The Oscars Hangover Mailbag. Plus: Bong Joon-ho Returns!

23:42You've been saying to Nora for seven months. You called this. And I'm like, I can't claim calling anything because I looked at when Can happened, the only reason I was like, this is a big deal and it's going to be a big deal movie is because the field was so weak this year. You know, it's not that a Palme d 'Or winner means it's going to be a best picture winner. It's just that it was a weird week year. When we were, when you were out and we were ranking, I feel like the conversations we were having was we'll put an oar at the top because we're waiting to figure out what actually is going to go at the top.

24:08Exactly. That was like, it was a placeholder. That's why I'm not like, you know, saying I told you, I told you. If some, if Conclave did rise, I'd be like, okay, like, I guess that happened. White smoke. We didn't get white smoke. Black smoke. I think you're being too hard on yourself. You know, like you have a job to do and your job is to talk about this for six months a year, you know? So it's like, you have, you got to make content just like everybody else. No, you do. Yeah. And I, and I, and I have felt in the, in the last 24 hours that I've heard from a lot of people who don't do this six months a year or even three months in my case.

24:41Thank you so much again. And feel suddenly that they like get to share their opinions. And you know, a lot of that. A lot of people watching your own podcast. Oh, you're surprised Ariana Grande lost. Yeah. Thank you. Yeah. I heard from a lot of people who are basically like cramming the Oscar movies in the last like week. And I was like, you're. Well, bless them for even watching them. That's true. A lot of people are just like, what's this? I don't like it. That's true. Yeah. Yeah. I hate that, as you know. Yeah. So whatever. Last observation. This one actually really bothered me. So I thought kind of, I actually thought Conan was a great host.

25:18Like I thought he really walked a great line between not saying, isn't it ridiculous we're here, but also getting off some rather sharp-edged zingers. I thought that was really great. He starts the ceremony in his monologue, which I thought overall was really good, saying, okay, fires are bad, politics are bad, everything is tough, but it's okay that we're here to celebrate this moment because we're celebrating the working-class artists of film, not just the famous people, but we're here to celebrate the artisans, blah, blah, blah. And then to watch artisan after artisan get played off the stage while they're trying to make their speech.

25:55I was like, that is not, I mean, this has always been a frustrating thing about the Oscars. I really think, I mean, I know we're moving as, I think you and I are both really excited about it and hopefully Amanda is with us, like towards this like niche or we love cinema. Do you want that or do you want it to go back? I do, I just don't want to hear from everyone else afterwards of being like, well, I don't care about this. Yeah. You know? Yeah. I think that's actually where we're headed is they'll stop caring. Yeah, like either do the work or, you know, take my betting advice and move on. That's actually, Katie and Becky were very respectful.

26:30And they enjoyed, I don't know if I won them any money, which I feel bad about, but they enjoyed Paul Tazewell's acceptance speech. So, you know, and that was a good one. I mean, there were a few artisans who broke through. Absolutely, but I just think overall. And there were some who just rested way too much time. I'm not naming any names, but it happened in the shorts category. and that's a tough scene. I just think that like when the Oscars historically have, and by the Oscars I mean the, you know, the telecasts, have tried to put these categories during the commercial break or whatever, you know, whatever the case they can do to get further and further away from actually honoring or like collapse the sound categories.

27:12Like year after year, they're just sort of getting further and further away from this. So it's one thing to do that and it's another thing to make this speech about how, why we're here and it's to honor those people and then to not give them time to talk. I just think that that's something, what Conan said from the stage is something that insanely rich and famous people tell themselves to feel better about having the most public award ceremony in America, if not the world. You know what I mean? Like the Nobel is a much more important prize, but 20 million people don't watch the Nobel prize ceremony.

27:43Like this is the biggest thing like this that we do. Someone was telling me, they're like, oh, you know what they're going to do? They're going to get Bob Dylan to come out and do the meet with Timmy Chalamet. I was like, Bob Dylan did not leave his house. He's not doing that shit. He's not coming to the Oscars. That's why he's Bob Dylan. Yeah, exactly. Okay, great observations. One other thing that I neglected to mention, though many people did point it out to me, is no real David Lynch meaningful acknowledgement. I will say that he got, if it had not been for Gene Hackman, he would have had the final biggest in memoriam moment.

28:15They ended with him, and it was a lengthy moment for him. So it would have wrapped with David Lynch, this huge filmmaker that we lost. So you're blaming Hackman. And Morgan Freeman, to be honest with you. Morgan Freeman is an example of an older star who was there. We didn't point out the fact that, you know, he does represent that Nicholson class. And, you know, I said it to you during the show. I was like, he's 87. This is not. And they were pairing, like bringing Goldie Hawn out with Andrew Garfield. Like they paired a lot of like older stars with younger stars. I thought the an Andrew Garfield bit almost always works for me and this one didn't this one did not well I think it was a little like I'd like to fuck you Goldie Hawn which is you know and Goldie Hawn wasn't quite on the same page no you know so but that's also Goldie Hawn was like I don't have my reading glasses so I just I she looked great it was okay I appreciate what he does generally to bring the energy he also is like to me was the only non-nominated celebrity there like doing the work, putting on a show.

29:19We need more of that. He was trying. He was trying. You pointed out during the show that Isabella Rossellini was wearing the blue velvet dress, which was very nice, a great tribute. She did not win, so most people just did not see that or even think about it. The Lynch thing is just like he was nominated for best director twice. Like he's not just some guy. He's a significant part of Academy history. So you wanted Margaret Qualley to dance to blue velvet. What song? How do we get her in the roadhouse in Twin Peaks The Return? Yeah, yeah, yeah. Dancing to his son's band. Bring out Julie Cruz, yeah.

29:51Julie, oh, that would have been, well, she passed as well, right? Yeah. Never mind. Don't bring out Julie Cruz. Okay. Very quickly, before we get into the mailbag questions, we have a lot of questions. 2026 Oscar predictions. I'm not asking you to do the whole slate, though I will admit to you guys here that I did do the whole slate last night while I was bored. Okay. Did you? Did you leave that experience joyful, nervous, tired? Like, where were you? You know what it is? I'm committed to the game. Like, I am about this life. And I've always been about it. So if I decide with 48 minutes on a Monday night at 10, 12 p.m.

30:30to dig into my 2026 Oscar predictions. Because 11 was your heart out? I just kind of lose all brain function at that time. So I had to kind of squeeze it in there. Okay. But I felt good about it. But I asked you guys to just do one best picture prediction, one best actor prediction, and one best actress prediction for the films that are coming out this year. How did you feel about this exercise? Seems a little thin on the ground right now. Yeah. Okay. So that was my concern, and that's why I asked you how you were feeling, not some meta commentary about your job as a full-time Oscar prognosticator.

31:02I listed 26 potential Best Picture nominees. Cool. Just read them. Yeah, why don't you read them? And we'll tell you what we think of them. I'm sure I forgot some. And we'll just say yes or no. Yeah. After The Hunt, the forthcoming Luca Guadagnino, Julia Roberts. No, I don't think it'll happen. Anne Lee, Mona Fastfold's new movie premiering later this year. Avatar Fire and Ash. No. Nominated. Maybe. I'm not saying winner. I'm saying nominee. I'm saying Best Picture nominees. Yes. Yeah. The Bride, Maggie Gyllenhaal's Bride of Frankenstein adaptation. I really want this to be a yes. This is going to get like screenplay.

31:32I mean, not that, again, it's not deserving. I just, I think that it'll get crowded out because isn't Guillermo del Toro is Frankenstein also coming up? It is also coming up. Yeah, there we go. That's not real. These are in alphabetical order for the record. You know, Shape of Water was about a fish. Pinocchio is not real. I know, but he was a fascist. I don't know if he caught that. He was not a fascist. He existed in a fascist period in history. A begonia, the new Yorgos Lanthimos film starring Emma Stone. No. No. Lynn Ramsey's Die My Love starring Jennifer Lawrence and Robert Pattinson. No, but can't wait.

32:08Christopher Borgley's The Drama, starring Robert Pattinson and Zendaya. This is the director of Dream Scenario. Yes. No. Yes. Okay, Joanna says yes. Amanda says no. Eddington, Ari Aster's contemporary set western. No. Father, mother, sister, brother, Jim Jarmusch's new drama starring Cate Blanchett, which may premiere at Cannes. No, but that's nice. Okay. That you thought that. I love Jim Jarmusch. Yeah, of course. We love Cate Blanchett. I'm just kidding. I'm just listing potentialities. Everything that you just said. Okay. Keep going. Guillermo del Toro's Frankenstein. Yes. Nominated. Okay. Chloe Zhao's Hamnet, which is a literary adaptation.

32:46Yes, yes, yes. Highest to lowest. Spike Lee's remake of Akira Kurosawa's High and Low, starring Denzel Washington. I'd like to say yes. I'd say yes. The History of Sound. Oliver Hermanis' new film starring Josh O 'Connor and Paul Meskel, about two men in the 1910s. I'm so excited for this one. Right. I'm so excited for this one. I'm going to manifest it. Yes. You could really see it. Yeah. Okay. Jay Kelly, Noah Baumbach's new film starring George Clooney and Adam Sandler. So I have heard that I've heard rave, rave, rave things about this movie. Have you also heard this? The Sandler campaign. I've been told buckle up for it.

33:27So that started last night? Was that, yes. Then yes, let's do it. And I heard it like a while ago. Is it going to be Cannes? It's Netflix. I think it'll be in the fall and it's Netflix. So Venice, we have to go to Venice. Do you want to come to Venice? Sure. Okay, seriously. I'll write you a, you know, I'll fill out your application for you. I need people on the ground with me. Paperwork. So yeah. It's honestly pretty easy. Okay, great. And mostly in Italian. You don't want to go to Venice? Not really. We would have so much fun. Really? Will you come to Venice? Yeah, I really will. Okay, great.

33:59Okay, great. That's nice for you guys. Marty Supreme. This is Josh Safdie's Timothee Chalamet period piece about a ping pong player. No. In Best Picture. We're doing Best Picture right now. Best Picture. No. Kelly Reichardt's The Mastermind which is an art heist thriller set against the Vietnam War. No, but I can't wait. Yeah. Sounds very exciting. Sounds so good. Materialists which is a new movie from Celine Song which just got a release date. Were they sending out cakes? A24 if you're listening. So there was a cake. Are you not on the cake list? Well, I'm not always, but I don't. Did they send a cake for this?

34:35I don't know. Because the cake was in the picture of announcing the date. I am not casting aspersions on this movie, but I don't think it's going to be an Oscar movie. Have you seen it? No. It's got a June release date and it's got Dakota Johnson. Joanna, would you like to use this opportunity to apologize to Chris Evans? I would. Yeah, go ahead. Formally, you apologize for the things that you said. And you believe that this movie was Celine's song. Show it to me first and then we can talk about whether or not I need to be issuing apologies to anybody. I believe in Celine Song yeah sure I think Chris Evans has made some poor choices and can make some good ones Dakota Johnson forever and I'd like some cake I feel so strongly Dakota Johnson forever thank you okay congrats guys hey when did Pasadena what was better 2023 no but what month wasn't it like a weird maybe it was like May June yeah yes that's yeah I know they're trying to redo it this is a rom-com it's not a it's not a romance don't say it like that in my presence Anora is being called a rom-com.

35:33Look, if I'm wrong about this, I'm wrong. I'm just giving you a gut take. One more Dakota Johnson thing. Which was better? Captain America, Red Hulk, or Madam Web? Oh, unfortunately, it was Captain America. Oh, no. Yeah, I'm sorry. I'm sorry. We got a lot of movies to go here, guys. Of the two low bars. Okay, go ahead. Michael. The Michael Jackson biopic. Oh, God. is this still because they got to redo the whole third act reportedly I before before Matt Bellamy's report about this movie needing to reshoot the third act I would have said this is a locked and loaded best picture contender that's not I have no idea how this is going to land I have no idea how this is going to land Mother Mary David Lowery's pop star portrayal starring Anne Hathaway no Park Chan-wook's No Other Choice yes I feel a Park Chan-wook moment coming.

36:29Something that occurred to me. One battle after another. Paul Thomas Anderson's new film. The Phoenician Scheme. Wes Anderson's new movie. Coming very soon. No, but it's an outrage. Two months. I know, can. Very exciting. Screenplay. Screenplay, okay. Well, but yeah, but not... We're just doing Best Picture right now. Yeah, yeah, yeah. Chinese Master Be Gone's Resurrection. Okay. You guys don't have an answer on that one. Derek C. in France returns to feature filmmaking with a new film called Roofman. It's about a roofman. Who's in Roofman? I forget who the roofman is. Who's the titular roofman?

37:05Who's the titular roofman? Who's the roofer in Roofman? Oh, it's Channing Tatum. Is this taking place in the Chris Pine pool guy universe? No. There's a pool man. No. There's a pool guy. Roofman. There's Spider-Man. There's Batman. There's Poolman. And there's Roofman. Yeah. All my favorite superheroes. I'm sorry. You said it was Channing Tatum? Channing Tatum. Is it not instead of Gambit? Yes, and Lakeith Stanfield and Ben Mendelsohn. And here's the Dunst. Do love her. Now, Derek C. in France for the boys. You know, we do love Derek C. in France. For the boys? Yes, very much. Yeah, A Place Beyond the Pines is true boy text.

37:43It is. I think it's a no. Okay, it's a no. I lost my place on my list. Where is it? You can't claim Derek C. in France. I just did. The Smashing Machine. This is a true life story of a boxer starring The Rock. No. Directed by Benny Safdie. No. Okay, no. Sorry Baby, which was a smash out of Sundance that A24 acquired. Yes. They always get one. That's their one. Well, they always get one Sundance, you know? Yeah, yeah. The Sundance. Well, I guess A Real Pain didn't get it this year. This would be the A Real Pain. Yeah, yeah, yeah. not to conflate the meaning of those two movies. Train Dreams, another Sundance movie.

38:26Oh, that's the logger. That's the one. That's the logger. That's the one. Clint Bentley and Greg Quedar's movie. Yeah. And Wicked for Good. Yes. Okay. Bobby, we're keeping track of how many yeses they gave? More than 10. I'll note that in post. Okay. Okay. Thank you. Did I miss anything? Did you have one that I didn't mention? No. Okay. I feel like Wicked for Good is the easiest prediction here. and we may be in for a wicked year. We may be in for one. As mentioned about Dune Messiah, Wicked for Good is going to be a darker tale, you know? Does anybody fuck a sandworm in Wicked for Good? Can you confirm or deny that?

39:07I won't speak for Elphaba and her choices. Best actor predictions? Chalamet back. For Marty Supreme? Leo in. For one battle after another? Wow. that's also like the substance right there yeah it is I had those were my first two on my list yeah a wild card I'll throw out there is this is just for a nominee Matthew McConaughey for a movie called The Lost Bus which is Paul Greengrass's new movie for Apple which is about the Paradise Fires and a bus driver who got children out of the fire that's like a real Viggo Mortensen Cabin Fantastic sort of I think it's not quite that whimsical no no no yeah not whimsy but just sort of like that level of I could see it happening yeah best actress Emma Stoneback for the Yorgos movie Bagonia yeah Annie Hathaway had her on the list as well my number one pick is Rose Byrne for If I Had Legs I'd Kick You which was at Sundance I didn't see it but went into tea leaves reading mode everyone and there's a big halo around her performance on the one hand yes but on the other hand it feels like a thing that you make a big deal of at Sundance that does not track.

40:19Could be. Could be. This happened to Kieran Culkin though and we saw what happened on Sunday. Okay, thanks for playing that exercise with me. Let's do the mailbag, right? Any closing thoughts? Oh, very quickly, Jesse Armstrong has a movie coming apparently on HBO in like two months, six weeks. The creator of Succession, one of the best TV writers of the last 10 years. In the wake of Sean Baker's We Need to Go to the Theaters, how do you feel about a Jesse Armstrong movie on HBO? I mean, it's not what I want. it's also where I've consumed most of his work for the last correct three to however many years yeah movies are back but on TV that's just how it's been I don't love that it's not great but I'm so excited to have a new movie it's been it's kind of a kind of a meh spring yeah it's tough so for this show's purposes it's like alright Mickey 17 Sinners some other stuff you know like we gotta get to May here we really gotta get to May so if this movie drops in April it's very exciting for the big picture we accept Michael B.

41:17Jordan best actor sinners it's not impossible no it's not probable it seems not likely given that it's a vampire movie Golden Globes big Golden Globes vibes alright Robert hit us with some mailbag questions how did the inbox look? they look good I read over 300 emails for this mailbag hell yeah sheesh and I tried to drop in or respond to as many as possible that's lovely so I apologize if yours is not it's not in here and also we have a 40 minute conversation with one of the masters of international cinema coming at the end of this so we can't just answer 200 questions. That's true. I apologize.

41:52First question, jumping back to Sunday evening, what snacks and beverages did Amanda and Sean enjoy and Joanna or not enjoy during the telecast this year? Also, this, I heard the food at the neon party was a bus. No bueno? No? It was a bus. Yeah. Wolfgang Puck on offer there. Okay, that's too bad. We had sushi. We did. We had You Know Me Hand Roll, which is a downtown fixture that I'm a huge fan of. We now frequently order, you know me, Hanroll, for award show viewing purposes here on the big screen at Spotify, which is fun. I don't know why you didn't join us. That would have been nice, actually.

42:27I didn't even think about that. Then again, Amanda and I watching these shows with one or two folks from our video team has become a tradition. And it's very weird, but it's sweet. I saw the video of Amanda prone at one point. I do. There are two like very, very oversized armchair love seat situations. But at some point you just got to lay back and relax. Yeah. Just let it happen to you. Yeah. Was it. Wait, it was Mick Jagger you found particularly offensive? No, it was that I. One of my out on a limb predictions was that we were going to finally take care of this Diane Warren thing. And it was just that we wouldn't have to talk about it anymore.

43:04It would have been so nice. Which like I should have run the campaign. Let's get this over with. Yes. You should call her. You guys should hang out. Next year. Yeah. We didn't snack too much. I've shifted my mentality on this. I used to over order on Oscar day. A lot of snacks, big meal, you know, double cheeseburger. Nowadays, I want to be relatively light stomached. I agree. I also agree with that. What did you have when you got home? I inhaled a box of Annie's snack mix, which is technically my daughter's, but not anymore. Not anymore. And I feel good about that choice. I also had three tall glasses of water.

43:40Oh, good. Okay. And then I had to wake up at 4 o 'clock in the morning to pee because I'm 42 years old. It's really tough. You just can't drink water after 7 p.m. after 40. Just something for all the listeners and all you fine young millennials and Gen Z. Enjoy that water while you can, guys, because it's not going to work out as you get older. Yeah. I had half a gummy, and then I thought that would help me sleep. like a weed gummy, obviously. And then I woke up at like four o 'clock and was like, hello. We were talking about whether or not you were. I know, I tried it. It did, you know, because after an Oscars day or something, you can be a little high energy, you know, a little like jittery.

44:22I only know based on the text I saw that came from you that were in all caps with so many exclamation marks. You know, you're trying to keep the energy and keep it going, but then you got to like come down. So I thought that the gummy might help. And I guess it did. I properly dosed. I followed the instructions on the label. But then it didn't really help my sleep. So that's out. It's hard out here. Did you enjoy anything nice? On theme of low-key Oscars, I just did not. Usually I do like theme food. This was just like a, just a cash, yeah. All right. Well, next year we'll try to figure it out, assuming you're here covering the White Lotus season four in Los Angeles.

44:59Okay. What's our next question? Next question comes from Sam. Sam wants to know, what is the next film from Sean Baker? How much bigger does he go? Many people asked us a similar question. Does Sean Baker cash in a blank check now? Does he continue to make films in the same register? What will happen next for his career? He has said specifically that he wants to go smaller. That he is committed to independent cinema and he does not want to do what your illustrious guest on this podcast has done, which is go bigger. Yeah. Well, to me, Bong Joon-ho going bigger after Parasite didn't feel like some kind of rejection.

45:37I mean, he'd already made Okja. He'd already made The Host. He's spectacle is a part of his proposition, right? He's going bigger for something like Mickey 17, which is not like, I want to go make a Marvel movie. Exactly. It's very, very different. If Sean Baker signed on for Fantastic Four 2, that would be disappointing. Grim. Grim. It would be the rejection of everything we understand. Yes. But without, you know, I'm really, really excited for Mickey 17. this has nothing to do with that but like the fact that Sean Baker's like I can do it I can do more with less he was also talking about how he was like going immediately to Florida to interview the kids from the Florida Project who are now teenagers like for special features for the Florida Project DVD and I was just like that's the movie I really wish Willem Dafoe had won Best Supporting Actor for but I I just love that he's like I can I can go down from here there's one other exciting consequence I think which is just that people are going to go back and look at his older movies.

46:30Prince of Broadway is coming out in the Criterion Collection at the same week that Enora is coming in the Criterion Collection. So they're coming out together. Criterion, very smart, to pair those things together because people will buy them together. And that's a very little seen movie. That's a really interesting movie that has a lot of little strands that when you look through his work, you can see the resonance. So I think it's... The thing is, is it doesn't really matter how big or not big his movie is. He does a very specific kind of story. And if he moved significantly beyond that, it would be shocking.

47:01He's been talking about this. The other thing is, like, everybody thought Sean Baker was, like, 38 years old. He's 56 years old. He's been making movies for 30 years. He does look great. He looks great. I mean, the thing is, like, could he cash in? Like, the one reason, I guess, to do it would be, like, a mountain of money. And he seems very cool and to not care about that at all, which is just another. Otherwise, why would you really do it? He writes, directs, edits, like, he's just running his own show. He makes amazing movies, has built a career and an oeuvre over time, and can do it all himself without other people bugging him.

47:37I think also all of his movies are pointedly transgressive in their themes and in what they portray on screen. And he wants control over that. He doesn't want to be told he can't do it. So, of course, he's not signing up to make a movie at Warner Brothers. You know, that would make sense. Right. But there's ideas of, can I leverage this to sign a deal with Warner's where I get complete creative control over this? And I like this idea that we'll see what he does, where he does it, etc. But listening to Tom Quinn's interview on The Town and talking about what Neon wants to do and all of that, I just think that that's a really good interview and a really good support of a filmmaker.

48:17that they, you know, had a lot of great success with this year, but also really courted for a long time. So, yeah. Yeah, let's actually do the Neon A24 question then because of that. Because I think that's a really good segue, Bob. Yeah, we got this question from Nick. Has Neon officially taken the independent film company championship belt away from A24? So, there's a lot of ways to read this. And I think it's an interesting question. The championship belt is fake. That doesn't mean anything. That's a... And also, like, even if it's real, it's like, no, they trade it back and forth at the Oscars and in the box office and in life.

48:53Yeah. Yeah, I fully agree. I think, at least among producers that I know, Neon is hotter. Like, Neon is just a little bit hotter right now because A24 is in the middle of this transition where they are trying to and succeeding at being a bigger company that generates more success. Now, they are going to run into the same thing that every movie studio runs into, which is to try to make bigger movies. your movies have to get riskier, more expensive, and maybe dumber. Yeah. More broadly appealing, certainly. So that sheen of cool that they have worked so hard to accumulate over the years is slightly under threat.

49:30If you look, though, at say, let's just say for the box office last year, what do you think, this is a game, how much money worldwide do you think Anora made at the box office? I feel like I should know this. Isn't it something like 50 million? No. Any guesses? I was going to say like 24. It's 41.25 million dollars. Now, how about this? How much did the Brutalist make at the box office? That one I don't know, but less, right? Guess. I mean, I'll guess 24 again, just to have a fun time. 41.46. They are neck and neck at the box office. And I would say for both of those movies, that's a great success.

50:16If you remove the context of these are the leading contenders for best picture. So both of these companies are doing very well. If you go through 2024, though, A24 had many of its highest grossing movies ever in 2024. Civil War, Heretic, Baby Girl, We Live in Time, and Maxine all cleared$20 million worldwide. worldwide. I think just one movie for Neon did that and it was Long Legs which was a crazy success story but was more anomalous than it was the trend. So just in that context they're doing different things. You know I think they both have two Best Picture winners now right? With Moonlight and Everything Everywhere at once and Parasite and now this film Neon has made this bid to basically buy every single Palme d 'Or winner.

51:03I'm sure they'll try to do that again this year. They both have great taste. One is like a lifestyle brand. The other is just like, we just do movies. That's our whole thing. A lot of the marketing for the monkey was literally poking fun at the candle selling for Heretic. I don't know if you guys saw that poster. They're in a little quiet cold war here that is fun. Can I, so to go back to that interview that Tom Quinn did on The Town, which again, I really recommend. Like he was talking about the campaign effort and he was talking, he and Mount, specifically talking about the mailers. And as someone who receives, as you guys, like all of the awards he's in mailers, every year I look forward to two things, which is the neon box set because they send it out every year in a physical media.

51:47Beautiful box set, not just like a random DVD that they've shoved in a random envelope that you get a million of and it's deeply annoying. And the A24 box, the A24 box, which is full of, yes, like heritage candles and like weird swag. I have never received the A24 box in my life. I have no idea why. Okay. I'm just saying that on the record. Those are just the two. And to your point, we do movies, we do swag. That's what A24 is. But the swag, unlike any of the other studios that sends out something completely random, disconnected from the movie or just something really weird and useless, they're like, these are really fun, clever, funny things that are tied to, you know, one year it comes in like a Minari food crate box and like, you know, whatever it is.

52:30It's just like, it's like, we know you love our movies. Here's a bunch of stuff tied to our movies. But those are two like really smart, concentrated efforts. Who blitzes everyone with award suites and stuff? It's Netflix. They send you, you were getting a Netflix package every day. It becomes deeply annoying. There are these huge heavy art books. It's all this sort of stuff. And it's so emblematic of how concentrated and targeted and clever the Neon and the A24 approaches are. Yeah. That particular aspect of things, they still are just doing very well. And they seem to be reaching people in a way that maybe all those Netflix mailers are not reaching people.

53:14And some of the Netflix films. I don't know. I think the other thing to consider is that I pointed this out on social media. This is the first time all six major winners and Best Animated Feature and Best Documentary and International Feature were independently financed. None of those movies were financed by a major studio in Hollywood. That is antithetical to the origins of the Academy Awards. They were started by the studios. And so we're seeing a massive shift. And so now what you're seeing is not just A24 Neon, but I think particularly Janice Sideshow and Mubi are like real awards contenders every year in addition to Sony Pictures Classics and Focus and all the old hands who have always been really good at this.

54:00You know, Janice just got Flo a Best Animated Feature Oscar. That's a crazy thing that happened. I mean, I know we don't talk about that sort of stuff that much on the show, but there's no precedent for that sort of thing happening in that category. I don't know what that campaign looks like at all, though. That to me all felt like word of mouth, which I guess is like a symbol. I think Gintz worked so hard. He did so many interviews. He was so present. But then some of that was also just, that was a very online phenomenon also. You know, like it was, and the cat and the capybara. And I think also like the lack of dialogue means that it, you don't have to do subtitle.

54:37You know, it does travel. Yes, very international kind of story. Exactly. So, and accessible. and they made it like very available you could see it on I believe Max before the Oscar like people were into it so yeah and I think Mubi obviously Mubi picked up the substance from Universal and if you just look at what Mubi is going to do this year we mentioned the history of sound already Bring Them Down is coming out next week or maybe it came out last week and it's coming to streaming soon it's Christopher Abbott and Barry Keoghan in a movie Father Mother Sister Brother the Jarmusch movie Magic Farm Amalia Ullman's next movie and then The Mastermind is also a movie.

55:15So these companies, they don't have as much money and they don't have as much clout as Warner Brothers or Universal, but in some cases, they have a higher likelihood of winning Oscars in the future. So things are just very different. And in that respect, it's fun. A24 and the N are going to be fine. They're doing great. What's next? Okay, we got many, many questions about Adrian Brody's speech. So this one represents that cohort of people. Tim asks, now that it's confirmed that Adrian Brody gave the longest acceptance speech in history which we did not know on Sunday evening when we recorded do Sean and Amanda have any second thoughts on it most of the online community thought it was scatterbrained and incohesive Tim says do you have any second thoughts no Tim I don't this was one where that was not scatterbrained or incohesive so funny is incohesive a word incoherent incoherent which for the record, we did on the podcast.

56:14We were like, this was really long. And he was like getting around. I believe the words I used were elongated and self-regarding. So, you know, it wasn't totally praising. And I observed that it took a very long time. You know, everyone was watching. I think how you respond to it is like how you respond to it. And that's fine. I've been thinking a lot about the broadcast decision to cut to Georgina Chapman as many times as they did, which is maybe like that we could Monday morning quarterback on a little bit. But no, the main thing that I've been thinking about is I'm just like, oh, so people really didn't see the Brutalist because it's like you were expecting some energy.

56:54Like if you, if you had been in the Brutalist mindset, if you've been following what Brady Corbett is, which is another thing. I'm just like, you guys better be glad the director went the way it did. But I was like, oh, okay, so you all are just learning about all of this. And that's fine. You know, I actually, I definitely think that it works better in the film The Brutalist than it did on stage. But, you know, whatever. It's the Oscars. Do you think one should physically toss one's gum before watching The Brutalist as well? That was tough. But what I do also, I like that he was like, I shouldn't have gum in my mouth.

57:33Sure. You know? Do you guys talk about this? Do people know that the kids he talked about in his acceptance speech are Harvey Weinstein's kids? Yes, that's what I was talking about. Yeah. Popsy. I mean, listen, the kids are, like, and the kids are blameless. No, yeah. It's just an interesting Hollywood tale. And listen, you can cut to the supportive partner once or twice, but the fourth time that someone is coaching him through an Oscar speech, you begin to remember when she's been at the Oscars before. Correct. I would just think twice. Correct. Here's what I will say about the speech. I'll repeat some of what I said.

58:10But one, I interviewed Adrian Brody during the campaign for The Brutalist. That's what it's like talking to Adrian Brody. If you listen to our interview, he's incredibly deliberate. He's deeply serious. If you want to say he's too self-serious and a windbag, if you want to use those words, feel free. Like that is how he is and how he always is. in my experience, what I was trying to point out when I was praising in the speech was that he did something that I think good speeches do, which is that they show you what's most important to the person who won. What was most important to him was his journey, his arc as an actor, as a famous person, as a person who fell, whatever that means, in the last 20 years, and as a person who, in his mind, came back.

58:57All the stuff about love, not hate, that's the same... Jeremiah's we hear at every Academy Awards. To me, that was like, it was long, but it was the same shit you hear from actors all the time. It took him like a very, very long time. Totally. And people didn't like, obviously, that he said, I've been here before, you know, like, and I get all that. I thought that was kind of amusing. I liked it. The same way I thought the Chalamet, like, I want to be one of the great things was amusing. I was like, you don't see this too often. It's nice to see something different. But specifically him talking about, like, him pumping himself up in this comeback story, which is in his mind.

59:28I mean, Adrian Brody is, like, presumably very wealthy and successful and having a good life. Yeah, but he's like, Wes Anderson, bit player no more. Succession guest star no more. I'm leading man, Adrian Brody again. And I think what is true about these kinds of Oscars, these kinds of like where you been Oscars, is that it doesn't necessarily, like ask Renee Zellweger, ask Brendan Fraser, does this necessarily translate to your back baby? No, it definitely does not. So that all seemed a little like, I'm not sure the point you're making is a true point. I kind of used it as like a, I am committing to myself in front of all of you.

1:00:05It's ultimately not up to him, unfortunately. I mean, that's the thing. It's like the penis and the brutalist are once in a lifetime roles and he just happened to get two. And a lot of people have. I thought you said something. I also heard that. I was like, okay, well, I saw a different cut. I think that. No, I didn't actually. I saw the, I saw, yeah, I was like, I was thinking about. Yeah, you did. I'm going to move right on past that one. Why is everyone being such a prude this Oscar season? What do you mean, Anora just won Best Picture? I know, and everyone's just been like, can you believe that something is scandalous and so many naked ladies?

1:00:38I was like, it's a strip club. Sure, they have sex. They had a lot of sex in poor things. Why is everyone just being so uptight? It's fine. They're just bodies. Okay. Thank you very much to Dr. Dobbins for sharing. That was an impromptu science corner for health class. To go back to my earlier, let's not play the poor artisans off the stage. When there are like people who didn't even get to make their speech and Adrian Brody takes that amount of time. That's when I have a real issue. In the whole, I agree with you, but this was at the end of the show and it was best actor. Like, should best actor not talk for a longer period of time than the best visual effects team?

1:01:18This is the Academy Award. Read the next question, Bob. Read the next question. This is the exact next question. Comes from Keely. On the last pod, you both mentioned varying opinions about the allotted time of acceptance speeches. is everyone deserving of the same time slot or should more time be given to the big categories? Here's my issue when we slot VFX artists in the commercials or play them off the stage is like this is the one time they get to be inside of it in front of an audience this big in their lives. Adrian Brody has had this opportunity and gotten to give many speeches at many awards show at this point.

1:01:53And this is the one time that those people get to do it. I mean, are we fighting for the democracy of entertainment. Like, this is not, it's a show business. Famous people get more. They get more money. They get more time. Like, this is just how it is. What are we fighting against here? This is like, I don't know. This feels like a very, like, politically brained thing that finds its way into discourse about meaningless shit. It has nothing to do with politics. It has everything to do with, like, I just get excited for those people who have, like, never been on a stage that big in front of that many people.

1:02:26There was a moment on Sunday night, I don't remember which category it was, but there were three or four winners. Maybe it was sound. I'm not sure. And so the third winner just didn't get to speak. And that sucks. That's what I'm talking about. That just sucks. And honestly, that is just, that can be fixed in production. And that is like a telegast. It's not like in post, but. There's three people on stage. Wait for the third person to talk. You make the decision. Like that should just be the rule. There are people there live covering it. Like that was a fuck up. I my thing is less about like should be a lot a specific amount of time and should because then first of all that doesn't allow for spontaneity in the moment and it does get into like weird culture wars that we just don't need to get into everyone needs to be prepared this is on the winners is my thing like if you're nominated do your homework get ready be entertaining this is a tv show I agree like it's your moment we're going to give you the moment use the moment And I think if everyone used the moment, then they might not be played off.

1:03:30I would say that that is nice in theory, but you have clearly never won an Academy Award. Because what everyone says is when it happens, you're like, fuck, I can't believe this happened. Sean Fennessey. And then you start freaking out. Let me tell you right now, I would be awesome. Okay. Okay? Great. I would be prepared, but I would also bring my natural warmth and charisma. Yeah, absolutely. And I would be surprised. Many people are saying natural warmth emanates off of you. And I would say rude things to you live from stage. And it would be incredible. You'd kill. I just think that if our whole idea of which direction the Oscars is moving in, which is towards celebrating edgy, interesting cinema, then your whole like celebrities get more, man, attitude doesn't seem like it lies with it.

1:04:17I'm not advocating for it. I'm saying be realistic. Like be realistic. Why? You think they're going to make more time for that? You can't make me be realistic. I mean, you could say you wish it was this way, but it's never going to be this way. It's the Oscars. But we can fight against it. Like when they put those categories. Fight who? When we put the categories, when they tried to put the categories in the commercials, which they did, they were roundly shamed into undoing that. Sure. So you can shame them into. I'm not advocating that. Behaving correctly. I think that's debatable. I think whether or not like artisans will get.

1:04:47It's definitely debatable. Artisans getting equal time to powerful people is not going to happen. It's just not going to happen. I have a quick fix for this. With the exception of the very nice Dutch couple who won, I believe it was live action? Yes. Short? I am not a robot. Yes. Oh, yeah. And congratulations to the New Yorker. And then... You guys finally won something. But I thought they... After steamrolling us at the National Magazine Awards for 20 consecutive years, now they have an Oscar, those fucking bastards. And they... And that was like a nice moment. And she was like, I know that we're Dutch and we don't say this, but I love you.

1:05:26Good job. That was cute. The other short speeches were, I think, borderline disastrous and often are. And also always go on so long. Yeah. So we just, we got to move that to another awards show. And then we can take the time that we've saved and give it to the craftspeople and let everyone who's nominated speak. Do you think Academy members are listening right now? not Academy members, Academy governors, leadership is listening right now and thinking, these guys know what they're doing. And in 2026, we're coming through. I would personally cut the entirety of the James Bond tribute and that solves everything.

1:06:07Well, we're aligned on that one. We could have had a lot more time for a lot of other things if we had done that. Okay, Bob, what's next? Okay. Important question up next. Sam wants to know, who has the best picture title belt right now? This is, of course, alluding to, I think, a famous Bill Simmons concept of who's carrying the belt at any moment of who is the best current NBA player, and it overlaps year to year. So what movie do you think right now is holding the belt of the best, best picture? I think it's still Parasite. That's a really good one. The thing is, is like, is Parasite better than like Silence of the Lambs?

1:06:47Because in the belt concept, it's a history. There's a certain posture that you take on when you're about to correct me on the rules. The posture of a great man. Of some made-up Bill thing. I've been working for Bill for like 13 years. I love Bill. Bill has made a whole world up that I love living in every day. Was it the last 10 years or was it the history of the Academy Awards? Well, the concept is a historical concept. So at some point, you have to say that Silence of the Lambs probably lost it to something. else, right? You know, to No Country for Old Men or something like that. I would not give their...

1:07:23No Country for Old Men over Silence of the Lambs, personally. So, as an interesting example, would be close, but I wouldn't. I wouldn't put Parasite over it either. Do you think Moonlight would have... I mean, that's the thing, is you could go all the way back. Casablanca? You could go all the way back. All the cavalcade heads out there, the Cimarron heads, the greatest show on Earth heads. I think if you talk to any filmmaker, like, anytime I've interviewed a filmmaker almost they almost always have a Lord's Arabia poster up in their house somewhere. It's a good question. Do you think they'll show it again at the 70mm Fest this year and can we go?

1:07:58Yes. Okay. I think they will and I would love to go. I really wanted to but I was like nine and a half months pregnant. You were very pregnant. I was like I can't commit to being anywhere for four hours at a time at this point. My goal is to attend six screenings during that festival. Like because you know what the lineup is and you've identified the six films or you're just setting random quotas for yourself. Well, they just program it really, really well. American Cinematheque does a great job year-round, but that festival in particular is really great. Would you want to just do 10 years? Would you say Parasite is the number one?

1:08:29Yes. Of the last 10 years, yeah. Yes. I agree. What's next? Let's do three more. Sure. Okay, we got a question here from Kyle. Interesting question, thought-provoking. My question is, if we want people to see movies in theaters, doesn't the Academy need to require that these movies be available outside of LA and New York? Should the Academy raise the minimum threshold to 1 ,000 theaters so that Oscar-nominated movies get real theatrical distribution, not just token distribution for the Hollywood and New York elite? Yeah, fuck the coastal elites. That's right. No, I agree. Get wrecked, Brooklyn podcaster.

1:09:08Yeah. You were probably in the Little Gold Men time when I feel like this was a very noisy proposition, right? Like the 1920. Call me by your name. Yeah, yeah. We couldn't, no one could get that one. And I was in, you know, I'm in San Francisco, so I couldn't, I'm a coastal elite, but I couldn't get to call me by your name. Not quite coastal enough. Yeah, I think that there was, you know, Spielberg's frustration with Netflix was a period in time. Netflix, I think particularly with the push from Roma and that kind of being a real quiet, that was a film where it was like, this movie's going to win.

1:09:39And what does it winning actually mean for movies started to freak people out a little bit. And so this conversation really kicked up. Now I feel like what's happening is like a major rejection of the streamers. You know, the Netflix, the Amelia Perez implosion, Amazon being the butt of several jokes during the telecast. The fact that there's new leadership at the film team at Netflix. I'm not saying that culturally Netflix is down. They're winning more than they've ever won. It's just, I think the question of like how many theaters a movie can play in. It's Sony Pictures Classics can't get I'm Still Here into a thousand theaters.

1:10:12They literally can't do that. Yeah. So that's not going to happen. That would be financially ruinous for them to try to exhibit the movie at that level. But should it have more cities that it should play in? Should it have a longer period of time where it plays? I think these things are maybe a little bit more fungible. And isn't part of this issue, I mean, this is a larger issue, not just the Academy requirement, but the fact that because of Netflix, et cetera, so many small art house theaters have shuttered in places. And there are places where you can't find a theater that would show Sing Sing or something else.

1:10:45If you could make a change like this, what would you make? It's really, it's tough because I absolutely agree with Sean Baker and everyone else who loves going to movie theaters that that business really needs to be saved. But if you enacted this 1000 theater thing, as you said, like literally none of the movies that we like could afford to do it because of the way the business model works. And a lot of that has to do with the theater model, which is related to, I mean, like intertwined with Hollywood stuff, but like still a separate business with its own things. Correct. They're splitting revenues.

1:11:25Yeah, so I just, and then I think the result of, okay, so if an Oscar movie has to be distributed, if you have to spend this much movie, spend this much money to make a movie an Oscar contender, then I think there are movies that don't get made anymore. You know, which is like the opposite of. It's a good way of thinking about it. So maybe it's more cities. Like maybe that's a good geographic way of doing it. Not a thousand, but like at least Chicago and et cetera, et cetera. Is that what you mean? Right, exactly. And identifying markets. What about, and I don't know how financially ruinous this would be.

1:12:11What about an academy sponsored? Like once the nominees are announced, all of those nominees go into the theater. That would be interesting, but then is the Academy paying for that? That's what I think they should do. I mean, it's a non-profit organization, so in order to boost, that would be a clear declaration of boosting the theatrical experience, which in theory they want, but I'm not sure if they can really take a side. They built themselves a whole museum. I know. You know? I know. Which is amazing, but like ultimately long-term, wouldn't we be better served putting that money into getting people to re-engage in the movie-going experience?

1:12:44That would be an interesting thing to discuss. That would be a reason to have the Academy leadership on the show. is to talk about a concept like that because that's really, it's a good idea. I heard from a lot of people. Like the way that they put the shorts, they put shorts into the theater so that people can go see them. But that's a separate corporation that does that, that I think benefits from that and splits the proceeds with the filmmakers. Anyway, one thing that Brian Curtis said on the press box, actually on Monday, was that he was responding to Sean Baker's comments in the Best Director speech and he just told a story that I heard, I saw a bunch of people on social media shared with me too, which is like, it's expensive to go to the movies.

1:13:15I went to go see, he said, I went to go see Dogman with my family and it costs$50. Yeah. And plus parking. And we've tried to be since like practical about that when talking about it on the show that it is not cheap to go see movies. One of the reasons why it's not cheap is because, for example, second run movie theaters don't really exist anymore. You being able to go see a movie that had been out for four months and pay five bucks to see with your kids, that's kind of gone. That's streaming has replaced that. That's not coming back. I don't see any world in which that framework where you could get like the matinee ticket or just making things significantly more affordable, especially in a metropolis, is coming back.

1:13:50Plus, with movie theaters closing, you got to drive 50 miles to go to your nearest movie theater if you live in certain towns. That isn't what Sean Baker's talking about, though. He's not talking to you, Joe moviegoer, about how you're not seeing movies. He's talking to movie studios about guaranteeing theatrical exhibition for the movies that they greenlight. So it's a shot across the bow with the streamer, sure, but also at, like, universal 17-day window. and how movies just go to VOD after two and a half weeks if they don't cross a certain box office threshold. Seeing Warner Brothers now doing this, maybe not with an official policy, but like Companion was available to stream after two and a half weeks.

1:14:27And that movie did okay. It's a pretty decent business for a genre movie in January. And you can watch it at home now. So like that thing that he said, I think he more so than us yelling on a podcast can encourage people to make change. But honestly, not that much. I honestly don't think what he said, and I know I'm a cynic about these things, but I really don't think what he said is going to like really change David Zaslav and Donna Langley's point of view on the theatrical model. It is David Zaslav, unfortunately, but at some point it's shareholders of a corporation that has XYZ, which is how all businesses and corporations in this cursed country work, but, or the world at large.

1:15:06But it's, I loved this speech and I thought it was important, But I agree with you that I think it's more effective to people at home. But you can't. The problem is you need to be able to change the emotions of faceless corporations. And that's not really possible. But also change the mindset of so many people because of the prohibitive cost or because of the frictionless comfort of watching something at home. Change people's minds about what constitutes a trip to the cinema movie. every single people it's spectacle yes eventization yeah and like and I would hope that that wouldn't be the case it wasn't always the case obviously for us growing up and so but this is I guess the moment when we once again say to me get real get real it's not it's not gonna happen I was doing math in my head about how I think if you tallied up the domestic box office for the movies that we identified as like the top five contenders this year it was still probably less than just what Rain Man made in America right right which is the kind of movie that we're talking about.

1:16:13And it's not just that like Rain Man made that much money, but then like everyone had seen Rain Man and everyone could talk. And you felt like you had to see Rain Man so that you could get the jokes and stuff like that. And we are scattered and we're not all watching the same movies anymore. And I sound probably older than Sean did when he talked about how you can't drink water anymore. But, you know, it's like. I got to get all my water in my 4 p.m.

1:16:37It's a good thing that you can't be pregnant because. it's just like for more reasons than one like you know but like you just you cannot imagine the peeing at night situation and how you're trying to like ration your water it's I used to just be able to go right back to bed though yeah me too yeah that's gone will you write a parenting book called you can't imagine the peeing at night it's just like you really like you really it's more of a kids book yeah I would buy it yeah yeah okay couple more Bob make them count I just want to say before I read the next one I'm not working on this show if Sean is pregnant pregnant Sean running this spreadsheet.

1:17:12I'm out. I'm out. I'm trading it off. I challenge all the listeners of the show to remake the poster for Junior where Arnold Schwarzenegger is pregnant and Danny DeVito is his... Danny DeVito is his doctor? Emma Thompson is... Emma Thompson is his doctor. Who's his doctor? No, Emma Thompson is the doctor in Bridget Jones. I believe Emma Thompson is the doctor in Junior. Is she? You're thinking about twins. But is Danny DeVito not in Junior? I'm pretty sure it's Emma Thompson. I mean, hold on, let's see. Danny DeVito is a junior. So Emma Thompson is the mother, the non-pregnant mother. Arnold Schwarzenegger is the pregnant man, just like I will be one day.

1:17:51And Danny DeVito is his doctor, wearing a stethoscope on the poster. Okay, so CR is Danny DeVito. No, you are Emma Thompson. Amanda is Danny DeVito. And I am Arnold Schwarzenegger. CR is Danny DeVito. I'm just reading the plot of Junior, which I guess I haven't seen in 30 years. This is an Ivy Wright movie. film. It made a hundred million dollars at the box office. I thought Emma Thompson was the doctor. That's my political brain. Okay. She is a doctor. Okay, thank God. Well, it says Emma Thompson, Dr. Diana Reddick. Okay. Pregnant with content, pregnant with mailbag answers. Okay, the next question.

1:18:24They're all doctors. Schwarzenegger is also a doctor. Wow. Okay. I'm just, I'm trying so hard to read the next question. I just want to read it so bad. I'm ready. Next question comes from Brian. Do you think the tabulations from Oscars past actually exist anywhere, like in a vault or something, would you support their release at some point in time? Like declassified government documents and what time period should that be? This is such a good question. Let's do a heist. Let's make a movie heist. Yes. To release all, like honestly, let's start pitching this around. A Pricewaterhouse heist. Yeah, yeah, yeah.

1:18:58In order to get all of the Oscar. I actually, I know some people who work for Pricewaterhouse. Not well, but I do know them. Hook us up with that data or at least those codes to break into their facilities. I mean, they have to be somewhere, right? At some point, it becomes sort of like their data security methods. Like, is the hard drive in a safe? Is it like the knock list? Yeah. Do we have to? Okay. Again, put me in Mission Impossible, leaning over on the keyboard, breaking into Bryce Waterhouse Cooper's data set. Just one single drop. Okay, should it be like 10 years later? Yeah, I... Release it now.

1:19:37Release it now. We're still waiting on JFK, right? Like, we're still waiting on that. I don't know. It's been 62 years, so... Right, but didn't he say that it was going to happen? We're not waiting on it. Bill already cracked the case. Like, we know this. Bill did it. What's his latest? Besides the doctors have never wavered. There is... Is he... Is it two bullets? What's his thing? This is neither the time nor the case. I like the idea of every 10 years. That would be great. I want it on the show. They got to do it on the show. Save the Oscars. Let's go. I want it after 20 years. I'll take it whenever, you know, as a faux historian.

1:20:13I'm interested in all the information I can accumulate. It would be so interesting to know, like, missed it by that much sort of stuff. What do you think is the closest race of all time? Moonlight and La La Lin? It's the one that springs to mind, right? But maybe it's not. It would be fascinating if it wasn't. If it wasn't. Trying to think. I think Avatar and Hurt Locker probably. That was definitely a close one. Really split contingencies of who would vote for each. A great call. Definitely a close one. I'm sure there are many races in the 70s that were tight. But what if it's something random?

1:20:46Like if it was just... Best supporting actor. No, no, no. What was running against Boyhood or Birdman? You know, one of those years where it's not like, it's not living in our mind as one of like the great squeakers. But Boyhood and Birdman running against each other? Oh, were they? Or was Birdman running against Boyhood? Were they in the same, they were the same year and then Boyhood beat Birdman? I believe so, right? No, Birdman won it. Birdman won. Yeah, I thought Birdman won. No, Birdman won, but it was against Boyhood. Oh, Patricia Arquette won. That's right. Okay, well, that one. or what won the year before?

1:21:26The year before that was 12 Years a Slave. That probably wasn't a squeaker. Which I think probably wanted a walk. What about the Spotlight year? Yeah. That feels like one. What was the leading contender beyond Spotlight that year? People thought the Big Short might go. I remember that. It won PGA that year. Yeah. I remember that very well. Yeah. That feels like the only one that was even close. I guess maybe The Revenant had a lot of support. and then there was the whole Mad Max Fury Road won every single award below the line but was never gonna go I just had to represent for House of R Doom Part 2 you should have been a bigger contender it's very sad Doom Part 2 got the like Barbie treatment right where like we made the sandworm jokes yes that I'm just Ken we are using you yeah to get people to care about this program while not actually acknowledging it I mean Wicked also correct same I thought they actually very smartly the producers did a good job with that Like they reminded us like these movies are actually nominated here tonight.

1:22:23I thought Ariana Grande dressed as the ruby slipper was one of my favorite moments of all time. You know, it was fine. You're out on Ariana? No, as you know, I thought that she should have won Supporting Actress. That's right, you did say that. Yeah, the best performance. What did you guys think about Deadpool?

1:22:42It's a no for me. Oh yeah, he started, he did a somersault or something. What did he do? Was Ryan Reynolds not at the Oscars? No, I think they put him back away. He and Blake did SNL 50 and then went back into hibernation. Interesting. Yeah. Okay. Last question, Bobby. Last question. Let's send these 10 movies in the 2025 Oscars off nicely. Of this year's crop of Oscar nominees, which do you expect to revisit over the years? Which of the past few years of nominees and winners have you revisited a lot? From this year? Mm-hmm. Do you have to? And any notable ones from the last couple of years that you found yourself coming back to?

1:23:19I do think of Nora. I think weirdly it winning hurts it. I know that that's not, you know, 12 Years a Slave is a movie that springs to mind. For you. Okay. There are some material differences. No, but they're both complicated, traumatic stories, obviously in different ways and different modes of history. But, you know, I think when movies win, they sometimes get mothballed. And I know obviously my experience is different than a lot of other people's. I don't think that's true. Like, I think that can be true for something like Coda, would you say? Yeah, that's for a variety of reasons. But I also think, you know, and Tom Quinn said this in his interview.

1:23:56I'll just keep promoting the town, a great podcast. That it becomes a Pantheon movie, and I agree with that. You say it becomes Mothball, but I think forever Anora will be a best picture winning film. And in a way that it could just sort of diminish to nothing if it hadn't won. You know? I mean, there's no objective way to communicate like what is thriving and what is not in the cinematic mind of history. Not this close to it. But I would say things like Banshees of Inishiran is a movie that I rewatch way more than Everything Everywhere all at once, for example. Even though I liked that Best Picture win.

1:24:32Do you want to look at this? Yeah. You just had it up and I was like, okay, I'm going to move this. Here's an interesting exercise. This century, what movies have appeared on the Rewatchables that have won Best Picture? A few. Gladiator. Crash, most recently, with Joanna Robinson. Very deserving. My apologies. When that text comes in, it's really special, isn't it? Yeah. The Departed. No Country for Old Men. Argo. Spotlight. And that's it. So six movies in 25 years. 2017 but 2017 Oscar like Shape of Water winning whatever but Call Me By Your Name Dunkirk Get Out Lady Bird Phantom Thread are all movies that I will watch any day of the week it's when we started this show and we didn't really like we didn't have like the tools to be like what is going on here yeah yeah yeah but it was very special yeah okay 2019 also a lot of a lot of heaters that we were 19 is a great that's the last truly great year in my opinion.

1:25:39I think I'm watching Ford vs. Ferrari on a second screen right now while you guys are podcasting. I know it's true and you got the Irishman queued up, right? Quality films. Sean's heading to go watch Jojo Rabbit again after this pod so we gotta wrap it up. It's incredibly rude. The Brutalist, Nickel Boys, June Part 2, I think you're right though if only to be like where did these worms come from? I think it depends on 3. If 3 is good, it becomes Empire. I think generationally obviously not as big as Empire Strikes Back but it has all of those qualities when you're watching that movie. I would say the top three outside of Anora are the ones that you just mentioned.

1:26:15The Brutalist, Dune Part 2, and Nickel Boys because Nickel Boys has a chance I think to be kind of like a cinephile, historical entrant. If you have children, Wicked. No, if you have my child, a complete unknown. I'll just say that's also contingent on Wicked for Good. I think if Wicked for Good is a smash and beloved and wins Best Picture, it changes it and makes it much more significant. Because, you know, the history of Oz-adjacent movies that are not The Wizard of Oz, a little up and down, you know? I have some affection for them. How dare you besmirch Return to Oz? I didn't besmirch it. I like it, but it's quite scary.

1:26:54It gave me such nightmares when I was a kid. Oz the Great and Powerful, that's your fave? Obviously. The Wiz, you know, people love The Wiz were performance songs from The Wiz on the show. Two Wiz performances. Yeah, that was a lot. That was a poor choice. I think for, just for the Quincy, that's not what I would pick for Quincy Jones is all I'm saying. We forgot that we were watching the show and they played the Austin Powers bossa nova thing. I didn't put together. Of course, that's Quincy Jones. Yeah. You know what I won't be rewatching and I think a lot of people won't be rewatching is Amelia Perez and we get to put that to bed.

1:27:26Do we not? That will actually be mothballed. Yeah. Into the annals of digital storage. Even though it's the easiest to see of the 10, you know? It will become a difficult trivia question years from now. what did Zoe Saldana win her Oscar for? Yeah. I mean, it's going to be a good answer to what has the second most Academy Award nominations in a single year trivia question, you know? But what, I mean, what does it mean to get nominated for an Oscar? That's a question I would like to ask you. I think it's less meaningful or more meaningful than it used to be. I think it's less. I think it's less now that Netflix has shown that you can sort of buy a volume of nominations.

1:28:04You can't buy a win. You can't buy a win, but you can buy a nomination. Yes. So what will you be winning your Oscar for? Our heist film. Oh. Yeah, when we steal the tallies. I see. Very rare the genre gets best actress. Yeah, well, you know me. We'll have artistic flair. The actors are going to be like screenwriter or producer. I think screenwriter, director. Yeah. And editor. Yeah, sure. Yeah, yeah, yeah. it'll be after after I'm nominated in the shorts category for the Odyssey R so yeah but I won't win that one do you think your crew will agree that your natural warmth and charisma will pervade the set of your heist film or will you say you can't sit down no smartphones no water if you're over 40 that's a good question like is that after seven no water after seven it's a gremlin situation okay well this was this was nice you guys thanks for opening for Bong Joon-ho I appreciate it yeah anytime thanks to all the listeners of the show for all the great questions I feel that the email address is working very well Bobby thank you for helping out with that I appreciate it now let's go to my conversation with Bong Joon-ho

1:29:35Delighted to be rejoined on the show by director Bong Joon-ho and his translator Sharon. Thank you so much, guys, for doing this. Director Bong, I thought we could start with the immediate aftermath of Parasite and the incredible success, the Best Picture win, international acclaim, box office success. Did you feel any trepidation about following up that incredible success with a new film?

1:30:17When you list all the accomplishments like that, it sounds like something crazy happened. Of course, it was great, but I actually maintained pretty calm throughout it all. the Oscars campaign has over built 2020

1:30:33and investors who came from and met canceled their world managed to regulate they wereなくed in不召 trail their will be less flexible refer to that, Friday since I was 6 I also was То becoming over was over in 2020, we had the pandemic and the world was forced to go quiet because of it. And in 2020, June, I received the manuscript for Mickey 7. And that's when I started reading and slowly started getting back into the work. I'm curious about this particular choice. Mounting a large Hollywood production of original material is increasingly risky for studios. Did you think about Mickey 17 as what we sometimes call a blank check, where you get to take on a high leverage, big scale opportunity because of the success of your previous project?

1:31:37The gefähralts, sandwiches, trap detectors, I Powell, in 2006, was the first time exc As long as me?... I've started doing something like a monster 장ry and sci-fi also funny like crime thriller deals I've never passed... to be able to save about life ers but I quite am gettin over wedding I'm tutti gumped the work of a 때문에 that wealter from through But I am so interested in American agency in 2006 after the host. And since then I've been getting offers for monster film, sci-fi, and crime thrillers, but I've always passed on those projects. And this was the first time that I've taken a material from someone else.

1:32:33And the reason I took it is... The Mickey's character, the human printing, the sci-fi's main concept, the concept itself is interesting, but the concept itself is really interesting. You could say thatAlignChef is not, because weEm percent, the fact that David was convicted in the view, We got a full-scale ком et alias, which was a design of our player's contribution management, the Agen Project interest is called part 7, just a little drugiej, The Waar's this teacher, DC has decentralized performance, and the feeling of the feeling of the feeling of the feeling of the feeling of the feeling of the feeling.

1:33:20I was also thinking about that. Scale was not a real-life basis. I was really just drawn to the character of Mickey. Of course, there's that core concept of human printing, but I really wanted to focus on the individual going through this technology and the emotions that his story was evoking. And the project was offered by Plan B, who I was familiar with from working on Okja. And so it wasn't really about the scale. I kind of wasn't thinking about that. I was only really thinking about the idea and the uniqueness of the story and all the emotions that it would evoke. With a great novel, people often say you can see it in your head while you're reading it.

1:34:02And you're renowned for storyboards and your storyboarding before making films. I know that you usually do your storyboards after you have a script or even a location where you're going to set, but when you're reading a novel, do you find yourself starting to draw what the film could look like? The storyboard that you use when you're shooting when you're shooting is created after you're created. If you're creating a location shooting or a set piece, you should have a camera set up here. You've seen what we can do, because you just left the track to make the track, so you can 꾸�ivoise this over here.

1:34:43the fact is a pretty great story board and you can imagine 3, 2 and 3 straight width of it.fter, I loved fato when I can script my full merde. It's never a coment. I think there's a lot of people who are creating the creepers.

1:35:08I think there's a lot of people who are creating the creepers. To get the actual storyboard that we're shooting off of, I only start that process after all the spaces are designed. whether that is location shooting or sets that we are building. The space has to be designed to know where the camera will be, how long the dolly track will be. So the specific practical storyboarding process starts after the space is designed. But I do start thinking about the image and the sound elements from when I'm writing the script and thinking about the story without considering the camera. For example, the way the creepers move and how they all roll about on the field, that was an image I started thinking of even before the entire storyboarding process.

1:36:06I was curious about that because the creepers in some ways feel like if Okja and the host monster had a baby and just felt like it was completely born of your imagination. It was a good idea. It was a good movie. It's like a predator. That's a great idea. Maybe like alien versus predators that can be in the background. Bring together. But there are three types of creepers. Baby, Junior, Mama Creepers. Baby Creepers are cute, but Junior Creepers are action. Amadillo is called a song like a song. Turrets, they started flashing leaves so many references. Why did they see the install on these images?

1:36:55Comme diplet boys from immerse. So many things these are chess games,

1:37:06and I think when living on a MD's life in my own life, I never thought of a long way andại cum. These movies 2 than other times I realized types of creepers in the film, the baby, the junior, and mama, and the babies just have to be adorable. And with the juniors, they're in charge of the action of the script. And so we referenced armadillos because armadillos kind of roll up into a ball. And they also have to show this spectacular mass choreography where they're kind of playing cup and balls with mama creeper trying to hide her. That was an image that I started thinking about when I was writing the script.

1:37:44I was watching a lot of animal documentaries to come up with ideas. Mickey 17 has some familiar elements from your other films, especially Snowpiercer and Okja. The terrain, the creature elements. Do you ever worry about repeating yourself with some of these things? Or do you see them more as similarities that are thematic recurrences that are purposeful in your body of work? In music, it's called a dance. That is easy-to-livee מא-de-one, and new experiences that have перемitted, one of the new works, has always been a bit logical in Hernamee, but it is always a fun thing, so I felt something very nice too, and some people like Robbie and Cindy and Tiffany Disney, and Stephen Ian and Danielle Henshel in the middle, It's all about the second time.

1:38:45It's all about the same. I've already done it in Snowpiercer, but this is a car, not a plane. It's a mix and a conflict. I like to think of them as variations. You have variations in music where you have the A bar and the A dash. So it's always a mix of old and new. I think my films have always tried to do that. And so this wasn't that different from my usual approach. I had actors like Rob, Mark and Tony that I never worked with before. And also familiar faces that I was very happy to work with again, like Steven and Daniel Henshaw. So it's always a mix of what's familiar and what is new. You know, we get the snowy fields from Snowpiercer, but this time it's a spaceship and not a train.

1:39:36So I actually enjoy the mix and conflicts that arise from mixing familiar and new elements. I found Toni Collette's character's obsession with sauces hilarious. And revisiting your work, I'm struck by how often people gathering to eat food together, You know, in Memories of Murder, in Parasite, in Snowpiercer, the actual cannibalism. These like setups, people eating together lead to explosive circumstances. There's a great one in Mickey 17. Why do you keep setting these huge set piece sequences around people sharing food? I mean, you're going to have lunch soon, too. We'll have lunch soon. How do you do this every day?

1:40:21There's nothing else that we do three times a day, every day.

1:40:49What do you think of the food snack when Mickey took olması during the universe?

1:41:19and getting served really crappy food.

1:41:49somehow on itongo their deal Know. when Tony Colette was gretting out then source talks about what kind of rebels were they saying it was condition But because of source decision of which is to aku as Hawai Celsius produz what 문명 is How much heれggia think about the story Because that's true that obsession is a really good reason to be the wife of the leader. It's a license. So while everyone is eating that crappy food, we have Tony Collette's character Ilfa just obsessing over a sauce. And the working class characters in the film feel so insulted to witness her obsession. You know, she spends all that time and energy trying to create sauces and declares it as the litmus test of civilization.

1:43:18And it's so pointless to everyone else who's just struggling to survive. To have the dictator's wife obsessed over something so unnecessary is probably what gives her the license to be a dictator's wife. The movie is very frank and funny about sex. And it's an interesting counterpoint to Parasite, where you have this sex scene as this kind of inciting incident for Kim. In this case, it felt more like maybe Mickey is seen as a usable, disposable object in this world. Do I have that right? Is that how you were thinking about the inclusion of that element of the story? Macrofalo character is the first time in the cafeteria, they say that they're talking about the whole community of sex.

1:44:09I'm talking about sex in a way that's how it's controlled. It's like a legalization of a committee.

1:44:17If you remember Mark Ruffalo's speech in the cafeteria sequence, he declares to everyone that he's going to control sex using legal means, and the committee is going to create regulations around sex. But actually, when we talk about the speech, we're like humans, like, we're going to be a monster, like, like, like, like, When I was doing that speech, it was a cross-cutting, a cross-cutting, a cross-cutting process. Mickey and Nasha were doing sex. It's a bit more like a love. They were doing sex with love. It's not a problem of a human being.

1:45:00When he does that speech, he almost talks about human beings as insects, talking about how much we propagate the species and infest the land. And while he's doing that speech, we cross-cut to Mickey and Nasha having sex. But to them, sex is more actually just like making love. It's not just breeding or propagating. So Mickey doesn't mean Chup. He's just a print job or Marshall. He said, he is Kings 6, 7, 8. So Mickey goes into the own Jungle of Chup ,alshier andSphere shipping. Or as we were around the community, Also this is the community self control, and you start coming back after he went flying on an extended promotion of what was the problem, v temat it was real dogs that are as the result of arenorphian distance to the revolution of the

1:46:14It's a way to control the community system, but it's the only moment that we're sharing with Nasha and love.

1:46:24So, I think that's a kind of a point. And so for Mickey, you know, it's not that sequence shows that he's just human. He's not just someone with a job. You know, he's a human living, breathing human having sex with his partner. And so this whole community can try to control that through law. And they talk about putting out this sex enhancement campaign once they arrive. And we see Mickey and Nasha sort of exempt from that and having their own moment of love. And so Marshall is trying to control Eros, sex and love, and also Tanatos, the way people die and live. They're treating bodies and death quite mechanically, as if it can be someone's job to go through that process.

1:47:17And so we have this community and system trying to control the eros and tonitos of human existence. And only Mickey and Nasha, who truly love each other, are exempt from that and can manage to remove themselves from that. And so we see sort of that disparity. And in the climatic sequence, you know, Mickey shouted, C3, and then bring the baby.

1:47:56So C3 was part of, you know, one of the positions that they invented and assigned to each planet. And so in the end, they're fighting against evil and rebelling through sex. You have talked in the past about your admiration for the way Martin Scorsese works with actors and lets them figure out character. Because of this story, there's big performances because these are really big characters. The thing I'm curious about is how do you make sure that the performances all agree with each other? They share the same tone when you have a story like this. Pedro Ahn ו Image notoria these are so interesting sometimes eut истории Wait a minute

1:48:47I think the speaker is only one set editing so is when I think I get bizim

1:49:09It's all about creating that ensemble. But with films, it's like you have so many characters and they're all spread out in different scenes. So, I think it's all about creating that ensemble. But with films, it's like you have so many characters and they're all spread out in different scenes. it's not like you can bring them all together for a theater workshop. But I think what helps is in Korea, we have on-set editing. And so I have an editor right next to me editing as we go. And you can sort of see how the scenes and shots cut together. And you can see the flow of the tone, performance, and narrative.

1:49:49And when you arrive on set, you can sort of watch everything that you shot the day before. And so it's quite helpful in trying to keep or connect the tones together. And I always wonder why they don't do this in the U.S. because it can be so helpful. Is it because most filmmakers can't not shoot coverage and you don't shoot coverage? Cover is not shooting. Just like this and this and this and this. I'm doing the storyboard. When you like to go on the music season song, that he says rock, look how hard you feel about this sort of woman. said anything like that. That was really the difference which I stated as well.

1:50:45I just prefer coverage. Sometimes, I have a certain detectable really and can blame Beautiful Todd's Buttons he mentioned that my method is quite Hitchcockian, and I was quite happy and pleased to hear that. Can you talk about reuniting with Darius Kanji? I was really happy to see this. Why was he the DP on the film?

1:51:48I just had such a great time working with Darius on Okja. The whole world knows how great of an artist he is. But just on a personal level, I always have so much fun with Darius. We're all kind of just like rumbling amongst ourselves. I just have such fun when we're together. We go to eat great food together. And I always miss him. It's the same thing, Darius and Darius were two films, but it's all creature. The movie is almost the main character. The movie is Creeper. But Darius is not the type of VFX. as we always enjoy us, or the James Gray film the Am i Git huent and the pasta of the city of zey of the classic nominees with jedoch unal�ル urban writing which I like

1:53:01...tooking the film. So this is just pure coincidence, but the both films that we've done together featuring VFX creatures both was kind of even the main character, and actually Darius isn't really the type to enjoy VFX. He's actually more like Armageddon Time and Lost City of Z by James Gray, these very classic films with beautiful lighting. But for some reason, he just had to work with me and face all these VFX creatures. And he's not really familiar with it. But I think with this film, he actually got the hang of it and started enjoying the process. So VFX supervisor Dan Glass alliance was doing structure along the way.

1:53:44Also,

1:53:50VFX I had his own eyes.

1:53:57Asp. I think VFX team and Darius has a lot of comments about the VFX team. I think you've been doing a lot of fun with the Creeper. I think you've been doing a lot of fun with the VFX team.

1:54:16Our VFX supervisor is Dan Glass, and I think Darius and Dan had a great collaborative relationship as two artists. They had a lot of respect for each other. And so Darius was quite involved in the VFX process, just really appreciating how beautiful the VFX work was and also was involved in determining the light and color of all the shots. And so I think he had a really great time working with Dan on the VFX of this film. I do remember when we were working on Okja, he was a bit new to all of it and was questioning why things had to be done a certain way. Do you like that work at this point? I've read in the past that you avoid green screen work as much as possible, but this is a very big production that I assume required some of it.

1:55:05How do you like working with this level of VFX in a film?

1:55:25the animation production in a bit, but light screen and green screen would not have no unity. Hudson's was levering shaped monsters, Samsung Hallm Independent directedถ ki to TV Solo This new v effects Plaid woman 31st. I doesn't know You need a green screen We don't need a green screen 2000 person

1:56:17I think I was quite lucky in all of it in that with the host, we were actually shooting against actual Seoul and the Han River that split Seoul. And we just have this monster with the city backdrop. So, you know, there was a lot of creature animation, but we weren't working with blue or green screens. Same with Okja. We have this super pig, but it wasn't like we had actors with sensors on their faces just acting off of nothing. And Mickey was the same. You know, we actually didn't really shoot with a lot of green screens. Of course, we had some with, you know, when we see out of the spaceship window.

1:56:59But with this spaceship, we actually don't have a lot of windows. And so we never had moments where it was just an actor surrounded by green screen, just acting by himself and trying to imagine everything in front of his eyes. So we were quite lucky in the sense that we always had a clear sense of what was the environment of the film. The most challenging thing is the two Mickey's, one of the scenes. It's like fighting each other, and fighting each other, and the other thing. If it's just a little bit of a 0.1 second shot, the drama storyline itself is broken. I'm a very careful. The most challenging VFX element was definitely the two Mickey's.

1:57:42We see the two Mickey's together in one shot frequently, and they fight, they have their arms around each other, there's a lot of interaction. and we couldn't allow like not even a single, like a split second of awkwardness. Otherwise the story would just completely fall apart. So we were very sort of careful and meticulous with that whole process. Speaking of Mickey, Robert Pattinson is an inspired choice. He's very good at being both goofy and desperate, which Mickey needs to be. What did you see him in that made you think of him for this part? That's your choice. SaPD The Brothers Br uni last year, was an old school, one hadoulen Tom SarandonnightAL Jkanak and theھیک Edgekin tä شtoch Y deux times to decide Robinson I Rutten ANDREW It's not all that.

1:58:39I've been doing a lot of research films like Othello and the producers. So I've had a good feeling of playing with a lot of fun. So I'm good friends with the Saptee brothers. I first met them in New York when I was making Okja and then I met them at Telluride when we were doing Parasite. And I watched their film, Good Time, and realized that Robert Pattinson, we were only seeing very little of him. And there's much more to see from him as an actor. And I know that he was doing a lot of experimental work with auteurs. And I could sense that he was quite an ambitious actor. And I watched The Lighthouse in the Cannes Film Festival, directors for tonight.

1:59:28And then, that's 18, Mickey 18. That's a crazy guy. So, 18 can be good at all. I think that I can do it again. I think I can do it again. So, with this project, I sort of looked back on the lighthouse and just thought, Oh my god, that's 18 right there. He's totally crazy, the character that he plays in the lighthouse. This is the first choice I wanted to play for you. Rob wanted to do that part of it. There were no step in that, R.I.B.이 Batman. Twilight or 2. бесп-dovian persona It was like a circus. I have Xu Quinn headed for aтом Ist person. My aggressive name 비cu vungen tripod he is the same as уч Coopie.

2:00:23Arabi would ban on the social side?

2:00:26I was sisters who would commit me to Hillary and Pete take advantage of him multiple times and yet still hang out with him. I kind of just got that sense from Rob. He's really, really well cast. You've mentioned that John Carpenter's The Thing is a big inspiration for this movie. When you say something like that, are you actually going back to look at the film before you start on this film? Or is it just an idea that you have implanted? Finally, when you first discuss the movie, in that situation are probably a lot ofうんes you can't go out about, really well. Thank you. 사이파이의 걸작이기도 하지만 좀 더 광범위한 개념이라는 생각이 들고요 전 την 장기 privacy 작품을 만들어지는 건 방송 Algun의 리�SPD 조 compress을 통해 핵소ẹ지 기술의 제풍이 도발 중 곡이 그前의 기술의 달성 가능성 having written it in the top 10 시가 본선 prove 만약 매ung 유지 촬영으로 구체적인 레퍼런스나 실용적인 필요에 의해서 다시 꺼내 보게 되는 영화 같은 건 의외로 얘기치 못한 영화들인 것 같아요.

2:02:21예를 들면. 그래서 이 프로젝트의 특징의 특징을 알아보는 것과 제가 특징을 알아보는 것과 미키 17의 특징을 알아보는 것과는 정말 놀랍게 생각합니다. 예를 들어, 케빈 코스튼터의 댄스와 울프의 댄스 그걸 다시 꺼내봤어요. 왜냐하면 크리퍼들을 돌진할 때 지축을 울리는 바이슨의 소리 같은 거 어떤 사운드였지? 그게 그 사운드를 다시 듣고 싶어 이런 생각이 들거든요

2:03:07존 카펜터 영화에서 되게 반복되는 그런 거 있잖아요 보면 그 Assault on 13th Street나 아니면은 프린스 오브 다크니스도 그렇고 더 싱도 마찬가지네 어떤 일군의 그룹의 한 그룹의 캐릭터들이 고립된 어떤 한 장소에 다 모여 있고 그 외부를 다 이제 사악한 존재나 괴물이나 이런 것들이 둘러싸고 있고 거기서 그 안에서 분투를 벌이고 더 싱은 내부 안에서 또 몸의 안쪽에 돼버리는 케이스이긴 하지만 그런 식의 시추에이션을 좋아합니다.

2:04:15하지만 저는 정말 좋아합니다. 미키 17의 희망한 영화가 어떻게 생각나요? 모든 영화의 후에 생각해보는 것 같아요. 이게 정말 혐의롭고, 혹은 안가? 상대적으로 가장 희망적이지 않나요? 그리고 미키가 파괴되는 걸 보고 싶지는 않더라고요. 주인공들을 좀 잔인하게 다루는 데 있어서 제가 거침이 없었거든요. 그런데 이번에는 좀 달랐어요. 미키가 좀... 랍이 그렇게 되는 건 좀 싫은 거예요. 처음 시나리오 쓸 때부터 그러긴 했었어요.

2:05:10아들이 미키 나이가 돼서 그런 건지 뭔지 모르겠는데 다음 작품에서 다시 또 잔인해질 것 같아요

2:05:20롬이� affirm которой

2:05:25롬요 좋은 친구lud 강호가 Bootst pasolia

2:05:44어제만авно 잠깐만요 авно 잠깐만요

2:05:50아주 간단하게 아름답다.

2:06:11옛날 영화인 것도 상관없는 거죠?

2:06:18그 아니요 메모된 게 있는데 그 quite recently I watched 하마구치 리우스케 악은 존재하지 않는다 그거 되게 아름다웠고요 그 다음에 월리스 그로미 넷플릭스의 신작이 나왔다길래 옛날 거를 다시 봤어요 단편을 And I heard about the new Wallace and Gromit on Netflix. So I went back to the old, old shorts. Long Trouser. 역시 걸작이더라고요. Yeah, true masterpiece. We love the Long Trousers. That's a great one. Director Bon, congrats on Mickey 17. Sharon, thank you so much. It's so nice to chat with you again. Really appreciate it. Thank you. Thank you.

2:07:13Thanks to Bong Joon-ho. Thanks to our producer, Bobby Wagner. Thanks to Gahao for filling in for Jack Sanders today. Thanks to Joanna Robinson. Listen to you on the Prestige TV podcast covering The White Lotus and Severance and sometimes The Pit and what else? House of R is a show that I do. I was just going through Prestige shows. You're on House of R. Yeah. You're on The Rewatchables sometimes. What else? The Big Pic. The Big Picture? Yes, definitely. Ringer NFL Show. Ringer Gambling Show. Against All Odds. You're on Sports Card Nonsense. It's true. Amanda, you are starting a new politics podcast, which we're really excited about here at the Ringer.

2:07:57I can't wait to hear that. You're on Jam Session. Yes. What else are you on these days? Just trying to keep up with you, Sean Fennessey. Well, thanks for all your service. We'll see you next time.