Directors

[00:00:00] Speaker A: Foreign. Welcome. Thank you for joining us on another exciting episode of Men of a Certain Five. At least we hope it's exciting. I am your host, Brian Parks, and I'm joined by my co host as always, Phil Rizzo. Phil, say hello. [00:00:24] Speaker B: What's going on, man? What's happening, Bomber? This is. It's fun to be back. Doing another. Doing another Men of a Certain Five with you. Always fun. [00:00:32] Speaker A: You know, it's funny because we just had Matt de Regattas on here with us. That was a lot of fun with the wrestling one last time out there. [00:00:38] Speaker B: That was. [00:00:39] Speaker A: Gotta have. Gotta have him back. Gotta have some other guests. That was a lot of fun doing it with three different people. Well, three of us. I can't do math, but yeah. You know what I mean? [00:00:47] Speaker B: Yeah. I mean, technical issues aside, which we will clean up for next time. It was fun. It was fun. More of a dynamic, especially, you know, you and I taking a back seat to Matt, who knew so much about wrestling. You know, we were just kind of along for the ride there. But that was fun. And a lot of people been getting some good feedback about that pot. A lot of people found it interesting. [00:01:05] Speaker A: It was fun, too, because I kind of like how Matt, you know, was stuck to his guns about the way he wanted to do it. Because I'm sitting there like, at first I was like, what the hell does this guy want to do? He wants. He wants us to go. Then him like. But I loved it. It was awesome. He was like, you guys go. And then I'm just gonna do my whole thing. And I was like, that's fuck. And I love that you realize that's the way I want to be with you. Like, free willy, willy nilly, you know, screw it. [00:01:24] Speaker B: Yeah. And then he went from his 1 to 5, which was different. You know what I mean? [00:01:27] Speaker A: Was interesting. [00:01:28] Speaker B: But really, I. He kind of talked about all of them at the same time. Really? Like, you know, everything sort of infused all the other, you know, ones he did. So made sense to me. It's kind of fun. [00:01:39] Speaker A: Well, you know, now we're gonna go from the world of wrestling there to U.S. wrestling. Getting five guys in this list here, which was impossible to do here. We're going best. Or at least now we're doing favorite here, right? I went favorite. I don't know. Is that what you did here or. [00:01:53] Speaker B: Pretty much, yeah. I mean, it's. It's my top five directors, like, you know, I assume that's how you rolled too. [00:01:58] Speaker A: Our top five favorite directors. Yes. Let's direct let's put it like that. [00:02:03] Speaker B: Tough one, dude. We've been texting back and forth. We don't really reveal our lists, but, man, this was tough to do. This was. This might have been the toughest five so far. Even tougher than the. Than the Bugs Bunny. [00:02:14] Speaker A: I think I. I have to agree with you there. You know what it is, too, is that because, like, almost like we said with Bugs Bunny, where you could have put like 25 episodes into the five. Really, you know? Yeah, maybe even. Maybe even more than that. But, like, doing this list with the directors, I was going to say to you before we hopped on here that it reminds. I see how tough it is with the Oscars. I mean, you think about when they pick even something like Best Picture or Best Director, you know, they never really get into comedy with that. You know, you never really get a lot of horror in that right now. So we're kind of wrestling. I had to go back to the wrestling term there, but. But, you know, a lot of different genres and trying to squeeze them all into five, very hard to do. So I feel like there's like, you know, 10 guys you'll have to leave off the list, or girls or. You know what I'm saying? Like, there's a lot of leftover there. [00:03:00] Speaker B: So true. I mean, so true. That was one of the most frustrating things, is that, like, there were. There's so many honorable mentions. And, you know, I'm happy with my five. I'm sort of happy with my five. And it was a combination of, you know, me, my personal tastes, what they bring to movies in general, you know, and just kind of how that director and the films have influenced me growing up and over the course of my life, so. But at the same time, I really wanted to talk about some of these other directors that didn't make the list, you know, and if I mentioned, you know, if we talked about every honorable mention that, you know, we had on our list, I'm sure we'd be here all day, so. [00:03:38] Speaker A: Well, that's why we probably should limit that section. You know, definitely talk about those guys for that. You want to. For a while. But I think we should not, you know, not name all 10 or not all 15, I guess. I don't know. [00:03:48] Speaker B: You know, I cut it down to 3. Believe it or not, I cut it down to mention. [00:03:51] Speaker A: Nice. [00:03:51] Speaker B: And only one I want to talk about a little bit because it was the closest I got that was. I gotta say, my list is a little vanilla. It's a little. It's not Boring. I mean, I'm not gonna not put somebody on the list because I think, you know, everyone else is gonna put them. You know, I'm not gonna not mention somebody because they're obviously on there. So. Yeah, and I didn't parrot sketch anybody. I just said, you know what? Let's just. Let's just bang it out. [00:04:19] Speaker A: Yeah. Yeah. [00:04:20] Speaker B: So, yeah, like I said, I'm happy with the five I have, per se. But I thought it would. I thought my list would be a little more surprising and interesting, to be honest. You know, but we'll see. [00:04:31] Speaker A: I'm curious, actually, because I'm trying to think of, you know, because I was thinking about this now because it's kind of fun to think about, like, after we've done some of the Bugs Bunny and Dappy Duck ones there. Well, and we didn't do this with Bugs, I don't think, in the beginning, but trying to guess how many things we'll have. Trying to guess how many think we're at the same here. I. In my mind, I have a guarantee we're going to have at least one. The same. I was going to say possibly two. I don't think it's any more than that. That's my guess on that. [00:04:54] Speaker B: Well, I'll tell you what. I would imagine that three. I would imagine two of my directors won't be on your list. I don't think you're as into these two directors as I am. So that limits the possibility to only three. [00:05:10] Speaker A: Right. [00:05:10] Speaker B: However, that being said, there is a chance that we could have three in common. I don't know how much you like this third person I'm thinking about. I also don't know how you kind of made your list. Like, I know we talked about, you know, just best directors, but you mentioned [00:05:22] Speaker A: yours, and I of went with mine. You know, it's such an interesting thing to think about when you think of the directors, because you're. It's funny, you think about how many movies you've seen in your life. You know, then to think about a director that you've seen a lot of is a very unique thing. I think it's like I was trying to think of movies I've seen. Like, I've seen, like, for example, I'm just going to put this out there. Star Wars. How many times have we seen that in our life? You know, I mean, sure, but someone like Lucas, you know, I'm like, as many times as I've watched, even just the original movie alone, you know, he's not gonna make the list, you know, I'm saying. But, but so I, but I did go with a lot of guys like these five guys. I've probably seen their movies more than any other five. The next five or after that. I'm just saying. Not that I've seen all of their films. Some of them, I probably seen almost all of them. But just the amount of times I've watched the, I mean, they have. We're talking about some of the. My favorite movies. Like you said, they kind of encapsulate me in a lot of ways of my life, growing up and everything. Like, kind of like you were saying about your list. You know, I think that's what most people do when they pick their. It's like, you know, the ones you go back to, the ones you, that you hold to your heart, the ones that are easy peasy, you put them on the background, whatever, you know, I mean, I'm not described, but you know. [00:06:32] Speaker B: Yeah, you know, I'll tell you what, I guarantee there's two that are on your list that aren't on mine as well, you know what I mean? There are two, I think at least that are on your list that only have my honorable mentions. Only because I'm just not as versed in them [00:06:48] Speaker A: the other way around. [00:06:49] Speaker B: Yep, probably. Yeah. So. So I'm curious to see, to see where we land as far as this goes and where the conversation go. It's, it's an interesting topic and it was a tough one to narrow down. But you know, let's, I don't know, let's talk about it. But listen, first, check us out, check out our social media stuff. We're trying to put more up there every day. Tick tock. Instagram threads at Men of a Certain Five. That's the number five. Or shoot us an email that's Men of a certain 5. F I v e gmail.com let us know what's going on. We'd like to hear from you. And yeah, like I said, we're going to try to get some more content on there so people can go on and check out what we have. Check out our pods, blah, blah, blah, you know the deal. And yeah, hey, and a shout out to Andrea and Chris who I know are checking out our pod. They've been digging it. They were told. I saw them for the first time in a while and they were telling me how much they liked it, so, so that's fun. Andrea, Chris are checking out our pod. Thanks guys. Appreciate it. Love you. You getting some, some personal feedback or what from? From some peeps, you know, or, like, you hearing anything from your friends, you know, family? [00:07:56] Speaker A: I will. I definitely have a few. There's a few more. I got to get more involved here with some of these people that I know. I'm getting feedback and seeing if they're listening to this damn thing. But I have to say, my buddy Steve, little Steve from. Who lives down in Virginia now. I'm sorry, North Carolina. He goes. He texted me just this, this quote. He managed all of us, which was from the wrestling podcast. I was dying. [00:08:20] Speaker B: I was like, manager of mankind. [00:08:23] Speaker A: So shout out to him. I know he's listening, having a good time. I know he's all involved. The World cup right now. He's in Eng. Born in England, but a US citizen. So he's all torn there. He's rooting for both of them. But, yeah, shout out to Steve there. He's checking. [00:08:34] Speaker B: That's funny. So on Thursday night, I know Luke is coming over here to record. Folks, if you're. If you're into some sci fi, you want to hear something different? Besides the top five, we also do a podcast called the. The Star Trek Warp Top 10 podcast. It's a Star Trek podcast. You can check it out. And our good buddy Luke is coming over on Thursday night to record an episode. His triumphant return to the pod. So awesome. I don't know if you're gonna jump on there or not, but, you know, obviously. Feel free. And we'll talk about some track as well. [00:09:04] Speaker A: I'll see if I can make it. [00:09:06] Speaker B: Well, all right. Do we want to kick this off in here or what? [00:09:10] Speaker A: All right, now, how do we. I forget you're always very good at remembering this. As far as, you know, do you want to kick this off first? I go first. How do we have. I usually alternate. I know. [00:09:19] Speaker B: Well, the wrestling one, I feel like. I feel like I went first. Okay, so you go ahead and go first. [00:09:26] Speaker A: All right, well, we're gonna get right. Well, I'll tell you this right now. We're right out of the gate with a curveball here that I know you're probably not going to see coming here, but. [00:09:33] Speaker B: Okay, so this. So this is. This is Bob. This is our top five directors, folks. All right? And Bomber's going to kick this off with a curveball. I can't wait to hear what this is. [00:09:43] Speaker A: It's going to be a curveball. You know what it is, is that I got to tell you now. I don't know. Are you a big reader? We talked about this. I Know, you know, at certain points [00:09:50] Speaker B: I'm a moderate reader. I like readers. [00:09:52] Speaker A: Yeah, I would say, I guess I'm probably a moderate reader. [00:09:55] Speaker B: Four books a year kind of thing. [00:09:57] Speaker A: Yeah, I'm right there. My brother and Alison, they murder books left and right, but. But I mostly read biographies, believe it or not. [00:10:05] Speaker B: And. [00:10:06] Speaker A: And two years ago I read what I think is, if it's not the best biography I ever read, it is in the top, whatever. Because I was in love with this thing. And just the title alone is something that I feel like you don't really think of when you think of this guy. The book was called Buster Keaton A Filmmaker's Life. And I was like, you know what? I read this book and I was like, you know, I guess I never really appreciated him as a director. So I got to put Buster Keaton number five. I got to do it for me. I know we're going right out of the gate with a little wackiness. Somebody's probably driving off the road like, are you going to include silent morons here? You know what I mean? But I didn't think he was a director. That's what I'm saying, you know. Now he only directed probably about. I'm trying remember how many films now? Maybe 12 or 13 feature length films. And then, and then he also did like, you know, a lot of shorts, probably like, you know, 20 or 25 short films, maybe even a little bit more than that, you know, but. And of course a lot of these are silent era. They're actually, I think, I think every film he directed was silent. But in fact, because in reading the book and everything they talk about when, when, you know, after Jolson makes the Jazz Singer and sound films are coming in and everything, these guys are trying to figure out, you know, what to do, you know, how they're gonna move on and everything. And he actually, he had his own production company and everything. He was making his own films. These like talk about the control that these guys had back then when, when people didn't really have control. You know, these silent guys, you know, had some of these comics, had this, you know, and Harold Lloyd and Charlie Chaplin both told him it kind of advised him to. Not. Because eventually he wound up signing with MGM to be a. To work with mgm, but. But underneath, underneath their umbrella kind of a thing. And both those guys advised him to not do that because he would lose his creative control. And that's exactly what wound up happening. And he became an alcoholic and then he lost his. They wanted firing him and everything. He wound up going back into like doing, you know, I mean, he started a long career and it was still fine. But his, his, his genius that he was as a filmmaker was definitely, obviously during the silent era. That's when everybody would know him from. Yeah, I wish he would had a better chance to make his own films in the sound era. But also, you know, you know, but for me, it's just like the films that he made, you know, the ones I've seen over and over. I mean, I've talked to this part many times about Sherlock Jr. I mean, it is just genius stuff in there. And you know, the General is a movie that I've come to love more and more. When I, when I was younger, I didn't really appreciate it. Now I watch it. This thing is unbelievable to see, you know, and as the, as the big train crash, it's the most expensive shot in the history of silent movies. Was him filming this train crash in the General. [00:12:41] Speaker B: Is that right? [00:12:43] Speaker A: And, and he's also got the movie Steamboat Bill Jr. Which has the famous scene of the house falling on him with the window open. [00:12:48] Speaker B: Yeah, sure, yeah. [00:12:49] Speaker A: How many times has that been done? You know. [00:12:50] Speaker B: Can't believe he did that though. Like the actual stunt, like, that's crazy. [00:12:55] Speaker A: A lot of his films, all the stunts he does, this guy. And it's amazing the stuff that he did and it's. And all his films that he has seen, all of them now, except for the first one he did was called the SAP Head. But it wasn't really his movie. It was like, you know, wasn't written by him or whatever. I'm kind of curious still to check it out. But all of his movies have this kind of same idea of. It's kind of a slow start. You're kind of seeing where the story's going and is. You know, there's a lot of gags. But then the ending of his movies are just. No one has better. They are like a. It's gag a minute, you know, laugh out loud. Like it's just fun. It's just joyful, joyful stuff. And the images he has and you know, I. I really don't know how to describe it. He. He had. He had such a unique thing that is just. It's so. It's such a near and dear to me personally watching it, where I'm like. And again, you always think of him as a comic. You don't appreciate the one that he's actually creating the whole thing here. You know, the shot and the movie called the Cameraman. [00:13:53] Speaker B: No idea. [00:13:53] Speaker A: So, yeah, I just saw this movie the Cameraman recently, and I'm watching this thing. Like, I can't believe that this guy put this. There's. There's like a Tom War I'm gonna describe. It's like a big B in the. In the film. In the middle of the film. And I'm like. And he's. There's like chaos in the whole scene. And he's, like, filming this thing with him involved with some gags with a little monkey and everything. And I'm like, how did he do all this at the same time? It's. I'm like, you watch some of these silent movies, I'm telling you. And you're like, I don't know how the hell they did this. And they're all. There's like a magic to them. And I know some people aren't really into the silent thing, but if, you know, I know I tried to throw some your way, you know, but, you know, I'm telling you, there's something to this that is just. It's just an unbelievable to. I marvel at what this guy did, you know, Really? [00:14:34] Speaker B: I mean, I love Sherlock Jr. Like, I saw that one. Listen, where do you. Where can. Where can someone in 2026 watch some of these silent films? Are they on, like, To Be or. [00:14:43] Speaker A: It's funny you said that, actually. To Be has a lot of the Keaton ones on there. Yes, To Be is definitely. You know, I'm trying to think what they have on there. I think they even have the cameraman on there. I watched the Criterion. Allison got me a Criterion, One of the cameramen. So I had never seen it. So I'm like, I want to watch it, like, that way, you know, But. [00:14:58] Speaker B: But. [00:14:58] Speaker A: But, you know, obviously you can probably get DVDs of all of these, too. But. But yeah, as far as the television, I mean, yeah, some of them you could buy on certain apps. I don't know if they have all of them available. Some of them maybe even on YouTube. I watched a lot of. Later on, he did some sound Columbia shorts, which are fun to watch as an actor, not as a director. But. Yeah, but. But, yeah, definitely. I'm trying to think what I know To Be has the camera, has the cameraman. It might have steam ball Bill Jr. I'm trying to think what I've. What I've seen just flipping through there on there seven chances. [00:15:27] Speaker B: I mean, IMDb or just watch will have. You know, I was just curious if you knew, like, if there was like a Source where, like, they had a lot of good silent films available. [00:15:34] Speaker A: Yeah, that's a great question. And there's a lot of Fugazi apps on there, too, on the TV that I'm like, I don't know. I don't know if I trust some of these. But, you know, even some of the short films he did, I know it's not really a feature, but there's one called One Week, which is just unbelievable. And he has one called Cops, which is famous with the cops chase him all over town. I don't know. It's like that image in Raiders when he's running away from the natives in the beginning of the movie. Yeah, the shot of that. There's a similar shot of him in Cops where he's just running away from the cops. It's. It's. And some of the physical stuff in there, the stunts that he does, it's really. I'm telling you, the guy. I mean, all around. I think the guy is obviously unbelievable. He's. You know, but. But, you know, I don't think he gets the credit. That is kind of like. What I liked about this book was he doesn't get the credit as a director that I feel like he should have, because it is what he did, man. Again, those movies, the General Steamboat Bill Jr and Sherlock Jr alone, how many times I've seen them in my life, is insane. So I got to say, you know, I gotta put Buster Keaton number five. So I went on a long tangent. This is gonna be a long pod. What can we do here? [00:16:34] Speaker B: Hey, what are you doing? We're talking about a good topic here. That's great. [00:16:37] Speaker A: You know, he. I know he had Jackie Chan always kind of credited him for, you know, a lot of the stunt and especially the comedy stunts that. That he put in a lot of his films. And, you know, I could totally see that. Yeah. Because. And it's funny because I don't know. Even if Jackie Chan. I don't know if I. As much as. I don't really know much about him as far as being a director, but I'm sure he had a lot to do with directing a lot of those action scenes, which is Buster Keaton, you [00:17:03] Speaker B: know, I know he worked with people, but he definitely was involved with this on choreography. Absolutely. [00:17:08] Speaker A: Yeah, yeah, yeah. [00:17:09] Speaker B: And there's. There's a certain. And there is, like, a certain innocent, like, earnestness about the way he acts during those action scenes that I could totally see. He got from, like, you know, Buster Keaton and, you know, sort of early silent film kind of stuff. You know, he's very. There's always a very innocent performance with Jackie Chan, you know, like, he's never aggressive. Most of his, you know, he's mostly doing things. He mostly doing it because he has to, not because he wants to. You know, when he's in these fight scenes, you know, it's kind of interesting. [00:17:38] Speaker A: Right, right, right, right. Yeah. No, that. I think that's why I kind of always gravitated towards him more than some of those other martial arts guys. Because there's a comedy and. And like you said, maybe an innocence to it. There's a charm. There's a charm to it, basically, you know, 100. [00:17:50] Speaker B: So true. [00:17:53] Speaker A: But, yeah, so, I mean, I could go on and on here, but we want to keep this thing rolling. But if anybody has a chance, if you haven't seen a lot of his stuff, please do. If you have, please send us an email. Let's bullshit about Buster Keaton here a little bit. I want to. I could talk all day. Really lovely guy. [00:18:05] Speaker B: No doubt. Fun stuff. [00:18:08] Speaker A: All right, let's, let's. I'm curious to see what your number five is here, sir. [00:18:12] Speaker B: All right, well, we're heavy hitter coming out for number five, so let's just break it out. So Martin Scorsese is my number five. [00:18:20] Speaker A: I gotta be honest with you, this is a shock. I thought it was gonna be way higher for you on this list. [00:18:23] Speaker B: All right, you know what? Me too, me too. But I. Yeah, I mean, that's kind of where he landed. He could have been four, maybe even three, but definitely not higher than that. Not for me anyway. So, yeah, listen, Scorsese. And look, I want to preface all this by saying I am not a student of film. I'm not like an academic when it comes to film. Like, I just kind of, you know, roll with, you know, whatever I kind of roll with now. I've seen more movies than anyone I've ever known. [00:18:53] Speaker A: And you have. More than I've ever known myself. [00:18:56] Speaker B: Yeah, I mean, I've. I've just. I've been watching movies non stop since I was. I could open my eyes. So, you know, I do have a Rolodex of references in my head and all that kind of thing. So again, I'm not a student of film. I just want to put out. Put that out there. But, you know, anyway, that being said, everything I say is kind of an opinion anyway, so who cares? So, Martin Scorsese. Yeah. [00:19:14] Speaker A: Yeah. [00:19:14] Speaker B: I mean, I don't know if you could be alive in the 70s, 80s and 90s and not be heavily influenced. You know, be a movie fan and not be heavily influenced by. By Scorsese. You know, he was a part of that great, exciting, you know, sort of branch off in the 70s with all these young directors are kind of coming up and changing what film could be and what film was, you know, the early era. Scorsese with the mean streets, Taxi Driver, you know, all that good shit. You know, his relationship with De Niro, it's. There was some magic there early on. You know, a lot of people cite Goodfellas as his masterpiece. I love Goodfellas, but, you know, I kind of think that movie falls apart in the last 20 minutes or so. I think that keeps it from being a perfect film. [00:20:03] Speaker A: A lot of people, I've always agreed I was developed was a little too long, but again, not taking away from what it is. It is just genius moments in it. And it's got classic scenes, which we all love, of course. [00:20:13] Speaker B: And it's. And it's a. It's a not like a watershed moment for film, but it's certainly one of those iconic films that is always going to be talked about as far as, like, you know, sort of just the influence that it had not just on films, but on, like, you know, popular culture. But I think Raging Bull is one of his masterpieces, if you ask me. [00:20:32] Speaker A: No doubt. No doubt. [00:20:33] Speaker B: Yeah. I mean, that. That movie just absolutely blew me away. And I'll tell you what, like, the more I watch it, a lot of people are gonna hate me for this, but I think Gangs in New York is up there too. Like, the more that I watch Gangs in New York, the more I like. I pre. I've seen it so many times. It's a surprisingly rewatchable film. And. And I've seen it so many times. But, you know, Scorsese, I mean, we all know he has a style. You know what I mean? You know, you're watching a Scorsese film when you're watching it. If. If the, you know, the editing is not frenetic or the violent is not palpable. You're hearing, you know, Give Me Shelter by the Rolling Stones. So, you know, it's Martin Scorsese, Mo. So he's. He's. A lot of directors on this list that I have do have their touchstones. They like what they like. They put him in the films. They're unapologetic about it. I like that. You know, again, like, he made about, I want to say, at least nine or 10 films. With de Niro. And most of them are, you know, home runs from. From, you know, Mean Streets, Taxi Driver, Raging Bull, King of Comedy, Goodfellas, you know, Kate Fear, like, just throw him out the casino. There's a million films he did with. With Robert De Niro, you know, who I think is one of the greatest actors of all time. And, you know, there's always magic there, but I love the idea. You know, I like that he works with a lot of different actors. I like that these actors want to work with the director, which is, of course, one of the benchmarks of a good director. Rather, like every director on my list, actors want to work with them, not the other way around, you know, so I kind of like that. But, yeah, I mean, listen, what can I say about Scorsese? Like, he, you know, growing up, you know, watching films, devouring films like I did, you. [00:22:11] Speaker A: You. [00:22:11] Speaker B: You kind of couldn't avoid watching some Scorsese films. They're real, they're gritty, they're down to earth. You know, he speaks from, you know, what he knows. And that comes across the hyper realism of some of those characters. And some of those films are. Are just. They're infectious and they're fun. Like, his sense of humor is great. Now, now, granted, he's not writing all these films, you know, it's right quick Sedway Segue. The only one of my directors is a writer director. I thought there'd be more. I thought I'd have more of those writer directors on this list. I only have one. So that's. That's. That's important to note, I think, especially when we get down. Down the list later. But, yeah, you know, he finally got the Oscar with Departed, which is probably, you know, one of his top five films. But certainly I wouldn't say not as bad. I would say Goodfellas is better than Departed. I'd say Raging Bull's better. I would say Gangs of New York is better. [00:23:06] Speaker A: Yeah, I agree, definitely. [00:23:08] Speaker B: But, yeah, you know, what else can I say? Scorsese. And he's a fun actor. I. I've only seen him a couple things, but I always think of Quiz show came out in 94. Like, he had a small part in it, but he was very, very good. He was pretty much, you know, Martin Scorsese as Martin Scorsese playing somebody else. So a lot of fun. But, yeah, wow. What can I say? I'm sure we'll talk about him again at some point. But number five, Scorsese, he actually just [00:23:34] Speaker A: did a voiceover in the Mandalorian Grogu movie. [00:23:37] Speaker B: Really? Did he? [00:23:38] Speaker A: Yeah, yeah, yeah. Interesting. Yeah. [00:23:40] Speaker B: Marty. [00:23:42] Speaker A: Yeah. No, you know, actually, there was a documentary on him I watched on. What the hell was it called? I think it was just called Marty. Maybe it was called Mr. Scorsese maybe, or something like that. Like it. If you haven't seen it, it's two parts. I forget what the whole channel I watched it on. [00:23:53] Speaker B: But it's also important to note that I didn't take TV into consideration with any of these directors because Scorsese, like, you know, he produced Boardwalk Empire. Like. Like a lot of these directors are involved with television. They direct a lot of things, too. Yeah. Especially my number. I want to say four. You know, he does a lot of tv, so I did not include them or consider them when making my list. Just. Just throwing it out there. [00:24:18] Speaker A: Yeah, yeah, yeah. No, I understand. That's. But you're right, there's a lot of. And it's funny, like, I've always been fascinated or interested in Martin Scorsese, especially because of the. He. He's one of these guys that, as you. As you probably a lot of these directors are. Is that they're like film nerds. Like, he. He is. He really knows especially old Hollywood compared to now and. And, you know, the history of everything. And he. He. I guess it's funny because a lot of his movies aren't movies that I kind of go back to, but it's not, because, like you said, he has his own style. And it's like, you know, not really a world I. I tend to gravitate towards. I mean, you know, like something like Taxi Driver. I first saw it for the first time. Like, I don't even know what it was two years ago. Whatever. I hadn't. I didn't grow up with the movie. [00:25:04] Speaker B: Yeah. [00:25:05] Speaker A: And I appreciate the movie for what it is, definitely. I see the genius behind it. But I'm like, you know, I don't know. I need to get away from that for a while and, you know, put on Bugs Bunny or something because I'm like, what the hell are we doing here? Right. [00:25:15] Speaker B: Well, that's interesting, too. Like, rewatch value was a factor for me as well, now that I think about it. Like, a lot of these films, of these directors, I did watch a lot, you know. [00:25:26] Speaker A: Yes. [00:25:26] Speaker B: So that's always a factor for me. Like, you know, that. That me is one of the earmarks of, like, a good director is if they keep me coming back, especially with movies that, like I said, don't seem like they should be rewatchable, but yet are, you know, Raging Bull shouldn't be a rewatchable movie. But it is, you know, Right. You know, it's. It's just kind of that compelling. [00:25:47] Speaker A: Yeah. It's funny. I don't know if I ever saw you shout out to my buddy Gary Martens. I don't know if he's listening to this at all. I have to see if Gary's listens to the pot at all. But he's the one that told me. He's like, I'm not a re. Watcher. I don't rewatch movies. I see it once and. And I move on, you know? Yeah, I. I think about me and you, like, the amount of movies we've already seen. Imagine how many more we could have seen if we didn't read. Like, if I didn't want to watch Sherlock Jr. 900 times, maybe I could have seen all of Scorsese's movies. You know what I'm saying? Like, you know, it's so true because. [00:26:15] Speaker B: And yet. And I swear to God, there are studies I'm not, you know, this could be all bs, you know, just social media, but there are studies that people who re. Watch things have a higher IQ than people who don't. I have no other information there. I just wanted to say that. Agree with it and move on. [00:26:32] Speaker A: I'm gonna say it's 100% true, and we're gonna, you know, pat myself in the back and move on. What are we doing here? [00:26:37] Speaker B: There you go. All right. Speaking of move on, let's hear your number four. Go for it. [00:26:42] Speaker A: Yeah, well, I. I know you knew I was gonna have this guy on my list, and I know I tend to go old school with a lot of stuff. I'm an old movie fan. What? I can't help myself. But number four for me is gonna be Frank Capra. We got one of the ones. [00:26:53] Speaker B: Awesome. [00:26:56] Speaker A: You know, it's one of these things that's like, you know, I'm trying to think of. There was a great documentary about Star Wars. Actually, speaking of Star wars was beyond. Behind the Empire. Beyond the Empire. Empire dreams. You know what I'm talking about? [00:27:07] Speaker B: Oh, Empire dreams, sure. Yes. I don't know. [00:27:10] Speaker A: And one of the guys on it, I forget his name now. They were BSing about the movie when it came out, and he was like, you know, they were like, wow, who the hell made this? Like, you know, you know, it was, like, so exciting. You wanted to find out what the deal was, you know, and, you know, I. I Didn't grow up watching Frank Capra movies. We were watching, you know, the Three Stooges and mostly comedy stuff, slapstick stuff and, you know, gangster stuff and, you know, horror, Universal horror. But I was definitely older when I saw It's a Wonderful Life for the first time. And I remember I went to my mom, I'll never forget this, and I said, I want to ask you a question. And I said, this is exactly what I said to her. How the fuck did you let me go my whole life and not see this movie up to that point? Because I'm telling you right now, when I saw that movie, I was. I've never cried so much watching a movie. And it was. It's a happy. Christ, the happiest cry I've ever had in my life. And I can't watch the movie without crying every time I see it. Now, I know it's overplayed. They play at Christmas all the time and everything else, you know, but I'm telling you right now, what a fucking movie. And because I saw that remind me of the guy in the Star wars documentary, because I was like, who the hell made this movie? And so I went out and devoured all of the rest. I mean, I had to see. I know, again, I'm not every film he made, but, you know, it happened one night, Mr. Deeds goes to Town, you know, you know, all these movies in his 2026, you know, I'm saying, Mr. Smith goes to Washington. You know, he does a movie called you Can't Take it with you, Another Jimmy Stewart classic. [00:28:40] Speaker B: Yeah, I like that movie. [00:28:41] Speaker A: And then the movie I fell into later on was called Lost Horizon. Now the main actor is Ronald Coleman, who was an older actor, an old time actor that I was not. I kind of found a little boring. But the movie was phenomenal. It's about Shangri La and, you know, so I went out and got the book. James Hilton wrote the book. I had to read the book. It was a. But the guy wins best director at the Oscars for It happened one night, Mr. Deeds goes to town, and you can't take it with you. All in the 30s. [00:29:06] Speaker B: Wow. [00:29:06] Speaker A: And. And his best movie isn't the. In my opinion, his best movie is It's Wonderful Life, but it doesn't win. You know, it's not me if it doesn't win. But I think it's because of the time, like World War II, I just ended. And there's a movie called the Best Years of Our Lives, which is about these veterans coming back in World War II. I think there was some to that, that. That's why that won over that. But. And there's a movie called Meet John Doe. He also did some silent films that I've seen. There's a. There's a silent film comic back then called Harry Langdon. Huh. I was not as into him. You know, he didn't seem to have the same charms the other. Some of the other guys, but he makes movie called the Strong man, which was absolutely hilarious. And his movie called Long Pants, and they sound ridiculous, but Frank Capra did these, which is crazy. And then he did some movies in the 50s. [00:29:51] Speaker B: I'm not. [00:29:52] Speaker A: I'm not too familiar with a lot of those or haven't seen those. He did. I saw one called the Hole in the Head he did with Sinatra and Edward G. Robinson. That was kind of. And, you know, but. But, man, those strong bunch of films that he made, boy, let me tell you, you know, like, it had one night. How many times we talked about that on the pod here, you know what I mean? You know? [00:30:10] Speaker B: Oh, yeah, so many. [00:30:10] Speaker A: And there's a thing that he had this. There was a saying back then called Capricorn, because it was okay. Because he was kind of like a little corny, they would say. There was that kind of a sentiment to him. [00:30:21] Speaker B: Sure. [00:30:22] Speaker A: But, you know, he won the AFI Lifetime Achievement Award. He won the Oscar, like I said, three times, you know, and there's a wholesomeness to his films. Like, there's a joyful feeling when you. When you watch a lot of it is about family, and we're just, you know, people and society coming together and all for good things. And, like, I feel like you always, for me, leave a film, watch watching a film of his, and you feel good. And, you know, that to me is how. And it's like Buster Keaton is all. There's a theme going on here. Like, I would rather feel good when the movie's over than, you know what? Maybe I want to go out and get hit by a truck. I don't know, you know what I'm saying? Or watch over my back, you know, what the hell are we doing? So there you go. And, you know, and like I said, it's, you know, to me, he as when I say, you know, George Lucas with Star wars, he could have been like, I actually considered it, considering how impactful that movie is to our lives. [00:31:16] Speaker B: Sure, it could. [00:31:17] Speaker A: It could have been the same with this if the only movie I saw was It's One of a Life, you know what I mean? That's how impactful the movie was to me personally. But again, he's got all these other ones that are. That are just such a joy to watch, so I had to put them on the list. [00:31:28] Speaker B: That's a good one. Yeah. I mean, I. You know, I saw It's Wonderful Life when I was a little older, too. I was like 23 or 24 or something. And. No, it's very good. I mean, you know, oddly enough. You want to laugh. I saw you Can't Take it with you on stage. First, a theater production. This. This girl I was dating at the time, in high school, she did a play, you can't Take it with you. So I saw that. I knew the story before I saw the movie. [00:31:50] Speaker A: Yeah. [00:31:51] Speaker B: Did you see. So I saw Disclosure Day over the weekend. [00:31:54] Speaker A: I did see Disclosure Day. [00:31:56] Speaker B: Oh, you did? [00:31:57] Speaker A: Yeah. Oh, cool. [00:31:58] Speaker B: Cool. What did you think? I loved it. [00:31:59] Speaker A: Well, you know, what happened was I loved it, too. There was a guy, David Schoner, that is on the film commission for the New Jersey, and he actually invited me to go to a screening. So I was like, I'll go check it out. And I was up here in Cranford. It was awesome. Really awesome. Well, we'll talk about it. I feel like. Well, we'll get there. [00:32:17] Speaker B: Yeah. But I tell you what. So the reason I bring it up is because I saw the trailer for a movie called Jimmy. Did you see that coming out? Jimmy Stewart biopic? [00:32:23] Speaker A: I didn't get a trail. I heard of the movie. In fact, as Allison watches this movie about. Not this movie. She watches a TV show that's based on Archie. Archie and Jughead and all them. I forget what the name of the show was. The guy that plays Archie in that show is playing Jimmy Stewart in the movie. I heard about it, but I didn't see the trailer. I forget the guy actor's name. [00:32:40] Speaker B: Interesting. Not a Riverdale. [00:32:43] Speaker A: Riverdale. That's the. [00:32:44] Speaker B: Really. [00:32:45] Speaker A: It's based on the Archie comics. The old Archie comic. [00:32:47] Speaker B: I knew that, but it. But it's like. It's not goofy. Like they're regular actors. It's like a teen drama, right? [00:32:52] Speaker A: Yeah, it's. [00:32:52] Speaker B: It's okay. [00:32:53] Speaker A: It's not like. It's not. They have the same character names. I don't know what other. What other character similarities? I really don't know. [00:32:59] Speaker B: The girls. The girls watched it for a little while. They kind of liked it. Check out the trailer, though. It looked interesting. [00:33:05] Speaker A: I. I didn't know the trailer was out. I wrote check. Yeah, interesting. And it's funny you said that because you can't take it with you. I forgot was based on a play. And so was a movie called. Another one that Frank Capra directed was Arsenic and All Lace with Cary Grant. I forgot about that. Another hilarious old time movie if you're based on the play. [00:33:20] Speaker B: So, yeah, you know what? The Capricorn. Sometimes that, like, you know, I feel like Aaron Sorkin goes down that road sometimes. You know, he tends to get a little schmaltzy, a little, you know, a little feel goody, little. Little Earnest. But I go to problem with that. He's one of my favorite, you know, writers, so I got no problem with that. So, yeah, I'm down with. I'm down with the corn. Bring it in the right context, it works, you know, and sometimes we need a little more of that in this freaking, you know, ridiculous world that we live in. So I'll take it. Good one, Cody. Yeah, I knew he'd be on your list. That was definitely one of the ones I knew was gonna be on there, and I knew it wasn't on mine, so. Yeah, and here's. Here's the one that's not gonna be on yours. So my number four is David Fincher. [00:34:01] Speaker A: Okay. [00:34:02] Speaker B: Yeah, yeah, I believe it or not, I originally had him third. [00:34:08] Speaker A: Wow. [00:34:10] Speaker B: I love Fincher, man. Here's the thing about. I'm sorry, go ahead. [00:34:13] Speaker A: No, I was gonna say right before you go into your talk on him. I gotta admit, for some reason, I mix. There's a certain group of guys I always mix up. And I'll mix this guy up, like four other guys about what movies he directed. Did he do Seven? Is this the seven? [00:34:26] Speaker B: Yeah. [00:34:26] Speaker A: Okay. Very good. All right. That's what that was. But I can't remember everything else, but you'll probably fill me in. But for some reason, I mix him up with other people, and I can't think of why, but go ahead. Let's get into this. [00:34:35] Speaker B: Yeah. So again, like. So there's nothing academic about this. I, you know, I love the way he makes films. I love. I love how plugged in he is. So here's the thing that put him on this list for sure. You know, I think he speaks to me personally and to a greater extent, my generation, our generation, really. Well, when he really wants to, he's kind of got the pulse. Fight Club more than any other film. It's not his best film by any stretch, but it is the film that kind of connected with me. You know, we saw this film in, I want to say, 99 or 2000, whenever it came out, bunch of us went like we. Like we did back in the day. You know, 10 of us would go at the same time to the theater, and we all came out, not just like in the movie, but, like, feeling like we were. We were. It was about us. That film was about where we were as a generation, emotionally, socially, like, all that jazz. Obviously, it's very. You know, in some ways, it's a very dark film. And it's. You know, the comedy is very dark, but it's an amazing film. It's a brilliant film. And Fincher can do that, you know, whatever he sort of sets his mind to. He can kind of. You know, he's very meticulous. He's very. I mean, you know, you hear the stories about him doing so many takes, so many. Almost as much as, you know, someone else was gonna be on my list. [00:36:03] Speaker A: Okay. [00:36:03] Speaker B: You know, you hear about these things. But no, so. So, yes, to give you reminder, like, you know, you know, Alien 3, which is underrated, I think, but 7, Zodiac, Social Network, Gone Girl, the Game, Panic Room, Fight Club, Benjamin Button, Dragon Tattoo. I mean, come on now. The thing that guaranteed him on this list, other than Fight Club, is what I think his best film is. And. And I only came to this realization, I want to say, last year, I watched Zodiac for, like, the fourth time. That is not a film that should be rewatchable. That is. It's so slow. It's such a slow burn. It's so, you know, painstakingly methodical with the way it's filmed, shot, edited. But it's. It's. It's brilliant. Like, it's. It's. It's so good. It just blows me away. The more I watch it, the more I just immerse myself in that. In that. That world that he creates. It's absolutely amazing. It's. It might be one of my top 10 films of all time. It's. It's. It's absolutely amazing. If you haven't seen Zodiac, especially if you like Fincher and you haven't seen it, my God, check it out. But, yeah, seven. You know, seven's up there, too, because we. Every year on my birthday, my daughter watches a movie of my choice. You know, we've seen Godfather, you know, Star Trek, Die Hard. So seven is the film. I want to. I want to show them this birth, you know, next month when I get my birthday. So kind of can't wait to revisit that. I remember how shockingly dark and intriguing that film was when I first saw it 31 years ago, so. So there you go. [00:37:51] Speaker A: That was on my. Your list for me. I definitely said so. I loved it. I loved it. I would like to show Allison. I haven't seen it in a while myself, so I definitely want to show. I definitely loved it. It was definitely a high. High ranking for me. And, you know, yeah, Fight Club is another one. I. I've only seen one time. I got to go back to that. I. It's been a long time for me with that and Zodiac. I did see same thing. I saw it once, so I'd probably have to revisit that one, too. You know, it pisses me off because they. They never wind up getting a guy, did they? Or did. Am I missing that? They. [00:38:17] Speaker B: No, no, they never caught the Zodiac killer. Not in real life. I mean, the movie, it gives you as much finality as it can without. Without betraying the subject matter. So, like. And of course, another thing about Finch, he's not just meticulous with the way he films, but the research he does is insane. So he immersed himself in. In that world, you know, to kind of get. Get Zodiac. Right. It's a combination, like, the performances are amazing, and it's just. It's just a. But it's a testament to him. You know, the biggest job a director kind of has, well, two big jobs director has. One is, you know, taking the script and, you know, putting it to film as best as they can. And the other one is to get what you can out of the actors. The other one is working with the actors, you know, and kind of getting them to help you achieve that goal of putting what's on the page onto the screen. And, you know, this is one of those directors that, you know, people want to work with, you know, Scorsese and Spielberg because they just want to do a Scorsese and Filmberg film. I'm not saying they're not great directors and people don't want to work with them, but I'm saying when you hear stories about, like, Fincher, people want to work with Fincher. You know, I mean, like, they want to be in a David Fincher film because of the director, not because of sort of the, you know, mystique of, you know, okay, I did it. I worked with Spielberg. I can move on now, you know, Right? Not that it's not great to work with Spielberg. I'm sure it is, but to me, it's the equivalent of going to see, like, I don't know, the Rolling Stones because you've never Seen him before and going to see, like, a band you like, love, and you just want to see him because you want to see him. You know what I mean? [00:40:01] Speaker A: Right. [00:40:01] Speaker B: So I think people want to work with Fincher because of. Despite the multiple takes, you know, because I've heard some horror stories about it, but. But, you know, he's one of those directors that, like, he's just, you know, gets the job done. And I've never seen a film of his that I didn't like. And I know my buddy Joe keeps telling me to watch the Killer. I haven't seen that yet. Michael Fassbender, I think it was his last feature that he did. I haven't seen that one yet, but I'm dying to see that. [00:40:23] Speaker A: Wow. [00:40:24] Speaker B: But Fincher. Yeah, I love Fincher. I mean. Yeah. I mean, what else can I say? I just. He. He's my one. And this isn't a surprise pick, but he's, you know, not your average, everyday pick for a top five. I wouldn't say, but. But what the hell do I know? Like I said, but I love them. [00:40:39] Speaker A: No, no. That's awesome. Yeah. Benjamin Bonds, another one I saw once. That's a wacky one. I mean, there's a way, you know. Yeah. [00:40:45] Speaker B: I mean, that's. [00:40:46] Speaker A: But well made. But well made. [00:40:47] Speaker B: It was well made and it was, you know, it keeps you interested. And now, granted that that's one of the Fincher films that I don't love, I think it's pretty good. It's up there with Alien 3 and, you know, you know, Gone Girl, Dragon Tattoo. Like, good films. You know, I like them, but they don't have the same impact as, you know, you know, seven. Social Network, Fight Club. [00:41:08] Speaker A: Right. Right. [00:41:10] Speaker B: There you go. Number four. [00:41:12] Speaker A: Wow. Wow. Now we're getting into the top three here. [00:41:15] Speaker B: Let's do it. Can't wait. I'm curious to see if. I'm curious to see where the one I know is on your list is going to land. I'm going to guess number two, but what's your number three? [00:41:25] Speaker A: I think you. My list is pretty probably predictable here, so my number three is another one that's probably going to make your eyes roll here, but I had to do it. It, you know, again, encompassing the movies I've seen, how many times I've seen them. I know it's very different, which why I like doing this list with you, because I know I'm gonna get a lot of more current stuff, but it's me. I can't get away from what I. Where my heart is and what I grew up with. And I have to. I have to put. This is gonna be. I know. We're going right back here now. Again. So this is my second kind of writer director, but I got to go with comedy. And I had. I had to put Charlie Chaplin on a list. I had. Oh, yeah, why not now, you know, again, the amount of times you think about some of these movies, like, you know, the amount of times I've seen City Lights and the Gold Rush, just. Just those two alone is insane. And, you know, it's interesting because you're looking at, you know, this movies, like, the Gold rush just turned 100 years old last year. [00:42:16] Speaker B: Wow. [00:42:17] Speaker A: And, you know, and here it is all these years later, and it's like, how many people don't know him dancing with the roles at the table? Anybody in the world knows that. You know what I'm saying? [00:42:27] Speaker B: And him. [00:42:28] Speaker A: Him and the other guy in the cabin, the actor's name was Max Swain. I might have to look that up. I didn't do a lot of research on this because I was going off memory here, as I know you're doing the same. But yeah, where they're starving and they see each other as food, like, almost like the Looney Tunes. So, you know, is that where that came from? [00:42:46] Speaker B: I didn't know that. [00:42:47] Speaker A: I'm guessing, you know, that's what I'm saying. [00:42:49] Speaker B: It wasn't much earlier than it from [00:42:51] Speaker A: some of these movies that were in a lot of the cartoons, because that's what I loved about it was like, they were like a live. He was like a live cartoon, you know, And I love cartoons, so how am I not gonna love this guy? [00:43:01] Speaker B: That's true. [00:43:02] Speaker A: And him trying to eat his shoe is another thing. You know, I just think there's images that. That he gave us. And again, you always think of him as a comedian, as an actor, and so anything but. He's. He's the guy that wrote. Not only wrote this, he directed it, and he did the music for all these. [00:43:16] Speaker B: I also did not know he was the director. I had no idea. [00:43:19] Speaker A: Yeah. I'm telling you. [00:43:20] Speaker B: And he. [00:43:21] Speaker A: Even more so, like, when you look at some of the Buster Keaton ones, he had some. A lot of collaborators, and he had a lot of gag. What they would call gag men. I wanted to be a gag. A gag man back then. Like, you know, right. All stupid shit. Like, how much fun would that be? You know, crazy. It's like, you know, But Chaplin mostly did it all on his Own. He was such an ego fucking maniac. But it was like he was the sole director and you know, you know, but, but he gave us and the images, you know. Again, there's a movie called the Circus which has a lot of brilliant gags in it. But it's what I like about it because you always think about that last image of him walking down the road all by himself in that one. It's him in Modern Times. He walks away down the. The road, you know, walking away from the camera. But he's with the. A woman this time, so Paulette Goddard was her name. And, and it's, it's like the last. That's like the last time he uses that character is in the movie called Modern Times, which I know a lot of people know. A lot of cinema people are fan film people that love films. They know his movies. So, you know, like, you know, we've all heard of Modern Times. We've all heard of Gold Rush for sure, City Lights. And then unlike some of the other, you know, silent guys, he actually does make movies directing wise in the sound era. Like you have the Great Dictator, which is his first sound movie. A lot of people have heard of that one, you know. Then he does a movie called Monsieur Verdot, if I could pronounce it right. He plays a serial killer, which I got my buddy Joey's brother John onto that one. I love them. It's a, it's a black comedy. It's. It's funny, but it's also kind of dark, you know, interesting. And then he, you know, a lot of people, when they think about him as a director, like, oh, he didn't really direct, you know, other actors very well or he wasn't no one. He didn't make anybody a star, which he didn't really. But he did work on his very last movie he makes. I actually finally seen it. It's called the Countess from Hong Kong with Sophia Loren and Marlon Brando. How weird is that? Wow. And it was kind of a weird movie. You know, he, he only. He has a bit role in it. That's the other thing. He's mostly in all of his movies movies. So you know, he. But this one is, is like Sphere Lorenz is actually hilarious and obviously gorgeous in it. But, but Marlon Brando I feel like was a little miscast. I wish I was thinking if I was gonna choose, I would like to see someone like John Cleese and, and Sophia Loren be in this movie, you know, like that would have been a little bit more. And Brando didn't really do the. The comedy great, but I mean, obviously he's Marlon Brando. Who gives a shit? I mean, you know, what are we doing? [00:45:39] Speaker B: Right, right. [00:45:41] Speaker A: But, you know, in his first movie that he made, a feature length is called the Kids. And that's got another famous sequence of him where the. The authorities, you know, the adoption people that take the kid away from him, and he chases the kid on the rooftops to get him back. It's a famous scene. I don't know if you've seen it or not, but I'm sure the images of him reuniting with the kid and hugging the kid have probably been in a lot of film, you know, clip shows or whatever you want to say. [00:46:05] Speaker B: Yeah. [00:46:06] Speaker A: And again, I'm only going on the feature films, not even let alone the short films that he does before he does all the feature films, like 1am and the Ring and. And he has like, these kind of longer, shorter films like Shoulder Arms and All this Dog's Life. Obviously, there's nothing I'm gonna tell you that. That you haven't. Everybody knows who this guy is. He's probably the biggest movie star there ever was or ever could be. At least in the early days. When you think of the most famous people that ever lived, he's. He's on the list. I mean, you know what I mean? Like, what are we doing here? I think everybody knows who this guy is. [00:46:38] Speaker B: 100 years later, I think everybody would know who he is. [00:46:41] Speaker A: And I'm on a glyph, the only movie I have not seen that he directed. Again, he mostly wrote and directed everything he did, but there's a movie called A Woman in Paris, which I believe came out 1923 or 22. And he's not in it. He does. He's not in it at all. And it's a drama, so it's like, you know, it's. And again, as much as I like, I like silent movies, but mostly the comedies. I haven't seen a lot of straight silent movies. I saw Nosferatu, believe Not the original. I haven't seen the new one. I know you saw the new one One. [00:47:10] Speaker B: Oh, yeah, very good. [00:47:10] Speaker A: Yeah. And I saw the movie called Wings. [00:47:13] Speaker B: That was the original Best Picture winner. Yeah. [00:47:16] Speaker A: But other than that, it's mostly been all silent comedies that I've seen. [00:47:19] Speaker B: Really. [00:47:19] Speaker A: But so, so, so this, this one, I'm. I'll get around to it eventually. I have it on dvd. I got the whole box set there. But I. But I just haven't Gotten around to it because I'm like, ah, you know, he's not in it. He's not running around being a jackass as the tramp. But we all love that. [00:47:32] Speaker B: So. Right, right. [00:47:33] Speaker A: But yeah, I mean, you know, I. And again, same thing. But like, it's a Wonderful Life for me where it's like, you know, city Lights. I took Allison to go see the movie in Lincoln Center. [00:47:42] Speaker B: I remember you telling me that's awesome. [00:47:44] Speaker A: And I'm telling you it's. It's what a, what a joy. And that's the thing. You leave his movies, you just feel joyful. And that's what I want to feel. What are we doing? And sometimes there's some sadness to, you know, like. But he's charming. He's. He, he knows, obviously this is way back in the day we're talking here, but he. And we're talking about it still now because the guy was that good. So that's all, that's, that's all I could say. What are we doing here? [00:48:03] Speaker B: Yeah. You know, it's funny when I think of Charlie Chaplin, one of the things I think of is like, I remember there's a Oscars clip. Did he die in what, the 70s? Chaplin? [00:48:15] Speaker A: Yes, yes. So it's funny because seven maybe I'm trying to think of the right year. Somewhere around him, he was at one [00:48:21] Speaker B: of those Oscars, just kind of like, either it was lifetime achievement or they just brought him out to be like, oh my God, it's Charlie Chaplin. You know, kind of like they do with, like they'll do it Fay Ray, or they just bring people out. You know, I remember in like late 80s or something or the 90s, Fay Ray was still alive. So they brought it out there. But I want to come back to what you were talking about with, after you commenting on my Scorsese. So you're mentioning like, like the Scorsese had this, you know, this nostalgia for old time Hollywood. Right. I think a lot of these directors came out in the 70s. Like the 70s was interesting and I think our generation is part of that too. So if you're born in the 70s, if you're coming of age in the 70s, if the 70s is any kind of, you know, sort of important influence on your life, I feel like us, we were the last people to sort of have that true connection to old school movies and tv. [00:49:10] Speaker A: I totally agree with you there. Yes. [00:49:12] Speaker B: I think these directors coming up, they still had that respect for what came before because they were just old enough to have seen, you know, Chaplin, Frank Capra, Buster Keaton, that kind of stuff. They were just old enough to have that still be a relevant part of their lives for you. And I mean, you're the exception, obviously, but most people, you know, my age, we didn't grow up watching, you know, Charlie Chaplin, Buster Keaton, but we had an irreverence for them because they were still so influential on the people who were making creative content. I think, no doubt that's an interesting sort of nexus there. The seventies. I always did. So you, when you got, you know, Spielberg and Lucas and Scorsese and all these, you know, De Palma and all these great directors sort of coming out of that, you know, Coppola, coming out of that decade, they all had a love of old school Hollywood, old school television, you know, I mean, they all had that respect for what came before. And a lot of people don't have that. A lot of, you know, young, you know, millennials to a lesser extent, but definitely Gen Z, like don't have that sort of knowledge really. It's not even to blame them. There's just too much content. Now, we've talked about this before, how when you and I were kids, they. We watch King Kong because that was on tv. You know, I mean, like we didn't, you know, I mean, it's a great film, so we would watch it anyway. [00:50:29] Speaker A: You watch, I know what you're saying. [00:50:30] Speaker B: No, no, you'd watch whatever was on tv. If they were playing Sinbad that day, you watch Sinbad if, you know, if you're at your, your relative's house for Easter and they're showing, you know, whatever wizard of Oz is what you watch. You know what I mean? I know they show that around Christmas, but you watched what was on tv so you kind of had no choice but to watch all these old timey films and have at least a fundamental foundation in what came before with Hollywood, [00:50:52] Speaker A: you know, Great, great point. In fact, I know even going to school for theater, obviously we talk about film a lot. And you know, in talking about my friends, as much as I love the old, old movies, people always like, what do you think the best decade of film? You know, my, my heart was always. I would, as much as I love the 40s, I would. And even the silent stuff, I would, I would always say the 30s. But then in talking to some of my friends, they were like, I think it's the 70s. And after having a good conversation, I kind of had to concede to that. I was like, you know, I do think the 70s is probably the best. Just because of the fact that they broke away from the old shit and they were. Because they had. They fought for their creative control. Like, we were talking about this. Well, like, Charlie Chaplin had that because he was the most famous person. He did it all on his own. But. [00:51:37] Speaker B: But. [00:51:37] Speaker A: But a lot of people back then, they didn't have that. So, you know, so once you have all these revolutionary guys, renegade guys breaking free and the stuff they were doing, it took. It took movies to what neck then the next level of shit, you know, I mean, 100%. [00:51:52] Speaker B: And it's. And it set the tone for what movies would be for the next 40 years. You know, like, for sure. Like, I'd say only in the last, you know, I don't know, 10 years has movies really started to break away from what, you know, those guys kind of set up as what was going to be the, you know, the, like, film for the next. Next. You know, like I said, 40 years. It's pretty exciting. It was pretty exciting time to sort of, you know, grow up in and think about film. [00:52:19] Speaker A: And, you know, I wanted to say, I'm glad you brought up the Oscars. I want to say real quick before we move on there that, you know, he. Chaplin is a very controversial figure from the standpoint of it, I believe 1952. I'm trying to remember the right year. He gets kicked out of the US they don't allow him back in. And it's something to do with tax. There was a guy who's the. Who's the guy that dressed up like. With the women's clothes and all that. The. The cop, J. Edgar Hoover. He was. He was haunting this. Haunting after Chaplain. Trying to. Trying to get this guy for something. I don't know if he had a thing for him or what the deal was, but maybe he thought he was a communist or some. I don't know. But. So then he's not allowed back in the country. And he actually makes a movie called Limelight, I think was the last one he did. I don't know if that. I think that was here, but actually, Buster Keaton's in there. He has a. Him. The two of them do do a great comedy scene together. [00:53:06] Speaker B: Oh, that's it. [00:53:07] Speaker A: He plays like. Chaplin plays like an older comic in the movie and he's like, you know, trying to groom a young woman to be a star or something like that. But. But it's got that great sequence in it too, with the two of them. But I'm bringing that movie up for a point. So because now later on he lives in Switzerland over there. So I think they do like a chaplain thing over there now. Like his house is still over there or whatever it is. But he is invited back for the Oscars and I can't. So what happens is limelight. He writes the music for it. It. And there's some kind of a thing. I don't know what happens to it that it's not. I don't know, it's released back then. But there's. I forget what the. What the default is or what. There's a. There's a crack somewhere where it winds up getting nominated for best musical score in 1972 or something like that, you know, or set in the 70s. And I don't know if he wins for that or if he just gets nominated, that he go. They invite him for the Oscars and he goes. So it was either for that or for, like you said, a lifetime achievement award thing. I know he was definitely at the Oscars at least once, maybe twice, but. And I remember on one of your Oscar videos they showed him, and I remember reading on this that it was the longest standing ovation anyone's ever gotten at the office. [00:54:11] Speaker B: I think that's what I was thinking. He was wearing like a white tux or something. I think that that's the one I'm talking about. [00:54:16] Speaker A: I'm trying to remember because they did do a. They did show this in The Robert Downey Jr. Movie Chaplin, which I have not seen in a while, but I [00:54:24] Speaker B: was gonna ask you about that. [00:54:26] Speaker A: They. They mentioned it at the end. That's a rich. Richard Attenborough directed that. I. I liked it. It was a little long. I. I kind of want to show Allison. I kind of want to revisit it myself. There's a lot of. I mean, there's so many great. Kevin Klein, Dan Aykroyd. There's a lot of. [00:54:38] Speaker B: I know Downey got nominated for that one. [00:54:39] Speaker A: He did, yeah. He was awesome. There's no question. But it was interesting because he, again, just a fascinating all around character and person, really. But anyway, you know, the movie. He was the first. I mean, he's bigger than the movies almost. I mean, really, everybody knows. The silhouette of him alone. Everybody knows. But again, as a director, again, maybe not appreciated as much for what he did as a director. So I had to throw him on the list. [00:55:06] Speaker B: Good one. Love it. If I knew. If I knew he was the director, I would have known he was being on your list. No idea. [00:55:12] Speaker A: Yeah, that's what I'm Saying, and again, I know we're going again, different things here because it's like, you know, that's comedy and it's so long ago. I know, you know, but what are we doing here? So now, now we're going to get into your number three and then we're going to really get into the main here. So who's your number three? [00:55:24] Speaker B: My number three is the big dog. Spielberg. Got to have him on a list. [00:55:30] Speaker A: Nice, nice. [00:55:31] Speaker B: I don't see how, you know, it's funny. He started out as number five just because I kind of dismissed him like Spielberg. Fine, I'll put him on the list. I don't know why I'm saying like when you just look at it, you take a third of what the films he's done and it's enough to make him, you know, one of the most influential. I mean Spielberg is the guy, he's the, he is the Michael Jordan of, of directors is, is, is appropriate. But, but you know, he's the guy you think of if you're making it. You know, if you're saying a director, the first one comes to your mind is Steven Spielberg. He's, he's just the guy. He's there. [00:56:08] Speaker A: No question, no doubt. [00:56:09] Speaker B: And he's been there, he's been there for, you know, 50 years at least. [00:56:12] Speaker A: Yeah. [00:56:13] Speaker B: You know, as far as making just great films and you know, he's one of those guys in the 70s that we're talking about who just changed film. He, you know, he came out, he had his own thing to say. He made Jaws for Christ's sake, you know, the first blockbuster. Right, the first, the first, you know, sort of, you know, summer hit. Changed the, the tourist patterns of the summer that year. You know, people didn't, didn't go to the beach as much. It's just insane, an insane influence. You know. I mean, my point is if you just take like just take Jaws, Close Encounters, the Indiana Jones films and E.T. like right there, any director would like shit themselves to have 100, 102 of those films, let alone, you know, all six of those. Right. But then when you consider the idea that in 1993 he not only directed Schindler's List, but also Jurassic park, two insanely influential movies to. You can't get more different films than that. And they're both just, just amazing fucking like all time films. You know, I just saw Disclosure and [00:57:16] Speaker A: Although, although they are, they are about monsters killing people. [00:57:20] Speaker B: That's true. [00:57:21] Speaker A: No, no, I'm just being a dick. But yeah, no, no, no, understood. [00:57:23] Speaker B: You know, it's, you know, I just saw Disclosure Day and, and, and the whole time I'm watching it, I'm saying to myself, man, this is old school storytelling. This is, this is, this is vintage Spielberg. And again, I'm not, I'm not a student of film. But, but in my head I was like, wow, this is. I remember when Steven Spielberg films were like this. [00:57:43] Speaker A: That's exactly what I thought. [00:57:44] Speaker B: Really? That's, that's great. Yeah. [00:57:46] Speaker A: Yes. [00:57:46] Speaker B: And, and it was, it was amazing. And I agree 100%. I think it is his best film in maybe 30 years. [00:57:54] Speaker A: I mean, honestly, like, I probably would agree with you there, but that's saying [00:57:58] Speaker B: a lot considering that, you know, the 30 years ago, you know, was. He'd already had 20 brilliant years under his belt before 30 years ago. You know what I mean? It's insane how long this guy's prolific and amazing. But. Yeah, not to skip over that sort of era between Jurassic Park, Schindler's List and Disclosure Day, right? Like Minority Report, AI, Catch me if you can. Lincoln, Munich, War of the Worlds, like, there's some bangers in there, you know? Notice I didn't mention the two Indiana [00:58:31] Speaker A: Jones movies but Private Ryan. Right? [00:58:34] Speaker B: I mean, you know what? I completely skipped over that when I was doing this list because guess what? He doesn't need it. But that, but you're dead. Right. No, that, that's. I mean, Saving Private Ryan. So there you go. So it's probably his best film since Saving Private Ryan, I'll say that for sure. [00:58:49] Speaker A: And I know you mentioned the last two in the United Films. Don't remember who did one of them. The other one was. What's his name? [00:58:54] Speaker B: Right? It was John James Mangle. Yeah, right, right. [00:58:56] Speaker A: Yeah. [00:58:57] Speaker B: So, yeah. So look, I mean, he's Spielberg. Like, like, this is, this is trite to say because I've heard so many film critics say. There's so many students of film that I am not say this, but he is the ultimate storyteller. He is the. He is, you know, his movies, the whole family can see. But that doesn't mean it's a family film. Right? Like, yeah, like he's, he's good for all audiences and he is not afraid to step outside of his comfort zone and fail because he has, you know, like, like, I like that. He's not, he's not this super meticulous guy who's gonna, you know, who's gonna make you do, you know, 125 takes, you know, to get it perfectly Right. He just loves film. He loves making films. He loves telling stories. He loves hearing stories. I loves working with people. I think that's a lost sort of, you know, trait right now. It's like, you know, you don't hear about those directors anymore who are just super fun and just want to make great popcorn films. And, you know, if you happen to say something profound, you lucked out. Out. Yeah. What can I say? Spielberg is the, he's, he's, he's. It's dumb to say this for, personally, he's not for me, but he's probably the goat, you know, like, like overall in the last 50 years, you know, he's number number three on my list. So it sounds kind of weird, but [01:00:15] Speaker A: I, I, I gotta tell you, I know one guy ahead of him, like, which I cannot believe you put one guy ahead of him, and the other guy, I don't know who it is. So I'm curious to see who this is. I gotta tell you, I'm a very, very, I'm very curious. Curious. I can't wait. [01:00:26] Speaker B: Yeah, you definitely know the guy that you don't approve is above him, but the other one, you have, you have to. At least it's, it's in the argument. So no point in, no point in around. Let's, let's, let's get there. What's your, what's your number two? [01:00:40] Speaker A: All right, we're going to the top two. Top two now. [01:00:43] Speaker B: Yeah, this is, this is big time here. [01:00:45] Speaker A: Well, you know, this guy had to be on my list. I mean, you know, this is, you know, now we're gonna go to some film school here with Hitchcock. I had to put. [01:00:52] Speaker B: I predicted it. I said it'd be number two. [01:00:54] Speaker A: You, I, I figured that's what you meant when you were totally. [01:00:56] Speaker B: Yeah, yeah. Capra and Hitchcock, I knew be on your list, and I knew wouldn't be on mine. [01:01:00] Speaker A: Outside of the comedy guys like Chaplin and, and Keaton, I probably have seen more of his movies than any other director I would say would be Hitchcock, you know? You know, and it's funny because it's like even showing Allison somebody all the old nonsense. She has definitely become a Hitchcock fan. And she. We even watched a movie called Frenzy, which doesn't have any big stars in it, that she was, like, in the mood to watch a Hitchcock movie. I'd never seen it before. We watched it together. It was very good. It was very interesting. And, you know, and they call him the master of Suspense or whatever. You want to say how many, you know, Everybody that ever watched a movie knows who this guy is, which is, you know, I mean, everybody's heard of the psycho shower scene. I mean, we could start right there. I mean, you know, I mean, we're talking about banging, you know, banger movies here with Rear Window and Vertigo and the Birds and Rope and. I mean, it's almost like. Like you were talking about with Spielberg. This guy has all these movies that everybody has heard of, everybody knows. And also, what's more fun than the guy throwing himself in the movie as a cameo every time, right? You're always looking for the guy. You know, what are we doing here? Right. [01:02:04] Speaker B: The only thing bad about that is it made M. Night Shyamalan do it in all his films, too. So that's the only thing that sucks about him doing that. Yeah. Yeah. [01:02:11] Speaker A: That's hilarious. [01:02:12] Speaker B: Yes. [01:02:13] Speaker A: But that's funny. [01:02:14] Speaker B: I'm not. [01:02:14] Speaker A: Shalom. I didn't. He. He had some dialogue, too. Didn't he talk in Signs? [01:02:18] Speaker B: Oh, he's talked in a bunch of them, yeah. [01:02:20] Speaker A: Oh, he has? Okay. [01:02:20] Speaker B: Oh, yeah, Actually, he's talked in all of them, I think. [01:02:23] Speaker A: Oh, really? [01:02:24] Speaker B: Yeah. No, Hitchcock's like, just the walk on. You know what I mean? Which is. Which is. [01:02:27] Speaker A: Yeah, right, right. I mean, he did have that TV show, Alfred Hitchcock Presents. I think he kind of narrated the beginning. [01:02:31] Speaker B: Great TV show. [01:02:32] Speaker A: Yeah, great. Yeah. [01:02:33] Speaker B: But they did a revival in the 80s that was really good, too. [01:02:36] Speaker A: Oh, really? [01:02:36] Speaker B: Yeah. [01:02:39] Speaker A: But, yeah, it's like, you know, again, how much. How much more influential can you get with this guy? I mean, you know, so true, the idea. In fact, not only that, I can't think of another director that made a movie that they decided to remake shot for shot with a completely different cast. Like Psycho Crazy. Has that ever happened again? Or, you know, like. It's unbelievable to me. [01:03:01] Speaker B: I'm sure it has, but I can't think of many examples, [01:03:05] Speaker A: and I'm sure I'm forgetting a lot. There's a movie called Notorious. He did. Which I saw later on. Awesome movie. [01:03:10] Speaker B: The only one I've seen that you didn't mention was Saboteur is the only one I've seen that you didn't mention. [01:03:13] Speaker A: I have not seen. [01:03:14] Speaker B: I wasn't crazy. [01:03:16] Speaker A: Yeah, I remember you said you had seen that, and I'm trying to. There's definitely a lot I haven't seen. Again, there's a. There's a movie called Lifeboat I want to see. God. There's a few other ones I actually did see. There's a movie called Torn Curtain with Julie Andrews, believe it or not, and Paul Newman. Hmm. Me and Allison watched. It was very good. [01:03:34] Speaker B: It's. It's. [01:03:35] Speaker A: It's not as exciting as some of the other ones, but I'll tell you what, the last half hour was suspenseful as hell. I was like, what? What are we doing here? And overall, it was kind of like you would. You were left there, like, I was good. It was a good movie. You know, I mean, you know, I revisited some, like, Strangers on a Train. I wasn't. I was kind of like, not as into it as the first time. I want to rewatch what we called Shadow of a Shadow of a Doubt. That movie was awesome. When I saw another movie I revisited, I wasn't too big on. I know they remade it recently. The only movie he ever won the Oscar for was. I'm sorry, he never won an Oscar. The movie won Best Picture called Rebecca. [01:04:07] Speaker B: Oh, yes, I've heard of it. Yeah. [01:04:09] Speaker A: I think Lawrence Olivier is in it. I forget who else, but. But, I mean, you know, the ones that. The rewatchable ones, obviously, like, Vertigo is a movie. You rewatch that. And that is a very fascinating movie. You know, kind of ends very quickly, But. But it's. When you watch it with Jimmy Stewart again, you're kind of watching it, and you're kind of with him, and you're lost in this movie. You're. I don't know how to describe it. It's. It has, like, a spell on you. That movie is really, really unbelievable. But, I mean, I don't know what else to say. What, do you want to jump in? And I know you've seen. You've seen some Hitchcock. [01:04:37] Speaker B: I have, and he's one of my mentions. He's one of my honorable mentions, you know, so. So, like. Yeah, I mean, I, I. You know, it's funny every time I think about, like, oh, man, I haven't seen enough to really speak on Hitchcock. But then you start needing movies. Like, I guess I've seen, like, six of or seven of his films, which I didn't think I'd seen that many, but. But I mean, yeah, I think. I think Rear Window is one of the best films of all time. Like, one of the most suspenseful films I've ever seen. [01:04:58] Speaker A: That was Allison's favorite. [01:04:59] Speaker B: Amazing in mine, too. Mine too. You know, Rope is similarly suspenseful. Like, Rope is so much fun. You know, it is. And technically, it's quite the marvel, you know, all in one shot. Obviously, it's not, but you know what I mean? It's filmed as if it was all in one shot, which is great. [01:05:14] Speaker A: Right? Right? [01:05:15] Speaker B: Yeah. I mean, I grew up watching the birds, you know, that. That was. That was fun to watch when I [01:05:18] Speaker A: was a weird movie, but it's fun. [01:05:19] Speaker B: Yeah, it is weird, but at the same time, I think it's. It's. I think it's actually scary, at least for a kid. It was. And definitely, I think it's. [01:05:26] Speaker A: It's. [01:05:26] Speaker B: It's intriguing. It's. It's. Like you said, it's weird. It's different. You know, it's one of those things that even nowadays, nobody would make a horror movie about that really. You know, but it's like, yeah, screw it. Yeah. Psycho is Psycho. What can I say? You know, so he's iconic. And. And. And I. Like, I said, you know, if. If I had really given him thought, maybe he actually would have squeaked into the top five. But I do want to see some more Hitchcock. You know, I don't think I've ever seen north by Northwest, if you can believe that. Yeah. [01:05:53] Speaker A: I'm trying to remember when I saw it, because, believe me, it must not have been back in the burger days, because it would have been on your list. [01:06:00] Speaker B: Yeah, it wasn't on the list after that. Yeah, Psycho, Rear Window, maybe just Psycho, and. Oh, and Vertigo were the three that were on the list. [01:06:07] Speaker A: And maybe rope, too. Or did I tell you about rope later on? [01:06:09] Speaker B: No, rope I actually found on my own, if you can believe it. [01:06:12] Speaker A: Oh, you did? Okay. [01:06:12] Speaker B: Yeah. [01:06:13] Speaker A: Rope. [01:06:13] Speaker B: Rope. I just picked up when I was feeling good about Rear Window and Psycho, and. And I watched it. I just. I just thought it was amazing. [01:06:20] Speaker A: Awesome. [01:06:21] Speaker B: Yeah. I think my cousin might have told me about rope, believe it or not. [01:06:24] Speaker A: Well, I was gonna say that's what I liked about doing those lists was that, you know, it turns you on to other. That you let. You kind of got me onto. Totally. Yeah. [01:06:32] Speaker B: Yeah. I mean, that's the whole idea. That's the whole idea of, like, this pod, dude. That's the whole idea of, like, you know, totally. Like your friends talking to friends. Like, you know. You know, it's hard nowadays because we all consume so much content, you know, and there's so many channels and so many movies and so many TV shows that we all kind of. All we ever do is sit around saying, oh, you got to watch that show. It's amazing. Right? So how do you filter that out? Right? But the times that it hits, like, part of the reason why you like it as much as you do is because it was Recommended by a friend or a family member. That's the whole point of the. This, like, I love it, you know, why not? You know, I, I. Jack Hitchcock was on my radar, but he wouldn't even have been. I might never have seen, you know, movie out other than the Birds if I hadn't met you. You know what I mean? So. [01:07:15] Speaker A: Yeah, yeah. [01:07:16] Speaker B: And Rear Windows, one of those core movies that sticks with me, you know, So I love it. [01:07:21] Speaker A: It's just, it's just. There's just a funness to watching it because, you know, you're gonna be something. Something crazy is going to happen. You're going to be kind of like on the edge of your seat in a way. Or, you know, it's. I'll say his movies are. Or to me, they're always fun, but they're always interesting. Definitely interesting. I will say that. So I'm always like, you know, I'm never like, ah, this is kind of like. I mean, don't get wrong. It's not like it doesn't have some clunkers. But I'm saying is when he's, I will say when he's at his best, he's. There's no. He's right there with anybody, you know, as far as making a movie, 100%. [01:07:49] Speaker B: You know, when I saw Psycho for the first time, you know, having watched the Simpsons, having seen it parodied insane, you know, like the crazy amount of times. Right. [01:07:58] Speaker A: Yeah. [01:07:59] Speaker B: I thought it was going to be an academic watch. Like, it wouldn't be suspenseful still. It wouldn't be. I was just like, getting out of the way kind of thing. And I tell you, man, it was, It's. It gets you, man. Like, like a couple of those shots, the way they were filmed, the way that the shot was framed, and it's all Hitchcock. [01:08:16] Speaker A: Yeah. [01:08:17] Speaker B: Scary as. You know what I mean? [01:08:18] Speaker A: No doubt. [01:08:19] Speaker B: Oh, man, it's, it's, it's brilliant. Yeah, brilliant. I'm with you. I'm with you. He probably would have been number like seven if I, If I put him on. [01:08:28] Speaker A: Even the very. To be honest with the very last shot, when they show you. I believe it's. No, I forget. The last shot is the car going into the mud. If it's not the very last shot, it's right there. Right before they show you the car. They're pulling the car out of the mud. There's the shot of Anthony Perkins in the, like, obviously Prisoner, like the psych ward there. And he, and he's doing a voiceover and the Camera kind of is on him, and I think it's kind of closing in on him. And I think right before it fades to the car, there's a very quick thing of, like, a skull. Like, you see his. His skull really, like one frame. That image freaked me out when I first saw it. I was like, that is frightening. [01:09:08] Speaker B: I don't remember that. Things like that. [01:09:09] Speaker A: I know, but he has these. These moments, like you said. Like you said, the way the camera's position, the way framed, it's just like he knew exactly how to get you. Like, holy. I don't know. You know what I mean? Like, really did. [01:09:21] Speaker B: Yeah, he's. I mean, one of the things that makes him brilliant, he was. He was keyed in some of these directors, like, you know, you can't just turn a camera on and point it at the action. You know what I mean? Like, there's. There's. There's ways to do it. You know what I mean? And. And yeah, he knew that Hitchcock was one of those guys who just knew how to do that. Knew how to get inside and just, you know, tickle your. Your suspense bone, I guess. [01:09:44] Speaker A: And I remember when we were leaving with the wrestling one, we were gonna. But we bullshit with Matt about some other topics. Tell him what our next one was. I think he said Hitchcock was his one, so I don't know what. I'm curious. He was. Other four would have been. That would have been interesting. [01:09:56] Speaker B: Well, he could. He can give us an email and let us know. At Men of a Certain five, We have Sal from Poughkeepsie South. How do you feel about Hitchcock go? [01:10:08] Speaker A: Blows. All right, what do you. Let's get to number two here. [01:10:12] Speaker B: All right. Number two. Yeah, look, number two is. You know, it's funny. I'm watching your face, trying to see. Because you're hoping I say this guy number two. But I. Sorry, buddy. Sorry. Stanley Kubrick's number two. [01:10:27] Speaker A: That's what. That's what. At least he's not one. I was like, all right. [01:10:30] Speaker B: Oh, you thought Kubrick was the one. Kubrick was the one. You didn't want number one. Interesting. [01:10:34] Speaker A: Well, yeah. Well, you know how I feel. I have a mixed bag with Kubrick, but don't get me wrong. It's almost like Kubrick's like taxi driving to me. I appreciate it, but I don't want to go back there. But let's hear about it. I'll let you take the wheel here. [01:10:44] Speaker B: I've been fascinated with Kubrick for years now. You know, I saw the Shining Before, I was sort of aware of what Kubrick was. So. And I liked it. But shortly thereafter, you know, I started. Started paying attention. And his films are. They're. They're. They're different, like his film. They're unlike any other films you've seen now, you know, I'm not speaking about every single film he's ever done now. I've never seen three of his films. I've never seen Killer's Kiss. I've never seen Paths of Glory. I've never seen Spartacus, if you can believe it. But every other film I've seen, I've seen the other. Whatever it is, you know, 12 films, whatever it is. And, you know, I'll say, you know, from Dr. Strangelove on, like, every time you're watching his films, you're like him. Dislike him. You're very much aware that you've never seen anything like it before. [01:11:38] Speaker A: You got a point there. [01:11:39] Speaker B: When, When I gotta tell you. [01:11:42] Speaker A: No, you're right. I gotta give you credit there, you know, you're right about that. [01:11:45] Speaker B: When I did dive in, I. You know, I. I'm pretty sure Troy and I. Because we kind of got into Krubrik sort of at the same time, and I think we watched Clockwork Orange. I think it was the second film I watched. Now, I might have caught Phil Metal Jacket on TV in the 80s and not realized it was Kubrick. Blah, blah. But. So when I watched, you know, A Clockwork Orange, obviously that movie is. It's way out there. Some. That's a. That's one of the most divisive films of all time. And I mean that literally. People either just hate it, don't get it. Yeah. Or they think it's brilliant and they love it and they find it infinitely fascinating. I'm on the other train. So that's one of those films that just. Just. It hit me at the right time in my life. I was probably a little drunk, you know what I mean? Like. Like, it's. It's the time. All I wanted to do was talk about that film for the next week, you know, I mean, that's all I wanted to do. And Troy had read the book by Anthony Burgess, so he had added insight. I remember having one of the best conversations I've ever had about movies that night after watching it. So. So. And then I see, like, a movie like 2001, you know, which, you know, a lot of people dismiss as pretentious, or some people just say, you know, I get it, you know, but they're not crazy. About it. That was the first movie I've ever seen. It's happened a couple times since then, but that was the first movie ever seen that literally humbled me as a person. Like, not because, like, oh, my God, this is the purest form of art. Or, you know, it was like he was, he was going for something there that like, like no one had. I mean, I shouldn't say. I don't again, I'm not a student of film, but he was going for something there that blew my fucking mind. Like, it was almost too big for him and Arthur C. Clarke to even, like, wrap their heads around. So here I am trying to watch this as a, you know, 26 year old, and my mind is just fucking blown. Like, just what they were attempting to do. The scope of that story is just immense. It's almost like, like the enormity of the universe itself blew my, blew me away. And ever since then, I've just been like, you know, laser focused on what this man was capable of putting on screen. [01:13:58] Speaker A: Listen, you know, there's no, I, I say it like I'm some kind of pretentious dick. Like, who the am I? I mean, I, you know, I, I, I, I guess it's for, for me personally, like, his, I mean, his movies aren't ones that I guess I go back to very often, I should say. But it doesn't mean that he's not great and he wasn't a unique and inspiring filmmaker because it's obvious that he was. And like you said, that's a great way to put it. Like, not only does he make movies that are like, none you've ever seen, I'm trying to think of a guy that has spread himself. Like, you know, like, I'm thinking about the guys on our list here. Like, you know, for me, I have a lot of guys that are doing slapstick comedy or family films or Hitchcock's gonna do a suspenseful movie. You have Scorsese. We know where he lives. You know, Fincher, like you said, has a unique style. This guy, his style might be unique, but the genres that he covers, I mean, has anybody done more different things than this guy? I mean, you got, you got the war movies. Like, I mean, Spartacus is like one of those we call like a toga fucking movie. Historic Panzer Glory. We're going into what I figure, I just actually, I actually did recently see that movie, and I want to say was World War II, but I could be wrong about that. Maybe World War I, I think, but [01:15:10] Speaker B: I've never seen it. [01:15:11] Speaker A: So, and. And then you have the horror movie with the shining. You have Dr. Strangelove, which is like a wacky, weird comedy movie. And then 2001, what is that movie? Clockwork Orange is another bizarre. Like. And later on, Eyes Wide Shut, what a different. Different movie all the way around for a catalog. [01:15:31] Speaker B: And never his own idea, right? Like all. All adapted stories, you know, which I said, it's interesting. I really thought I'd have more writer directors on here than I did. When I get to honorable mentions, I'll talk a little bit more about that. But, yeah, Kubrick, you know, got. Just. Was into these properties and just wanted to make the films, you know, and, you know, so many of his films are, like, they're. They're overlooked, you know, like. Like they're not all, you know, 2001, clockwork oranges, shinings, you know, Dr. Strange loves for me, like, you know, Lolita, for example. Like, I liked it, but it did not blow me away. It, you know, part of the popular culture, but, you know, didn't blow me away. Barry Lyndon is a movie I never thought I'd rewatch. You know, I liked it a lot, but, like, you might have to be a psycho to want to rewatch that movie, because it's just right. I mean, when I talk slow and meticulous, like, oh, my God. But I'm at the point now, 25 years later, I'm like, all right, maybe I'll. Maybe I'll check that out again. You know, I think I'm ready to watch the Barry Lyndon again. So, you know, and. And, yeah, and Eyes Wide Shut, you know, also, you know, Tom Cruise famously, you know, was trying to work with Kubrick for years. [01:16:40] Speaker A: Right. [01:16:41] Speaker B: Matter of fact, he. You know, Steven Spielberg was on the rewatchables recently for. [01:16:46] Speaker A: Really? [01:16:46] Speaker B: Yeah, he went on there to do. Oh, God, what movie? It doesn't matter. Anyway, so he went on there to talk about one of the movies that he loves, blah, blah, blah. And. And he was talking about AI How Kubrick handed over the reins of AI To. To Spielberg not because he was dying, which actually, I always thought, to be honest, but. [01:17:05] Speaker A: Because that's what I always thought. [01:17:06] Speaker B: No, no, he. So he. He was trying to do AI Before Eyes Wide Shut, so he kind of left Spielberg to do that so he could do Eyes Wide Shut, which I think is interesting. And Spielberg talks about him a lot, which is. Which is good, because, you know, he's not the recluse like everybody thinks he is. He's not like the. Like, he. He's like, nah, he just. He called me up and we were friends and we talked. You know, he humanizes him a little more than, like, you know, what we sort of know of Kubrick. And obviously, you know, there are things going on now that, like, you know, Kubrick would not have been able to do what he did, and rightfully so nowadays, the way, you know, the way he would, you know, he apparently was very abusive on set and blah, blah, blah. He pretty much almost made Shelley Duvall kill herself. So. So, you know, again, you know, I'm not talking about the man. I'm talking about just, you know, his work. I mean, I think if you. If you just take. Take. I mean, 2001 alone. Again, I can't talk enough about that film. But, I mean, you take Strange Love, 2001, and I'll even leave out Clockwork for you, the Shining. Like, I mean, anybody would kill to have those films anywhere near those films on. On their resume. [01:18:14] Speaker A: Yeah, and I will say. I will say, actually, the two movies I do go back to is one is the Shining. I definitely loved it. Definitely agree. That was definitely a re watchable movie for me. The other one, I forgot to mention, I know you've seen this too, is I love the movie. Right up my alley is the Killing. [01:18:27] Speaker B: Oh, yeah. Thank you. You gave me that DVD for my birthday one year, and that's great. And I love that movie, you know, because it opened right at the time. Right. You know, I'm really into Tarantino at the time. And I mean, that clearly, you know, was an influence on Tarantino. So I loved making that connection, sort of myself, without reading about it, you know, I mean, like, I love, like, oh, my God. This is. Is clearly where Tarantino took a lot of his cues. So I'm sorry. [01:18:53] Speaker A: Well, no, I was only gonna say it's funny because you said a buddy, a friend of mine in college, Tony, gave me, told me to put me onto that movie. He's like, you'll like, this is a racetrack robbery. I'm like, oh, sounds awesome. And it was very, like you said, unique way of telling the story, which it definitely influenced Tarantino. It was very unique, that movie. Yeah. You know, but, you know, again, I guess for me, again, it comes down to personal. Again, I loved Dr. Strangelove. I do want to revisit that. [01:19:17] Speaker B: That gets funnier every time I see it. I've only seen it three times and I haven't seen it in years, but it's funnier every time. [01:19:23] Speaker A: Yeah. But I will say now just to get on the comedy train here a little bit here. I, there are movies, I'm like, I want to go back to give another shot this and that. But I, I, I, I, I gotta be honest here. I made this pact to myself as, as soon as the words the end came on the screen, I. You'll never give me a second chance for which one? [01:19:43] Speaker B: I'm sorry? Oh, Clockwork Orange. [01:19:44] Speaker A: Yeah, yeah. It was just not my thing. Boy, I gotta tell you. But, but you know what? [01:19:48] Speaker B: Get it. [01:19:50] Speaker A: So many friends of mine that I know that are like, that's my favorite movie of all time. What are you talking about? You're an idiot. You know, I'm like, I know I, I'm being kind of a fucking dick there. I know that. But I'm like, you know what? I'd rather rewatch Dr. Strangelove a few more times than live in this clockwork. [01:20:03] Speaker B: Totally understand. Last thing I'll say about Kubrick, you know, you know, he's one of those directors. The one thing people don't say about Spielberg is like, he, oh, that's, that's a Spielberg shot. Oh, that looks like a, you know, the way Spielberg would film that. But there are, you know, so many times where you're saying he said, wow, that, that's such a Kubrickian shot. That's a Kubrick esque sort of frame. You know, like his signature. Just the, just, just what you see, you could put it on mute. You don't need music or actors to cue. Just if you put a movie his on like mute, you, you know, you're watching a Kubrick film. It's just the way, just the way he, the way he shoots in films. And it's, it's, it's amazing. [01:20:46] Speaker A: Interesting that you said that because I, I was gonna say, I do think there are things with Spielberg at certain times, but I couldn't really pinpoint it. But I heard this thing. I don't know if you heard about this with this disclosure day. Maybe. I heard different interviews of different people say there's a thing called the Spielberg face. Have you heard of this? [01:21:03] Speaker B: No. [01:21:04] Speaker A: It's something to do with. I know if it's the way he does the close up on an actor's face. I think if you, I think if you went to YouTube and typed in the Spielberg face, they do a series of these shots of the way he shoots people in a, in a close up thing. I don't know how to describe it, but, but again, it's not something that I picked up on my Own. Someone told me about it on the podcast or whatever. You know, I heard this. I was like, wow, I never thought of this. I never thought, like you said, you have to really think about it. Where it's like you said, kubrick, you don't have to think about it, you know, immediately. Which is an interesting, interesting, interesting thing to point out. [01:21:35] Speaker B: You know what, to bring it back one more time to the killing, right? So the reason I said that, as far as, like, I like to make in that connection myself, you just kind of said that, that, you know, you. You heard somebody say it, you didn't make that connection. You know how hard it is to, you know, sort of pick up on. On something like that nowadays with the barrage of media, right? I go to see back rooms, right? And then, like, I get home that night, you know, I talk about a little bit with the people I see. I get home and I start scrolling and it's like there's a million takes already on the back rooms. And, oh, this is what you missed. And like, a lot of times we consume the content so fast, we don't bother to analyze it in our heads anymore. And that's why I kind of mentioned that, because I miss the days, you know, pretty much pre Internet, when it was like, you know, you had to either make that connection yourself or you talked about with a friend and you go, hey, that's kind of like this guy, you know, it's a lost sort of thing. It's a lost art, you know, of watching films that I miss. [01:22:35] Speaker A: All right, that's a great point. I got. I'm with you. [01:22:40] Speaker B: All right, so this is your number one? [01:22:42] Speaker A: Yes. Are we doing honorable mentions here? [01:22:45] Speaker B: Yeah, let's do it. Let's do it. What do you got for honorable mentions? [01:22:47] Speaker A: Well, I had to throw a few guys out here. Number one. I thought maybe this guy was going to be on your list. To be honest with you, I didn't know where to put him on this thing, so he was right there. [01:22:56] Speaker B: That's assuming you know what my one is. I assume, right, that, you know, I. [01:23:00] Speaker A: I have to be honest. I have no idea. You know what? [01:23:03] Speaker B: So how do you know. How do you know this person isn't my number one? Good. [01:23:06] Speaker A: I. I think he is the number one, now that I'm thinking about it. You mentioned that you don't have. How many writer directors do you have on your list? [01:23:13] Speaker B: 1. [01:23:14] Speaker A: And have you mentioned them yet? [01:23:15] Speaker B: No. [01:23:18] Speaker A: That's his. That's who this is then. I mean, I could be wrong. I was Trying to think if you went a horror angle with your thing. But I'm gonna go ahead and say this, don't you. We'll let you unveil your number one. [01:23:27] Speaker B: Of course. [01:23:28] Speaker A: I had to put. I had to put Mel Brooks as an. [01:23:30] Speaker B: Love it. Love it. [01:23:32] Speaker A: I. The amount of times, again, I've seen Spaceballs and Young Frankenstein alone could go. Could go on, you know, what are we doing here? I appreciate Blazing Sandals. I was not as big on to that as it was the other two. But, I mean, all of his movies are hilarious. So, you know, high anxiety. What are we doing? I love silent movie. I love that movie. Movie. [01:23:50] Speaker B: Yeah, yeah. [01:23:51] Speaker A: I always bring up this one gag that's like the classic Mel Rooks gag is in silent movie when there's a bunch of these bad guys are at a round table and the guy, the guy at the head of the table, he's in the Sting. I forget his name. He goes, we're going to bring in the secret weapon. And. And he unveils a picture of Bernard that Peters in lingerie, and the whole table just moves up. I'm telling you, the first time I saw that, I was dying. I'm like, that's classic Mel Brooks. So childish, but it's so hilarious, you know? [01:24:19] Speaker B: True. [01:24:22] Speaker A: Another two guys I had to mention here, I had to put Michael Curtiz on here. Now, Michael. T's another older director here, obviously. He did Casablanca, but again, the amount of times, Casablanca, Yankee Doodle Dandy Angels, Dirty Faces, the Seahawk, Robin Hood, White Christmas, another one. I wasn't really too big on that, but he's done so much, so many movies. When you. When people talk about the old studio system and the way that these directors were, he's a guy that. He directed so many. But some of those there are just bangers to me that I grew up with that I just love. I had to mention him. And the other guy I got to mention is John Ford. Now, John Ford is a guy. [01:24:54] Speaker B: I thought he'd be on your list, actually. [01:24:56] Speaker A: I know, I know. You know, Scorsese is another one. That this guy has influenced so many people. There's no question about it. You know, obviously, he's kind of like Scorsese with De Niro, was with John Ford and John Wayne. I mean, they did, I think, like 13 or 14 movies together. You know, the Searchers. I love the Stagecoach, man of Shot, Liberty Valance, you know, and he did that movie called the Informer, which I mentioned. I love the Quiet man, another John Wayne movie. He did Another guy like Michael Groutees. He did so many movies and, you know, and again, I've seen some that are clunkers too, but I had to mention. So those would be my three that I had to throw out there. What do you got? [01:25:32] Speaker B: Yeah, so. So there's so many honorable mentions. Right. We could talk. We could throw 10 more names out there. But it's funny you said three, because I kind of narrowed my down to three, too. So you said it. [01:25:43] Speaker A: I said, yeah, let's roll three. I like that. [01:25:45] Speaker B: Sounds good. So. So. And two of these guys are writer directors, right? So I thought Paul Thomas Anderson would end up on my list, but he is. [01:25:52] Speaker A: I thought he would too. [01:25:53] Speaker B: One of my. Me too. You know, and maybe because, I'll be honest, maybe because I wasn't crazy about one battle after another, that maybe it knocked him out of the five, who knows? But I mean, he's brilliant and writer, director, I love him. The Coen brothers were another one I wanted to put on there. [01:26:11] Speaker A: Interesting. Yeah, yeah. [01:26:12] Speaker B: You know, I haven't seen. It's. Those are one of the directors that I haven't seen all of their films. The ones I have, 90% of them I love. I've seen a couple that I was like, wow. Like, you know, I don't think I finished oh, Brother, Where Art Thou? Because I just. I thought it was terrible. But. But when they do things right, I'm clued right in. So I love the Cohen's, you know, been liking them for years. And then here's the one that I desperately, desperately tried to get onto the list because I wanted somebody who wouldn't normally be on a top five list. I really wanted one. But when you put this guy's, you know, rap sheet together, man, it looks pretty good. So this is. This is crazy. Like, but my honorable mention that almost actually made my list was Tony Scott. [01:26:57] Speaker A: Oh, wow. [01:26:58] Speaker B: Yeah, yeah. [01:26:59] Speaker A: Top Gun. No. [01:27:00] Speaker B: Yeah, exactly. Right. [01:27:01] Speaker A: Okay. [01:27:02] Speaker B: You know, when I think of a fun, you know, sort of popcorn movie, like, this is one of the directors that I want to go to. Like, this is one of the directors that, you know. It's like a Michael Bay film. Say what you will about Michael Bay, but you're at least gonna have, if you're there to see if just a fun popcorn movie, you're gonna. You're gonna be happy. You know what I mean? Like, things are gonna explode. This is, you know, Tony Scott is a little above that, if you ask me, but I mean, it's always a guarantee, like, real quick. So top Gun. Beverly Hills Cop, Two Days of Thunder, the Last Boy Scout, True Romance, Crimson Tide, Enemy of the State, Spy Game, man on Fire, Unstoppable are just some of the films that are on there now, if you ask me, man. Like the True Romance is one of my all time favorite films. And that's, you know, written by Quentin Tarantino, one of my all time favorites. And, you know, love that. And Spy Game is top 10 rewatchable movies of all time. Like, without a doubt. What's your. What's on your face? What's going on? [01:28:01] Speaker A: I'm realizing now that I just, I think I. I can't believe neither one of us mentioned this guy yet. And you just mentioned him. I'm like, of course there's another writer, director that just, that just hit my fucking now. I'm like, oh, wait a second. Yeah, maybe Mel isn't number one. Go ahead, keep going. [01:28:15] Speaker B: And by the way, I got to mention Mel Brooks. You know, first of all, I'll be completely honest. I didn't consider him for some reason. I just went straight up drama. I didn't do comedy, but. And because the hick was cursing me out, you know, John, he's, you know, John is pretty much the one who got me into Mel Brooks. So. Yeah, to not mention him, his love of Mel Brooks, you know, he showed me, you know, all those, you know, silent movie, like, he showed me all that shit I hadn't seen. History of the World is one of my all time favorite movies and. [01:28:43] Speaker A: Oh, I forgot about History of the World. Yeah, the producers we didn't mention. Right, Producers. [01:28:47] Speaker B: I actually had never seen producers. You can believe it. [01:28:49] Speaker A: Yeah, but how about Dracula? Dead and loving it. I remember you said you didn't walk out just to honor Mel Brooks. [01:28:54] Speaker B: Yeah, if it wasn't Mel Brooks, we would have walked out. That was terrible. But Men in tights. You didn't mention Spaceballs. You didn't mention like another one. [01:29:00] Speaker A: Spaceballs I mentioned. I love. [01:29:01] Speaker B: Oh, you meant. I didn't hear you. [01:29:02] Speaker A: Okay, so, yeah, I haven't seen as many. As many times. I do want to see it, but Hilarious, of course. [01:29:08] Speaker B: Yeah, he's brilliant. So, yeah, honestly, I didn't consider him. But you know, you know, John, don't, don't kill me. I just, I didn't put him in the running, so would be remiss if I didn't mention John Adams there. So. Yeah, so. So, you know, what can I say? A lot of great directors out there, you know, I wish we had time to talk about all of Them, but, you know, but we don't. So who was your number one, sir? [01:29:29] Speaker A: Well, I figured it's, you know, for the people listening, they're probably like, all right, can we put someone that's alive on the fucking list? Big shot. So I figured, you know what? Let's, let's put someone that's actually living here. I had to put, of course, Spielberg. What are we doing here? [01:29:43] Speaker B: Okay. Right, Okay. I knew we'd be on your list. [01:29:45] Speaker A: How is it not gonna be? You know, I, I, you know, I know you were talking about before, but you're so right. I never even thought about it like that. Where it's like, you know, when you mentioned somebody, he's always like the sarcastic wise ass comment whenever somebody picks up a camera, like, all right, Spielberg, let's calm down. [01:29:58] Speaker B: Good way to put it. I was trying to think of a way to put that. You put it brilliantly. Good job. [01:30:02] Speaker A: He's always the one you think of. And it's funny. Like we just said, talking about storytelling, like, I know they made that. He made that movie called the Fableman's. I never saw you see that. [01:30:09] Speaker B: No, I know. It's about his love of movies as a kid and shit, right? No, I want to see it. [01:30:14] Speaker A: But I got to tell you right now, again, just going again, the amount of times I've mentioned all these other movies or directors that I, that the amount of times I've seen the movies, you know, right up there, it's amazing to think that I always think to myself, I don't think I watched a lot of TV as a kid. I was always outside playing football or doing some nonsense. Man, we watched a lot of tv. What are we doing here? The amount of Chaplain Keaton, Frank Cap, Hitchcock, even Scorsese, all these things that we've seen a million times. Spielberg alone would probably dwarf everything. The amount of times I've watched the original Indiana Jones trilogy is probably more than I, I don't even know if you could put a number on it. And again, a lot of people kind of crap on Temple of Doom. To me, all three of those movies are, are phenomenal, infinitely rewatchable. And I, I can't. I can't. You know, and again, I, I just think that if you were gonna go, if you talk to anybody, you, you put it a great way. You know, any director would kill to have these films or this, this amount of film. If you're gonna say, what's every movie director's best? Five movies. I don't think his five or Can. Can be beaten. If you. If you were talking about, you know, the fact that you. You have. You could just. If you mentioned et Jaws, Raiders, and I don't even know what you want to say is 3 and 4, Schindler's List, Jurassic Park. I mean, whatever you want to put in there, Saving Private Ryan. [01:31:36] Speaker B: That's the point. It's. There's so many more you can put in that slot. [01:31:39] Speaker A: Absolutely insane. I mean, and if you're a kid of the 80s, as I was, Indiana Jones aside, what. What kid didn't fall in love with ET when you watched it? I mean, you know, whatever it is, you know, and once those bikes took off in the air, I was fucking born. Like, you know, I was. I watched in college with a buddy of mine, and he's like, you got to close the door. I don't want people see us crying. And Jurassic Park, I saw, like, five times in a movie theater. Loved that fucking movie, man. I was all about that shit, you know, And. And you know, Schindler's List is one that you have to be in the right mindset, obviously, to watch it. I want to show Allison she's never seen it, but, you know, what a movie, man. And like you said, Jurassic Park. Are you kidding me? You got. And again, I saw Hook. I thought that was a lot of fun. It's funny. Like I mentioned, I've seen, like, 20, probably 25 Hitchcock movies. Again, not even talking about the comedy, guys. I have not seen all of Spielberg's movies. There's a lot I haven't seen. Never saw Munich. Never saw Close Encounters, you know, Never saw Close Encounters. [01:32:34] Speaker B: Wow. [01:32:35] Speaker A: No, I know. I know. [01:32:36] Speaker B: I never saw 1941. I never saw. There's a few. [01:32:41] Speaker A: I saw Lincoln. I think that might have been the most recent one until disclosure date. And again, I know there is that gap. And I know. And you know what? People want to come after him. And I agree. You know, I. I never saw the west side Story remake, War Horse. I didn't see some of those Tom Hanks movies. I never saw the Terminal. I never saw Bridge of Spies. I never saw Post. [01:33:00] Speaker B: Post. I wanted to see. I forgot about that one. [01:33:01] Speaker A: Yeah, I want to see some of these, but it's like, you know, I haven't gotten around to it. You know, The Lost World, I thought was kind of an ass sequel, you know? [01:33:08] Speaker B: Yeah, I like the Lost World. I thought. I thought it fell apart in the third one, but. Yeah. Yeah, I hear it's not as. As good as the first one. [01:33:14] Speaker A: And Again, Crystal Skull is Crystal skull. What are we gonna do? But, but, but you know what? You know, and again, the Color Purple is on your list. I never saw it. So what are we doing? [01:33:21] Speaker B: My God, like, I forgot about Jesus Christ. Like, I mean, this guy. Yeah. I mean, you can go on and on. Again, the only reason. I mean, you know, I'm saying all this, and he's, you know, he's number three, and he started out as number five, and it's so weird. But I mean, honestly, if it wasn't for. For my absolute adoration of number two, of Kubrick and, you know, I'll talk about my number one. Like, I mean, you couldn't argue with anybody. Who told you Spielberg was the best director of all time? [01:33:50] Speaker A: I have to be honest. Yeah, I'm thinking about it too. Now. You take Jaws, et, the Indiana Jones movies, Jurassic Park. The amount of times I've seen just those, was it five, six movies alone? The amount of movies I could have watched. The amount of things I could have done, I could have made, met, you know, I could have achieved things in life. You know, like, what are we doing here? The amount of times we watch these goddamn. I mean, what. That was like our child, my childhood was. Was Spielberg. You know, at the end of the day, outside of all the dead people I mentioned or, you know, whatever the you want to say about, you know, not that we didn't all watch Back to the Future or, you know, Zemeckis films or any other guy, you want to say, yeah, this guy is. Is the guy. You know, there's no other way around it. And again, same like Scorsese, he appreciates the history of film. You know, you watch Temple of Doom, you're getting, you know, a Busby Berkeley musical, you're getting James Bond, you're getting Gun, Gaddin, all in one movie. Like, what are we doing here? I mean, you know, unbelievable. You know, so I got to give it to him and that's it. Number one. That's. That's got to be. [01:34:52] Speaker B: I'll tell you what, you know, it could be a case of like. Like, if this is strictly like, you know, who was like, obviously my 2 and 1 are more personal favorites to me than 3 is. But there's that combination of like, you know, but. But what about, you know, the impact. Blah, blah, blah, all that. So, yeah, I mean, again, you could, you know, if it was strictly like the best directors of all time, most influential directors of all time, maybe he ends up number one on my list, you know, but, hey, hey, it is what it is. [01:35:18] Speaker A: A lot of the guys we mentioned would be on any of those lists, too. So let's not get ourselves here. All right? Are we gonna hear you? Number one? [01:35:24] Speaker B: Yeah. And you know who it is? So. So my number one is. It's Quentin Tarantino. Yeah, I. [01:35:30] Speaker A: Look, yeah, yeah, yeah. Took me a while to get there, but here we are. [01:35:33] Speaker B: And, you know. And, you know, I'm not even sure Quentin Tarantino would put himself above the other four names on my list, but, you know, this is a. This is. This is a director that has never. We never had a director like this before. Here's. Here's the way I split it to people now. This is the only director alive right now where, like, his next film. Doesn't matter who's in it doesn't matter. What it's about is an event. It doesn't matter what Tarantino's 10th and final film is gonna be about. It doesn't matter. It's gonna be like, let's go see the new Tarantino film. You know, I mean, like, yes, there are times when you've said, oh, let's go see that Scorsese movie. Let's go see this Spielberg picture. [01:36:20] Speaker A: But, like, you're right. There. There are times where. [01:36:23] Speaker B: Before. Yeah, right, right. Whereas, like. Like. Like, it's. And it's never been like this. Like, it's never been. No matter what, I'm going to see the next Scorsese movie. I've. I've said I've not done it, but no matter what, I'm going to see this Tarantino movie. [01:36:37] Speaker A: Now, is that. Because isn't it rumored that it might be his last. Is that. Is that. You think that's. [01:36:41] Speaker B: He's been saying that for years. He's been saying he's only going to make 10 films, and then, you know, so I imagine he's going to bill it as the 10th film. I mean, as the final film. But no, listen, so. So this has also got a lot to do with my formative years of movie loving and my social relationships at the time, you know, so. So, you know, I gotta mention Troy again. You know, we've been watching films together for so many years, just like you and I have, but even before you, in the early 90s, you know, I'm hanging out with Troy. We're in Boston, and, like. And, you know, they show me Reservoir Dogs, and I'm just like, yeah, never seen a movie like that before. [01:37:16] Speaker A: Yeah. [01:37:17] Speaker B: So then we all go to the movies and see Pulp Fiction and Man, I've really never seen a movie like that, that before. So it's like. So then I'm off and running, and the Next, you know, 10 years of my movie life are all about Quentin Tarantino, you know, I mean. I mean, they're not. I'm obviously doing other things, but, like, you know, you can't. You couldn't turn in the, you know, mid-90s to the mid-2000s without, like, hearing his name somewhere in. On some forum. And again, this is a guy who's only made, you know, technically nine films. I mean, I think he's made more now, but you know what I mean, he's only technically made nine films over the course of. What I'm saying, over the course of, you know, 35 years. So, you know, he's. He's picking and choosing now. Other than. This is another reason, other than one film, I think every film he's ever made is amazing. So. Other than Jackie Brown, which a lot of people like, but I fucking hate, other than Jackie Brown, I think every other film is amazing. And I mean, like, amazing amazing. And that's. That's huge, right? So, yeah, you take any of These other directors, 10 films even give me their top 10. And I don't think pound for pound, it was stacked up against Tarantino's 10. I'm nine. I should say nine. Again, I'm not saying that, like, you know, Goodfellas isn't better than, you know, Kill Bill, Volume 1, but I'm just [01:38:35] Speaker A: saying, like, the batting average is pretty good. Yeah. [01:38:38] Speaker B: And look, and. And, you know, my other soft spot is for independent films. And, you know, Tarantino wasn't making independent films, but he came out around the same time as the independent film movement. He felt like an independent filmmaker. You know what I mean? He was, but he felt like, because he was the same, he's coming out when, you know, Kevin Smith is doing his thing. And, you know, and there was something so exciting about that era of filmmaking. Something so exciting about those personalities coming out of there. And what can I say? I just latched on to Tarantino now after Jackie Brown, you know, I mean, every. All my friends listening to this, John and Troy, they're all. They all know that we all hated Jackie Brown. And I mean, Troy doesn't even admit it exists. That's how much he hates it. [01:39:21] Speaker A: Interesting. Jackie who? [01:39:22] Speaker B: Exactly. And. And it tarnishes what is going to be like a perfect game, you know what I mean? Like. Like, it's the one fucking, you know, blight on this, like Amazing list of films. Now, again, I'm not saying Hateful Eight is a brilliant film. You know what I mean? I'm not saying that Reservoir Dogs is a brilliant film. They're really good films. The other films are brilliant. Most the other films are brilliant. But it doesn't matter. Like, it's not about, like. Like every one of his movies is a unique experience. [01:39:51] Speaker A: It's no doubt. [01:39:53] Speaker B: And the trick he keeps doing is like, what you realized in Reservoir Dogs to Pulp Fiction to a lesser extent. Reservoir Dogs, you know, that dialogue that, you know, kind of came out of nowhere. Like, the way he writes dialogue, the sort of pop culture y. Sort of like just amazing way he writes dialogue that never stops being fresh. And that's amazing. Like. Like that. That's one of his things, right? Quote, unquote, you know, the, The. The opening, the trunk shot that. That gets old. But, like, the crack. The dialogue in his films, they. You never get tired of hearing them. It's amazing. I feel like reading every script of all these movies, talking about the only scripts I would be just as gripped to continue reading would be Tarantino scripts. You know what I mean? Like, it's all there. Everything else is just bonus, you know what I mean? Like, it's. It's. It's amazing. Like, like his. He may not have changed film for the next, like, 30 years. Like, like, you know, go seeing, like, you know, Scorsese did and like, you know, all these other films. Like, he certainly had the most amount of people trying to do what he did and failing at it for the most part. You know what I mean? Like, there were so many Tarantino imitators in the late 90s and 2000s that, that it's a testament to the. The. The enormous impact that he had when he. When he burst on the scene. And plus, he's. He. He was. He was one of the. The first modern day, you know, rock star directors, right? Like. Like, he was. Like, he was cool. Like, you know, not a lot of directors are like that. You know, you see smoking cigarettes and he's hanging out with, you know, Michael Madsen, and you're like, this guy's fucking cool. Like, you know, he's not just some. Some, you know, nerdy guy behind the camera doing all this. I'm sorry, I could talk about Tarantino for hours and hours, but. And I just want to mention, just for the curious, I think Inglourious Basterds is his best film, and I think it's one of the greatest films of all time. [01:41:45] Speaker A: Wow. All right. For the curious about that. [01:41:47] Speaker B: For the curious. [01:41:48] Speaker A: How about that? Yeah, I. I mean, yeah. I mean, you know, I. I love. I love. And Glorious Bastards is great. I. I actually love Django. I know a lot of. Some people are kind of. [01:41:56] Speaker B: It's very good. Good, but a lot of people, I think overrated a bit, but. Yeah, no, it's very good. And Once Upon a Time in Hollywood, by the way, the more I watch that film, that's gonna move to his top five. For me, that is. That's an insanely entertaining movie. I love that. [01:42:09] Speaker A: Yeah, no, I. It was good. You know, I'm trying to. Obviously, Pulp Fiction. Yeah, I. I have to be honest, I have not seen Kill Bill. I gotta check that out. Oh, wow. [01:42:16] Speaker B: Yeah. That's great. [01:42:17] Speaker A: Yeah. I'm trying to give. I've seen Jackie Brown. I've seen. [01:42:20] Speaker B: Did you like Jackie Brown? It's okay to admit it. A lot of people do like it. [01:42:23] Speaker A: I. I thought it was fine. I. I wasn't. I didn't. I didn't have a really take on. Wasn't as. As gripping, obviously, as the other ones there, but I didn't think it was a horrible movie. You know, But I guess if you. Again, if you're. If you're looking at. I guess for a certain standard or something like that, you'd be like, well, [01:42:40] Speaker B: tell you what, you mentioned Dracula Dead and loving it, right? Like, we were just as excited for Leslie Nielsen starring in a Mel Brooks movie as we were for Robert De Niro starring in a Quentin Tarantino movie. Movie. Okay. And then we get there and it was just like, like, you know, it just. It. It didn't vibe. It just didn't hit us. Like, none of us. It just. None of it did. There are so many elements of that movie that I'm. That I like. I love. I love the revival of Robert Forrester in that film. Like, I thought he was great in that movie. You know, Samuel Jackson was on full display in that movie. You know, the. The Bridget Fonda, you know, looking cute was in that. It was a great cast and. And it was certainly a Tarantino movie, but it just. It just. It just didn't hit. I almost can't explain why to this day, but it just. It just didn't hit. [01:43:28] Speaker A: Hey, you know, we can't be perfect here. You know, he's gonna have. And what is it about the hateful Leaf, too. That's another one I never saw. That's another one. [01:43:36] Speaker B: Yeah. That's a fun one. You know, again, it's not Pulp Fiction. It's not, you know, once upon a time, but it's, but it's fun. It's pretty much, you know, just a bunch of dudes and a couple, you know, cool women just kind of saying cool to each other for two hours, and then people get shot. You know, it's, it's, it's pretty, I mean, it's a Tarantino movie, so, you know, people are gonna get shot at the end of it, but, but it's really good. [01:44:00] Speaker A: Wow. I mean, you know. Yeah, I, I, it's interesting too. Like you said, like, it's some of these guys that you don't think of that when you think about the fact that he hasn't really done, you know, like, again, I don't know how long he's been around for. He's been around for what, almost 30 years now. [01:44:13] Speaker B: I mean, if you count Reservoir Dogs as his first, like, Official film was 93. I'm 92. So there you go. He's been around for, for 34 years. [01:44:21] Speaker A: You know, I guess, I guess you think of somebody like Scorsese or Spielberg or even Hitchcock, you want to go back that far. But the guys that have done, like, this enormous, at least a decent, you know, 30 movies or more, this guy's only done not even 10 movies. You know, that's insane. [01:44:33] Speaker B: He's taking the Kubrick route. Yeah. Like, and the funny. And the amazing thing is, is that he, he, you know, you, he banged him out quickly. He's gotten slower and slower over the years. You know, if Reservoir is out in 92, Pulp Fiction in 94, Jackie Brown 97, you know, like, you know, there's three in five years or, you know, six years. But, like, that, that would be the closest he ever, you know, got again. So, like, you know, I mean, it's been seven years since Once Upon a Time in Hollywood came out, you know, so, I mean, that's, that's a long time for director. Did not, you know, make a successful director, not to make a film. [01:45:03] Speaker A: You know, speaking of that, ironically enough, this is a guy that's not on either of our lists. But I don't know where you're standing just talking about this prolific thing going the other way. Are you a Woody Allen guy? [01:45:16] Speaker B: No, not really. [01:45:17] Speaker A: He made like a movie a year for like, at least one movie every year for like, 30 something years. I mean, the guy put out an amazing amount of films. [01:45:25] Speaker B: Yeah. [01:45:25] Speaker A: You know, I've only seen a couple. One of my theater director, I was in college, told me to watch the movie. This movie. Bananas. I gotta tell you, I laughed out loud a lot. He was pretty. But I thought I gotta rewatch Annie Hawks. I kind of thought it was, eh. But I have to give it another watch. I've seen Midnight in Paris I actually loved. Yeah, you liked? [01:45:43] Speaker B: I like. [01:45:43] Speaker A: Watch it. Midnight in Paris I loved and I saw a movie called Sweet and Lowdown. I think that's all the ones I've seen that he's done. [01:45:50] Speaker B: I've seen. I want to say Manhattan Murder Mystery. Was that one of his films? [01:45:55] Speaker A: I think there was a movie called Manhattan and I think there was a movie called Manhattan Murder Mystery. I, I, I, I, I. I'm not sure if he did both of them or if maybe he did the one you're mentioning. I'm not sure. [01:46:05] Speaker B: Whichever one was his I saw was pretty good. So I mean, I think I've only, that might be the only two I've seen and. Yeah, but I hear you right. It's hard to have a director conversation without talking about some of these guys that, you know. Woody Allen, sure. You gotta mention Woody Allen again. [01:46:19] Speaker A: Again, a writer director, but also someone that just the. To put out what he put out, the amount that he did, you said like, good work, you know, but again, who knows how many. Again, I haven't seen anywhere near the amount of films. I've seen more of Tarantino and he's only had a short as you have. But again, the batting average for the amount, even though it's a small amount that he put out these, I mean, you know, and again, influential, you know, everybody goes to see them. There's a great point, you know, after Pulp Fiction. Yeah. You're gonna, you know, who hasn't seen Inglourious Bastards or Django or Once Upon a Time. Just because you all fought, you know, know Kill Bill too. Even I, even though I'm the one that hasn't seen it. But yeah, you know, the big. Everybody wants to see these, these movies. Yes. And they're fucking great. [01:47:03] Speaker B: But yeah, no, like it's, it's, you know, it's Tarantino. What can you do? Like I said, it's a, it's, it's an event, you know, like, like the, the only other director I could think of real quick who is like, okay, the next film might be like, oh, let's go see it. Just because he's doing it from a horror take, like whatever Jordan Peele does next, I think anyone is going to pay attention to. [01:47:22] Speaker A: Great point. And I gotta tell you, I was waiting for one of these guys to be on your list. So it's very interesting. I don't know. [01:47:28] Speaker B: I mean, if it wasn't for these other, like, powerhouses, like, I would love for horror to become a category where a director does direct seven to ten brilliant films, you know, like. Like, it's just so hard to do with multiple sequels and, you know, horrors. It's so such a genre, you know, it's hard to kind of, you know, pinpoint, like, you know, there's many, many directors right now that I pay attention to. I mean, I'll tell you what, Robert Eggers is on his way to being on one of these lists. [01:47:55] Speaker A: Okay. [01:47:55] Speaker B: As far as I'm considered, he's four for four. And it's, you know, Nosferatu and the way, you know, he's. These movies are brilliant. [01:48:00] Speaker A: Oh, okay. [01:48:01] Speaker B: Oh, yeah. The Witch, Nosferatu, the Northman and the Lighthouse. I mean, just for four absolute amazing films. So, you know, there are many directors right now that are exciting enough to talk about possibly being in this group at some point, you know, but, you know, they ain't there yet, you know, horrors. And I'm sorry, like, you know, like. Like somebody like Wes Craven or somebody like, you know, I don't know. A lot of these famous horror directors. What's that? [01:48:28] Speaker A: John Carpenter. [01:48:29] Speaker B: John, Right. John Carpenter. Right, right. You know, they're just, you know, I just can't put them in the same category as I do some of these other directors. You know, they're doing what they do well and. And Lord knows I love their film, but to me, it's not exactly the same. [01:48:46] Speaker A: How about a little crossover here? Any Trek director that we make the [01:48:49] Speaker B: list, you know, not really. Like. Like there's a varied group who directs the films. You know, none of them just kind of take, Take Command and just, you know, Jonathan Frakes has directed a couple. Nimoy's directed a couple. Shatner directed one. You know, you know, there's David Carson and there's Nicholas Meyer, and these are directors who. Who drum up. But there's no track record there, as far as I know of. At least not in track. [01:49:11] Speaker A: Interesting. [01:49:12] Speaker B: Isn't it, though? What's interesting also is that we've been talking for almost two hours, man. [01:49:16] Speaker A: Hey, you know what? I knew this was going to. I had a feeling it's going to be a long. Because this is a banger topic. What are we doing? This is fun. [01:49:21] Speaker B: This is a lot of fun. I. I liked how hard it was to do, and I like the fact that this is a list that you could, you could destroy with a slingshot. Like, you could say one thing, and I would move Scorsese three spots up. You know what I mean? Like, it's so fluid. [01:49:36] Speaker A: Was just the order of it, 100%. No, no doubt, no doubt. [01:49:39] Speaker B: Yeah. So fluid. But, yeah, that's it. [01:49:43] Speaker A: Well, let's do a little directing ourselves and direct ourselves to the finish line here. Listen, thanks for joining us. Anything you want to add, Phil? [01:49:49] Speaker B: No, just really appreciate it if you stuck with us for two hours, us idiots, just talking about movies and directors. You must be just as crazy as we are. We really appreciate it. God bless you. And, yeah, we'll see you next time. [01:50:02] Speaker A: Hey, thanks very much for listening to. If you stuck with us till this point, man, let me tell you, you got, you guys, you guys are just really the best. God bless you. [01:50:11] Speaker B: Just repeating exactly what I said. [01:50:13] Speaker A: Is that what you said? [01:50:14] Speaker B: Are you asleep? [01:50:15] Speaker A: Yeah, I, I, I have to admit, I'm zoning out here the last few minutes. [01:50:19] Speaker B: Leave that in. [01:50:19] Speaker A: I apologize. [01:50:20] Speaker B: I might leave that in. You got to leave it in. [01:50:22] Speaker A: You got to leave it in.