Top 5 Needle Drops (Pt. 2)

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0:45Speaker 2:What kind of a show are you guys putting on here today?

0:48Speaker 1:You're not interested in art?

0:49Speaker 3:No.

0:50Speaker 4:Well, look, we're going to do this thing.

0:51Speaker 5:We're going to have a conversation.

0:55Speaker 3:Hey, film spotters, Adam and Josh here.

0:57Speaker 5:It is time for part two of our top five movie needle drops. Josh, I think we've had everybody on pins and needles anticipating.

1:08Speaker 1:I'm sure.

1:08Speaker 5:Three through one. I mean, it was such a tease. Hopefully it was some good conversation, some illuminating, insights about some great scenes, some great music. Maybe illuminating is too strong a word. It's what we strive for occasionally here on Film Spotting, but we've still got the best ahead of us.

1:28Speaker 1:We've got The B-side. We've offered a double album of film spotting this week. And I don't know, are B-sides considered usually better or a letdown?

1:37Speaker 3:Usually the throwaways, I think. I know.

1:39Speaker 1:So it's the opposite. Let's not say B-side. Let's say double album, okay?

1:44Speaker 3:Double album.

1:45Speaker 1:Yeah. Let's go that.

1:47Speaker 5:And this double album, every tune is a banger. Every track is a banger with this one. 15 tracks, or I'll give you a little spoiler, only.

1:57Speaker 3:14 tracks.

1:59Speaker 5:My math is bad. 14 tracks, I think, because we do share. There is a shared choice coming up here in a bit. We did give you part one picks five through four a couple of days ago. You can find that in the film spotting feed. You can also hear a recommendation of the new movie. It ends a golden brick contender now. We shared the poll results for the best third movie by a director. And since 2020, we should also stipulate, we also announced a new poll where we want to know who's the best 90s movie villain.

2:35Speaker 5:We think it's obvious. I haven't looked at the results yet. We'll see if our listeners agree, Josh, that it is in fact obvious. So let's now go to Rico. Let's go to the two of us. And here are three through one.

2:48Speaker 3:Needle drops. Rico, you're number three.

2:54Speaker 1:Here we go.

2:55Speaker 2:Number three. This one, it's almost too obvious, but I also like, I think maybe the reason, the way that I was picking this, I never really talked about what my parameters were, just like the things that moved me that I really, and nothing beats the, well, two things beat this because we've got two more on our list, but almost nothing beats this, which is the use of trouble by Cat Stevens in Harold and Maude. One of the great soundtracks ever. And a movie that I saw probably like a lot of people, you know, in repertory, you know, it was in a place in Pittsburgh called the Pittsburgh Playhouse that had a different movie every night.

3:38Speaker 2:And Harold and Maude was one of the perennial favorites, along with things like Monty Python and the Holy Grail and, you know, The Graduate, things like that. But that was probably the first time I'd ever heard Cat Stevens. And it seemed, first of all, is that so many of his songs, even though they were written in the 70s, feel, in some cases late 60s, still feel so modern to me. They're these perfect, they're not like, you know, in that era, there was a lot of epics. There was a lot of prog going on. These were just like these perfect little pop gems. And there's like 10,000 of them in this movie. And that one is the most heartbreaking. Should I say what it is for those who somehow listen to the show and haven't seen Harold and Maude? Because it is a pretty big spoiler. It's like right at the end.

4:23Speaker 3:I think you've given them enough warning.

4:25Speaker 2:Turn it off if you must. So, you know, Harold and Maude, of course, about a May-December romance between young Harold and octogenarian Maude. At the end, he thinks that he's going to marry this woman. And he's also a guy who's ironically been obsessed with death, and she's given him a reason to really love life. And he goes to her house thinking that he's going to marry this person, and she reveals that she's decided on her birthday to take pills and end her life. And in one of the great cuts ever, he looks at her for forever and ever and ever when she tells him that she's done this. And he just says, what? And at the second that he says it, it cuts to an ambulance.

5:08Speaker 2:And him not wanting her to die. And that song by Cat Stevens starts playing. And it's a very obvious song to play. It's about trouble. Oh, trouble. Trouble, move from me. In some ways, it's a really obvious choice if you're going to be soundtracking your entire movie with Cat Stevens. But it's also just so freaking beautiful. And I think if my memory serves, you can't even hear the siren. It's just the music. You know, the actual... Details of what happens almost don't matter. What matters is how truly sad this is. And it continues through the sequence.

5:44Speaker 2:She has passed away. The doctor comes out. You can't hear what's being said, but you know that she's actually died. He goes and gets into his car. It seems like he's going to kill himself by driving off the edge of a cliff. And just as he's about to drive off the edge of a cliff and the song ends... The car goes over the edge of the cliff, but we reveal that he jumped free and he did not go over the edge of the cliff. And he's just standing there holding a banjo. It's the saddest moment followed by the most hopeful moment ever. And just thinking about it makes the hairs on the back of my neck stand on end pretty hard to top. And by the way, Cameron Crowe was responsible for re-releasing that album in its entirety.

6:27Speaker 2:That soundtrack was often truncated. And I think it was back in the 90s, Cameron Crowe, of all people, decided that he was going to get the full soundtrack reissued. And there's just tons and tons of great music on that. Since then, it's also been reissued with everything. But I just want to say that Cameron Crowe agrees with me.

6:46Speaker 3:As he should.

6:46Speaker 5:And how about just the fact that you could do an entire top five of uses of Cat Stevens songs in movies?

6:54Speaker 4:Yeah.

6:54Speaker 3:Because you would have.

6:56Speaker 1:I mean, Rushmore has two of them.

6:57Speaker 5:Yeah, I mean, this is maybe an incomplete list, but not only do you have Trouble, of course, you have From Harold and Maude, If You Want to Sing Out, Sing Out, which is also great. Rushmore, The Wind, fantastic. Maybe not that great of a movie, but Father and Son in Guardians of the Galaxy Vol. 2.

7:14Speaker 3:Wild World, my favorite.

7:16Speaker 1:It's amazing.

7:16Speaker 5:Cat Stevens song. Peace Train in Almost Famous and The Holdovers. There are probably others. The Wind is also in The Holdovers.

7:24Speaker 4:Yeah.

7:25Speaker 1:Yeah. Rushmore. I think Rushmore has Here Comes My Baby. That's his too, right? Here Comes My Baby too. So I don't think Cat Stevens certainly was played as I was growing up. You know, my parents had those records, but I think my movie experience of his music was probably Rushmore first. I came sadly late to Harold and Maude, which of course is, you know, has been noted as a huge influence on Wes Anderson. So it makes complete sense that he would use two of Steven's songs in Rushmore. But, um, yeah, I think, you know, the wind was a tempting in Rushmore was a tempting choice for me, but I went another Wes Anderson direction. Um, as we'll get to, we'll get to not going to go there for my number three. However, um, let me make another choice first. And that is going to be, uh, from killer of sheep, the Charles Burnett film. Um, the song is this bitter earth. sung by Dinah Washington.

8:25Speaker 1:This is Burnett's 1978 masterwork set in the Watts neighborhood of LA. Basically follows a husband, a father. He's a slaughterhouse worker. He puts in these long hours working. He notably avoids taking illegal shortcuts to make money. And yet the American dream, he just can't get it. He can't grasp it. The movie itself, famously couldn't get distribution for years precisely because of the music. Burnett couldn't secure the rights to all the music that he uses here. And it's so key to what the film does. So it's understandable that he had to fight this battle because in addition to Dinah Washington, the movie employs Paul Robeson, Earth, Wind & Fire, Rachmaninoff, Gershwin. The needle drop that I'm going with though is Dinah Washington with This Better Earth.

9:18Speaker 1:And this plays... As the husband and wife, they're played by Henry Gale Sanders and Casey Moore. They're dancing. They're actually, they're almost like just kind of slowly, softly swaying in the room of their apartment. They're against this window that's glowing. So it's this sadly beautiful image because it should be romantic. It should be sentimental. But here's where the song's title comes in and how the song just, you know, sounds, it's about, partly about life feeling like a dead end.

9:53Speaker 1:You know, the world being stacked against you.

9:57Speaker 4:This bitter earth. Well, what a fruit it bears.

10:11Speaker 1:Burnett uses this long extended fixed take. for this, to let the music play out, to let them be in the moment together and not interrupt it, interrupt it with any edits. It's interesting, like more is moving more than Sanders is. She's trying to caress him and he's not responding. It's almost like he's this statue floating in the air more than he's fully embracing the music. And sure enough, when the song ends, she tries to kiss him Some more. And he just kind of peels himself away and walks off screen. So it's a deeply sad moment. It's deeply moving.

10:48Speaker 1:And I would say this is like a complimentary example. It's just perfectly complimented by the use of this bitter earth.

10:55Speaker 5:In some ways, based on your description of the track, Josh, maybe one that is complimentary with the song I'm going to talk about next. And you were just mentioning Wes Anderson. not going to go with the wind, a song I was very familiar with. So not a discovery for me here. And we know the Royal Tenenbaums is out, still definitely dozens to choose from. And while I know most of the songs I've heard in Wes Anderson's films, there are still occasions where he surprises me. And ironically, I'm going with the needle drop from a relative disappointment because I, I still, I liked the movie when I saw it, but it is, it is second from the bottom on my Wes Anderson ranked list. And the only, the asterisk I have to put here is it is the only Wes Anderson film that I haven't revisited. It's the only one I've seen once that I saw, I saw it in the theater and that is it. Maybe since Josh, we have Subsequently to this movie coming out, we have done a Satyajit Ray marathon, and I am now a real appreciator of his work. Maybe I will appreciate this film more. The film is The Darjeeling Limited, and the

12:15Speaker 5:song accompanies, and it's my only choice, it accompanies an opening sequence. Yeah, of course, I knew the kinks. I had heard Lola before. I'd heard You Really Got Me a million times on the radio. I'm pretty sure I had never heard another kink song behind those two. And in this scene, the opening of the Darjeeling Limited, a train is leaving. We're in India. A train is departing the station. Bill Murray is running after it. That's my train. He's late. He's trying to chase it down. And There's traditional music playing. It's fairly quiet on the soundtrack. And then all of a sudden, as we see Bill Murray running, it's in close-up, in profile. And then we see Adrian Brody's character, Peter, appear in the frame running alongside him.

13:11Speaker 5:And on the next cut, it's so good. It's a wide shot. And the train is on the left of the frame and the empty space on the right. The guitar chords of the song come in this time tomorrow. And we get the glorious Andersonian combination of Britpop and slow motion. It's Brody running towards and eventually, unlike Murray, successfully getting on board the train. As Ray Davies intones this time tomorrow, where will we be? On a spaceship somewhere sailing across an empty sea. this time tomorrow, what will we know?

13:57Speaker 3:It's folky.

13:58Speaker 5:It's catchy as hell. I remember sitting in the theater thinking, yeah, it seems British, but I can't completely place it. I definitely didn't know that it was the kinks for sure. I did know that as soon as the movie was over, I was going to have to figure out how I could hear this song again. I was instantly in love with that track. And beyond that, it's just... It's not just Andersonian perfection. The reason why it works so well with that scene. Here's where I'll just start out saying it is to the earlier criteria you mentioned, Josh, why it complements the scene so well. This is a movie about characters on a journey in a strange land. And we're all like this at the beginning of any trip, especially in a strange land, but especially one where if we're like them, we're reuniting. with people that maybe we haven't seen in a long time or we're estranged from.

14:57Speaker 5:They're considering it a spiritual journey. They're assigning mystical powers to this location. And they're wishful. They're hopeful. So where will we be? All these possibilities, right? They're imagining themselves on a spaceship somewhere, leaving the sun behind you. But then, This is Wes Anderson. So you read between the lines or even some of the text and it's so tinged with regret. The clouds sadly pass by me. Will we still be here watching an in-flight movie show seven miles below me? I can see the world and it ain't so big at all. Is that comforting that the world ain't so big at all? Is it comforting to realize that or is it actually kind of disheartening? that it ain't so big that there aren't maybe as many possibilities that your life is actually more limited than you thought it, it could.

15:54Speaker 3:Be or should be.

15:55Speaker 5:You know, you don't, you don't need to be an A plus English major to get all that, but I I'm sure that Wes Anderson also knew his, his kinks lore. I looked this up after, after doing all this prep, I was like, I wonder, I wonder what Wes Anderson said. If he said anything about picking this song, couldn't find anything. I wonder what Ray Davies said about writing this song. Tell me if there could be a more appropriate song for this movie or maybe any Wes Anderson movie based on what Ray Davies said about it. He said, I felt that I'd lost contact with my family because I'd been in a pop music bubble for five years and I didn't know the people around me anymore. This time tomorrow was about transience and an ephemeral world. clouds and where do we play tomorrow and what am i doing as a person tomorrow it's a floating song and i was floating into a different era going with the flow for a while until i work out where i want to be and that says it all but just it is a poppy song it's a catchy song it's so upbeat it's live like wes anderson's films themselves it's lively it's colorful it's energetic and at the core.

17:06Speaker 2:Of it it's so this is also the nature of travel this is another travel.

17:09Speaker 1:Yeah and that That contrast between the poppy, the upbeat nature and the use of slow motion here is also very interesting. And I think, you know, Darjeeling limited, which I like, and it's worth, it's worth another view. I would say, Adam, um, I, it didn't leap ahead of his other films for me when I looked at it again, but one thing that helped clarify is his, um, use of slow motion and how it's more than just an easy go-to for effect. To get us to feel like something important is happening when it really isn't. I think that's how lesser filmmakers use slow motion, but this is a great example of how Wes Anderson tends to employ it when there are, this speaks to the layered nature of the song. There are like eight things going on at once. And so we're able to take it all in.

17:57Speaker 1:And if you think about Brody in particular, his. face and how the slow motion allows us to register what he's registering when he beats Murray onto the train.

18:09Speaker 3:That's it.

18:10Speaker 1:We see the competition. We see the triumph. We see the smugness and those are all different, right? Those are all different layers. Then it shifts and you wouldn't catch this without slow motion. It shifts into like a little hint of guilt, some helplessness. Like there's a part of them that feels like, oh, could I have done something? um, sadness, maybe even pity. And then ultimately I think there's like some dismissal there. It's like, well, I'm on the train.

18:39Speaker 1:I'm moving on too bad for that guy. Um, and to have, you know, the song is part of that like this, because the song is as complicated as all of those emotions in the way it's lyrics point against the poppiness in certain aspects.

18:54Speaker 2:So I've always wanted to talk to Wes Anderson. I've never gotten a chance to him. One of the reasons is to know how he gets a, that kind of thing, any director to get, how do you direct? Like it, it seems like if you're going to slow down and the point of slowing down, which I think you're right, is to get all of that. How do you direct it so that you get all of that? Because how do you get an actor to flash through all of that at once? And I also wondered to what extent he knew the music that he was going to put into that sequence at that moment. I'll bet he knew.

19:28Speaker 2:There are a few.

19:30Speaker 1:I would imagine.

19:31Speaker 2:I'll bet he wrote it in.

19:31Speaker 1:I would think so.

19:32Speaker 2:It's my favorite soundtrack, by the way. I agree with you that it's one of his, like, yeah, I love that soundtrack. And by the way, there are a ton of Indian tunes, including Indian film music on that. And, you know, I think it's maybe one of his most cinematic sounding soundtracks, maybe.

19:49Speaker 3:Number two.

19:51Speaker 2:This is one of the great, this would be number one if I didn't have an even better number one. That's how good my number one is, in my opinion. Number two is Amy Mann, Wise Up from Magnolia.

20:03Speaker 3:I mean, the.

20:07Speaker 4:Experience.

20:11Speaker 2:I saw that I'm pretty sure it was opening weekend because I know it was packed. The theater was packed. It was here in L.A. where I live. And there was a lot of buzz about that movie and nobody knew what to expect. The preceding movie had been Boogie Nights. I think maybe people were expecting something on that level, maybe with a little bit more, maybe a little more form. and less episodic and, you know, heady and emotional the way that it was, that moment in that movie is still like amazing to me. I feel like since that movie's come out, there've been something similar, but for those who don't know, first of all, that movie was written with Amy Mann songs in PTA's head. He knew Amy Mann.

20:52Speaker 2:She had given him, I think a tape of unreleased songs or I think something like that.

20:56Speaker 1:Maybe they've been released.

20:57Speaker 2:I can't remember. But he listened to them over and over again and lyrics from the song appear in the script and the references to the songs through the script. And in the middle of it, as almost a love letter to her as well as being a great dramatic moment in the movie, every character stops what they're doing or basically pauses in the middle of what they're doing. And they lip sync to the entirety of one of the most beautiful songs ever written, Wise Up, which is an incredibly sad song as is typical of Amy Mann.

21:25Speaker 3:It's not.

21:43Speaker 2:Every character in all their different situations are all basically saying to themselves what this song is saying, which is... When are you going to stop repeating these really bad patterns in your life? When are you going to wise up? When are you going to stop dating the wrong person, listening to the wrong people, living for the wrong things, all of this stuff and the audacity of it. You cannot imagine if you were not there at the time, because like I said, I think that this kind of thing has happened since, but to stop a movie. And have everybody acknowledge the song in some strange way and for it to make total sense. And it's so beautiful and heartbreaking. It's like you could have heard a pin drop in that theater. And I just was like, what is happening? It's just an incredible kind of artistic leap of faith to take, particularly at that moment in his career.

22:37Speaker 3:Great way to phrase it.

22:38Speaker 2:It's still like mesmerizing. It's my favorite part of that movie.

22:42Speaker 5:Yeah, it's so good. Let's go ahead and go out of order here a little bit, Josh, because it's my number two.

22:47Speaker 1:Okay, go for it. Go for it.

22:49Speaker 5:And it's a needle drop that is both non-diegetic, the song is playing over the film, but it is a performance scene.

22:58Speaker 3:It's diegetic.

23:00Speaker 5:They're singing it within the scene, even though they're not hearing the song ostensibly, right? But it's emanating from the movie world, the characters all singing it. They're all unified within the movie world. The characters are all unified by experience, by trauma. And the filmmaker then could have a music sequence like another very good needle drop, like Donnie Darko. It could be like Mad World, right? Where it just goes from character to character, letting us observe each one of them while we contemplate the juxtaposition of their circumstances. Yeah. But, you know, this song is fundamentally about, as you said, Rico, it's about life choices and it's about their regrets and it's about misfits, which they all are. And it's about whether or not there's a possibility of growth and whether or not you can move forward. And here you have P.T.A., In 99, still kind of this renegade filmmaker saying, screw it to all the rules. And it's, you know, I'm going to actually unify all of them. And the song isn't going to be just backdrop. It's going to be this kind of vocal handoff where each character is actually

24:17Speaker 5:going to express what they've been repressing. And the music is going to be the vehicle for that expression.

24:24Speaker 3:And you're right.

24:25Speaker 5:It's completely audacious. It's arguably totally absurd. But that's what's so brilliant about it. The Brechtian nature of it, just the pure emotional nakedness of it, I think is why it's brilliant and why it's so moving. And I remember sitting in the theater just like you. If you didn't have that theatrical experience, it's hard to maybe fully appreciate it, watching it on DVD now. But in the theater, and you don't have many experiences like this anymore. In the theater, there was a charge. It was sort of like, are we all unified by this experience? Are we all together sharing this experience right now?

25:05Speaker 3:Is this actually happening? That was incredible.

25:08Speaker 5:And I definitely didn't know the song at the time. Even when I looked up later, I was like, I don't know who Amy Mann is. Then I put it together a little bit.

25:18Speaker 3:Oh, the face, the voice.

25:20Speaker 5:I grew up seeing the video for Voices Carry by Till Tuesday in constant rotation on MTV, but I was still surprised that that was her. I had no idea that it was apparently on the Jerry Maguire soundtrack. Cameron Crowe, again, had originally put that song on the soundtrack but didn't use it in the film.

25:40Speaker 3:It's just a stunner.

25:42Speaker 1:Yeah, I should have gone with this.

25:44Speaker 2:Come on, Josh.

25:45Speaker 1:It could have been three for three. Honestly, the only reason... Here's the only reason, and you guys have spoken to it. It's so unique. It's almost not a needle drop. It's its own cosmic use of music that has rarely been repeated. And I just felt like, I don't know. I should have done it. I just felt like it was too unique. It was too singular and didn't quite fit the definitions I was working with. But I agree with everything you said.

26:14Speaker 3:So what's your lesser number two, Josh?

26:16Speaker 2:Go ahead, beat it.

26:17Speaker 1:Yeah. Yeah, well, okay. I think I have a filmmaker who one-ups Paul Thomas Anderson in the needle drop category. Are we ready to talk about Scorsese?

26:26Speaker 3:Okay, you're right. The only one, perhaps.

26:29Speaker 4:You're right.

26:30Speaker 1:Okay, all right. You challenged me.

26:32Speaker 3:Here we go.

26:35Speaker 1:What do you do with Scorsese? I mean, in a way, the fact that Adam and I couldn't choose Goodfellas helped a little bit, but Goodfellas is actually integral to the pick I'm going to go with. And What helped me work my way through this is this dissertation I just finished up. I did devote a section to Scorsese's sacred use of secular music. And that led me to a bit of a peculiar choice. So I'm curious to see what you two make of this one. I'm not going to go with Rolling Stones, Jumpin' Jack Flash from Mean Streets.

27:06Speaker 1:That's like the source of Scorsese's needle drops. Yeah, it's ground zero. And perhaps all needle drops. I mean, I know they were used before that, but still. Not going to go with that. If I were going to go with a Goodfellas pick, and this relates to my pick, it would be The Crystals' Then He Kissed Me, when Henry and Karen are being ushered to their VIP table at the Copacabana. I'm going to go with something that I think of as a response to Then He Kissed Me, and it comes from The Irishman, which I think is a response, a continuation, a culmination of all of Scorsese's mob movies. And that song, my pick, is going to be the Five Satins doo-wop classic In the Still of the Night, which actually bookends The Irishman. So if I were restricting myself, I'm breaking two rules here. It both opens the movie and ends the movie. Not really credits necessarily, but yeah, it bookends the movie for sure. At the same time, Scorsese is employing in a new way one of his techniques, the single take here. The camera is finding its way to Robert De Niro's Frank Sheeran, who's sitting in a wheelchair at this senior care facility. So

28:18Speaker 1:something I noticed the first time I saw The Irishman in 2019 is the way the use of In the Still of the Night here is really the inverse of Then He Kissed Me. So when you think of Then He Kissed Me, it has this expectant rumble. There's an air of exhilaration to the music and also to the moment. It matches it, right, in Goodfellas. In the Still of the Night instead has a gentle swing. It has reflective lyrics repeating, I remember, I remember. It invites introspection rather than celebration. And that's fitting, of course, right? For a movie about a man slowly coming to grips at the end of his life with his days as a mob hitman.

29:07Speaker 1:The music works this way, as I was just describing, but the lyrics are interesting as well. I'll hope and I'll pray to keep your precious love well before the light. Hold me again with all your might in the still of the night. Now, in the context of this aging man who is beginning to reckon with his crimes, the singer sounds less like making a romantic pledge and more like this prayerful plea. coming from the darkness, pleading for some sort of redemption, which we know is a theme Scorsese is interested in, the possibilities of redemption. So in terms of, this is my collide pick, basically. It's not necessarily colliding with the moment, but I think it's colliding or at least contradicting or commenting on Goodfellas and one of Scorsese's other masterful needle drops, For me, maybe because of that restriction, not being able to go with Goodfellas, I'm going to go with In the Still of the Night from The Irishman.

30:08Speaker 2:It's one of the few of his movies you're going to look at me like I'm an insane person because it's also one of his, it was instantly one of his most available movies. I didn't even have to go to the theaters to go and see it, but I haven't seen it. Um, I have seen that opening sequence though, because there were a lot of clips going around at the time and it's, uh, I've, it looks amazing. And I love that in a way, I don't know why, but the first thing that I'm flashing on is the movie.

30:35Speaker 2:Do you guys see train spotting too? Surprisingly decent movie. Yes.

30:39Speaker 3:Talk to Boyle here on the show.

30:41Speaker 1:Me too.

30:41Speaker 2:I actually spoke to that movie too. And it's a surprisingly good movie. And that it acknowledges his own mortality and subverts a lot of what is in the first movie. Instead of trying to go for the same thing that they did in the first movie, it acknowledges that you can't because we're all older now. And that's ridiculous to try to go for.

30:58Speaker 1:Yeah, you've really got to see the Irishman for that quality. But I understand the reluctance, absolutely. If I hadn't... I mean, who wants to experience a Scorsese movie for the first time?

31:07Speaker 5:Yeah.

31:08Speaker 1:You know, on... streaming. If you had the opportunity, I think, you know, I understand reluctance, but it's really rich. It's really rich as a commentary on, you know, what a quarter of his career. So, yeah.

31:23Speaker 4:Yes.

31:23Speaker 3:Agreed.

31:24Speaker 5:And I'll just add that another option you could have gone with certainly. And I wonder if you did consider it is the Santo and Johnny sleepwalk, which would be a perfect example of collision because there, I think he uses it twice and And you would never, only Scorsese would think to use that when there's mob hits being carried out.

31:47Speaker 1:Yeah.

31:48Speaker 3:It's so well done. So Rico, here's the thing.

31:51Speaker 5:I know what your number one is, and I obviously know how good your number two was because I shared it. And the thing is, you're right. Your number one's even better. That's how good your number one is. I can't wait for you to drop it on our listeners.

32:06Speaker 2:Have you built up expectations enough? There's no way to meet this level of expectation, my friend.

32:10Speaker 1:You know what?

32:11Speaker 5:Our listeners, when they hear it, they'll understand. They know my tastes and they'll understand why I'm so backing this.

32:18Speaker 2:It is the moment in the movie Before Sunrise. When Ethan Hawke's character and Julie Delpy's character, who have just met a few hours before on a train going through Europe, they've decided to get off together in the city of Vienna and they go to a record store. And this is one shot. They go into a little listening booth, again, literally drop the needle. Nobody knew this song at the time. There's no way that anybody had ever heard of this tune. It was a completely unknown tune by this woman named Kath Bloom, who I don't think, you know, that album may even be like self-released or something. I'm not even sure it was released on a label. I don't know how Linklater heard about it.

33:04Speaker 4:There's a wind that blows in from the north And it says that loving takes its course Come.

33:17Speaker 2:These two have just met, but they're attracted to each other. And we just hold on the two of their beautiful young faces while they kind of sneak shy looks at each other because they 100% should kiss at this moment. They know they should kiss. They just met though.

33:35Speaker 3:Will they kiss?

33:35Speaker 2:Should we kiss? I don't know. What is she looking at me? I'm not sure. Emma, it is like the most tangible moment. And you're like, and it's all one shot. You were literally watching two people falling in love on screen. Julie Delpy later said that she kind of did fall in love with Ethan Hawke a little bit during the filming of this scene. And what I really love about it is that it starts diegetic. Other movies do this too, and I realize I love this as a technique. It starts diegetic, and we're watching them in this moment. And instead of showing us whether they kiss or not or resolving that scene at all, suddenly it cuts off. With the music, it goes from being a diegetic song to a non-diegetic song. And it's just them now going through Vienna together and seeing all the beautiful sights of Vienna.

34:25Speaker 2:And it goes from being this little intimate moment to something huge. It's not just about these two characters. It's about the feeling of finding somebody you're into, knowing that you're probably into each other, not waiting for just the right moment to do it and being in the perfect place with the exact right person at that moment. Like we've all had maybe a few of these perfect moments and this, it just captures it so intensely. And if you're ever in a, I don't know if I can totally say this. I just feel like whenever I'm like down on humanity, I will go to YouTube and I will watch that clip and then read the comments. And it's almost, it's just like a license for people to tell their most beautiful life story in the comments. They're all like, this reminds me of the girl that I met once in Spain. Or this reminds me of the girl that got away. Or this reminds me of when I met my husband, you know, something like that. Or just like this perfect moment of travel or transcendence. Everybody has some way into that scene. And it just, even in the moment that I saw it, I was just like, this has captured something so universal and so amazing. And

35:31Speaker 2:it is also pure cinema. It's one shot, one song, no dialogue. It's just one of the most perfect moments of cinema ever. I feel like that and the ending of that movie instantly put it in my top 10 movies of all time.

35:45Speaker 4:Yeah.

35:45Speaker 5:Oh, I just realized I don't have to feel shame about this, Josh, before Sunrise is in the Pantheon.

35:51Speaker 3:It was ineligible.

35:52Speaker 1:So there, you have an excuse.

35:54Speaker 3:I have an excuse. I knew that.

35:56Speaker 1:Are you going to add it out where you forgot to include it?

35:59Speaker 4:Yes.

35:59Speaker 3:Yes, Sam, take that out.

36:02Speaker 5:No, because of course it would have been eligible because no, there's no way I knew that song.

36:06Speaker 3:That you're right.

36:07Speaker 5:The scene is a wonder. I'm moved by it every time. And I will, I will every time. And I will point out on behalf of film spotting PA, Sophie Kempinar, that you will occasionally very, very regularly spot her wearing her Alton new t-shirt, the record store, because she, when she studied abroad and, She was sure to travel to Vienna simply so she could do her before sunrise walking tour. And she went to the Alta new record store so she could have that.

36:38Speaker 3:It's still there.

36:39Speaker 2:My understanding, you can tell me whether this is true. My understanding is that that listening booth did not exist. They made it for the movie and they just left it there.

36:45Speaker 5:Exactly.

36:46Speaker 4:Yeah.

36:47Speaker 1:Amazing.

36:47Speaker 3:Yeah.

36:47Speaker 2:I want, I totally, by the way, that's one of the episodes that I wanted to do this year. I 100% wanted to do that thing. We just couldn't get it together. And I was in Germany last year. I was like, well, maybe. If we do that episode, why don't, Mubi, why don't you just pay me to go down to Vienna and I'll just go record in there. It'll be a great little thing.

37:06Speaker 1:Why not?

37:07Speaker 2:Turns out they didn't.

37:10Speaker 1:But amazing. Next time.

37:12Speaker 2:Thanks, man.

37:13Speaker 3:Well done. Well done, Rico.

37:15Speaker 1:Yeah.

37:15Speaker 3:Excellent.

37:17Speaker 1:Your pick, Rico, was my number one Richard Linklater scene when we did that top five. And yeah, couldn't go that way because of the Pantheon. But I am going to go with another number one filmmaker scene for my number one needle drop scene. This is a filmmaker we've already discussed, Wes Anderson. Hope people are up for a little more Wes Anderson talk. I think so because this is a movie, I guess, kind of like Darjeeling Limited, not quite as highly regarded as some of the others in his filmography. Um, but I'm going to go with a choice from the Life Aquatic with Steve Zissou. And the stong is Starover from Sigur Rós. It anchors the climactic encounter with the Jaguar shark in the Life Aquatic with Steve Zissou, which was my pick for best Wes Anderson scene. I called it the, I wonder if it remembers me scene. That's the response Bill Murray's Steve Zissou has to finally meeting this creature who's devoured his friend Estevan on an expedition Rather than this exercise in vengeance, though, Zissou is overcome. He's stunned. Just has this experience of awe when he sees this creature. You know, it is

38:34Speaker 1:Zissou's moment, but it's also this experience of communal epiphany. All the other characters in the movie, almost every single one, they're squeezed into the submarine with Zissou for this. And I do often reference the epiphanies that take place in Anderson's films. And for me, this is his grandest. Even if it's hard to, this is probably what I like about it, it's hard to exactly locate what's happening here. What is the nature of the illumination that is actually taking place during this epiphany? I mean, we do have what I mentioned, Zissou going from vengeance to reverence, but why are the others reaching out to touch him in this strange benediction? I mean, probably half of them have been wronged by him over the course of the movie.

39:16Speaker 3:He does not deserve this.

39:18Speaker 1:Um, but it's, but it's happening now anyway. Um, so there's something, you know, more mystical than those going on here that I've never quite been able to put my finger on. And I do think holding all of it together and enabling that mystery is this Sigur Rós track. You've got these swelling chords that sort of usher us into the moment. You have the twinkling keys that start just when we get this, these bioluminescent hints. of something out there in the depths, in the darkness? Could it be the shark? That's when those keys start to come in.

39:54Speaker 1:And then, of course, you have Yancey Bergeson's glorious vocals, too, which they just break out over the screen as the shark cruises over the submarines. as we were talking about with Darjeeling limited, you know, the timing of the bits of music with the images is so precise and on track here. I didn't ever really think about what this song meant. Like I never had it translated before as the many times I've watched it as I've picked it for other lists. So I took the time to do it.

40:36Speaker 1:The title means little elf. It's basically about going to bed and encountering A magical creature? So, okay. I guess. It actually is translatable.

40:47Speaker 2:I always thought that they like sang in their own language.

40:50Speaker 1:This is what I found researching it. So maybe my information is incorrect, but take this with a grain of salt then. What I found does track though. I mean, a few lines I found that they did catch my attention. Stares at me, a little elf, transforms me into, but doesn't move. And I like that notion of being transformed, but not exactly how or into what. I think that fits so well for this moment in the movie. It's just this emotionally, even spiritually resonant experience that can't entirely be explained. So I don't know. I hope, Rico, that that isn't all gibberish that I found. But what I did discover does track with kind of my experience of the moment, at least. Help me process it. And it's another completion for me in terms of compliment collide or complete.

41:40Speaker 1:This definitely completes that moment. And in a weird way, I've never really figured out kind of completes the movie. Maybe someday I'll get there. I'm probably going to watch it again next week.

41:51Speaker 2:I kind of feel like as you were saying this, and I don't know if I've ever like thought this through though, but you're right. It's like, he's done terrible things. He's wrong people. And they kind of forgive him in a way that, All of, a lot of his movies. I mean, certainly the Royal Tenenbaums. A lot of them are about, even, yeah, Grand Budapest Hotel. These are characters who aren't always like doing the right thing. They were not always nice. And by the end, they're somehow forgiven in a way.

42:20Speaker 1:Yeah.

42:21Speaker 3:Some redemption for the bastards. Inevitably.

42:23Speaker 1:Which is lovely. Yeah.

42:25Speaker 4:You know?

42:25Speaker 2:And it is like, by the way, it's also a really great use of that song because of that. That could be a really obvious song. Like basically using any time using Sigur Rós because they are so cinematic by design. They're so orchestral in a way.

42:38Speaker 1:Yes.

42:39Speaker 2:But it really deserves it.

42:41Speaker 5:Yep.

42:41Speaker 1:You're halfway to a movie score with their music already. And so, yeah.

42:46Speaker 2:But it really deserves it. And I think it may also work because he has such that picture box aesthetic.

42:53Speaker 3:Yeah.

42:54Speaker 2:Where the image isn't necessarily grandiose. It's beautiful. It's beautifully composed, but it's kind of like, you know, it's not like an actual creature. It's not CGI. It's not like beautifully done. It's almost puppety in a way, but the music gives it a little more grandeur.

43:08Speaker 1:Do you know, I saw, I actually saw the actual Jaguar shark prop because I was in London when the Wes Anderson exhibit was there at the design museum. It's, it's smaller. I want to say it's like maybe seven or eight feet. Yeah, it's like a puppet. It's like a model. And not quite as awe-inspiring as it was for Zissou, but interesting nonetheless.

43:33Speaker 2:I remember actually seeing Grand Budapest at the Arclight Cinema here in LA, and they had the Grand Budapest Hotel model. Again, it was large, but yes.

43:43Speaker 1:That was there too. That was incredible.

43:44Speaker 2:But it's beautiful to see.

43:48Speaker 5:Well, I had to have, or I ended up having one good opening scene needle drop. I thought it was fitting or I guess it's, it's ironic a little bit too, too.

44:01Speaker 3:Or no appropriate damage.

44:03Speaker 5:To conclude my list with a closing needle drop. And I, I am going to reveal to the world just how uncool I was, or certainly how non edgy I was back in 1999. Not that that will be a shock to anyone because I had heard the, Of Pixies in 1999. Yes, I am going with back-to-back 1999 films here at number two and number one. I had never heard Pixies in 1999. So I had never heard the song that would be playing on a loop on my little MP3 player. Yes, I had an MP3 player throughout the entire fall after seeing David Fincher's Fight Club. The song, Where Is My Mind?

44:53Speaker 5:even though it was released in 1988 on their Surfer Rosa album, that scene with Edward Norton, Eleanor Bonham Carter, looking out on all the skyscrapers as the bombs go off and the buildings fall, the timing of the cut from Ed Norton's face, the timing of that cut and the flashes from the bomb's With the snare hits building to the guitar riff. And then you get, of course, Ed Norton's memorable line, You've met me at a very strange time in my life. I actually think this number one pick, Rico, is like the evil romantic cousin to your number one pick from... You two people standing there looking at each other.

45:47Speaker 1:Yeah. Right.

45:49Speaker 5:And you've met me at a strange time in my life. All the, all the cutting to, to this song. So this is, this is like you were saying, Josh is you can have great songs that are used at the end of a movie and it's.

46:02Speaker 3:Not just over the credits.

46:03Speaker 5:It can even be somewhat leading into the credits, but it kind of feels like any great song could have been plopped in there. That's not the case with your choice or this choice. It's.

46:13Speaker 4:Yes.

46:14Speaker 3:Integral.

46:16Speaker 5:No other song feels like it could be used in terms of not only the thematic resonance, but also the way it's cut together, the way the camera moves here, the rhythm of it, the body movements. It's all timed with the music. That main shot is the wide shot from behind them, and it tracks slowly forward.

46:42Speaker 3:As they hold hands. It's in pace.

46:45Speaker 5:With this kind of dirge of the song. And Kim deals that, that wailing is just completely eerie and deranged. And it's, that's how I've always thought of it.

46:59Speaker 3:And it's, it's hollow sounding too.

47:01Speaker 4:Right.

47:01Speaker 5:And so it, to me, it really is like a voice in your head that just is incessant and will not go away. I think it's the paradigm of, to use the terminology you were using, Josh, I think it's the paradigm of a complimentary needle drop. It goes without saying that the lyrics are totally appropriate for a movie about a main character having psychological issues.

47:29Speaker 3:Where is my mind?

47:29Speaker 5:Also, literally, the lyrics say, you'll have a collapse as financial buildings and potentially the market collapses. And The song, apparently it was fairly successful for them as a tune on that album. But then Sense, as you would imagine, has become their signature song. And Rolling Stone in 2021 did a top 500 greatest songs of all time. And it made the cut at number 493, which would not have happened, surely, without the boost it got from this movie.

48:05Speaker 5:I mean, I think it's thought of You already have one of the great twist, iconic twist endings in movie history. You add on to it one of the greatest needle drops ever, and it just elevates it even beyond that. So the choice of Fincher here, I don't think we think of Fincher as one of the top seven needle droppers, even though there are other good options from Fincher, including from.

48:34Speaker 3:Zodiac, Hurdy Gurdy Man.

48:36Speaker 1:Yeah, right, exactly.

48:38Speaker 5:And possibly some others that are not immediately coming to mind. But he was the one that didn't, he was the one of the five for me that maybe wasn't in that upper echelon of filmmakers who regularly employs them.

48:51Speaker 2:Ironic because he's a rock video director. He starts off being a rock video director.

48:56Speaker 3:Yes, good point.

48:56Speaker 2:It's almost like he consciously didn't quite want to lean super into that. He was going to be an auteur, damn it.

49:02Speaker 1:Maybe, yeah.

49:03Speaker 3:Perhaps.

49:03Speaker 5:Yeah.

49:04Speaker 2:I mean, I'm a little older than you guys. I was around when the Pixies first broke. And for the college radio crowd, they were instantly iconic. That was one of the things that was amazing about them, actually. They broke on the scene. They put out basically three perfect albums. They put out one more after that. But the first three records that they put out, it was like every single song was amazing. The entire albums were amazing. It was the sound that you wanted before you knew that you wanted it. And they also... Looked like they should not be the people to deliver it. They just looked like the squarest people. They were like from Boston. They wore like, you know, t-shirts, you know, Frank Black is kind of, you know, at the time he was calling himself Black Francis and he screeches like a banshee. You expected him to be this like crazy punk and he's like this schmo wearing like a t-shirt and shorts. And Kim Deal was very beautiful, but also I loved when they came back. She basically was dressing like a soccer mom on stage and doing those exact kind of eerie vocals.

50:06Speaker 2:It was like this incredible thing. But they never quite during their lifetime had the impact on the larger culture during the first phase of that band. They broke up before they got huge. I mean, they were like opening for U2 and stuff. They were always right on the verge of being gigantic. And people within a subculture really dug them. But it was, I feel like that was the thing that really brought them to mainstream fame for sure was that track. And it is like, in a way, it's the ultimate Gen X moment because it's so, although you're right, all of those lyrics work with the images you're watching, the song is actually just about Frank Black being really high in the Caribbean, like swimming around looking at fish.

50:45Speaker 3:Yeah, like scuba diving or something and a fish that wouldn't leave him alone.

50:48Speaker 2:It's like it's the end of the world and you're listening to a song about a dude stoned in the ocean. You know what I mean? It's like, and yet it works.

50:55Speaker 5:It is.

50:55Speaker 3:It is perfect. Talk about a collision.

50:59Speaker 5:Indeed. Those are our top five needle drops. We do have some honorable mentions. I know you have some, Rico, that you wanted to share. Just before we get to those, I mentioned that I had a top seven.

51:10Speaker 3:We've named all of them. They've come up. I had them in this order.

51:13Speaker 5:Martin Scorsese, Quentin Tarantino, PTA, Wes Anderson, Sofia Coppola, Richard Linklater, Cameron Crowe. And then those are the top seven. And then I think number eight would be probably a battle between like.

51:26Speaker 3:Edgar Wright and Danny Boyle.

51:28Speaker 4:Yeah.

51:29Speaker 2:Perhaps.

51:30Speaker 5:Those seem like the filmmakers, the directors who most commonly use needle drops. I, of course, encourage any listeners to write in with other filmmakers they think of when they immediately think about needle drops being used in films, feedback at filmspotting.net. But Rico, who are some other Not who are some other directors, but actually what are some other films and some other needle drops that were really tough for you to omit?

51:55Speaker 2:This one mainly because it's a pretty deep cut of a movie. I don't even remember who directed this. Maybe you guys can remember this. It's a 1987 movie called Five Corners. What I mainly remember it as is being, I think it's the film debut of screenwriter John Patrick Shanley, who went on to make Moonstruck, write Moonstruck. And there's this moment in it. It's typical John Patrick Shanley. It's about kind of like wisecracking people. I think that's set in Baltimore, something like that. It's a period piece. It's set in the mid 60s. So there's a lot of mid 60s music in it. But this moment stands out because there are a number of needle drops like the doo-wop stuff that you would imagine that would be in it.

52:32Speaker 2:It actually ends with In My Life from the Beatles. But there's a moment right in the middle of it where these two kind of juvenile delinquent types who are playing hooky from school, who you're not quite sure how to feel about. They're, they're kind of cool. They seem fun. One of them, I think might even be an exchange student or something, but they're playing hooky from school. They meet up with these two gum cracking girls who are also playing hooky from school and convince them to hang out with them. And they go to, it's great because it's a moment where they, they, It's like this is something they've done before that they know is going to wow these girls, but it's the last thing that you'd expect.

53:08Speaker 2:They have created some device that allows them to open up an elevator doors and step out through the open elevator doors onto the top of elevators. And As they go up and down inside the elevator shaft, being able to see the inside of the elevator shaft instead of being stuck inside the elevator. I think they paired up as couples, one's on one elevator, one's on the other. And they're kind of going up and down and seeing each other and talking to each other. Suddenly, Deleuze's Lakme starts playing, which is actually a pretty cliched cut. I've now, since I've seen that movie, which I saw when I was pretty young, that is used all the time. It's a very elegaic piece of music. So anytime you want to convey grace, you use that thing. But to use that in the middle of this milieu, this gritty milieu, this moment of magic that is actually not all that magical.

53:58Speaker 2:They're in an elevator shaft, but to them, it's this magical moment. That just really always resonated with me as this beautiful moment. I've since returned to that movie and it has some flaws, but that moment still kills. So that's one of them. Maybe we should be going around or do I just get to like reel these off?

54:13Speaker 3:Oh, just go ahead and list the other ones that stand out to you. Okay.

54:17Speaker 2:Hush from Once Upon a Time in Hollywood. That's my Tarantino pick. That just captures what it's like to drive late at night in Los Angeles if you've ever been here. All the Elliott Smith tunes from Good Will Hunting. That was the movie that brought him to fame, and I will always love it for that. I can't believe I didn't use anything from Repo Man, that song. album changed my own and a lot of people's musical lives. Uh, probably TV party by black flag from that, uh, soundtrack head over heels from Donnie Darko. Another example of kind of doing a music video in the middle of your film.

54:49Speaker 2:And like the filmmaker is just like, that's what I want to do. And it's awesome. Um, an end credit song from my own private Idaho, the old main drag by, uh, the Pogues, which kind of sums up the story that you've just heard. And I'd never really heard the Pogues before that. It's beautiful. You got to go with Blue Daniel Waltz, 2001. That is a needle drop. That was not score.

55:12Speaker 3:It wasn't written for the film?

55:13Speaker 1:Yeah.

55:16Speaker 2:And Under Pressure from After Sun, the way that that, oh my God, I just.

55:22Speaker 1:Brings you to tears, that thing.

55:24Speaker 3:Yes.

55:25Speaker 2:And then finally, just for fun, Slaughterhouse. That's my David Lynch pick. Which is this metal tune that's used twice in wild at heart. Yes And the reason that I really love it is the second time it's used the first time they go out dancing They're like, let's go dancing. You think it's gonna be like to some David Lynch in like 1950s. That's Speed metal Dancing to speed metal later They're driving through the desert and they switch through the radio and they hear it and they have to stop the car and get out and start dancing to speed metal in the desert Which then suddenly fades out and turns into like this elegaic Angelo Badalamenti score. Only David Lynch would fade from speed metal to like whatever Angelo Badalamenti is doing with his beautiful lush music.

56:11Speaker 3:So good. Josh, what about you?

56:13Speaker 1:I'm just going to name one because though I'm happy you put a Sofia Coppola film on your list, Adam, I couldn't not at least mention where I would have gone. And that would have been from Lost in Translation. Jesus and Mary Chain over the ending, just like Honey. It's just beautiful.

56:31Speaker 3:Just a few for me.

56:32Speaker 5:A couple that fit my criterion about Discovery, anyway, songs I wasn't familiar with. The one that made your list already, Silly Games from Lovers Rock. I did actually mention this one already, Mad World from Donnie Darko, a song I hadn't heard until I saw that film. Link later, the song Hero from Boyhood by Family of the Year. how that's used.

56:54Speaker 3:In that movie. How about this one?

56:58Speaker 5:Damn, it feels good to be a gangster by ghetto boys from office space.

57:03Speaker 4:So good.

57:04Speaker 5:Now the, this is, this is all I have in terms of three more. Cause it would just go on two more, two, two long, three more that it just pains me that I couldn't find a way to fit into my list. One of them is the one you said Rico already under pressure from after sun. Yeah. Cameron Crowe, both in your eyes from say anything that wasn't written for the film. Was it Peter Gabriel already, already had that, right?

57:30Speaker 1:Okay.

57:30Speaker 5:Don't, I want to make sure in your eyes from say anything. And of course, tiny dancer, most famous, almost.

57:39Speaker 2:That's one of those tracks where it was just like, I would not, I'm, I was too much of a hipster at that time to give that song credence. And it was like, that I don't care. It's a nose.

57:48Speaker 3:Yeah.

57:49Speaker 1:There's a, there's a, yeah. I mean, we could do a list of, I wouldn't call it a reclamation project, but something where you could do top five needle drops as reclamation projects where they take a song that you're, you dismiss perhaps unfairly, but used in the right hands in the right film. Suddenly you're made, you're made aware.

58:09Speaker 3:Of how good the song is.

58:10Speaker 5:I didn't love Tiny Dancer when I saw it used in that film. I wasn't a big Elton John guy and now I'm kind of obsessed with it. And then PTA, of course, one of the most famous ones, maybe the most famous one.

58:21Speaker 3:In any of his films. It's Boogie Nights.

58:22Speaker 2:Sister Christian.

58:23Speaker 3:I'm sorry.

58:23Speaker 5:It's Sister Christian in Boogie Nights. Of course, the use of Night Ranger. So have to at least get that one on the record. This was obviously.

58:33Speaker 3:Fun because we had a lot to say about these picks.

58:37Speaker 1:Thanks, Rico, for giving us four shows worth of discussion and conversation here.

58:41Speaker 3:I don't know if you knew you were in for this, but you were game.

58:44Speaker 2:No, I knew as soon as it was like, oh, this is going to be a night.

58:48Speaker 3:Once again, just remind people where they can find your show.

58:53Speaker 2:That is MUBI Podcast, cunningly named after the film company that puts it out, MUBI Podcast. And you can find it wherever pods are cast. And I hope you do.

59:07Speaker 3:Yes, definitely seek it out.

59:09Speaker 5:We thank Rico Galeano from the MUBI Podcast for joining us. And we hope you will send us your picks or any other feedback about the top five. You can email us anytime, feedback at filmspotting.net.

59:20Speaker 2:Thanks, Rico. Thank you, sirs.

59:22Speaker 3:Our thanks again to Rico Galeano. So much fun.

59:25Speaker 5:And next time we have him on, not that it was his fault, certainly, we'll try to have a strategy in place.

59:31Speaker 3:When we pick such a good topic, Josh.

59:33Speaker 1:Maybe we could do a joint list, though. Sometimes that works for a topic, sometimes not. But yeah, it was fun every minute of it. So good to have Rico on.

59:43Speaker 5:Producer Sam right now is banging his head against the table because he's wanting to announce to the world... I knew this would happen. I proposed a joint list, which he did to me. And I said, there's no way this can be a joint list. I already can't get my list down anything lower than 22. And you want me and Josh to agree on five?

1:00:06Speaker 3:No.

1:00:06Speaker 4:Yeah.

1:00:07Speaker 1:Can't happen.

1:00:07Speaker 5:So we remind you that you can find all of our picks and links to clips over at filmspotting.net slash lists. Josh, that is part two of our show.

1:00:19Speaker 1:That's it for Film Spotting for now, but we have more coming ahead in the Film Spotting feed on Monday. Look for the movie Racket with Michael Phillips. The movie Law he'll be exploring on that episode is pictures are for entertainment. Messages should be delivered by Western Union. Samuel Goldwyn shared that one on Tuesday. It's Film Spotting SVU. They'll be discussing Desert Warrior. This is a Hulu podcast. offering a 7th century Arabia set epic with Anthony Mackie and Ben Kingsley. The director of this one is Rupert Wyatt, who did Rise of the Planet of the Apes. On Thursday, we will have the next picture show for you, where there will be a little bit more of the end of Oak Street talk. They're pairing it with Steven Spielberg's The War of the Worlds. Friday, we're back with a draft and another guest. Roxanna Haddadi from Vulture is joining us.

1:01:15Speaker 1:We'll be picking our favorite Ridley Scott films. Film Spotting is produced by Golden Joe Disseau and Sam Van Hogren. Without Sam and Golden Joe, this show wouldn't go. Our production assistant is Sophie Kempinar. Ariana Martinez is our new marketing and social media assistant. Welcome, Ariana. Great to have you aboard. And special thanks to everyone at WBEZ Chicago. More information is available at WBEZ.org. For Film Spotting, I'm Josh Larson.

1:01:44Speaker 3:And I'm Adam Kempinar. Thanks for listening. This conversation can serve no purpose anymore.

1:01:49Speaker 5:Goodbye.