Top 5 Movie Tattoos (That We'd Get) | Archive

16:05Adam Kempenaar:It's the kind of phrase, if someone saw it on your body, they want to hear the story behind it. Or in lieu of an obvious explanation, it's something they would ponder. The word complete is really the key. It has a specific meaning in the universe of this story, if you've seen the film. But it's fairly clear what she's referring to. It's inevitable that we are going to degrade and die. but there's something about the word complete that doesn't make it seem so terrifying and miserable, right? It makes it seem natural and acceptable, which is how I'd like death to seem anyway. And there's, of course, something unifying and humanistic about that phrase as well.

16:39Adam Kempenaar:It says, no matter our differences, no matter the specifics of our lives and our deaths, we all have the same laments. And that's a very beautiful thought to me. So I'm not sure if I would just go with that phrase or I would go with that phrase and maybe some image from the film. There's that great poster shot, which has Andrew Garfield and Carey Mulligan running along Clevedon Pier. It's in Somerset, England. Just a very beautiful, evocative image. Or the trinkets, the toys we see in the movie, where these kids at the school, it's their big sort of jamboree where all of a sudden someone shows up with these old castaway toys that clearly have been used and not really loved at all.

17:15Adam Kempenaar:And for them, it's so meaningful and such an important day. And I always loved the symbolism of that because these kids see these knickknacks that seem to be valueless but are invaluable to them. And there's this notion that anything matters as long as somebody cares about it, if someone assigns value to it. And that is another aspect of the book that really stuck with me. So never let me go. Is it going to be the text? You got to pick one? That would be the lead. The text, okay. I would start with the text and maybe try to build an image around it. All right.

17:43Josh Larsen:Yeah. Yeah, I wrestled with that too, whether to go with text or images. I ended up choosing all images. So I considered a few texts, but went all images. So my number four actually is a logo and combination of text and image, I guess. It comes from a Wes Anderson film because I wanted to choose something from one of his pictures because he's probably my favorite working filmmaker, as listeners well know. And really, there's no shortage of options when you're starting to think about this. Speaking of text, I could have gone with I Save Latin from Rushmore or something like that. An image might be the silhouette of the wolf giving the fist pump at the end of Fantastic Mr.

18:22Josh Larsen:Fox. I love that image. Maybe even a bottle rocket where it all started or Steve's a Sue submarine. You know, nice nod to the Beatles there too. So it works a couple different ways. I sense a sleeve coming on. The whole Wes Anderson sleeve, Josh. You could go many, many directions. I narrowed in on one that Anderson has already given us because he's so fussy. He likes these sorts of things like logos and scripts and that sort of thing. And so we have the Team Zissou logo, that grouping of Zs from The Life Aquatic with Steve Zissou. I do think this is representative of one of the things that resonates with me about his films, too, though.

18:58Josh Larsen:They so often deal with this sense of belonging to a group, a group that needs or wants something like a logo, right, or a motto or some symbol of their togetherness. Almost all of his groups have that. And really just about every one of his films, except interestingly, you could argue maybe the Grand Budapest Hotel doesn't do this, but most of his films are about the creating or sustaining or restoring of a community. I also do like choosing something from The Life Aquatic because I get the sense that what seems to separate an Anderson fan from an Anderson fanatic is whether or not you go for this movie.

19:32Josh Larsen:It's kind of a tipping point movie. And to choose something from an Anderson film too feels to me from everything on this list more in line with how you should get a tattoo. Okay. Because I'm in the midst of the fandom right now. I'm not necessarily looking back on something I've appreciated for a long time. And I feel like that's when people do get a lot of tattoos. And there could be a downside to this because, you know, maybe they're going to put out, say, a really terrible album. and the next album is going to be horrible and you're going to regret that tattoo. Maybe Anderson's got a horrible film ahead of him.

20:07Josh Larsen:I'll be stuck with my tattoo, but that's okay. That's kind of how they should work.

20:11Adam Kempenaar:Yeah, no, that's a great point. And I'm guessing there's someone out there listening who's going to email us not only a Wes Anderson tattoo, which actually we've already seen that. The Royal Tenenbaums one. Kenny Meyer with his Tenenbaums, Margot and Richie, but there's got to be a Team Zissou tattoo out there. I'm sure, I'm sure.

20:27Josh Larsen:Maybe where I'm going to put it, upper arm, you know, just below the shoulder.

20:31Adam Kempenaar:You're right, though, that to do something like this, they have to be timeless. There has to be something timeless about them. That's your hope, right? Right, versus picking something that you could really change your mind about two weeks or two years later. So good pick, even though I'm one of those people, I think that's well said, who maybe that movie does separate me as just a Wes Anderson fan and not a full-blown fanatic. My number four tattoo that I might actually get is the image of Alain Delon and his fedora from La Samurai. Oh, good. The Jean-Pierre Melville film. If you've seen the Criterion Collection cover image, it's Delon as Jeff Costello in profile, and he's got his finger touching the tip of his hat.

21:14Adam Kempenaar:This, for me, Josh, is my aspirational tattoo. See, not all my picks are going to be totally focused on death and really kind of—

21:21Josh Larsen:But that's what I was going to say.

21:22Adam Kempenaar:Tattoos a lot of times are the guy you want to be. The guy you want to be. That's exactly what this is. It's the tattoo I want because it's cool. And there's nobody cooler to me in the history of cinema than Alain Delon from Le Samurai. I could never look like him. I could never carry myself like him. But I would love, Josh, to be the strong, silent, mysterious type. Always calm and in control. Never outwardly vulnerable. someone who reads people rather than wearing all of his emotions on his sleeve like I tend to do and constantly expressing whatever's on my mind at any given moment. All that is what I do aspire to be and probably never will come close.

22:01Adam Kempenaar:I also love that he's a professional, someone who is really good at what he does, and those characters are among my favorite to watch on screen. This is a film, Le Samurai, that was discussed on the show maybe four or five years ago. I think it was a listener's choice pick. If you haven't seen it but you've seen Ghost Dog, the Jim Jarmusch film, you'll see a lot of similarities, clearly an influence on Jarmusch. As I think back on that Jeff Costello character, his life of solitude and ultimately tragedy isn't one I really want to emulate, or do I think most people want to emulate? But as a visage of cool, it's tough to beat.

22:34Adam Kempenaar:And I think if I was going to get it, I'd probably get it on my arm, right up there by my shoulder, and basically would be facing out.

22:41Josh Larsen:Right, yeah, that makes sense. Well, my number three, I should probably point out, is not an aspirational tattoo because it's the Blue Fairy from Pinocchio. And my mind went here because Pinocchio is another sight and sound type list pick that I made top 10 film of all time for me. It was also my number one traditionally animated film when we did that list a while back. So the pick feels right, but it also forced me to consider, really consider why I respond to animation so strongly, why it does seem to speak to me in a special way. And I think part of it is, you know, it's just purely because it's something I'm incapable of doing myself.

23:17Josh Larsen:I've never been able to draw, so I'm in awe of that sort of artistry. But I do also think that animation best captures the sense of wonder that first drew me to the movies and continues to sustain my passion for them. It's probably also why I'm more eager to embrace whimsy or fantasy, films like that. I mean, animation, it just seems to, it simply has more possibility than live action, at least in my mind. Anything can happen. And that's even really the case for stories that you know. You know, even though we know this tale of Pinocchio, part of the delight is seeing how the animators are going to envision this wild tale.

23:56As I live and breathe, a fairy.

23:59Adam Kempenaar:Mm-mm. Good Geppetto. You have given so much happiness to others. You deserve to have your wish come true.

24:13Adam Kempenaar:Little puppet made of pine, wake. The gift of life is thine.

24:23Josh Larsen:What they can't do these days. All right, so now why the Blue Fairy, in particular from Pinocchio. Well, if you're going to go with a woman figure, which is a common tattoo direction, she's more my tattoo style than something like a topless mermaid or something like that. Not really what I'm looking for. Are you a sailor, Josh? Yeah, exactly. Nope, never been a sailor. Plus there's the bonus fact with the Blue Fairy, though, that she has a cameo in Steven Spielberg's best film, what might be his best film. Still not positive about that, but AI, artificial intelligence is certainly up there. So with a Blue Fairy tattoo, I get a Spielberg tip of the hat as well.

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28:13Adam Kempenaar:Well, my number three, a nice balance of sorts in response to my number four pick. We go from the coolest character in cinema, Alain Delon from Le Samurai, to the uncoolest, William Miller with his microphone from Cameron Crowe's Almost Famous. And I would use some form of that phrase, that conversation he has with Philip Seymour Hoffman's Lester Bangs when he tells him, the only true currency in this bankrupt world is what you share with someone when you're uncool. I'm glad you were home. I'm always home. I'm uncool. whether it's that phrase the uncool or we are uncool i would incorporate that somehow but i would use that image as well and for people who have been following us on twitter for a while or go to the film spotting facebook page this isn't a surprise they know that i've had this image for years as my avatar going back to the very first message board i was ever on probably in 2001 or 2002 so not an aspirational pick not the man not the character i want to be but more like the character I actually am.

29:16Adam Kempenaar:And part of my choosing this and going with this for so many years as I have is, as I have noted a million times here on the show, it is the first movie I ever reviewed, Almost Famous. It was purely by accident. It just happened to open the weekend I started writing reviews for the Daily Iowan. So there is that sentimental attachment to it. I loved the movie when it came out. Part of it, though, is also that it does represent me, I think. It's the guy with the microphone, trying to express himself, trying to get others to express themselves. And I got into movies with the same passion William Miller gets into music, where he has a breakthrough, he has an epiphany, and he just becomes obsessed with it.

29:54Adam Kempenaar:I became fascinated as well by not just art of all kinds, but specifically artists and the creative process around the same age William is in the movie and with the same fervor. That fascination and passion is what that smile on his face. If you know the image I'm talking about, it's just as he leans in to interview Russell at the end of Almost Famous. That's what that represents for me, that leaning forward even. It reflects his curiosity. This isn't a passive thing for him. It's very active. He's an engaged learner, and he just wants to know as much as he can. And I, of course, agree with the sentiment as well, so eloquently expressed by Lester Bangs there.

30:31Adam Kempenaar:So maybe what I do, Josh, actually, this occurred to me, is maybe on my right arm, I've got Le Samurai, and I've got William Miller on the other. Oh, there you go. So it's not love and hate, right, like Robert Mitchum in Night of the Hunter, but I've got cool and uncool. All right, I like it. To keep me in check at all times.

30:48Josh Larsen:You know what's good about that, though? A tattoo should also be a time marker, maybe, or an event marker. So, yeah, to mark that first review and that lined up so well, I'm not going to do that because my first published review was of Interview with a Vampire. I don't need a pasty Brad Pitt on my body. No, thanks. Oh, I'd love to see that. All right. Number two is Balthazar the Donkey from Alhazard. Balthazar. I called this one. You called it. You did. You went there right away. It came to my mind right away. Yeah, you've got me pegged. It is my favorite Brisson film. It's the one that speaks to the sort of religious wrestling that defines his movies and does make him such a continually rich cinematic figure for me.

31:26Josh Larsen:And the wrestling is what is key. I mean, Brisson's movies, they're more questions than answers. I feel like after we did that marathon is what stood out to me. Sometimes they're really angry questions. I mean, he certainly these movies certainly would not make for good testimonials. But it's the asking that means so much to me, especially when it's done as jarringly and artfully as it is in Brisson's really stark elemental films. So a tattoo of Balthazar, it kind of would be this continual reminder of that, that sometimes asking the questions can be more important than having the answers even.

32:02Josh Larsen:So if I chose a shot from this, I'm thinking it might be the one of Balthazar's head when he's wearing the crown of flowers that Marie makes for him. Obviously, there's all sorts of Christian implications to that image as well. So this one, I'm going to probably put this one on my shoulder, on my back.

32:21Adam Kempenaar:Okay. I love it. Yeah, I did know it was coming, but it's inspired even if people would just think you're a diehard Democrat.

32:28Josh Larsen:That's true. We'll have to somehow make that distinction clear.

32:32Adam Kempenaar:possibly those flowers will do it. My number two is the first one I thought about. It's the only one I had for about a week when we first agreed to focus on this topic. And I thought it was going to be my number one, and something just edged it out at the last minute. And as I look back at my list here real quick, I'm guessing if you did some Google image searches, you're going to find a few almost famous related tattoos out there, probably not completely unheard of, probably a few Le Samurai, maybe not any Never Let Me Go tattoos that might be. I think you've got that one. But sure enough, I knew if I Googled this, it would return a bunch of results.

33:09Adam Kempenaar:And it did. It's from the movie Blade Runner. The tears in rain soliloquy delivered by Roy Batty, of course, played by Rutger Hauer at the end of that film. If you Google it or go to Tumblr, you'll find all sorts of combinations of that phrase, tears in rain. Some people have the whole soliloquy somewhere on their body, or they combine that with the face of Roy Batty. It is the ultimate validation of his humanity. And he's, of course, not a human. He's a replicant. But nevertheless, that is what he's expressing and exposing there. His dying is that expression. And that speech is his testimony.

33:46Adam Kempenaar:His audience, if you will, is basically bearing witness to his remarkable life. And it's ultimately the validation that he made some kind of mark in this world. It's almost a model he suggests, I think, to strive for while also being understandably wistful and melancholy. I've seen things you people wouldn't believe.

34:12Josh Larsen:Attack ships on fire off the shoulder of Orion. I watched sea beams glitter in the dark near the Tenhauser Gate.

34:29Josh Larsen:All those moments will be lost in time.

34:40Like tears in rain.

34:51time to die

34:54Adam Kempenaar:there's no better death speech just final words don't go with time to die and nothing else no i would probably end on different tears in rain there you go i'm pretty bleak here josh but i'm gonna go with tears in rain it's just so wonderfully evocative what are c beams why would they be glittering what's the tanhauser gate these are things that should be meaningless and essentially are to us. The Tannhauser Gate's not a place we have any attachment to, but we don't need it. They simply sound wondrous and beautiful. And that tears and rain simile is so perfect. Of course, you can't distinguish tears from raindrops on someone's face, just as these moments that he describes in the grand scheme of time are indistinguishable from others and are inconsequential.

35:37Adam Kempenaar:But what else do we have to strive for but those types of experiences, to do something that is of consequence. That's what that speech, not just summing up that existential dilemma so well, as I believe it does and so eloquently, but also giving us kind of a path, giving us some kind of model to strive for. That's what's always stuck out to me with that.

35:56Josh Larsen:Yeah. And this is one I think you do go with the text where it works better than the images, actually, because if Scott didn't feel the need to image what's being spoken, you know, why should you with a tattoo of it? Absolutely. Okay. Number one time. And my number one is actually the only tattoo I've ever really considered getting, albeit a long, long time ago. Well, let's just be honest with our listeners.

36:19Adam Kempenaar:I mean, we are going and getting these tattoos, right? We are. That's what this list was all about. Now you say it.

36:26Josh Larsen:Yeah. I mean, you're locked into this, Josh. As soon as you say it, it's done. See what our number ones are the whole list. Are we going five through one down the arm?

36:34Adam Kempenaar:Hey, if you're not going to put it all on the line, you got to have some stakes here,

36:37Josh Larsen:Josh. You haven't opened the Jack Daniels yet, even. That's true. All right. It's going to be a silhouette of a Joshua Tree from U2's Joshua Tree album. Now, the movie I'm tying this to, of course, is Rattle and Hum. Really? Yeah. Well, it comes from the Joshua Tree, but that concert film documented their Joshua Tree tour. So even though it resulted in its own Rattle and Hum album, for me, this works. Now, why did I consider this tattoo? It was around college time. Well, keep in mind that I was 13 when Joshua Tree came out in 1987. So I was just really getting into music at that point. So this album was mind-blowing for me.

37:15Josh Larsen:And then being at that age and being able to discover U2's earlier stuff, getting to experience something like Octoon Baby firsthand, all of that solidified my connection to the band. And then as I got older, the way U2 and mostly Bono really managed faith in popular culture was really formative for me. He's really one of those rarities. I think of people like Mavis Staples or even someone like Stephen Colbert, maybe, who's managed to create this space where the two things fruitfully inform each other. They don't seem to be at odds at all. Now, Rattle and Hum, you scoffed at my pick of that film because it doesn't have the reputation as the greatest concert movie ever.

37:53Adam Kempenaar:Well, I scoffed actually because I just got done listening to the audio book of one of Chuck Klosterman's collection of essays. I think it was I Wear the Black Hat. And I don't remember the context of why Rattle and Hum came up, but he just eviscerates it with one line.

38:07Josh Larsen:It didn't impress the critics when it came out. But this is also going back to fandom. And for me, having that connection with the band, coming to know the music at that point in my life, the film is secondary. You know, and it's one of those instances where I don't know if I'd even want to watch it again now that I'm, you know, supposedly sophisticated adult who critiques film. You know, it would be a different experience. And I want to hold on to that experience that I had at that time and what it meant for me. So this will be my number one, maybe a little bit of a cheat here. Probably, you know, the back of the neck.

38:46Josh Larsen:There's no covering this one up, Adam. So it's going to go right there. All right.

38:49Adam Kempenaar:That brings us to my number one, the tattoo. I like so much, I think I've convinced myself to do it. The only problem is, Josh, and I know everyone out there listening, I was just cracking up at the notion of this happening. Because, no, I don't have any other ink on my body. But the problem is, with this tattoo, unlike all the others, those could be fairly small, fairly contained. This one, to work, would have to be fairly sizable.

39:15Josh Larsen:It's a map from the Lord of the Rings movies, isn't it? A Tolkien map.

39:21Adam Kempenaar:From, actually, The Hobbit. You've pegged me, Josh. You know me so well. No, I'll try to say this, and I don't know if this makes sense, but I did not seek out a number one pick that would be the perfect culmination for my list. But I had a number one pick that turned out to be the perfect culmination for my list. So in other words, it was obviously my number one before I consciously knew why it was. And it's inspired by the great James Marsh documentary, Man on Wire, about Philippe Petit, who famously strung a high wire between the two towers of the World Trade Center in 1974 and walked across the wire.

40:00Adam Kempenaar:So you've got, Josh, my theme of confronting your mortality. How about clandestinely pulling off the string of the high wire that obviously highly illegal? He found a way to do it. And then successfully walking across it 1 ,300 feet above the streets of New York City without a net. He's not just confronting mortality. It's walking up to death and punching it in the face. Those are stakes when you go out on that wire. I've talked throughout my picks here about the sensibility of an artist. Here you've got an artist whose canvas is the sky, whose brushes are his body. He's creating a wholly unique, never sadly to be replicated, work of art.

40:41Adam Kempenaar:An act of consequence, like Roy Batty describes, that isn't just extraordinary though, it's sublime. It's an achievement that demands, it requires perfection, and in the act of doing it, displays perfection. And that image alone, I'm thinking of the one that is the cover poster for the movie Man on Wire. It's just so beautiful and awe-inspiring. It's Petit in black on the wire almost like a dot in the distance because we do have to have the sense of scale Where he is up in the sky near the clouds and you can see the two towers that he's walking between Just that image alone is enough for it to be my number one when you combine it with the themes I discussed But then Josh I get to pull a little bit of a Larson cheat here I get to make it even better by combining it with a line of dialogue from another one of my favorite movies All that jazz Alter ego, Joe Gideon, says at one point in all that jazz, to be on the wire is life.

41:38Adam Kempenaar:The rest is waiting. How perfect is that? Are you putting the text on there? I'm going to put the text on there, too. I don't know if I'm going to put the whole phrase. The rest is waiting. Probably. But definitely to be on the wire is life. That has to be there because that's the all that jazz reference. Fosse, like Petit, is an artist focused on perfection, trying to achieve the sublime. That's what that film is all about. In his mind, he's always coming up short. That's what we see again and again in that film, which is coming out in a Blu-ray edition on Criterion here in a couple months. Fosse, I think, would almost surely say, if he was still with us, that he never achieved anything like the Sublime.

42:13Adam Kempenaar:Petit may be a little bit more confident, and of course he did pull off this amazing feat. He might say he did, but it's not like he hung it up after the World Trade Center. He still went on to do more. He continued the quest, but he certainly could have stopped after that. I think, Josh, for me, why this is my hands down number one and why I've almost talked myself into it is because they're the models making art as the only means to defy death in the exhilaration of the moment of the act itself and in the art's ability to live on long after you're gone. Which, again, gets back to that notion of permanence and impermanence that I think tattoos actually speak to.

42:48Adam Kempenaar:So maybe Le Samurai isn't my only aspirational tattoo. Man on Wire and all that jazz, they really ultimately represent who I'd like to be. Don't think I'll ever be those guys. Don't have the courage. Don't have the talent. But that is what I'm striving for and failing at every day. So for me, that sums it all up. That literally sums it all up.

43:08Josh Larsen:So I see how this could work, too. I mean, you've got the figure of the man on the back of your neck. Yeah. The line running. You got to stretch out. No, it's going all down both arms. So you've got to raise your two arms and walk around like that without a shirt. And then the text will be on your back. It's a no-brainer. Yeah. You got to do this.

43:30Adam Kempenaar:Should we go? Let's go. Let's go right now. Let's just stop. Just for yours. Show's over. Just for mine. You don't have the guts, do you, Josh? No, one thing I'm really hoping to get in our batch of feedback is I know we're going to get some responses. We're going to get some more pictures of listeners who actually have some of their own movie-related tattoos. We've already got, as we said, a bunch of great stuff that's come in. But I would love to hear from a tattoo artist who's out there, who's heard our picks, heard maybe our number ones. Just even start with those number ones and see what you come up with.

44:02Adam Kempenaar:Try to talk us into it.

44:03Josh Larsen:Try to talk us into it. Yeah. You know, there's something, you know, about getting a tattoo in college or that makes sense. I can even see getting a tattoo when I'm 70. There's just something really sad, I feel, like, getting a tattoo at 40. Yeah? I'm going to have to go driving around in a red convertible with it or something like that, too.

44:22Adam Kempenaar:Well, I don't know if a Team Zissou tattoo really says midlife crisis, Josh. I think you're okay. All right. We'll see. Those are our top five movie tattoos that we might actually get if I can talk, Josh, into it. What about honorable mentions, Josh? Any others that you considered, or did you just max out at five?

44:38Josh Larsen:You know, the other ones I thought about, let's see, I did think about Rear Window, which I cite as my favorite best movie of all time. But I just couldn't land on the right image for that or text either. And the only other film that I considered was La Dolce Vita. Yeah. But, you know, Anita Eckberg on my biceps that we're back into topless mermaid territory.

45:00Adam Kempenaar:Like I said, not my style. Well, I'll go with your Italian theme there. One for me that up until about an hour before we sat down here was in my top five. I was so sure it had to be on my list. It's Giulietta Messina's face from the end of Knights of Cabiria, the Fellini film. And I had all these notes about why I was going to go with it. It's the perfect summation of comedy and tragedy and just all of life is there in her face. And then I ultimately realized that if it came down to Alain Delon and that cool factor or the face of Fellini's wife somewhere on my body. I mean, I just thought about the fact that every time I was at the gym, every day I went, someone would say, hey, that's really sweet.

45:39Adam Kempenaar:Your mom. You got a tattoo of your mom. And you just say, yeah, we're close. I'm sorry, Julietta Messina, you are but an honorable mention only. A couple other ones. No Country for Old Men. The line I love, what's the most you ever lost on a coin toss? It would be pretty freaky to have Anton Chigurh somewhere on your body. You don't want to do that. No, I don't. That's why it's an honorable mention. A Matter of Life and Death, the Powell Pressburger film, that amazing stairway to heaven image. That's another one, though, that would basically require a full body. Yeah, a lot of space for that one.

46:11Adam Kempenaar:Just an honorable mention. Twin Peaks, maybe not so much the movie, even though I like the film, but I'm thinking of the TV series. That was another formative experience for me. And I love the red room, that checkered floor and the red curtains and the couch, I think. I just looked at this earlier today, and somehow now I'm forgetting the specifics, but I love it. And it's really kind of creepy, but in a cool way, I would consider that I'd stay with David Lynch, Mulholland Drive. Think about all the times I praise meta movies here on the show and movies about the filmmaking process. I had to think of one, and this is the first one that popped into my mind that had characters looking back at us looking at a screen.

46:49Adam Kempenaar:In this case, they're looking at a production. It's when Betty and Rita are watching the song, the version of crying by Roy Orbison. And we hear that line silencio. And finally, one I think you'd be on board with, Josh, it'd be a nice little small one you could get away with, too. I'm running out of space here, Adam. Terrence Malick's The Tree of Life. Yeah. That cover image, the foot in hand. Gets back to my whole mortality theme, I think, nicely.

47:13Josh Larsen:I don't think you gave enough thought to the likelihood of these turning out well. No, I didn't. Because some of these of, like, body parts and faces and that sort of thing, I've seen a lot of bad tattoos and that sort of stuff. So the baby foot could be kind of creepy. It could be. The tree, maybe the tree. Okay.

47:35Adam Kempenaar:You know, maybe one of those, Josh. Only one of those. I really don't see myself ever getting Alain Delon and the fedora on my body. I might have been reaching a little bit with that. The other four, definitely. I mean, I'll never get all four of them, but the other four all could happen.

47:54Josh Larsen:The only one I think I regret, though I like it for the list, is probably Team Zissou because it's, things have only become more, Wes Anderson has only become more of a brand, even in the time that we did this. Well, it was 12 years ago. So, you know, it seems like, eh, that just feels a little too brandy for me. I might have to rethink that one. I'd probably still go maybe Wes Anderson, but something a little more subtle and harder to decipher.

48:25Adam Kempenaar:I'd really love to see a donkey like on your bicep. Josh, I think that'd be really tough. Or a blue fairy.

48:34Josh Larsen:I think I could pull that off. A blue fairy would be really tough. One bicep, the other bicep, the other on the other one. Yep, that would be the way to go.

48:42Adam Kempenaar:You would be the toughest man in the world showing off your donkey, blue fairy, and umbrella. I would need Astell umbrella

48:51Josh Larsen:I think to really pull it off I'd have to lose at least one tooth and I don't know

48:56Adam Kempenaar:there's no doubt how that's going to happen there is no doubt I do love that image if you want to access archive episodes just like that one at your fingertips you can do so by becoming a member of the film spotting family learn more at filmspottingfamily.com and by reminding me that that was 12 years ago that suggests it's due for a revisit another tattoo top five josh yeah i'm up for it okay let's do it thanks for listening this conversation can serve no purpose anymore goodbye

49:39Josh Larsen:he's dribbling the ball with everything on the line he's driving down the pitch he's facing price hikes and cuts past him. Carrier contracts tries to block him. Oh, he leaves him in the dust. He's at the edge of the box. He cuts past the nonstop group chat trash talk. He clears on goal. He shoots. No! Unlimited data for$25 a month forever! Visit your local Boost mobile store today to get unlimited data with a price that never changes. Boost Mobile. After 30 GB, customers may experience lower speeds. Customers will pay$25 a month as long as they remain active on the Boost$25 unlimited plan. Applications where your story starts.

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