-off-characters-as-meaning,, and actors' craft. A sucker for the Avengers theme and big crowd-pleasing hero moments.
Stances
Infinity War frustrated him in theaters but he came around after Endgame
Wants characters' deaths to carry real emotional follow-through
Joaquin Phoenix and Cumberbatch contrast shows how green screen needs trained actors
Doctor Strange has the worst jokes in Marvel
Humor: Rapid-fire riffing and bits, and self-aware pop-culture asides.
In their words
“I love Endgame.” (0:27:58)
“I was perfectly wrong.” (2:28:18)
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.
Their claims
Showing 301–400 of 1,162 claims.
people (frequent director):
Diablo Cody → Jason Reitman.
Reitman has directed half of Cody's movies.
“Half her movies have been directed by Jason Reitman, who, uh, I, you know, will happily do on this podcast in the year 3000.”
lineage (origin-story parallel):
Jason Reitman → Darren Aronofsky.
Reitman's image-first story for Afterlife recalls Aronofsky's story of typing the title mother and the exclamation mark.
“that reminds me of the Darren Aronovsky story about writing the title for mother”
unmapped (joke equivalence):
Pixels → Ricki and the Flash.
A joke that Pixels was Adam Sandler coming back to a recovering suicidal daughter, i.e. Ricki.
“Became Adam Sandler coming back to a suicidal daughter's like recovery period.”
lineage (adaptation):
Toxic Crusaders → The Toxic Avenger.
A kid-friendly cartoon was spun off a transgressive Troma film, and a revival died because the contracts could not be found.
“Toxic Crusaders, which was the weird Saturday morning version of Toxic Avenger, uh, a movie that is super transgressive and the least child friendly thing in the world.”
unmapped (legal anecdote):
Donkey Kong → King Kong.
Nintendo escaped a Universal suit because nobody had registered King Kong, and Nintendo got the Donkey Kong trademark first.
theme (premise comparison):
Nausicaä of the Valley of the Wind → Starship Troopers.
Early in the film it reads as Miyazaki's people-versus-bugs movie, but its ending flips the Starship Troopers propaganda by having the heroine empathize with the bugs.
unmapped (cause of policy):
Warriors of the Wind → Hayao Miyazaki.
The butchered US version led Miyazaki to refuse any change to later American releases.
“this was so stupid that, uh, that's sort of, I think, the beginning of Miyazaki being like, I approve any, uh, American version.”
industry (creator vs studio):
Princess Mononoke → Taxi Driver.
The no-cuts sword story is paired with Scorsese's story of nearly holding Columbia hostage over a recut of Taxi Driver.
“Scorsese has that story about the night that he almost had a mental breakdown when Columbia wanted to recut taxi driver”
contrast (ethical contrast):
Nausicaä of the Valley of the Wind → The Lion King.
Nausicaä values insects as alive, whereas the photoreal Lion King has Timon and Pumbaa eating bugs that visibly flee in fear.
“Whereas Nausaka is like the one person who's like, no, they're like alive.”
contrast (tone contrast):
John Wick: Chapter 3 – Parabellum → Thor.
Gun fetishism in Thor's ending bothers Griffin, but John Wick's cartoonish violence does not.
“Gun fetishy stuff, I just get really uncomfortable, right?”
career (career comeback):
Keanu Reeves → John Wick: Chapter 3 – Parabellum.
Griffin argues the film is a masterpiece of survival that mirrors Keanu's own loss and repeated comebacks.
“it's maybe the best work of Keanu's entire career.”
unmapped (expectations):
Planet of the Apes → Toy Story 2.
Griffin was as excited for Apes as for Toy Story 2, which exceeded his expectations while Apes crushed them.
“And the only other movie I was ever this excited for was Toy Story 2, which became my favorite movie of all time.”
unmapped (Burton romance):
Lisa Marie → Helena Bonham Carter.
Burton met Helena Bonham Carter on Apes, and Lisa Marie, who appears in the film and has her last Burton role, was the Burton partner Griffin was invested in; paparazzi caught him with Bonham Carter in Paris.
theme (personal trilogy):
Tim Burton → Ed Wood.
One commenter argued Ed Wood, Edward Scissorhands and Batman Returns say everything Burton has to say; after that he took what was offered.
“Ed Wood, Edward Scissorhands, and Batman Returns, or like this perfect triptych of everything that guy sort of has to say in his heart”
theme (ending parallel):
Planet of the Apes → Planet of the Apes.
Alex Ross Perry texted that the original book ends in a way very similar to the 2001 film.
“the original book ends in a way that's very similar to this.”
programming (programming):
As Good as It Gets → Tomorrow Never Dies.
It opened at number three on Dec. 26, 1997 behind Titanic and Tomorrow Never Dies.
craft (craft):
David Chase → The Sopranos.
Chase insisted on casting real guys with real mob history, which made production tell actors with arrest warrants not to show up.
“David Chase was like so into like getting these real guys who had the real history.”
industry (industry):
Flesh and Blood → The Lost World: Jurassic Park.
Flesh+Blood is a tweener or bridge between two phases of the director's career, as Lost World was for Spielberg.
lineage (lineage):
Paul Verhoeven → Hieronymus Bosch.
Verhoeven says a Bosch painting with a man defecating in the background formed his artistic ideal.
industry (industry):
Flesh and Blood → Orion Pictures.
Orion financed most of the film and demanded a female character, cutting the rape scene; it kept Verhoeven afterward for RoboCop.
industry (industry):
Flesh and Blood → Piranha II: The Spawning.
Verhoeven's 80s patchwork-financed film is seen as like a director testing before gaining control in Hollywood.
“I wasn't sure if this was going to feel like a piranha 2 where it's like a guy testing it out before he figures out how to gain control in Hollywood.”
people (people):
Rutger Hauer → Paul Verhoeven.
Hauer and Verhoeven fought on Flesh+Blood because Hauer wanted to play a hero after Blade Runner and they never worked together again.
“Howard was so pissed off that Verhoeven wouldn't let him be like a fucking matinee idol hero because he was afraid of being typecast after Blade Runner”
career (career):
Flesh and Blood → RoboCop.
Flesh+Blood is the failure that led Verhoeven to Hollywood and RoboCop, where he built entertainment around his interests.
“from this film on, he figures out how to take everything he's interested in and put it into the body of a conventionally entertaining Hollywood movie”
contrast (contrast):
Paul Verhoeven → Bill Hader.
Verhoeven is like Bill Hader, not Rich Little: he learned American blockbuster craft to smuggle in his own content.
“If I can learn their language, then I can smuggle all the things I actually want to say into these conventional looking movies.”
craft (structural echo):
Lady in the Water → The Village.
The cast-intro structure, where each character gets one cartoonish trait up front, works like The Village, except The Village is involving.
“sort of in the same way that the village works, except the village is involving.”
“We talked about there was a phenomenon that would occur in that movie in those movies where like a stretch of dialogue is so much fucking nonsense information.”
theme (plot comparison):
Lady in the Water → The Lorax.
A creature living in a tree stump who kicks herself in the behind and flies to the sky is likened to the Lorax.
contrast (worldbuilding contrast):
Lady in the Water → Harry Potter (the films).
Proposes the invented terms would be easier if the story were a known fable, since J.K. Rowling's invented vocabulary was learned by audiences.
“Like, he was just like, oh, J.K. Rowling did it.”
unmapped (answering critics):
M. Night Shyamalan → The Village.
A scene where a character is outraged that the critic presumed to know his motives is read as Shyamalan reacting to critics of The Village.
“this is M. Night Shyaman being like, don't tell me what my motivations were for making the village.”
verdict (verdict):
Christopher Doyle → Lady in the Water.
After calling the party scene illegible and boggling to follow, the speaker jokes that the cinematographer's own habits explain why the film is hard to follow.
“But in his defense, the reason's so hard to follow is because Christopher Doyle was having sex with a black woman and being arrested while they were.”
theme (ending comparison):
Lady in the Water → Signs.
Both end abruptly on one image after someone heals a body through prayer or love, with only a token time jump.
“Because signs does the same thing where it just ends.”
theme (recurring theme):
Lady in the Water → Signs.
Shyamalan films all center on men who neglect family for work and on crises of faith; here the man loses his family entirely.
“all in my trauma films are crisis of faith movies, right?”
people (falling out):
M. Night Shyamalan → Nina Jacobson.
Shyamalan left Disney reportedly because Jacobson did not read the script immediately and then did not like it.
“Disney's president of development, Nina Jacobson, took her son to a party instead of staying home to read the script for lady in the water.”
unmapped (film about filmmaking):
Lady in the Water → Inception.
Griffin reads Lady in the Water as Shyamalan's Inception, with the crew roles standing for the collaborative filmmaking process.
“I think he confirmed it, that Inception was Christopher Nolan's film about filmmaking.”
people (director-style):
Chaplin → Richard Attenborough.
Chaplin is called a bland, mediocre Attenborough-style biopic despite Downey's physical performance.
“Yeah, I mean, it's Richard Attenburg kind of, yeah. It's super bland.”
unmapped (backing):
Mel Gibson → Robert Downey Jr..
After Air America together, Gibson put up the insurance bond so Downey could be hired when no one else would insure him.
“Mel Gibson puts up the insurance bond because he believes this guy needs a chance, but the movie doesn't do very well.”
career (career-turning-point):
Gothika → Robert Downey Jr..
Gothika, though a bad film, was his first big-studio return on the straight and narrow, and led to Susan.
people (producer):
Joel Silver → Kiss Kiss Bang Bang.
Silver produced Kiss Kiss Bang Bang, written by his Lethal Weapon writer Shane Black, which became Downey's leading-man calling card.
“which was produced by Joel Silver, one of by Shane Black, who wrote some of Joel Silver's biggest hits.”
unmapped (salary-dispute):
Terrence Howard → Iron Man 2.
Howard earned triple Downey on the first film, and the raise-for-Downey dispute explains the recast.
“He gets paid less than any other actor in the film. Terrence Howard got 3 times as much as him.”
people (producer):
Sherlock Holmes → Susan Downey.
The Silver Company and Downey's wife built Sherlock Holmes as a franchise for him once he was a proven box-office star.
“The Silver Company and his wife, they said, now that you're a proven box office start, Let's make a franchise for you where we can benefit from it.”
people (director-experiment):
Due Date → Todd Phillips.
Phillips, fresh off The Hangover, wanted to test how far he could push Downey's prickliness and still be liked.
“I want to try to experiment with how far I can push Danny Jr. in a film and still have audiences like him.”
people (writer-link):
David Dobkin → Gran Torino.
Dobkin had the idea from his father's elder years and pitched it to the writer of Gran Torino, who wrote it.
“picture basically to the writer of Grand Torino.”
contrast (awards-contrast):
The Judge → The King's Speech.
King's Speech and A Beautiful Mind are the nearest recent mannered Oscar winners, but they are British or biopic.
“But that's the British Tony thing. You know? And Beautiful Mind is like biopic.”
people (great-performance):
Robert Duvall → The Godfather.
Duvall's restrained Tom Hagen is held up as proof Oscars do not simply nominate him for everything.
“Oh, Tom Hagen is one of my favorite characters ever.”
lineage (homage):
The Judge → Man of Steel.
The tornado father-son fight echoes the father-son tornado scene in Man of Steel, another Warner Bros. film.
“an homage to everyone's favorite father son scene from Man of Steel.”
people (suggested-collaboration):
Robert Downey Jr. → Paul Thomas Anderson.
To get an Oscar he needs a director who will push him out of his zone, such as PTA or Sam Raimi, not Dobkin.
“But someone like Paul Thomas Anderson. You know who's not going to let him close.”
“so much of He-Man and the 80s for toys is a response to every major company passing on Star Wars that Star Wars is the whiff that no one can live down.”
fun, about
The Power of Grayskull (documentary):
A good documentary on how the He-Man toy line was made, home of the viral clip about painting the cat green.
“Power of Grayskull, which is a really good documentary about how the toy line was made”
fun, about
Orko / Griffin Newman:
Griffin voiced Orko on a Kevin Smith-run He-Man show after a writer called to pick his brain in 2019 and then pitched him for the part; he calls it his hardest-won scale job.
“I ended up voicing Orco on a He-Man cartoon show, showrun by Kevin Smith”
fun, about
Big:
Rewatching Big, the fortune-teller machine arrives within ten minutes with zero backstory, the model for how fantasy used to skip setup.
“And he gets to the fortune teller machine within less than 10 minutes.”
fun, about
The Adventures of Raggedy Ann and Andy:
Richard Williams's nightmarish toy musical, watchable on YouTube; skip to the number 'Blue,' sung by a camel with four legs, for astonishing animation.
“There is a musical sequence in this uh, called Blue, uh, sung by a camel, uh, with 4 legs”
fun, about
RoboCop (2014) - the mirror scene:
The one scene the host likes: Murphy is stripped down to his lungs, brain and one hand and made to look in a mirror, called the Cronenberg moment.
“And then this is like the Cronenberg moment of this film.”
fun, about
Griffin's bootleg RoboCop toy:
Griffin pulls out a true bootleg RoboCop toy from his shelves, blue and silver with misapplied paint, which still looks better than the movie.
“But somehow still looks better than what we're watching, right?”
fun, about
Pizza analogy:
The hosts rank the RoboCops as pizza: the original is the best pizza ever, 2 is cafeteria pizza, 3 is Lunchables pizza, and this one is a picture of pizza stomped on.
“Robocop one is like the best pizza you've ever had.”
fun, about
RoboCop (2014) - budget and box office:
Budget estimated between $100 and $130 million; opened third at $21 million, made $58 million domestic, $242 million worldwide.
fun, about
Tom Cruise:
Cruise is the 'guy pretending to be Tom Cruise' for the first ten minutes: the movie strips the persona and makes him earn trust back.
fun, about
Mr. & Mrs. Smith:
On Mr. & Mrs. Smith the agency heads were cast three times; none of the actors ended up in the film, only Angela Bassett's voice.
fun, about
Edge of Tomorrow:
The title fight: announced as All You Need Is Kill, retitled with 'Live Die Repeat' as a tagline on a badly laid out poster; on home video they flipped them.
“they flipped them because their takeaway from the confusion was”
fun, about
Noah Taylor:
Taylor and Brendan Gleeson never leave their one set, avoid the suits and stunts, and get mini arcs; the hosts call it a princess part, a theater term for one big featured number.
fun, about
Doug Liman:
Hosts call the Liman method 'Limania': chaos production that sometimes comes out masterful, compared to a watchmaker tied upside-down in a crashing plane.
fun, about
Edge of Tomorrow:
The practical exosuits weighed 80 to 100 pounds; Liman called making them practical the stupidest thing they did, yet they look great.
“the stupidest thing we ever did was make those practical”
fun, about
Emily Blunt:
Blunt's Smartlist story: she cried the first time in the suit and Cruise said 'come on, stop being a pussy'; it was a joke and went viral.
fun, about
Pat Kiernan:
The New York One anchor in the opening news montage has a huge film-credit list; the hosts joke he must get a check every month.
“Pat Kieran's got like 40 of the biggest film credits of all time.”
fun, about
Griffin Newman:
Origin story of his comedy: after rollerblade camp bullying, he Photoshopped meme flyers and posted them in the locker room.
fun, about
Eraserhead:
The chicken-carving scene: the host says the movie heightens ordinary dinner discomfort by 10 percent; Griffin is not an egg fan.
fun, about
David Fincher:
Griffin's Letterboxd one-liner: the film is Fincher's nightmare of being allowed only one take, and the missed shot is the nightmare.
“a psychological horror film about David Fincher imagining a reality where he's only allowed one take.”
fun, about
The Girl with the Dragon Tattoo:
On the commentary, Fincher tells how the bottle-catch and the cat landing in frame was a perfect take, and he did two more anyway, a self-parody of his many takes.
fun, about
20,000 Leagues Under the Sea:
Fincher wanted a blockbuster as dark as Empire Strikes Back; Disney would only greenlight it with Brad Pitt or a peer.
“I wanted to see if there was a way to make a blockbuster that's that dark.”
fun, about
John Getz:
The cold open riffs on John Getz, the Blood Simple lead, spending decades in movies looking exasperated at a Zuckerberg who is not there.
“For 20, 30 years, he was in movies looking at Mark Zuckerberg exasperated and people said, John, this doesn't read.”
fun, about
The Social Network:
Auditions were other Sorkin scenes, because Fincher needed to see if people could do the pace; Eisenberg's self-tape was the first time he said under two hours.
“I pointedly remember that the they sent the script out, but for the auditions, it was just other Sorkin scenes.”
fun, about
David Fincher:
Why a hundred takes: Fincher says the surprising little things only come out after the lines are routine; the Erica line appeared in a single take.
“And Fincher's like, that's like the kind of fucking moment I'm looking for, which he only does on one take.”
fun, about
The Social Network:
The title card shot over Boston is about fifteen separate shots tiled together, each lit individually, because Harvard would not cooperate.
“But like that shot's basically constructed of like 15 shots that they visually all tiled together and had to be lit individually, not by the cart.”
fun, about
The Social Network:
A mime carrying the lights kept cops busy: they will stop a crew guy at once but not a mime.
“If it's a truck, if it's a crew guy, they'll stop without like any hesitation. If it's a mine, they're going to be so confused about what's going on.”
fun, about
The Curious Case of Benjamin Button:
The teaser made the audience go silent at Crystal Skull; the speakers say the trailer is a better version of what the movie does.
“2 great fucking teasers that have such a different tone than everything else that was playing that the audience just went pin drop silent.”
fun, about
The Curious Case of Benjamin Button:
The film's clock prologue tested badly until the film grain and crackles were added late in post, after which audiences accepted it as a story being told.
“we added all the filters of the film grain and the pops and the crackles and the distortion and whatever.”
fun, about
Lords of Dogtown:
Fincher's budget ask for Lords of Dogtown was fifteen million to rebuild the pier at full scale, which got him pushed off.
fun, about
Zodiac:
Graysmith claimed the killer could mount a flashlight on his gun; Fincher went to a flashlight museum, learned no 1969 bulb could do it, and so the film shows no such beam.
fun, about
Jake Gyllenhaal:
Zodiac shot through the Brokeback Mountain awards season, and Fincher would not release him for events; Fincher says he was distracted.
fun, about
Jake Gyllenhaal:
On the making-of, Gyllenhaal asks Fincher to confirm he is good at inserts after dozens of takes of his hands scribbling; Fincher teases, then agrees.
fun, about
Robert Downey Jr.:
Downey's Oppenheimer press-tour story: after 60 takes, Fincher made him watch the footage on the monitor and Downey had to admit it was not right.
“And he made him watch all the takes on the monitor.”
fun, about
Robert Graysmith:
A friend's ink review from an art store sounded too specific to be anyone but Graysmith; Griffin reads it at the very end.
“too weirdly specific to not be written by the real Robert Graysmith.”
fun, about
Janie's Got a Gun (Aerosmith video):
Steven Tyler flashed the shocker on his forehead in Disney's Rock and Roller Coaster pre-show until Disney digitally painted the finger out.
“And they digitally paint it in the remaining finger.”
fun, about
Earl (dog):
Earl, Brendan Hines's dog, is the first in-studio dog guest in Blank Check history, and it is his seventh birthday. Brendan says Earl came to set every day on The Tick and never ruined a take.
“The 1st ever in studio, dog, guest, in the history of blank check.”
fun, about
Charles Martinet:
The father in the opening home-movie footage is Charles Martinet, the voice of Mario. He once taught typing as Mario at a 1994 tech convention.
fun, about
The Game:
The original ending had Nick shoot the waitress and then kill himself; Fincher said he would feel remorse for shooting someone who tricked him, so he changed it.
“So what I had read was that the original ending was the same thing, but he shoots Deborah Carra Unger.”
fun, about
The Game:
The Criterion disc includes a one-take alternate ending, from the clapboard to Fincher saying cut, where he looks both ways and walks off without a cab.
fun, about
Alien 3:
The alien-sucks-down-a-Pepsi commercial aired a full year before the movie; the suit was built for the film, and Fox was pushing Alien toward a kids' franchise (cartoon, toys, games).
“That commercial came out a full year before this movie came out.”
fun, about
Sigourney Weaver:
She was eight months pregnant when the Newt dummy was made, so they measured only her head and shoulders; she made the film six months after her first child was born.
“When they made the dummy, Sigourney was like 8 months pregnant.”