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.
Their claims
Showing 401–500 of 1,162 claims.
contrast (unexplained-setup contrast):
Masters of the Universe → Big.
Big reaches its magic machine in under ten minutes with no backstory, which the movie should have emulated instead of over-explaining.
“And there is no backstory of who made the machine or why or why it's possessed with a ghost or why it works or how to undo it.”
“like, it felt like a very kind of unoriginal list, but I couldn't talk myself into saying like, well, actually, BeastMaster has some really cool effects in it”
theme (borderline-genre):
Ray Harryhausen → The 7th Voyage of Sinbad.
Harryhausen movies blur Greek mythology and high fantasy; one of Sinbad or Jason would represent them.
“I could put the 7th Voyage of Sinbad on a list like this, you know?”
lineage (toy origin):
The Many Adventures of Winnie the Pooh → A.A. Milne.
Pooh stories are tales adapted from a mythology a boy created for his toys; the film's framing device shows a boy's room of dolls.
“They are tales adapted from The mythology created by kids for their toys.”
unmapped (canon filler):
The Hudsucker Proxy → Toy Story franchise.
To make a good toy-movie canon you have to cheat and include movies not driven by a product: Winnie the Pooh, Toy Story, Hudsucker.
“In order to make a cannon that is good. You have to cheat and put in things like Winnie the Pooh, Toy Story, and the Hudsucker proxy”
verdict (ranking):
Barbie → The Lego Movie.
Of the whole toy-movie canon, only Barbie and The Lego Movie came from a cynical place and ended somewhere fairly pure.
“And then you're like, really, it's only Barbie and Lego movie that came from the cynical place and ended up somewhere fairly pure.”
career (career):
José Padilha → Elite Squad.
Padilha comes from a gritty, stripped-down neo-realist police-force background, so the studio hired him for a serious reboot.
“this is the director who comes from a sort of like gritty kind of, uh, stripped down neo-realist”
programming (programming):
Darren Aronofsky → RoboCop.
Aronofsky was first choice, stayed three years, then left because MGM could not fund the film, the start of his flirtations with franchises.
contrast (contrast):
RoboCop → RoboCop.
In the original, Murphy loses his identity and must rediscover it; here he never does, and the host calls that stupid.
career (career):
Gary Oldman → Batman Begins.
Oldman's Gordon role changed his career after a stretch as a studio villain, and RoboCop asks him to play Gordon again without the mustache.
“He's just kind of Gordon without a mustache being like, Robocop, I'm really trying to help you here.”
contrast (contrast):
RoboCop → RoboCop.
A remake that pushes seriousness and cuts the humor, though the humor is what people remember about the original.
“you're like, huh, because the humor's the stuff that people remember.”
people (people):
José Padilha → Fernando Meirelles.
Meirelles said Padilha told him making RoboCop was the worst experience of his life, with nine of every ten ideas cut.
craft (craft):
RoboCop → RoboCop.
The original's way of showing the conversion was good, but the remake skips the time lapse and wakes him already built.
“the way they did it was really a good way to do it.”
craft (craft):
Legacy Effects → The Tick.
The shop that holds the RoboCop suits also did a lot of the effects work on The Tick, which the speaker knows from working on that show.
“I just know legacy effects who did a lot of stuff on the tick.”
craft (craft):
Legacy Effects → RoboCop.
After the first suit photos went over badly, the production gave Legacy Effects about two weeks to build a second suit closer to the 1987 look, per what the shop told the speaker.
“the production panicked when the 1st photos came out and the response was so bad and we were given like 2 weeks to make a new suit that looked more like the 80s movie”
lineage (lineage):
RoboCop → Batman Begins.
The remake is part of the grounded-and-serious wave that followed Nolan; the speakers say this film marks the end of it.
lineage (lineage):
RoboCop → Casino Royale.
Filmmakers sell the remake as the Casino Royale or Batman Begins of RoboCop while the Easter eggs sneer at the original.
career (career):
RoboCop → Chi-Raq (transcribed 'Shyraq').
Jackson's direct-address monologues here recall Chi-Raq, where he has fun as a meta narrator; here he is muzzled.
“Samuel Jackson has a character who similarly is doing like direct address to the camera monologues, right?”
contrast (contrast):
RoboCop → RoboCop.
Keaton's villain stays the same until a rooftop face-off; the speakers imagine Ronny Cox's version in his place.
“if Michael Keaton is fucking Ronnie Cox, you know. The movie like doesn't have a villain.”
programming (programming):
Resident Evil (film series) → Paul W.S. Anderson.
The next series is the Paul W.S. Anderson-involved Resident Evil films, all six, then Welcome to Raccoon City.
industry (industry):
Edge of Tomorrow → Mr. & Mrs. Smith.
Bourne, Smith and Edge all had the 'is he ever going to finish' chaos, with actors replaced mid-shoot.
“Bourne and Smith and Edge of Tomorrow all had that thing of like, is he ever going to finish this thing?”
career (career):
Edge of Tomorrow → American Made.
Edge is the end of the run where Cruise looks like an aged-well human; by American Made he looks 'nuts'.
contrast (contrast):
Edge of Tomorrow → Cocktail.
Unlike Cocktail or The Color of Money, Cruise's character does not have all the moves; he has to learn them.
contrast (contrast):
Edge of Tomorrow → The Color of Money.
Same point: the earlier Cruise plays the guy who has the moves; Edge has him work for them.
theme (theme):
Edge of Tomorrow → Groundhog Day.
Both are about depression and being stuck; Edge adds the stakes that you keep dying, and it stays hopeful.
“Groundhog Day, I would say is also like about depression.”
contrast (contrast):
Edge of Tomorrow → Groundhog Day.
Groundhog Day hits an inflection point where Bill Murray tries suicide and then just lives through it; Edge is about repeated violent deaths and the hope of advancing.
“Groundhog Day hits the inflection point about halfway through where he's like, let me kill myself.”
people (people):
Christopher McQuarrie → Edge of Tomorrow.
McQuarrie joined halfway through filming, connected the dots, and became the writer on set; he then got Mission Impossible.
“They hire Macquarie like halfway through filming and he immediately looks at what they have and starts like connecting dots and solving problems.”
career (career):
Doug Liman → Chaos Walking.
After Edge, Liman never got another good one; Chaos Walking went through reshoots and recasting and came out years late.
“chaos walking is going back for its 4th round of reshoots and recastings”
what-if (what-if):
Emily Blunt → Iron Man 2.
Fox kept Blunt in Gulliver's Travels instead of letting her be Black Widow in Iron Man 2 and the Avengers.
“Then John Favreau was like, I want you to play Black Widow and Iron Man 2”
what-if (what-if):
Emily Blunt → Get Him to the Greek.
Blunt dropped out of Get Him to the Greek; Rose Byrne replaced her and entered the Apatow system, leaving Blunt in a middle zone until Edge.
“They replaced her with Rose Byrne, who then gets properly fed into the Appatau system”
verdict (verdict):
Edge of Tomorrow → Jumper.
Same director, similar practical-effect obsession; Jumper has a good idea and a bad story, Edge solves it.
“you're like, he figured out this one thing and the story sucks.”
craft (craft):
Doug Liman → Jumper.
Liman's tactile, cable-pulled approach on Jumper's teleports prefigures the practical exosuits in Edge, a classic Liman obsession that here paid off.
“You're like classic Lyman mistake, except they solve it”
industry (industry):
Edge of Tomorrow → Snabba Cash.
Dragomir Mrsic from Edge is in Snabba Cash, the Swedish film that got Joel Kinnaman English-language work and Espinosa the RoboCop remake.
“It's the thing that got Joel Kinnaman in English language productions, and then Daniel Espinoza gets hired to do the Robocop remake”
craft (craft):
Edge of Tomorrow → Monsters, Inc..
The ambiguous final beat mirrors Monsters Inc.: you want to know he goes back to her but no more definitive answer.
“the perfect ending because it's like the Monsters Inc. ending”
what-if (what-if):
Doug Liman → Tom Cruise.
Liman and Cruise announced a film shot in space; it was canceled because Cruise didn't want to owe Trump a favor.
“the space movie is finally like officially fucking canceled”
contrast (contrast):
Million Dollar Arm → Trouble with the Curve.
Two baseball-coded movies from that era: Trouble with the Curve is the Eastwood one, Million Dollar Arm the Hamm one.
contrast (contrast):
Eraserhead → Dances with Wolves.
Dances with Wolves is argued to be a rough draft of what Costner figured out later despite winning Best Picture.
“this is a rough draft for what he fucking figured out later, even though the world responded to it at the time as masterpiece.”
contrast (contrast):
Eraserhead → Edward Scissorhands.
Eraserhead is the same outsider idea as Edward Scissorhands in raw form, where Burton's film was reworked into a presentable studio picture.
“And this is him just doing the pure raw expression version of basically the same idea.”
lineage (lineage):
David Lynch → Henry Mancini.
Lynch as a child liked the music of Henry Mancini; the speaker then jokes none of these influences show in his work.
people (people):
David Lynch → Jack Fisk.
Fisk, the production designer who plays the Man in the Planet, is the other big friend Lynch made in high school.
“Uh, the other big uh, friend that he makes in high school. Jack Fisk.”
craft (craft):
David Lynch → Herbert Cardwell.
Lynch says the original cinematographer was a genius who helped him understand making movies and lighting.
“Lynch says he was a genius who helped him understand everything about making movies, like he knew how to light what he did”
craft (craft):
Eraserhead → Twin Peaks.
Lynch still relates emotions through images the way Eraserhead does, which the speaker saw again in Twin Peaks: The Return.
craft (craft):
Come Out and Play → Makinov.
The masked, pseudonymous Makinov is credited with director, cinematographer, editor, sound department, producer and writer on Come Out and Play, his only credit.
“He is credited as director, cinematographer, editor, sound department producer, and writer.”
what-if (what-if):
The 13th Warrior → Greg Nicotero.
With two reshoot units and a tripled budget, nobody thought to hire Greg Nicotero for creature looks, so the monsters stay men in bear suits.
“no one's like, hey, maybe hire Greg Nicatero and come with a couple cool looks.”
lineage (adaptation scope):
The Killer (graphic novel) → The Killer.
The film takes almost everything from the first 200-odd pages of the comic; the series ran on to 2018.
“it feels like everything from the movie is basically taken from the 1st 200 some odd pages”
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.”