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12,078 claims and 5,127 fun items from 206 episodes, about 7,690 films and 5,411 people, with 657 personality sketches. Search reads claims and fun items (SQLite full-text search).
87 lines
Showing 1–87 of 87 lines.
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people (recurring actor):
Verna Bloom → After Hours.
Verna Bloom, who plays Mary here, was in After Hours and is J. Cox's wife.
“Verna Bloom in this, who's married to J. Cox.”
Blank Check with Griffin & David · The Last Temptation of Christ with Jamelle Bouie · 0:46:49 · David Sims (0.40 sure it was them) -
career (career strategy):
The Last Temptation of Christ → After Hours.
After Hours was Scorsese proving he could make movies quickly and responsibly.
“he makes after hours, which is a great movie, but is obviously him being like, see, I can make movies quick.”
Blank Check with Griffin & David · The Last Temptation of Christ with Jamelle Bouie · 0:51:12 · Griffin Newman (0.40 sure it was them) -
people (collaboration):
Michael Ballhaus → After Hours.
Ballhaus shot After Hours with Scorsese and found the 'poor movie' look fit the subject.
“who'd already done after hours with them, obviously”
Blank Check with Griffin & David · The Last Temptation of Christ with Jamelle Bouie · 1:06:20 · David Sims (0.40 sure it was them) -
career (career pivot):
The Color of Money → After Hours.
After Last Temptation failed in the early 80s, Scorsese made cheap After Hours to prove he could finish something, then took Color of Money.
“Uh, it fails and so he makes after hours as a sort of pivot out of that of like, I'll just do something.”
Blank Check with Griffin & David · The Color of Money with Chris Ryan · 0:50:35 · David Sims (0.50 sure it was them) -
unmapped (shared coke energy):
After Hours → The Color of Money.
Both films feel like the sense memory of cocaine, from a director saying goodbye to it.
“That is also another movie, which is somehow not made on cocaine. Yeah. where it's just, but it is, it is the sense memory of cocaine.”
Blank Check with Griffin & David · The Color of Money with Chris Ryan · 0:51:12 · unknown (0.30 sure it was them) -
people (cinematographer reuse):
Michael Ballhaus → After Hours.
Ballhaus shot After Hours and Color of Money, making this his second Scorsese film, and the researcher calls him the best DP Scorsese worked with.
“This is his 2nd ball house movie. Ballhouse shot after hours.”
Blank Check with Griffin & David · The Color of Money with Chris Ryan · 1:20:50 · unknown (0.30 sure it was them) -
theme (joke comparison):
After Hours → Men in Black 3.
A host calls Men in Black 3 the After Hours of the franchise, mostly set in one night.
“I've seen the after hours of the Men in Black trilogy.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:11:08 · unknown host (0.35 sure it was them) -
craft (sound):
After Hours → Lost.
The cab-meter noise is the same sound used for the smoke monster in Lost.
“the receipt sound of a taxi, which uh, was used for the smoke monster and lost.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:12:53 · unknown host (0.30 sure it was them) -
verdict (fan-ranking shift):
The King of Comedy → After Hours.
King of Comedy was once the not-like-other-fans Scorsese pick; fans have swung round to After Hours.
“for a while, uh, king of comedy was the, I'm not like the other Scorsese fans. And things have now, I think, swung around to after hours.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:21:24 · unknown host (0.35 sure it was them) -
theme (location):
Ms. 45 → After Hours.
A host wants to make a SoHo canon including Ms. 45.
“I want to make a Soho cannon, and I need to look, you know, Ms. 45 for our movies also.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:24:53 · unknown host (0.35 sure it was them) -
theme (location):
After Hours → Unfaithful.
Unfaithful shares great SoHo location work with After Hours.
“The Adrian Lyne movie has a lot of great SoHo stuff.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:25:01 · unknown host (0.35 sure it was them) -
lineage (sources of the screenplay):
Joseph Minion → After Hours.
Minion wrote it under the spell of Kafka, Welles' The Trial, Mamet plays, Henry Miller and Mailer.
“I was under the spell of Kafka. I was obsessed with Orson Welles as the trial.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:33:22 · unknown host (quoting Minion) (0.35 sure it was them) -
lineage (unofficial remake):
After Hours → The Night Before.
After Hours is the template for modern one-crazy-night New York comedies, none of which reach it.
“It is one of those movies that kind of is like unofficially remade every 5 years.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:34:18 · unknown host (0.40 sure it was them) -
lineage (unofficial remake):
After Hours → The Lovebirds.
The Lovebirds tried to be the After Hours of its day but never works.
“on paper, you were like, yeah, sure, it's been too long since someone tried to make after hours.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:35:09 · unknown host (0.35 sure it was them) -
theme (genre mutation):
After Hours → Date Night.
Date Night is After Hours turned into an action movie, piling on too much incident.
“Date night is action movie after hours.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:35:40 · unknown host (0.40 sure it was them) -
unmapped (alleged plagiarism):
Joe Frank → After Hours.
Joe Frank's 1982 monologue 'Lies' was allegedly lifted for After Hours' opening act; 'Lies' was the script's first title.
“the opening act is basically ripping off a 1982 monologue he had called lies, which is the 1st title of this script.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:37:27 · unknown host (reading JJ Bersch's research) (0.40 sure it was them) -
unmapped (comic technique):
Ernst Lubitsch → After Hours.
The film's elegant timing and characterization is Scorsese flexing Lubitsch, his filmmaking hero.
“this is the movie where Marty gets to flex a little Lubich stuff, who was obviously a big filmmaking hero of his”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:39:55 · unknown (0.30 sure it was them) -
unmapped (joke prequel):
After Hours → Home Alone.
Joked as a Home Alone prequel because O'Hara and Heard play Kevin's future parents.
“this, of course, is a Home Alone prequel that explains how Kevin McAllister's parents meet.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:45:20 · unknown host (0.40 sure it was them) -
unmapped (Scorsese's taste):
Catherine O'Hara → After Hours.
Scorsese loved SCTV, which explains casting O'Hara; he agitated her before takes.
“Scorsese loved SCTV.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:45:47 · unknown host (0.35 sure it was them) -
unmapped (calling card):
Vincent → After Hours.
Dunn and Robinson hired Burton after seeing his short Vincent.
“So, uh, they they love this script and then they watch Vincent, the Short by Tim Burton.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:46:18 · unknown host (0.40 sure it was them) -
what-if (almost-director):
Tim Burton → After Hours.
Burton was originally signed to direct After Hours as his first feature before Scorsese took it.
“Now, so now they're packaged. Griffin Dunn is the star, and Tim Burton is the director.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:47:17 · unknown host (0.40 sure it was them) -
unmapped (proof of concept):
Frankenweenie → After Hours.
Burton made Frankenweenie partly to prove he could do live action and earn trust for After Hours.
“Burton need to prove that he could do live action to help kind of gain trust for after hours.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:48:24 · unknown host (0.35 sure it was them) -
what-if (alternate assignment):
Witness → After Hours.
Scorsese was also offered Witness and refused to go to Pennsylvania/Amish country.
“And Marty was kind of like, I'm not going to Pennsylvania.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:50:09 · unknown host (0.35 sure it was them) -
unmapped (cause):
The Last Temptation of Christ → After Hours.
After Paramount collapsed Last Temptation, Scorsese wanted a cheap, personal film; After Hours is his reaction to the Hollywood ordeal.
“it's a reaction against my year and a half into Hollywood trying to get last temptation to Christ made.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:50:49 · unknown host (quoting Scorsese) (0.35 sure it was them) -
lineage (influence):
Isle of the Dead → After Hours.
Scorsese cited Isle of the Dead, a one-night Greek island story, as an influence.
“Isle of the Dead, a Val Luton movie that takes place like over one night on a Greek island.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:51:19 · unknown host (0.35 sure it was them) -
lineage (influence):
North by Northwest → After Hours.
The world-against-him framed-man structure of North by Northwest was an influence.
“That's sort of like the world is against him. He's been framed.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:51:28 · unknown host (0.35 sure it was them) -
lineage (influence):
Fritz Lang → After Hours.
Lang's nighttime nightmare noirs (M, Manhunt, Woman in the Window) were influences.
“And then some Fritz Lange movies. like M, Manhunt, Woman in the Window, you know, nighttime noiry, nightmare movies, stuff like that.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:51:36 · unknown host (0.35 sure it was them) -
people (collaborator):
Michael Ballhaus → After Hours.
Ballhaus shot After Hours, his first with Scorsese; Scorsese hired him for quick setups.
“This is their 1st collaboration. He knew him from Fastbinder movies, which were very low budget, tight schedule movies.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 1:11:18 · unknown host (0.40 sure it was them) -
unmapped (rejuvenation):
The King of Comedy → After Hours.
After Hours rescued Scorsese after King of Comedy the way The Last Waltz followed New York, New York.
“Like last waltz is that after New York, New York, and this is that after King of comedy, where he needed to be saved a little.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 1:11:51 · unknown (0.30 sure it was them) -
craft (camera style):
Goodfellas → After Hours.
After Hours already has the Goodfellas-style moving camera.
“Also, there's so much Goodfella's DNA and the way the camera moves and it's really fun to watch.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 1:12:15 · Alison Sivitz (0.35 sure it was them) -
theme (AIDS-era reading):
Fran Lebowitz → After Hours.
Lebowitz's take that AIDS killed all the people who fucked is invoked to frame After Hours as a disappearing New York.
“the real devastation of the AIDS crisis was that it knocked out all the people who fucked.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 1:22:33 · unknown host (0.40 sure it was them) -
theme (plot comparison):
After Hours → Saw.
Fiorentino's Kiki is jigsaw-like and the sculpture is set up from the start like Saw's traps.
“And it is like saw in that it's like the sculpture's there from the beginning.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 1:33:48 · unknown host (0.35 sure it was them) -
craft (craft):
After Hours → Howard Shore.
After Hours is light on needle drops and leans on Shore's heavy score.
“Marty hasn't been doing the needle drops as much in this film. It feels big to have, you know, the score's very heavy in this film. Howard Shore.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:03:30 · Griffin Newman or David Sims (0.40 sure it was them) -
craft (craft):
After Hours → Mozart.
The music playing as Paul is back at work at the end is Mozart, not Beethoven.
“It's Mozart, not Beethoven, is the music, by the way.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:10:16 · Griffin Newman or David Sims (0.40 sure it was them) -
craft (craft):
After Hours → Bad Brains.
Bad Brains are the punk band playing in the Berlin club, performing 'Pay to Cum'.
“Bad Brains, that hardcore, that's the punk band that's playing at Niagara, the song, Pay to Come.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:10:22 · Griffin Newman or David Sims (0.40 sure it was them) -
unmapped (Cannes competitor):
After Hours → The Mission.
Both played Cannes; Scorsese won best director while The Mission took the Palme.
“The Palm door went to the mission, one of the worst Palm door winners, in my opinion.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:14:42 · unknown host (0.40 sure it was them) -
fun, about
After Hours:
Scorsese had a PA drop a box of shattered glass to jolt Dunn and made him run around the block before entering frame.
“he had a box full of shattered glass pieces and he had like a PA would stand next to him.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:15:03 · unknown host (0.40 sure it was them) -
unmapped (directing method):
After Hours → Boogie Nights.
Scorsese startled Dunn with glass-dropping like the firecracker scene in Boogie Nights.
“It's like I'm that part of boogie nights where they're lighting off the...”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:16:06 · unknown host (0.30 sure it was them) -
programming (double feature):
After Hours → Dallas Buyers Club.
Dallas Buyers Club would pair with After Hours as an AIDS-era double feature.
“It'd be a great double feature with after hours.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:18:42 · unknown host (0.35 sure it was them) -
people (same-year, near-director):
Pee-wee's Big Adventure → After Hours.
Pee-wee's Big Adventure was number 3 at the 1985 box office, directed by the man considered for After Hours.
“directed by a guy who was considered for directing this film.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:19:38 · unknown host (0.40 sure it was them) -
career (career sequence):
After Hours → The Color of Money.
After this, Scorsese finally gets an unqualified hit with The Color of Money; next episode.
“After this, Martin Scorsese finally has an unqualified hit.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:25:53 · unknown host (0.40 sure it was them) -
programming (programming):
Yellowbeard → After Hours.
Cheech and Chong in Yellowbeard and After Hours are reserved for future Mel Damski and Scorsese series.
“we'd want to save that for Martin Scorsese and Mel Damski series.”
Blank Check with Griffin & David · Raiders of the Lost Ark with Brian Michael Bendis · 3:12:46 · unknown (0.40 sure it was them) -
unmapped (one crazy night):
After Hours → Eyes Wide Shut.
The speaker pairs the two one-crazy-night New York movies and notes Kubrick adored After Hours.
“interesting to look at this movie against, uh, after hours in certain ways, right?”
Blank Check — Patreon · Eyes Wide Shut with David Ehrlich (Ad-Free) · 1:53:28 · unknown (0.30 sure it was them) -
unmapped (stylistic seed):
After Hours → Goodfellas.
Sean says the fast cutting, whip-pans and close-ups in After Hours are the seeds of Goodfellas' look, via cinematographer Michael Ballhaus.
“just seeing all the seeds of Goodfellas and all these little edits and camera shots.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:04:02 · Sean Fennessey (0.70 sure it was them) -
craft (mood):
After Hours → Escape from New York.
Bill's lost-at-3am Meatpacking night felt like Escape from New York.
“oh, it becomes escape from New York.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:05:04 · Bill Simmons (0.70 sure it was them) -
contrast (city contrast):
After Hours → Swingers.
Bill contrasts New York cabs with LA car culture in Swingers.
“if you watch swingers and everybody's in their cars and they have like multiple scenes where the 5 guys are driving in their cars.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:09:08 · Bill Simmons (0.70 sure it was them) -
lineage (homage):
After Hours → The Wizard of Oz.
Dark-side-of-the-yellow-brick-road version; Dorothy walks into black and white instead of color, with 'surrender Dorothy' graffiti and Marcy's Seconal tie to Judy Garland.
“it is like very much a Wizard of Oz kind of homage, and it's like if Dorothy instead walked into the black and white darkness”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:11:14 · Sean Fennessey (0.60 sure it was them) -
unmapped (same-year cycle):
After Hours → Desperately Seeking Susan.
Hosts group After Hours, Into the Night, Desperately Seeking Susan and Something Wild as 1985 cokey-screwball-paranoia New York-night movies.
“So the cocaney, screwball paranoia era.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:11:48 · Sean Fennessey (0.60 sure it was them) -
fun, about
After Hours:
Scorsese was the one who got hired after Paramount killed The Last Temptation of Christ; Aidan Quinn was to play Jesus and Harvey Keitel Judas; a Catholic letter campaign sent 500 letters a day.
“they get 500 letters a day?”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:16:08 · Sean Fennessey (0.70 sure it was them) -
unmapped (sliding door):
The Last Temptation of Christ → After Hours.
Paramount cancelling Last Temptation sent Scorsese to a small fast job; one of movie history's sliding doors.
“it is one of the massive sliding doors in movie history because him not making it leads to him making this movie”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:17:03 · Sean Fennessey (0.60 sure it was them) -
career (career hinge):
After Hours → Goodfellas.
Bill says Goodfellas does not happen if After Hours does not happen first; the cancelled Last Temptation is the sliding door.
“I don't know if Goodfellas happens.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:17:21 · Sean Fennessey (0.50 sure it was them) -
industry (studio retreat):
The King of Comedy → After Hours.
King of Comedy bombing and Fox pulling it set up Scorsese's retreat to small-scale After Hours; he said 70s directors had lost to studios.
“And that was when I really understood that the 70s were over for me”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:18:28 · Bill Simmons (0.50 sure it was them) -
contrast (Oscar contrast):
Out of Africa → After Hours.
1985 Best Picture went to respectable, stuffy Out of Africa while the new-Hollywood audacity lived in films like this.
“the movie that won best picture in 1985 is out of Africa.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:20:02 · Sean Fennessey (0.60 sure it was them) -
what-if (what-if):
Ryan Coogler → After Hours.
Bill wishes Coogler would make his own After Hours, a small one-day weird movie.
“I just wish I could see Ryan Cougars after hours where he's just like, yeah, it's just everything takes place in one day”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:27:09 · Bill Simmons (0.60 sure it was them) -
people (director-method aside):
After Hours → Eyes Wide Shut.
Bill cites Kubrick pressing Cruise and Kidman emotionally on Eyes Wide Shut.
“what he did to Cruz and Kidman, where he was just clearly trying to break them emotionally”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:28:00 · Bill Simmons (0.50 sure it was them) -
unmapped (tonal shift):
After Hours → Raging Bull.
Raging Bull is realistic, documentary-like black and white; After Hours is a surreal fever-nightmare with a moving camera, a shift for Scorsese.
“Raging Bull, shot in black and white, almost feels like documentaries.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:29:18 · Sean Fennessey (0.50 sure it was them) -
career (career bridge):
After Hours → The Color of Money.
The camera moves of After Hours carry into Color of Money's pool table, tied to Ballhaus; both lead to Goodfellas.
“that same thing, that camera is flying across the pool table.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:30:24 · Sean Fennessey (0.60 sure it was them) -
unmapped (critical dissent):
Pauline Kael → After Hours.
Kael called it a hired-hand vacuous piece of consumer goods; the hosts say that misses the movie.
“Scorsese's using his skills and even his personality like a hired hand.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:41:20 · Bill Simmons (0.50 sure it was them) -
craft (shared device):
After Hours → Halloween.
Bill compares the interrupted never-finished story to Loomis and the undertaker in Halloween.
“Loomis is looking for Myris's grave, and the undertaker is telling this long story.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:43:42 · Bill Simmons (0.60 sure it was them) -
fun, about
After Hours:
Categories 'most rewatchable scene': the second diner conversation with Marcy and 'surrender Dorothy'; Marcy's death with the arrow sign; the phone-number bit.
“He loved to watch the Wizard of Oz over and over again, surrender Dorothy.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:48:17 · Sean Fennessey (0.60 sure it was them) -
theme (behind-the-scenes anecdote parallel):
Seagal's Out for Justice → After Hours.
Dunn's accidental ruined massage take is compared to the Seagal on-set story, which Bill ranks slightly higher.
“Not as good as Stevens Gaw shitting on himself as he's being choked out on the set about for justice, but really good.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:55:31 · Bill Simmons (0.50 sure it was them) -
lineage (stealth homage):
After Hours → Rear Window.
The neighborhood shooting seen through a window is a Hitchcock rear-window moment never mentioned again; Hitchcock and Fritz Lang noir are influences.
“there's Hitchcock and Fritz Lange Noir movies are a huge influence on this movie, and that's like such a perfect rear window moment”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:58:09 · Sean Fennessey (0.60 sure it was them) -
theme (dropped-plot comparison):
After Hours → The Sopranos.
A shooting that nobody follows up recalls the Russian in the woods in The Sopranos.
“It's like the Russian and the sopranos, the Russian in the woods.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:58:26 · Bill Simmons (0.50 sure it was them) -
fun, about
After Hours:
Best needle drop: Peggy Lee's 'Is That All There Is?' over the Monkees, Joni Mitchell, and Bad Brains' 'Pay to Cum.'
“But I think the winner is, is that all there is by Peggy Lee?”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:01:24 · Sean Fennessey (0.50 sure it was them) -
verdict (verdict):
Peggy Lee → After Hours.
Peggy Lee's 'Is That All There Is' wins best needle drop in After Hours.
“But I think the winner is, is that all there is by Peggy Lee?”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:01:27 · Sean Fennessey (0.40 sure it was them) -
craft (craft):
Wolfgang Amadeus Mozart → After Hours.
Mozart's Symphony No. 45 is named as one of the movie's good needle drops, opening it.
“And then I think Mozart's symphony number 45 at the beginning of the movie is pretty good.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:02:12 · Sean Fennessey (0.40 sure it was them) -
fun, about
After Hours:
Best character name goes to Horst; second place Kiki Bridges; Marcy is a lost name.
“Nobody names their kid Marcy anymore.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:03:47 · Bill Simmons (0.50 sure it was them) -
craft (set design):
After Hours → Rocky.
The terminal bar looks like the Rocky bar where they watch the fight.
“It looks like the Rocky one bar that they're that they're all watching the fight in.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:04:41 · Bill Simmons (0.50 sure it was them) -
what-if (what-if director):
Tim Burton → After Hours.
Burton was originally set to direct but stepped aside when Scorsese wanted it.
“This was originally supposed to be directed by Tim Burton.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:13:40 · Bill Simmons (0.60 sure it was them) -
fun, about
After Hours:
Best double-casting what-if: Tim Burton was attached, withdrew for Scorsese, and made Pee-wee's Big Adventure the same year.
“I will never stand in the way of Martin Scorsese wants to make a movie.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:13:46 · Bill Simmons (0.50 sure it was them) -
programming (double feature):
After Hours → Pee-wee's Big Adventure.
Tim Burton left After Hours the same year he made Pee-wee; both are about a manchild in a strange world finding salvation going home.
“about a manchild, thrust into a world he doesn't understand, seeking something he can't get, and eventually finding salvation by going back home.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:14:08 · Bill Simmons (0.60 sure it was them) -
lineage (production lineage):
After Hours → Baby It's You.
Without Baby It's You (Dunn/Robinson, Arquette, Ballhaus) there is no After Hours, since it brought Ballhaus to Scorsese.
“without that movie, we don't have after hours either because they bring Michael Bauhaus to Scorsese.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:16:29 · Sean Fennessey (0.60 sure it was them) -
people (actor warm-up):
After Hours → No Way Out.
Will Patton's Horst is a warm-up for the crazy assistant in No Way Out.
“worst is kind of a warm-up for the crazy assistant to the secretary of defense in No Way Out.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:18:44 · Bill Simmons (0.50 sure it was them) -
career (personal projection):
After Hours → The Last Temptation of Christ.
Scorsese worked Kafka's Before the Law into the club doorman scene to reflect his frustration over Last Temptation.
“inspired by Franz Kafka's before the law. And Scorsese said the short story reflected his frustration toward the production of the Last Temptation of Christ.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:23:31 · Sean Fennessey (0.50 sure it was them) -
verdict (late-night NYC ranking):
After Hours → The Warriors.
Bill ranks The Warriors above After Hours among late-night New York movies since it covers more ground.
“I think the Warriors is superior.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:30:32 · Bill Simmons (0.60 sure it was them) -
lineage (influence):
After Hours → Uncut Gems.
Uncut Gems owes a heavy debt to After Hours; Go is also described as owing it royalties.
“could a movie owe more of a debt to after hours than the cut gems.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:31:19 · Sean Fennessey (0.50 sure it was them) -
lineage (influence):
After Hours → Go.
Go is late-90s After Hours with weird cameos.
“they should have paid royalties to Sworses.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:31:36 · Bill Simmons (0.50 sure it was them) -
programming (era companion):
After Hours → Bright Lights, Big City.
Bright Lights, Big City is a big one from this era that nobody talks about.
“Bright Lights Big City is a big one from this era too.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:31:37 · Sean Fennessey (0.50 sure it was them) -
unmapped (late-night NYC exclusion):
After Hours → Dog Day Afternoon.
Every Lumet film is a night movie except Dog Day Afternoon, which takes place by day.
“except for Dog Day afternoon, because it only takes place during the day.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:31:46 · Sean Fennessey (0.40 sure it was them) -
unmapped (TV reboot idea):
After Hours → 24.
Prestige-TV version: 10 hours, one episode per hour, like 24.
“It's after hours, but it's 24 and it's 10 hours and one episode for each hour.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:35:32 · Sean Fennessey (0.40 sure it was them) -
verdict (verdict):
Thelma Schoonmaker → After Hours.
In the Oscar-who-gets-it category the pick for After Hours is Schoonmaker's editing.
“I'm going with the editing. And our girl Thelma Skoonmacher.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:36:30 · Bill Simmons (0.40 sure it was them) -
fun, about
After Hours:
Timeline unanswerable question: he leaves at 11:30, reaches Marcy at 12:15, a clock says 4:10, and he is back at the office around 6:30 to 7:15 with a vacuum running.
“The number one giveaway is that someone is vacuuming in the office when he gets there.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:38:33 · Sean Fennessey (0.50 sure it was them) -
fun, about
After Hours:
Category 'best life lesson' verdict: nothing good happens after 2 AM; 'don't chase the night.'
“Nothing good happens after 2 AM.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:40:03 · Bill Simmons (0.50 sure it was them) -
programming (double feature):
After Hours → Bringing Out the Dead.
Another nighttime Scorsese movie.
“Another nighttime Scorsese movie bringing out the dead.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:40:40 · Bill Simmons (0.40 sure it was them) -
programming (double feature):
After Hours → Into the Night.
Sean's double-feature pick: the LA version of the same energy, made at the same time.
“I think it would be funny to see New York, LA, same kind of version energy.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:40:52 · Sean Fennessey (0.50 sure it was them) -
unmapped (lived-in New York):
Francis Ha → After Hours.
Sean says Frances Ha is the closest to his own New York life, as After Hours is to a different era.
“I didn't live through after hours, but what she is doing in that movie, plus Bombach being such a special filmmaker for us.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:43:50 · Sean Fennessey (0.50 sure it was them) -
contrast (contrast):
The Ice Storm → After Hours.
Simmons asks whether any movie character had a worse night than Jim Carver and cites After Hours.
“Griffin Dunn in after hours or in competition for worse than true.”
The Rewatchables · ‘The Ice Storm’ With Bill Simmons, Chris Ryan, and Sean Fennessey · 1:21:39 · Bill Simmons (0.50 sure it was them)