Prepares history: novel, casting, budgets, box office. Reveres the film and thinks it reads as a normal ground-level story. A sucker for Hollywood deal backstory and box office game.
Stances
Praises Keitel and Dafoe casting
Respects Scorsese's persistence and Corman discipline
The film is now well regarded though not 'canonical Marty'
Humor: Deadpan nerd asides and mock outrage about movie titles.
In their words
“It's a very well-regarded movie.” (2:18:48)
“Paul's 1st version, apparently, he has Jesus taking his heart out.” (0:46:13)
Loves 80s star vehicles and detailed Hollywood production history. Is a sucker for Paul Newman and for the idea of living inside a pool hall. Defends polished mid-budget studio work and is wary of Cruise's late-career legacy-sequel plans.
Stances
Hud is among the best screen performances
The first hour of Color of Money is like Citizen Kane; the rest is less thrilling
Cocktail is a dog shit movie but fun
Legacy sequels like Days of Thunder 2 are a mistake
Humor: Dry, quick asides and mock outrage, often pushing back on friends' takes with a deadpan correction.
In their words
“Yeah, my favorite's HUD.” (1:03:56)
“It's a dog shit movie for a stupid movie.” (1:33:18)
Reveres Scorsese's lesser-seen work, loves Addicted to Love and Practical Magic, and delights in awards trivia and box-office rankings. Is a sucker for Hitchcock/noir comparisons and Rosanna Arquette. Hates Weezer covers.
Stances
After Hours is his favorite Scorsese film
Griffin Dunn deserves a director series
Remakes pile on too much incident
Humor: Explosive tangents, trivia dumps and shameless transitions.
In their words
“This is my favorite Martin Scorsese film, unsurprisingly.” (0:11:34)
Loves The Elephant Man and Popeye and cites Altman and Casavetes as favorite directors. Interested in the history, box office and Oscar context around the film. Admires Raging Bull's sound and picture.
Stances
Raging Bull was robbed in Oscars cinematography
Oscars do not respect comedy
The film's moral ambiguity is by design
Humor: Dry, mock-indignant, with the box-office game guessing bits.
In their words
“It is my favorite.” (2:10:47)
“And we know how much Oscars just will not respect comedy.” (2:03:45)
This is his favorite or one of his ten favorite movies and he has seen it 15-20 times; he loves comforting, likable, steady-hand movies and the Aubrey-Maturin friendship. He is a sucker for the weevils dinner scene and ensemble craft, and an Anglophile who saw it at 17 in London.
Stances
This film is a miracle that could not be made today
It is best viewed as dad cinema, now lost to streaming
Praises Bettany's performance as arguably the best in A Beautiful Mind and a strong turn here
Rations rewatches of favorites so they stay special
Humor: Deadpan, quick with a callback and a tangent into Oscar-year trivia and box-office minutiae.
In their words
“It's my favorite movie ever.” (2:53:55)
“I saw it at the Odeon Leicester Square with Howard Amos.” (0:38:37)
A critic who prefers dossier-driven history. Loves action movies like Demolition Man and Jeff Bridges' earthy 90s era. Dislikes elite-school lionization, a recurring bit about Juilliard. Avoids flying since COVID and has twins.
Enthusiastic about Fargo's perfection and its nice-versus-good theme; tends toward film-criticism takes, Oscar history and 1990s box-office. Skeptical of the Dark Marge reading and fond of horror and genre follow-ups like Final Destination.
Stances
Fargo is about the difference between being nice and being a good person
Skeptical of the Dark Marge theory
A Final Destination sequel fan; distrusts stopwatch screen-time stats
Mr. Holland's Opus is trash
Humor: Chewing-ice gags and sarcasm; teases Ben and Griffin with off-handed jabs.
In their words
“I think if anything, this movie is about the difference between being nice and being a good person.” (0:40:48)
“I always question the way that people fucking stop watch these things.” (1:42:45)
Film critic who loves studio-era comeback stories (Sea of Love), Travolta in Get Shorty, and box-office archaeology. Dislikes Travolta's bad instincts, such as Hairspray. Loves the opening-weekend charts, and has strong opinions about Chevy Chase stories.
Stances
Travolta is undeniable when good and annoying when bad
Travolta's Tarantino rescue story is overstated
Sea of Love was Pacino's real comeback
Humor: Deadpan bits and rapid-fire tangents, often at the expense of the guest or a studio.
In their words
“I do think that is my single favorite Travolta movie star performance.” (0:57:48)
“It's Ridley Scott's Black Reign with Michael Douglas.” (2:11:14)
Enjoys Spielberg's crowd-pleasers and Indiana Jones; considers Last Crusade his favorite and his most successful comedy; likes Oscar speculation, Wall Street, Planes Trains and Automobiles, and Adrian Lyne. Dislikes Always.
Stances
Last Crusade is his favorite Indiana Jones
Lincoln is great
Williams should have won for Home Alone
Humor: Quick quip man; plays straight man to Griffin and mocks critics and awards bodies.
In their words
“It is my favorite, but I'm also like, I don't think it's a particularly deep film.” (0:21:06)
“Jurassic Park is the much better version of what the story that Huck is trying to do.” (0:24:09)
“I think he should have won for Home Alone over Dances with Wolves.” (0:38:53)
Marvel and comics devotee who treats Thunderbolt Ross as the best character in the Marvel universe. Loves Harrison Ford's craftsmanship, Bond, and chronicling career arcs; cares about movie-star persona and industry history.
Stances
Harrison Ford's grumpy era began around Hollywood Homicide
Raiders is the greatest distillation of Ford the movie star
Hook is clunky
Humor: Dry and deadpan, plays along with being called cranky and joking about turning into a Red David.
In their words
“Have you ever written Thunderbolt Ross, the best character in the Marvel universe?” (0:01:18)
“What if I become the red David in 2025?” (0:06:49)
He leans on film-critic comparisons (Oppenheimer, Fury Road, The Mist) and loves Lynch's visual-effects ambition and unvarnished plainness. He appreciates structure and ties up the episode's plot, and is skeptical of lore talk, saying it sounds stupid when talked about. He also cares about trivia and media-business details, like People's sexiest man list and ratings.
Stances
Lore is more fun to experience than to explain
Part 8 is both the most abstract and most straightforward episode
The last 15 minutes are among Lynch's best
Ratings and network context matter
Humor: Dry, trivia-driven asides that spiral into offhand references and bits.
In their words
“I will say that like the this stuff is all more fun to watch an experience than it is to talk about.” (1:10:43)
“it's one of the best 15 minutes of his whole career.” (1:43:39)
Treats Dune '84 as a David Lynch movie through and through and loves it as a strange object, with a particular fondness for Lynch's signature fingerprints in the margins. Is the one who flags the sleeper must awaken line as Lynch's invention. Loves Furiosa and has real affection for Alicia Witt.
Stances
It's 100% a David Lynch movie; Lynch overstates how little of him is in it
Sleeper must awaken is Lynch's most important contribution
Villeneuve cracked the populist-but-grown-up Dune
Humor: Big, quick riffs with absurd metaphors (the bracelet with a watch face).
In their words
“I'm David.” (0:05:35)
“It's 100% a David Lynch movie.” (0:08:52)
“I had a huge crush on Alicia Witt, specifically in Sybil.” (0:30:00)
Critic's taste: values craft and performance, loves a good-looking cheap movie. Admires Park as a sensual filmmaker and Tang Wei's inscrutability. Not a Cassavetes fan, but enjoys Eastern Promises and Stronger, and champions Javier Bardem in Lyle Lyle Crocodile.
Stances
Wants movies to be hot without being lurid
Lyle, Lyle, Crocodile sucks but Bardem is incredible
Amsterdam is a film he walked out of in his head
Humor: Dry, deadpan deflation; goes along with the bits.
In their words
“He is absolutely more my guy.” (0:17:52)
“Yeah, that movie sucks, but Javier Bird has incredible in it.” (2:01:52)
Prepared with printed plot synopses and notes, and loves tight gag construction, Keaton's streamlined modernity and trivia (title-card puns, cast and box office). Has an eye for casting names and silent-era minutiae. He gets the box office game right and enjoys obscure film-history jokes.
Stances
Sherlock Jr. is perfect and Keaton's best film
Keaton's modernity and lack of indicating make him timeless
The Navigator is a series of boat bits, a step back after Sherlock Jr.
Humor: Dry, research-fueled asides, name jokes and affectionate teasing of his co-host.
In their words
“I do think it's his best film.” (0:58:11)
“I feel like it's supplanted the general as sort of the critic consensus, perfect Keaton movie.” (0:58:18)
“going on a honeymoon without a bride is like singing in the words of Kiss Me Again to the music of Alice, where art thou?” (2:00:45)
Critic who covers festivals; liked Wendell & Wild at TIFF after a sleepless night. Loves how it looks and the punk soundtrack, appreciates its political point about prisons, and is fond of Monkeybone. Rankings: Coraline 1, Nightmare 2, Peach 3, Wendell & Wild 4, Monkeybone 5.
Stances
Wendell & Wild is great but plotty
Studios should restore theatrical windows
Claydream is essential viewing
Voted Mad God first in the Critics Circle
Humor: Deadpan storyteller who spirals into bits, and owns his own stressed behavior in the Airbnb tale.
In their words
“I think it's great.” (1:53:48)
“I fully like it. But I also support the in spite of its selfness.” (1:53:06)
A film critic who respects movies that provoke a reaction but gives no credit for mere upset. Loves film-history trivia and box-office lore, responds to Star 80 strongly but wants to put it away, and calls Cabaret his sentimental top pick.
Stances
Cabaret is the top Fosse
Star 80 is the weakest Fosse for him
Emotional reaction is not the same as quality
Eric Roberts was seen as a talent in the 80s
Humor: Dry, quick-witted and sarcastic, leaning on movie-star gossip and trivia.
In their words
“I'm a film critic.” (0:55:09)
“There are movies that like upset me that I don't give any credit to.” (0:55:21)
Admires the film's matter-of-fact handling of trauma and its structure as a small-scale epic of one woman's life; anchors discussion with festival and release history. Likes heightened, bright movies and is a self-declared Annie fan. Comfortable gently ribbing Griffin over trivia.
Stances
Praises matter-of-fact restraint over trauma
Notes Campion's rise through film festivals
Believes The Power of the Dog rewards repeat viewing
Likes The Piano but conceded its score is divisive
Humor: Dry, quick ribbing and pop-culture riffs, often at Griffin's expense.
In their words
“I think it was, it's famously the 1st movie I ever saw.” (0:52:41)
“Perhaps the biggest discovery of this film for me.” (1:14:36)
Loves Jeff Bridges, Karen Allen and Oscar-season lore; a fan of Moulin Rouge-era Baz Luhrmann and of a good road movie. Mixed on Charles Martin Smith's role and finds the sex scene off the rack. A sucker for the Midnight Special comparison and the baby-prop weirdness.
Stances
Bridges is among the least pretentious great actors
The sex scene feels divorced from the emotion of the film
Karen Allen deserved a nomination
Box Office Mojo cannot be reformed
Humor: Dry, bit-loving, goes after Griffin with deadpan callbacks; a Hank the Cow Dog true believer.
In their words
“I think Karen Allen absolutely should have been nominated.” (1:00:36)
“Defund box office mojo cannot be reformed at this point.” (2:17:27)
Critic who likes ambitious and pop-oriented movies (Rogue Nation) and has strong opinions on directors; loves Demme but is blunt that Ricki disappoints. Can't stand Jason Reitman and bad-movie trends, and is a sucker for box-office trivia and the Monday-morning numbers game.
Stances
Ricki is disappointing but Demme is not the worst of his own career
Streep and studio interference hijacked the script
Loves Mission: Impossible Rogue Nation
Humor: Dry, contrarian one-liners and mock-outrage.
In their words
“But also, Jason Reitman directs a lot of her movies who I am increasingly cannot stand.” (0:02:39)
“Stephen Frere is the king of mediocrity.” (0:22:38)
A critic who reaches for franchise-career context and Hollywood politics; likes tidy thematic readings (Dune, WALL-E, Starship Troopers comparisons) and a trusted small-scale film. Hates press-trained performative behavior and bad films like The Hustle. A sucker for sandwiches, Spirited Away, and a good fan-theory.
Stances
Nausicaä is a beautiful-feeling world but not a kid's movie
The Farewell may be the movie of the year
Press fatigue and interview transcripts distort people
Ranks Nausicaä as the buggiest Miyazaki
Humor: Dry and conversational, he undercuts earnest moments with fandom needling and food tangents.
In their words
“I don't know what a kid gets from this movie.” (1:41:57)
“I think it's more of a movie for teens.” (1:42:05)
“It is nuts.” (0:31:20)
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 901–1,000 of 1,091 claims.
unmapped (dismissed):
Meryl Streep → The Laundromat.
Worst Putters and Murmurs: dislikes her slightly haunted older lady mode and the brown-face.
career (career):
Don Cheadle → Devil in a Blue Dress.
His late-90s emergence in Devil in a Blue Dress and Out of Sight made every appearance worth waiting for.
“he was in like devil in a blue dress and out of sight and things like that.”
contrast (contrast):
Joaquin Phoenix → Benedict Cumberbatch.
Cumberbatch is a classically trained actor who can make pretend feel real; Phoenix is an autodidact who cannot.
“classically trained theater actor who is like, I can make pretend things feel real.”
craft (craft):
Tom Hardy → Joaquin Phoenix.
Like Hardy jumping into the lobster tank, Phoenix likes surprises in front of him that a green-screen movie cannot give.
career (career):
Alan Taylor → Game of Thrones.
Taylor was hired as the Game of Thrones helmsman; the studio's note was to make the film feel more like Game of Thrones.
“We want to make this feel more like Game of Thrones.”
craft (craft):
Thor: The Dark World → Game of Thrones.
The film aims for a grounded, muddy fantasy in the Game of Thrones manner, away from Branagh's version.
“We want to make a more grounded fantasy away from the bran off.”
what-if (what-if):
Thor: The Dark World → Patty Jenkins.
Jenkins is described as the director Natalie Portman wanted, and Portman left the franchise after Jenkins was fired without her approval.
what-if (what-if):
Thor: The Dark World → Natalie Portman.
Portman had approval over director and script; the Jenkins firing is why she was done with these movies.
“She didn't have anything on the Alan Taylor thing, and she was like, I'm done with these.”
industry (industry):
Thor: The Dark World → Iron Man 3.
This and Iron Man 3 are the first Marvel films with no Paramount logo before the Avengers logo.
“this and Iron Man 3 are the 1st 2 movies fully devoid of Paramount, right?”
theme (theme):
Thor: The Dark World → Crazy Rich Asians.
Like Crazy Rich Asians, the real romance is the lead and the mother figure; Thor's love is figurehead-level.
“Crazy Rich Asians is really the romance between her and the mother”
industry (industry):
Thor: The Dark World → Thor.
Dark World opened to 85 million, up from 65 for the first Thor, but is the lowest grossing sequel in the MCU.
“It's also the lowest grossing sequel in the MCU.”
what-if (what-if):
Thor: The Dark World → Thor: Ragnarok.
Thor: Ragnarok also loses Sif and Natalie Portman's Jane; the speakers wish Sif had returned for Endgame.
craft (craft):
Thor: The Dark World → Kramer Morgenthau.
After naming the cinematographer, the speaker says the film has its own look, palette and cinematic language, distinct from Iron Man 3.
contrast (contrast):
Thor: The Dark World → Guardians of the Galaxy.
The next film, Guardians, becomes candy colored, which is what that film needs, versus this serious look.
“you get to like Guardians next and it like becomes like candy colored”
contrast (contrast):
Thor: The Dark World → Iron Man 3.
Each Phase 2 film has its own look: this one is serious, Iron Man 3 resembles a 90s action film, Winter Soldier approximates a Sydney Pollack movie, Guardians is candy colored.
contrast (contrast):
Thor: The Dark World → Thor: Ragnarok.
The Dark World's palette feels like watercolor fantasy illustration; Ragnarok is full Kirby comic book.
“closer to like watercolor illustrations in a fantasy novel.”
industry (industry):
Thor: The Dark World → Avengers: Infinity War.
The ether is the second Infinity Gem; the speakers tally the stones across Mind, Space, Power, Reality, Time and Soul films.
craft (craft):
Thor → Thor: Ragnarok.
The first Thor looks too clean; Ragnarok overcorrects to cartoony comic splash page; the Dark World's polished gold sits between.
career (career):
Anthony Hopkins → Red Dragon.
After Hannibal money, Hopkins appeared in Red Dragon, which is a remake of Manhunter but worse, ruining the franchise per his son.
industry (industry):
Bohemian Rhapsody → Bryan Singer.
The speakers say Bohemian Rhapsody's critics are partly about its director, and joke about Singer becoming president.
theme (theme):
Thor: The Dark World → While You Were Sleeping.
Jane's fake-out (it was all a dream) is likened to While You Were Sleeping with Peter Gallagher and Bill Pullman.
theme (theme):
Thor: The Dark World → Alita: Battle Angel.
Griffin's line from his Alita review frames this film: he is defenseless before silly sci-fi epics that dump lore through a simple hero's journey, like Jupiter Ascending, Valerian, Aquaman.
“Think of films like Jupe, ascending, Valerian, Aquaman, colorful mega budget, nonsense splash into a grand canvas.”
programming (programming):
Thor: The Dark World → Guardians of the Galaxy.
The Collector mid-credits scene already shows the Guardians' comic space weirdness; the speaker thinks James Gunn directed it.
lineage (lineage):
Thor: The Dark World → Doctor Who.
Marvel in general is indebted to Doctor Who's tone of lightness, comedy, hope and teamwork, especially the Russell T Davies era.
“I think Marvel in general is very kind of indebted to Doctor Who with the same tone of like lightness and comedy and hope and team teamwork.”
craft (craft):
Joss Whedon → Serenity.
Answers the 'TV guy' worry about the Avengers trailers by pointing at Serenity as proof Whedon can direct with visual panache.
“Serenity is an incredibly well-directed movie with a lot of visual panache.”
people (people):
Tom Hiddleston → Thor.
Notes Loki's first-film look/context; Ben hasn't seen Thor or Cap in the lineup, which is why they watched them today.
“We've recorded these 3 episodes, Thor, America, and Avengers.”
industry (industry):
Jeremy Renner → Iron Man 2.
Hawkeye is set up here in Thor and Avengers rather than earlier; Renner is brainwashed for most of the film and complained about it.
“for like the 1st one hour and 50 minutes he's brainwashed and he's just as like, yes, Loki, whatever you say.”
craft (craft):
Joss Whedon → Iron Man 2.
Whedon told Marvel that Black Widow had not really been set up in Iron Man 2 and the character foundations were shaky.
“I took a look at that Iron Man 2 picture. you had, didn't notice a lot of character work.”
contrast (contrast):
The Avengers → Olympus Has Fallen.
The opening tunnel car chase is dismissed as Olympus-Has-Fallen-level dull, though later Marvel films do it more elaborately and no better.
industry (industry):
The Avengers → The Incredible Hulk.
Pre-Avengers grosses (Iron Man ~300, Hulk ~150, Cap ~170) suggested a glass ceiling; the unaccounted factor was the movie being very good.
“And then the X factor I wasn't considering was, what if movie very good?”
what-if (what-if):
Mark Ruffalo → Joaquin Phoenix.
Ruffalo and Phoenix were the short list to replace Norton; Feige keeps courting Phoenix (Doctor Strange too) and Phoenix only did Joker because it was twisted.
“Kevin Feige is always trying to get Joaquin Phoenix to do one of these movies.”
career (career):
Scarlett Johansson → Iron Man 2.
The Avengers uses Johansson (and Black Widow's Russian-scene vulnerability-as-weapon) better than anything since 2003, and better than Iron Man 2's secretary-spy version.
“This is the better version of that where he's like, she has been trained in a weird Russian program to be able to manipulate anybody.”
programming (programming):
Captain Marvel → The Avengers.
Captain Marvel is a 1990s prequel in which Fury still has both eyes, bringing back Coulson/Fury; they predict nineties-reference gags.
industry (industry):
Harry Dean Stanton → The Avengers.
The cameo was written as a nine-page Hulk conversation, shot in full, cut to a beat; the long version is on the DVD.
“there should be like a 9 page dialogue scene with the Hulk talks with an old security man about the nature of humanity and they shot all of it”
programming (programming):
The Avengers → Guardians of the Galaxy.
Thanos' Chitauri subcontracting sets up the cosmic films; Guardians is next on their Marvel list.
contrast (contrast):
The Avengers → Avengers: Age of Ultron.
Age of Ultron opens with the team already together and Fury in hiding, so it is a sequel to five films rather than to Avengers.
“Avengers 2 can't be a sequel to Avengers one. It has to be a sequel to 5 other moments.”
contrast (contrast):
The Avengers → Man of Steel.
Man of Steel's similar downtown destruction finale feels unreal with random civilians; Avengers grounds it in the street.
industry (industry):
Joss Whedon → Justice League.
Warner brought Whedon in after filming to retroactively make it more like Avengers, with reshoots adding jokes and replicated family cutaways.
“they bring in Joss Whedon after they've filmed the entire movie and go like, can you retroactively make it into more like Avengers?”
craft (craft):
Captain America: The First Avenger → Thor.
Both Marvel origin films avoid dropping the audience straight into a stylized world and open on a grounded genre set-up.
“This is the exact same structural thing as Thor, where it's like, let's not drop people into crazy stylized world.”
craft (craft):
Hugo Weaving → Werner Herzog.
Weaving built his Red Skull on a Herzog impression, with the same merciless anthropological view of humanity.
lineage (lineage):
Captain America: The First Avenger → Iron Man 2.
The Stark Expo of the 1940s is the origin of the Expo seen in Iron Man 2, now as the full World's Fair version.
“Like what we see in Iron Man 2, but now it's like the full like 40s World Fair version.”
fun, about
Doctor Sleep (title):
The title comes from Danny's humane way of easing people dying in a hospice, a minor thread; some say it should have been Shining 2.
“It's funny that the title of the movie comes from like his very humane way of helping people be at ease before they die, a very sort of minor plot thread.”
fun, about
A Clockwork Orange:
Kubrick pulled the film from Britain a year after release and it stayed out until his death; it was banned in Ireland until 1999.
fun, about
A Clockwork Orange:
McDowell scratched his cornea during the eyedrop scenes and the numbing wore off in the car; a speed bump felt like a razor blade.
fun, about
Dr. Strangelove:
The release was delayed by the Kennedy assassination; a speaker also notes the President is the last reasonable president in an American satire, because Kennedy was in office.
“this movie was delayed because of the assassination of Kennedy.”
fun, about
Terry Southern:
Sellers gave Kubrick The Magic Christian, which brought Southern in; the dossier read is that Kubrick wrote it, George inspired it, and Southern made it funny.
“JJ's read on the screenplay, though, is that it's Dubrick wrote it.”
fun, about
Dr. Strangelove:
The first page of the screenplay says the story will be played for realistic comedy and the acting will never be so-called comedy acting.
“The 1st page of the screenplay says, the story will be played for realistic comedy”
fun, about
Gene Kelly:
The original plan for Jack D. Ripper was Gene Kelly. Kubrick then cast George C. Scott, who asked to play Turgidson instead, and brought in Sterling Hayden.
“You know who the original plan was to cast for Jack D. Ripper, the Sterling Hayden Row?”
fun, about
James Earl Jones:
Jones had a big role questioning the mission; Kubrick decided he did not want the protesting crew member to be a Black actor and cut it. Jones told him he took the part for the cut material.
“eventually Kubrick decided he didn't want the guy protesting to be a black guy and cuts everything out.”
fun, about
Dr. Strangelove:
Kubrick wrote down about thirty alternate titles, including Wonderful Bomb, Dr. Doomsday, and Dr. Strangelove's Secret Uses of Uranus.
“The weird one is Dr. Strangelove's secret uses of Uranus.”
fun, about
Kirk Douglas:
In Munich the rewritten script had a happy ending; Douglas threatened to walk. Kubrick calmly said he wanted a commercial hit.
fun, about
Kola Kwariani (Nick the Wrestler):
A former wrestler Kubrick met through chess circles, he died at 77 after fighting five teenagers outside his chess club.
“He was 76 years old and he was leaving his regular chess club where he played and he was jumped by 5 teenagers”
fun, about
Fear and Desire:
The poster sells a 'half animal girl' with an illustration of a kissed neck, making the war movie look supernatural.
“An illustration of, uh, Paul Mizurski kissing her neck that makes it look consensual, and says, fear and desire, trapped for desperate man, and a strange half animal girl.”
fun, about
Alien: Covenant:
Originally titled Alien: Paradise Lost; Damon Lindelof was going to write it before bailing, then John Logan, with a first script by the Transcendence writer and a Michael Green rewrite.
“Initially, it was going to be called Alien Paradise Lost.”
fun, about
Ridley Scott:
Scott gave interviews saying there would be no aliens or xenomorphs, then reversed; the hosts wonder if it was him or the studio telling him to put aliens in.
“initially Scott was giving these interviews where he was like, there won't be aliens”
fun, about
Alien: Covenant:
The online prologue with James Franco and Noomi Rapace is not in the film; the initial cut ran about 2.5 hours and Scott trimmed the franchise stuff.
“it was this thing with James Franco, who is not in this movie, although you see him in like photos.”
fun, about
Ron Perlman:
The basketball shot: Weaver actually sank it over her shoulder on a quick take and Perlman's reaction is real; no visual effects.
fun, about
Sigourney Weaver:
Weaver would not let toys be made with guns for years; Resurrection was the only time, and no collector figure for 15 years after.
“one of the key reasons was because she didn't want her action figures coming with guns.”
fun, about
You've Got Mail:
The box office for December 18, 1998: You've Got Mail at number one, ahead of Prince of Egypt, A Bug's Life, Star Trek: Insurrection, and Jack Frost.
“So number one, though, it's you've got mail, $18 million.”
fun, about
Jack Frost:
The animatronic Jack Frost snowman was built from the likeness of George Clooney, who dropped out late; Michael Keaton replaced him.
“But they built it off of the likeness of the actor who was supposed to play the title role who dropped out very late.”