"Hard Eight" and "Inherent Vice"

All day first? Yeah. Sorry everyone knows what I'm doing. Hello there.

Welcome to a very special episode of... The Little Boom. Hi, I'm Tom Rowland. Why does he love me, Dan?

Why does he love me, man? That's Mario. Asking the big questions. He said very special episodes.

I had to go to the most important area of special episode, which was when Will asked, why is he loving me? Oh, or when Carlton bought the gun. This is a Fresh Prince of Bel-Air episode, right? Did he talk the same episode?

No, it's a different episode. Why is Carlton buying the gun again? Oh, he got like robbed. Oh, yay.

There was a lot of very special episodes on that. They worked, though. I went to the Capitol with two huge fucking Greyhounds in the record store because he was doing a play at Yale Graf. He was apparently a really good stage actor.

Yeah. That's what I heard. That's what I heard. That's what I heard.

That's what I heard. That's what I heard. James Avery. James Avery.

He was the best part of that show. Who's so fucking mad all the time is the best. It's the best. Oh, on the show.

I was like, I was the angry with his Greyhound? Who's screaming? I had Greyhound. He just was throwing Greyhounds out of doors.

Sounds a bit just... That movie convinced people that... That episode convinced people that most of the most of the Greyhounds are the best. I think.

And seven pounds was the movie where people were like, maybe we'll spend something like that. Because that's the one we call the Lord. People are convinced King Richard, it's going to be good. That's not going to be good, right?

Well, no, I'm not sure why we need to make a movie about Serena Williams. Or in the latest way of his dad. Yeah, I don't. She's so either.

But let's get to our personal King Richard. King Lear. King Henry. One.

King JP. He's here, folks. Hello. And he's loud because I'm doing just the levels.

And he doesn't have a word here. But we invited JP in because we had to. This is an episode that we talked about last week that we've been waiting to do. We talked about this a little while.

How much it's like the beginning of the podcast where we recognize that we had every single movie by a certain director on our list, except for two. Not director? It's called Tom's Anderson. No, I'm pretty sure the same could be said about Sam and Kubrick.

I don't have one. Yeah. Yeah. You have the word.

I think I got all these. Are you all worth? Yeah. But the fact that you have an on your list at all prompted us to do this.

And was it a crossover? Nope. No, that's impressive. Between the two of us, it wasn't like a code brothers thing where like we had, I think the code brothers were the first.

The country Fargo. Yeah. And that's it, right? Just like a big little basket.

Big little basket. But then you also have build across it. Seeing in a serious manner. So that's what, eight?

We've talked about the codes eight times in this list. Including doing our view, buster shrugs. I think Stanley Kubrick is probably the other one where I think the other ones that aren't on our list are like the really early ones that the kid league empads at glory and Spartacus. I think that's it.

It's very wicked. But we didn't want to talk about Barry then. Did we talk about 2001? Yeah, it's on my list.

Like my 2006. How do I completely blink at that? Was I really drunk at that? What's going on?

I think you were pretty happy. I think when we were doing that part portion of the list, you were just kind of like, I don't want to do this anymore. This is your movie. So I'm not going to have a lot of Tarkovsky comments.

I remember I'd turn that episode on. Sure. Well, because we were probably deep into Tarkovsky. Well, the shining was only on the Stephen King episode.

Yeah. And there's no room. And room two to the seventh. Which I count as like the shining.

Which is a sense of a is. It's a better religion. He's got his new movie coming out this year. No.

Oh, Ron Hasher? Ron Hasher. Yeah, but it's getting like a special. Are they going to release it?

Or just like film festivals? Yeah, that'd be cool. Yeah, I haven't watched that one yet. It's the...

It's not available. It's not available to watch. I think it is. If it is, we should review it.

We should review it. It's been one of those movies that was like, yeah, I feel like it went on January. I just didn't think it got covered. Speaking of covering things, we should probably cover this beer.

Oh, yeah. What are you drinking? I'm running for my uncle's bermot trip, which we've been enjoying. This is from Phone Buruis.

From Buruis, which is a really good bar spot. And this is Burlington. Burlington. Yeah.

Really nice brew. Really nice bar there. I went on a solo vacation after a breakup to Burlington. Kind of echo.

Really good bar. You went out there. Yeah, you know it was. But, and so, you know, I spent a night at Phone Buruis just drinking by myself going through the run of the beers and I enjoyed them.

Yeah, this is my first phone. This is called pavement. It sounds like bubblegum. I know.

Is that like bubblegum? It's a double IPA. It's got that bubblegum smell. I usually like the bubblegum smell.

Ooh. That is smooth. It's smooth and slight, yeah. Yeah.

But it's got that double inch. Doesn't? I think it does. A little bit.

Yeah, it is a little. Like it's on the back. What's the ABB on this? I'm gonna be surprised this is a 10.

A2, I think. I think it's A2 too. Yeah, you too. Yeah, you too.

Now this tastes like a nightmare beer from Nightmare Brewing out of 12% before they threw all the shit in it. It says Burlington, Vermont, keep cold, drink fresh, time kills art. That's deep. I'm trying to taste like a nightmare brewing before Nightmare Brewing adds all the extra pistachio.

Did you see my text message to you about the double IPA from Nightmare Brewing? I actually saw that at the liquor store. Hey, was that the counter? What did they want?

$21. Yeah, they want $23. This is a double IPA. They have coco dips, granola, yogurt, raspberries.

That was rough. Yeah. Nightmare, you make good beers. I want to drink that.

I do too. But I also have the problem. But I have everything. So Nightmare did the drawn and quartered, which we liked, the mud driple.

They also did the Feed Me a Spray Cat, like co-op beer with a fad orange cat. And both those beers are solid because they're not adding the shit to it. Nightmare, stop adding shit to it. You don't want to make beers.

Stop doing this. Stop adding shit to your beer. You also don't have any can hard, though. I like their hair.

But like, your beers are good with that. Maybe if you want to make some, maybe you can make good beers. But you know, just want to do experiments. I'm just like fucking around.

This is really solid. Yeah. This is the problem with splitting these up three ways. I was like, this is not enough beer to stop people drinking it.

There's a second one. There is a second one. All right. So what are we doing here?

I think we said what we're doing. We're not saying that. Last week we had a double feature of my Rudolph. My Rudolph is only in one of the movies that we're talking about this week, but you know, her husband is...

Or not, there's not another. She calls him her husband. There's never been a visionary. So we didn't talk about our entirety of our podcast.

We didn't talk about two Paul Thomas Anderson movies. One of them is my second favorite Paul Thomas Anderson movie. Sure. And we'll get episode zero.

We mentioned the Master. We also talked about the Master in my best of the 21st century so far list. We talked about Punch and Love in the 70s. We talked about Magnolia and there we blood.

My top 15. You had Phantom Thread in my 30s. I was mentioned Phantom Thread in my scores. I feel like Phantom Thread in my 20s.

I feel like Phantom Thread in me talking about a lot. No, I don't think he did quite a lot. No, I don't think he did quite a lot. Definitely my number was score.

We mentioned Boogie Nights was in my 40s when we were talking about those classic movies for my age. When you see them, you're just talking about that. Boogie Nights, Pulp Fiction for me. Those are those movies at the time when I saw them seem really subversive and shit.

This is dark stuff. But that's it. And what we just skipped, we just didn't, two movies just didn't make our list in. One of them is because, do you remember the last time you had seen Heart 8?

One of them was Heart 8. The first time I saw it. Yeah, I've only seen it once. I think I saw it in bits and pieces.

I saw it on video. I had a video and it was after the Magnolia Boogie Nights stuff was happening. We were like, oh, Paul, how did I say it was another movie? And it was heartache.

And then the other one is, which is we all have a history with. We all saw it together. That's right. Infamously.

The Ice Storm. 2014's inheritance. Which is the whole location. 2014, huh?

It was a long time ago. It was old and terrible. I was working at the, I was working at the, I was working at the, I was working at the state of that point already. Dude, just for you.

Yeah, yeah, yeah. Um, but I don't know. I feel like I don't want to hear a little bit from JP. I feel like we covered like Paul Thomas Anderson for me.

Excuse me. I'm sorry. Sorry. Jake.

Jake was just doing, he was doing the last time. I was just doing the laser obstacle course that we had started earlier. I was staring at that fine booty the entire time. Skin tight black suit.

We in the bar where you've got a shaxon. Um, so, uh, but like, that sound thing. I don't know what's on top of a shaxon. So we covered what Paul Thomas Anderson means to me.

We covered it in doing so. We covered a lot about how like you kind of were there. See? There's a traffic.

It's not going away. Um, a little bit how would like you feel about and respond to Paul Thomas Anderson movies. JP, I feel like you've been involved in maybe one of the Paul that, were you there for any of the PTA movies? No.

Okay. So brief talking about Paul Thomas Anderson. Sure, sure. Offhandedly.

Is hard ate? Wait, wait, wait. The first movie we're going to talk about today is hard. I would give you a $50.

What would you do with it? I'd eat. How long can you eat? I'm going to get a little bit of $50.

I don't know. I would bet. Not very long. It's always good to be a new friend.

Oh, you took care of him? John is a very old friend. I hope he's pretty adorable the way he follows you around and looks up to you. Oh.

Hi. I don't do anything that I do. You understand? He says you remember Jimmy?

Friends, what was the fact? I saw you playing gravel with the original. Bet the hard ate for 1,000 in a trip to the stupid man. He thinks you don't like him?

I don't. I had those things that led to him. You walk around like you missed a cool. You missed a wizard.

You're not. You're just some old who. Please do my pro. I love you, Sid.

And please don't tell me what I've done. So you think what? You can just walk through this life without being punished for it. Philip Baker Hall.

John C. Riving. Winners Valro. And Samuel L.

I never watched a good thing. R8. I watched it this morning. It wasn't so great.

It wasn't going to do it. The gal Ferre was on the YouTube picture. He's also dead. Yes, Jeremy.

That's like the under. Philip Baker Hall. Not dead. He's still alive.

This version of Winners Valro. Very dead. That's the case. Arvajaina is in a candle.

Mario. It's true. She saw a candle through her thing that smells like Arvajaina apparently. Her thing?

Her specifically? I guess so. It's like her through her little company. Yeah.

I was like, is that her orgasm? That's a real thing. This is like, that's not it. We're not necessarily having this conversation.

So is this your first, did you see this movie first? Was this your first? No, it couldn't have been a good PTA. It was right after Boogie Nights.

I was like, I got to go to the video store and see what else there is. Honestly, I don't know how I came about it. I mean, what year is this? Was there even the internet?

So maybe. It came out in 1997. So, but it was made before Boogie Nights. Yes.

But it came out right after Boogie Nights. And to hear PTA talk about it on like, on referencing, but WTS, Miraculous WTS. Miraculous WTF, which everyone that's interested in is, it's canon for PTA. Even though I think he's, I think he's clearly bullshitting.

I listened to it yesterday and that's fantastic. Oh, it's so good. Is Mark Barron on it? Yeah, he has to be a part of it.

They have like a perfect place. Two hours together. Um, what he talks about, he's like a cable company. Had cable companies in the 90s.

He had just like a buck ton of money and they just gave up the heat bullshit in his way into this movie. Was able to get, because he had had Philip Baker Hall do a short for him. He got Philip Baker Hall to do this thing. John C.

Riley, Philip B. He just kind of lucked into casting with a poucho. I think they all contributed money too. Yeah.

But for the production company wanted to take the cut back and if they named it Hard-Aid, and then he traded it eventually, like two years later, he paid with his bookie nights money, he paid to finish the movie the way he wanted to finish it. But he said, you can name it and they named it Hard-Aid. It was originally called Sydney. Was this, was this produced by the Lutheran Society of Eastern Pennsylvania, What's wrong with something?

That's why it's not as good as they do. Or as it was just like a terrible phone. Um, but I kind of like encountered the same thing after seeing a couple of PTA movies, when you realize that there's like an earlier one that's like a real movie and stars people people that were in those movies just like, holy shit, I have to see this. And I remember the first time I saw it, I was kind of like, okay.

Yeah, my impression was this is a really good first movie, but I didn't feel I need to revisit it. Right. What was your hard experience? Oh, God, I think, so in college, I had Charter Cable.

What's that? Charter Cable's Comcast in the West Coast. Oh, okay. And I had the cable and they would offer like on-demand movies that were free.

And so you just scroll down to your little menu, you'd pop it up, scroll down, look around for a random movie, when it's just a Saturday night, you have nothing else planned in your sophomore year of college. Is that a or not? Or Sunday night? Come on, man, I'm saying something.

And I think that's how I found it. And I kind of like watched it, well, doing other stuff. And that was my first experience to it, was just kind of being on while doing other stuff. What did you see by him prior to that?

Prior to that I'd seen, I think I'd just seen Boogie Nights prior to that. And this was like in the lead up through there will be blood coming out. So I was like, oh, watch this. But then I just ended up doing other things while watching it.

I think it's a really interesting point to make that. This was legitimately the first time I sat down and I completely watched it. Right. It's the first time I sat down.

Today. Oh, really was today? It's just fresh. Not during my work day.

I think it's interesting. No. Yeah. You got up really early to do it.

Yeah. I forewent my gym. No, no, you have your priorities. You put them in order.

You put them in order. Yeah. That was back then. I'm not sorry, guys.

I'm not the mom of Twitter. And he's like, oh, you mask our teenagers. I love the unmasked kids things. And it's just like, because people are putting signs in my time.

They're like, all the court of bed. I was like, there's not even school. I'm just, yeah. We're a movie podcast.

Sorry. I think I'm sorry. Yeah. I think it's interesting to think about the fact that like, there will be blood was his fifth movie.

Because part eight, we need to make sure I love it. Also, I also see punch truck love. Right. But there will be every PTA movie felt like a kind of reintroduction to him as a guy because he didn't make movies.

He's like every three years then. And there will be blood seen like such a divergence from everything that he was doing before it was in LA. It wasn't kitschy or cool or any of the moderns. Or modern was so fucking dark.

But it used all the same guys with the introduction, except for the introduction of Johnny Green with doing the score. Hard eight in a lot of ways to, for me, just always got kind of lost in the shuffle. I mean, it's because it looks like boogie nights and the camera acts like the camera in boogie nights. It's easy to think that it's in some ways like, and it mentions to be a theater.

So it's like, it's part of a universe. It's easy to think that it's part of like the boogie nights is a continuation. It's a magnolia somehow, a continuation of that. But in reality, I think, Jake, which you're saying about being a really good first movie is that that's really all it is.

Like watching it back now last night, which I'm a really interesting, not interesting story about watching it as like an hour and 20 minutes into it. I had my phone next to me with the play by play at the sun's clip of the game. And then I thought I stopped watching it at some point to like see what the hell happens in the sun's clip of the game. The Canadians won last night.

We should do a score by game. We could talk about basketball. I'm just like, I'll get up and also. Well, you know what?

One of my overriding memories of this is that it was sort of a slog and slow moving. But when I watched it on Monday, I ripped through it. I didn't feel like it was a drag or a slog. I thought it was real well-paced.

I enjoyed it a lot more than I recall. I feel like it's a slog. I feel like it's a painful experience that's only lifted by Philip Baker Hall's performance. And I'm like, I don't think John C.

Riley's doing anything. I don't think John C. Riley's doing anything at all. Yeah, no.

So we're watching this movie after having the seat inside the Bo Burnham thing, because I was like, oh, let's remake this movie in Casco Burnham in the John C. Riley part. Because it's like he's making certain, like it's very the age appropriate. Like he would make the same faces.

It feels like John C. Riley's being directed by Gus Van Sant. Well, that's really interesting because I think the script is obviously an early script. So he wrote it and directed it.

It's one of those things where like I think post this movie, everything that happens in a Paul Howl's Anderson movie is a thing representing something that Paul Howl was Anderson interested in, at least for the next three to four movies. So Boogie Nights, he has said, is kind of about, he doesn't have any experience in like a industry, but he grew up in the Valley. So like that, the porn stuff was like all around. He's in his grandmother, he's across the street from like a porn house.

He was invested in the presents. Like, I think just a place where people just came to shoot porn. Isn't just porn now just shot in all houses? Yeah, great cast up.

There's a porn star in in here. Sure. Yeah, absolutely. I heard he was Catherine Morrison.

No, no, he'd like a natural living. Magnolia is very much about his life. The contract love is about, is not necessarily about what he's going to do with him, but it's about what he's doing about it. It retains that feeling of about it.

How do you get a big family? The family about art, about making his own art. And then there will be blood. And even the master, I think, could come from deep deep deep deep deep research and consideration of things that were interesting.

I don't know if he has any connection. I haven't heard of that. He has any connection to like Vegas or gambling or whatever. Or, or Reno.

Or Reno. Nobody. So maybe he was kind of doing some, he was doing some stuff. Yeah.

But I think the script in and of itself is very non specific. So the stuff that he has, John C. Riley saying, so John C. Riley plays Johnny.

He is when Phil Vagerall said he weeks on his left guy who came from Vegas and lost a bunch of money when he was trying to make one of his favorite mother's funeral. John's Phil Vagerall teaches him some things and tricks to kind of get his life. Is it Vegas or is it Vegas, right? Let me go to Vegas.

Like, you know, there's sparks initially then they travel down there. Like, initial like set up of that play and all that is, you know, that they go to Vegas. Okay. Two years later and Johnny is a high roller.

Sydney is, you know, an old man who's being made fun of by Philip Seymour Hoffman or really a long, weird. Same hair as in Hunt Strunk, right? Absolutely. Same hair.

It's almost like the same character from Booky Knight. So he was ruined in part eight and that's what happened to him. And then we meet Clementine played by Gwyneth Outler. She's a waitress there and Johnny gets involved with her and she's a hooker.

This is her only, Paul Nomsen, which is a film, right? There's an incident where a John tries to screw her out of $300. Not Arjon. What?

Not Arjon, but a different John. A different John, a metaphorical John, representative John, like whatever you know. A John and no Macleter. Sure.

Very, very good. They beat the shit out of the guy and then Sydney comes in to say the day, he says it's a Niagara Falls, but Jimmy played by Samuel Jackson, who was just not a very good actor in 1996 or five, whatever this is made. When he has that earlier action, initially, like the only time that the script is really working to what the girl is doing is that initial interaction they're talking about Clementine's pussy. Yeah, yeah, yeah.

And I think that's like what he's kind of on that. He's just trying to tear in a bit too much. But I think there's an interesting thing where Tarantine would have let that scene breathe a little bit more and then get some Jimmy reaction shots. And Paul's trying to say that's so interesting.

I gotta go. I gotta go. I gotta go. I gotta go.

I gotta go. I gotta go. I gotta go. I gotta go.

I gotta go. I gotta go. I gotta go. I gotta go.

I gotta go. I gotta go. I gotta go. If you don't notice yourself that's Sydney, block 60 for 6,000, $6,000, or Dell, $6,000.

Jimmy later takes his retribution. He begs Jimmy NOT TO TELL HIM TO TELL Johnny about, you know have an alternative. Great monologue. It's good.

We'll still have Baker Hall. Yeah, it's great. It's a little big though. It's a little big, but like, I didn't know it's a little big enough to let Bull beans just two hours ago and I was 15 pulled out of the tree and I was like, was this one that was really sweet.

And what you know what, I kept thinking of what I always thought was the monologue, see, was Tom Tom Cruise in Magnolia when, who went over here, has kind of like cornered him about his family and he just sits and stares at her and she's like, what are you doing? He's like, I'm quietly judging you. Paul, I'm just interested in figuring out, by Magnolia, I don't have to say anything if I don't want to. I can nuance this, I can do a lot of work with camera, I can do a lot of work with soundtrack and tone where the John Bryan score is very, it might have been, is a very John Bryan, Michael Penn, Phil Noire, kind of pseudo film Noire score, which I think is sometimes good and sometimes just not doing that work.

Hard doing too much and overwhelming it. Right. Yeah, exactly. But I think you get a bit of that in this film during the film conversation, where I think things are allowed to breathe, but there isn't a score overwhelming that.

In the conversation that Johnny has with him from Chicago? That John has, yeah that Sidney and John have. When he tells me he loves him like this. Yeah, yeah, yeah, a little bit.

A little bit. When it's on to a bigger haul. Right. And I think there's an element to the hotel scene where you want that to happen to, but they just are talking the whole time.

And it seems weird to talk about inherent vice and, um, uh, hard eight together because it seems like past certain point, everyone in hard eight, except for Sidney, it's just on cocaine constantly, but you never see anybody doing any Coke, right, but inherent vice. If you read about inherent vice, I was like, Coke, Coke, Coke, Coke. You only seem to do one time. The one scene.

Right. Exactly. But everyone's like, everyone's coked out. Also, there's just like the book is about heroin.

Like, I don't know. Sure. Well, well, inherent vice is a film feels more like what you would experience on heroin or a high-tech a traffic than a car. And aside from that Martin Short segment.

Right. Yeah. Not according to film criticism. Or idiots.

That's a whole, but we'll get to, I think we're moving. I never know cocaine, but I know people have done cocaine in that movie. Right. I mean, honestly, doing cocaine feels a lot like being in a hotel room with a guy chained to a bed and went out, drove crying in a corner and John C.

Riley standing right in your face because I don't know, man, I don't know, don't worry about it. I don't know. You need to help me. I don't know.

Little nitpick. Why didn't they just take the money out of his pocket and like leave? Or why not take anybody? I think it's, so this is where I think it's a beautiful, like you said, it joins that, like, I don't know how many movies it is of the early 90s in the film.

So it reminds me, it reminds me a lot of like bottle rocket is doing. I had to say that like the West Anderson, a bottle rocket, I want to, I wanted to see later more of that from West Anderson, whereas the hard eight of Paul Thomas Anderson, the path he then took from that, I'm happy with. Like I'm happy with the diversity. Whereas like the West Anderson's kind of like whimsical away from like kind of like this hardened center that he has with bottle rocket mixed with like some slight choices of, I don't know necessarily surrealism, but like, you know, a slight sort of aesthetic choice that feels deliberately airy.

I wish West Anderson had huge closer to the original bottle rocket sense. Well, interesting. I want to have a quick conversation about the guy, if there's anyone else that we can throw into it, like feel free to throw into it. But like in all the, like the 90s in the autores, so West Anderson, Steven Soderbergh, success of the New Take, um, Kevin Smack skin.

There's a little bit later. He's like 98. 98. 98.

So he's like a little bit outside of this. Quinton Tarantino who's a little. Sorry, not good. Like follow the Nolan sort of thing.

You can go if you want to. Yeah. Exactly. So you go to Tarantino to Tarantino Soderber to.

I think Tarantino's before. So what's early on your talk to him? I think I think I think I think reservoir dogs. Well, Soderbergh would be so good.

Soderbergh would be 89. Yeah. What's that? Is that what I mean?

Yeah. It's that early? I think it's like 89. Look at that.

Who else is there? Who else is there? There's a much else really. No, but that's kind of what I'm wondering.

Is that like 89? Is 89. Wow, that's so early. No, it's okay.

And I like them a lot. It's people having their sort of butt dreams. But for some reason I always come close to that. It's not because they're fucking listening.

But I always come into this place where like the two Anderson's I compare to each other for some reason. Well, so that's what I'm going to say is that I actually like I think I think heartache is a lesser movie than most of those first and most of those first movies. Even like something like, um, maybe this is kind of like our original version of the machine over the earlier, but like the brothers McMullen, I think is a better film than something like heartache because I think it's more it's trying to do less and thus has less pretension and thus feels like a more honest expression of whatever Ed Burns was trying to do. This feels like a pastiche of a bunch of different kinds of movies while still seeming like, I guess, I guess generative like the ex of Jesus of Paul Thomas Andrews career.

Like you can see everything he's going to do in like the next 10 years of his life in heartache. I guess Van Zand would have to be thrown in here, right? Van Zand so he's eight. I see.

Yeah, I know. Private Idaho's 90. No, but he was he had movies before. I remember one thing to know though, he was 25 when this was released.

Sure. And he invented bullshit in his way into getting made. But I think the interesting thing is that aesthetically it's all there. And Robert Ellsworth are like, they know what they're doing, like they're in perfect sync and they're going to do the same thing through Boogie Nights, through Magnolia, through Punch Truck Love, and they'll do similar things in like, um, I wouldn't say Boogie is included in this.

Shallow Graves 94, but I feel like Will comes from a different aesthetic. But trainsbody's got to be, Shallow Graves and trainsbody have to be kind of in the same, considered the same vein. But they're all, they seem, I think my point is that they all seem like more accomplished filmmakers early on. And if all of the Sanders and still seem like he was trying a bunch of stuff out where even I don't think, I don't think, I, I, but that's why I keep coming back to like this bottle rock of terrorism where I don't think Anderson is, I think Anderson's trying to launch it out there too.

When Anderson's trying to launch it out there too. But it feels more confident. It feels like his true idea of jazz is more, has a more specific voice to it. And this hints at that.

But it also has, like the scene that I was blown away by, it's not even like, it's not a good scene. So don't like miss a terrible moment away. When Jimmy, after the conversation that Jimmy has, or not Jimmy came, Sidney has with Jimmy and Johnny about Clementine's pussy. And then he goes outside and has a cigarette.

And that's when he sees Clementine coming out of the room. Philip Baker Hall walking out of that, like kind of backdoor on the loading dock. Hall of Commons Anderson will never shoot another scene or help him, never have another montage of a guy walking out of like a loading dock that looks anything like that. Ever again, his whole life fully ever include a scene that's just like, here's a guy walking.

It's just like a middle waist view of a guy walking out of that somewhere. And that's what I wonder. I wonder if the confidence you see in this is not so much the basis of Hall of Commons Anderson being confident as a director, as more as Robert Elswitt, being confident as a film. So we go with Robert Yeoman, like for bottle rocker.

Robert Yeoman's worked with William Freakin on fucking to live and die in LA. Which looks but it has like really, well, well put together shots. And Rampage, but also like he did drugs for cowboy with Gus Van Zantas points. Or he has independent spirit award for cinematography.

Compared to Elswitt, Elswitt at this point, his biggest film has been, well, he had the hand to rock the cradle with Hanson. Where that one? Yeah. And I guess his movie immediately preceding this was River Wild, also a Curtis Hanson movie.

Apparently Robert Elswitt, Curtis Hanson got the fortune to live. And that's a well shot film. That's a good shot. That's a good shot.

Oh, you had to see it. It's a good one. A wild shot. That's a real sweet movie you probably like.

That's a good one. I don't think of that as a real sweet movie. I think of it as a James Footehr movie. Not a James Footehr movie.

That's a great movie. Hm, every 1094 action film. We have it. Nobody in 93, actually.

93, 96, I think? No, we did 93, 96. Yeah, 94. You know what I came across as recently and some kind of list.

But just before we get into it, Robert Elswitt had those like those were his two big movies. Unless we're talking about like a turn of living dead part two. Which is great, but we're not going to talk about it. I think that's a lot of what is happening here.

I think from a narrative construction standpoint, both of these filmmakers are really unsure of how to construct a narrative. But from how that looks, like Elswitt. Yeah, how it should look and how like comfortable you craft it. Like when the shot of the drink looks like whiskey and heartache is like centered in the middle of the shot and it focuses on that to be like perfectly centered and perfectly framed.

I'm like, this isn't an Elswitt thing. No, he would never do that. Yeah. And whereas, Yeoman is just, at that point, it's like I'm going to film this.

I want to film it. Like I don't fucking care what's Anderson's going to tell me. I'm going to go fuck himself. I know what I'm doing.

No, William Friedkin. And he still isn't. I think that was Anderson. But the bad thing, I think that's what almost comes into the hesitancy for heartache is I think it's just the way it looks.

Well, so my problem is not how it looks. It's the script because I think it looks like a very early independent ball thomens Anderson movie, but it doesn't sound from a script. No, but I don't think I don't think bottle rocket does either. No, bottle rocket doesn't, but it has a voice to it.

So the script in and of itself is not necessarily as strong as it would be in Rushmore, Rail, Ten of Bombs, etc. But Paul Thomas Anderson, the first acceptor of being a life of co-otic, which doesn't have any words to order. Paul Thomas Anderson literally in his next movie was going to write lines that make every single line almost in Sydney or heartache totally real. That's something they'll leap forward and it's immense.

It's incredible, which I think is a good segue into you go from heartache and then, you know, you go through the early LA period, there will be blood, which is like a shit, a total shift. The master kind of carries some as narrative. It's not narrative, but kind of like this visual aesthetic and sense of place. This is dangerous, this is darkness, this is whatever.

We're in LA. We're in LA. You said this is darkness? Oh, yeah.

Like the hell F.A. from Alchemist. This is a dark IPA. L.F.A.

has been our holiday ale since our first Alchemists holiday in 2003. Then dark IPA inspired by tutelage under Greg Noonan at Vermont Pub & Brewery, Hail Santa. It's making me uncomfortable to think that they keep talking about the holidays. It's got a horrifying, oh my god.

That is a dark IPA. This is nice to across the table, that looks. It's got a scary looking kitten on the cover too, because it's Santa. We're cheering this, no one's drinking this without a cheers.

We need to protect ourselves. There's no surviving this. It's got dark nose in the smell. You ready?

I'll take the refuge in the bottom. T.L.F.A., the holiday beer, Christmas in July, in June. July, but this is coming out in July, right? Oh my god, that smells like coffee and malt.

Tastes so. Tastes so. Tastes so. Tastes so.

Or a porter? A porter? Yeah. No, that just takes a porter.