70 mm Movies & The Hateful Eight (2015) featuring Brian Saur

Summary

Podcast Summary: Dear Movies, I Love You – Episode: 70 mm Movies & The Hateful Eight (2015) Featuring Brian Saur

Hosts: Millie de Chirico & Casey O'Brien
Guest: Brian Saur
Release Date: March 4, 2025
Follow on Instagram: @dearmoviesiloveyou
Network: Exactly Right Podcast Network

---

1. Introduction

The episode kicks off with Millie and Casey expressing their excitement about delving into the world of large-format films and Quentin Tarantino's The Hateful Eight. Millie introduces the main topics, emphasizing their intent to explore the niche of 70 mm and 65 mm film formats, and how these contribute to the cinematic experience.

Millie de Chirico [02:13]: "What we have to discuss today, so much important stuff to go get into, including but not limited to our film diary, where we'll get into all of the movies we saw this past week."

2. Film Diary

Millie's Reflections:

Millie shares her recent engagements with films by Nancy Savoca, particularly highlighting Dogfight (1991), starring River Phoenix. She recounts her emotional connection to the film, describing it as "so special, so tender."

Millie de Chirico [08:09]: "When I first saw this movie, I cried the entire time. It's so special, so tender."

She also touches upon her experience with Turner Classic Movies' programming, mentioning classic films like The Red Shoes and inadvertently watching Annie Hall due to a DVR error. This leads into a discussion about the complexities of appreciating Woody Allen's work in the current cultural climate.

Millie de Chirico [14:39]: "I don't think I need to tell you. Like, when I was a budding cinephile back in the day, I loved Annie Hall. Now, I just don't like it as much anymore."

Brian's Insights:

Brian adds his perspective on narratives involving the director's persona, contrasting it with filmmakers like Roman Polanski. He emphasizes the difficulty in separating the art from the artist in Woody Allen's films.

Brian Sauer [15:33]: "I can't watch that show anymore. I can't enjoy that show anymore."

3. Main Discussion: 70 mm Films and The Hateful Eight

Millie and Brian delve into the significance of 70 mm film formats, discussing why directors like Quentin Tarantino and Christopher Nolan choose this medium to enhance the cinematic spectacle. They explain the technical advantages of 70 mm over the standard 35 mm, highlighting the increased information, clarity, and grandiosity it brings to large-scale productions.

Millie de Chirico [25:07]: "People shooting things in bigger formats because it is more of a spectacle."

Brian illustrates the allure of large-format screenings, comparing the experience to attending a grand event rather than a typical movie night.

Brian Sauer [34:00]: "It was an event."

4. Guest Interview: Brian Saur

Introduction:

Brian Saur, co-host of Pure Cinema and Just the Discs podcasts, joins Millie and Casey to discuss his expertise in the realm of physical media and movie formats.

Millie de Chirico [52:44]: "Please, everybody, welcome Brian Saur."

Physical Media Advocacy:

Brian passionately advocates for physical media, emphasizing its role in preserving films that are not available on streaming platforms. He argues that physical copies offer superior quality, uncompressed visuals, and enriched experiences through commentary tracks and behind-the-scenes content.

Brian Sauer [55:37]: "There's so much stuff that's not streamable. You're missing out on a lot of good stuff if you only stream."

Millie reinforces this by sharing her experiences with accessing films on physical media, highlighting the durability and quality that streaming often lacks.

Discussion on Supporting Lesser-Known Films:

Brian highlights the importance of physical media in supporting and discovering lesser-seen films, providing examples like Payday and Last of Sheila. He argues that streaming platforms often prioritize newer releases, leaving many classic and niche films in obscurity.

Brian Sauer [57:00]: "There's a movie called Payday that is only available on DVD right now. It's not even on Blu-ray. It's not streamable."

Techniques for Film Enthusiasts:

Millie and Brian discuss practical ways for listeners to appreciate and support physical media, including visiting specialized stores and engaging with film communities that value high-quality presentations.

Millie de Chirico [26:59]: "I like the idea that people shoot on film. I like the idea that people choose to shoot things in bigger formats because it is more of a spectacle."

5. Film Advice Segment

Listener Question:

Listener Leigh asks how to sound more knowledgeable when discussing films, particularly focusing on subtle aspects rather than mainstream elements.

Leigh [75:23]: "How do I sound more knowledgeable when I talk about films? I need to know a good way to learn about techniques or what shots are called or what camera movements are called."

Hosts' Advice:

Millie suggests immersing oneself in interviews and podcasts with film professionals to naturally absorb the lingo. Brian encourages not to feel pressured by technical jargon, emphasizing that one's passion and opinions are valid regardless of terminology proficiency.

Brian Sauer [55:38]: "Don't feel like you need to be chasing after this imaginary thing. You have the right vocabulary in you already."

6. Recommendations

Millie's Pick:

Millie recommends The Master (2012) by Paul Thomas Anderson, praising its large-format visuals and deep narrative.

Millie de Chirico [84:07]: "I saw it in the theater in the large format version, so it was great."

Brian's Pick:

Brian highlights Lawrence of Arabia (1962) by David Lean as a must-watch 70 mm film, applauding its breathtaking visuals and complex character dynamics. He also addresses the controversial aspects of the film, such as casting choices.

Brian Sauer [85:08]: "Lawrence of Arabia is a beautiful, breathtaking film and it's very interesting and it's very long and it's huge and it's big."

7. Closing Remarks

Millie and Brian wrap up the episode by reiterating the importance of experiencing films in their intended formats and encouraging listeners to explore both classic and niche cinematic works through physical media.

Millie de Chirico [88:28]: "We're decent enough to take these big nerdy subjects and make them palpable to people."

They also extend gratitude to their guest, Brian Saur, and promote his podcasts, Pure Cinema and Just the Discs, urging listeners to explore these resources for deeper film insights.

Brian Sauer [89:31]: "Check out the Pure Cinema podcast and Just the Discs, his two podcasts. They're fabulous."

---

Final Notes:

This episode of Dear Movies, I Love You offers a profound exploration of large-format films and emphasizes the preservation and appreciation of cinema through physical media. With engaging discussions, expert insights from Brian Saur, and heartfelt recommendations, listeners are encouraged to deepen their cinematic experiences beyond the digital realm.

Connect with Dear Movies, I Love You:

• Instagram: @dearmoviesiloveyou
• Website: DearMoviesactlyRightMedia.com

Guest's Podcasts:

• Pure Cinema Podcast
• Just the Discs Podcast

Transcript

[Millie de Chirico]

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[Casey O'Brien]

Easy.

[Millie de Chirico]

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[Ryan Seacrest]

Ryan Seacrest for Albertsons and Safeway. Stock up sale is on now, which means you can save big on all your favorite essentials throughout the store. Stock up on participating items and earn four times points to redeem for your discounts on groceries or gas. Now through March 25th. Saved by shopping in store or online for participating items from your favorite brands like Pampers, Dove, Band Aid, Playtex and Premier protein. Offer ends March 25th. Promotions may vary. Restrictions apply. Visit albertsons or safeway.com for more details. Every day our world gets a little.

[Brian Sauer]

More connected, but a little further apart.

[Unknown]

But then there are moments that remind.

[Ryan Seacrest]

Us to be more human.

[Millie de Chirico]

Thank you for calling Amica Insurance.

[Brian Sauer]

Hey, I was just in an accident. Don't worry, we'll get you taken care of.

[Ryan Seacrest]

At Ameca, we understand that looking out.

[Unknown]

For each other isn't new or groundbreaking. It's human.

[Millie de Chirico]

Amica empathy is our best policy. Casey O'Brien how is it going?

[Brian Sauer]

Millie to Jericho? I'm doing just dandy. How are things in Hotlanta?

[Millie de Chirico]

It's actually cold Lanta right now.

[Brian Sauer]

So like what's the temperature? Bet it's colder here.

[Millie de Chirico]

Minneapolis? Yeah, no shit, dude. It was. Last night was like 20ish.

[Brian Sauer]

Oh, that is chilly.

[Millie de Chirico]

That's chilly.

[Brian Sauer]

So.

[Millie de Chirico]

And it was windy and so the wind chill said it was actually 10 degrees.

[Brian Sauer]

I see. That's. Yeah, that's quite cold. I'm sorry I mocked you. It's like eight here. But this isn't a weather podcast, Millie. What are we doing? We have so much to discuss today, so much important stuff to go get into, including but not limited to our film diary, where we'll get into all of the movies we saw this past week.

[Millie de Chirico]

We're also going to dive into a subject it's like to me, it feels like a very interesting little pocket of maybe film culture, cinephile culture that I feel like we need to flesh out a little bit because sure, it's hotly debated between me and my friends, but I wanna talk about like 70 millimeter, 65 millimeter film, like large formats. IMAX.

[Brian Sauer]

Yes.

[Millie de Chirico]

Why somebody like me or somebody like you would wanna go and see Oppenheimer in imax.

[Brian Sauer]

Totally.

[Millie de Chirico]

And why my friends typically groan when I say things like that? Cause they just wanna go down the street and see it at the normal movie theater. Right?

[Brian Sauer]

Absolutely. And this podcast is all about making your friends feel bad. Cause they don't have a podcast. So that is one of the missions of this podcast. In addition to the 70 millimeter chat, we are going to be talking about the Hateful Eight by Quentin Tarantino. Because that movie was shot on 70 millimeter and that came out in 2015, 10 years ago. Which is kind of crazy to think about at this point.

[Millie de Chirico]

That is.

[Brian Sauer]

That is 10 years old. Jesus.

[Millie de Chirico]

It feels like it was at least two days ago, maybe three days ago.

[Brian Sauer]

Also, we're bringing on a great guest today in our segment. My area of expertise, Brian Sauer. He's the co host of the Pure Cinema podcast and the Just the Discs podcast. He's awesome. He's coming on to talk about his area of expertise in the segment. My area of expertise and his area of expertise is movies where the characters are playing a game within the movie. Sometimes dangerous, sometimes just for fun. But yeah, I can't wait to hear him talk about all of that. And then to wrap things up, we're going to be doing our film advice segment where we answer a question from a listener and give out the best advice that we possibly can.

[Millie de Chirico]

Well, listen, stay tuned. It's gonna be a good episode. And this is your favorite podcast. Dear Movies, I love you. Dear movies, I love you.

[Brian Sauer]

And I've got to know if you love me too.

[Unknown]

Yes or no.

[Millie de Chirico]

Check the box below. Yo. Okay. Welcome to Dear Movies. I love you. My name is Millie de chirico.

[Brian Sauer]

I'm Casey O'Brien.

[Millie de Chirico]

Yeah. And we're. We're gonna host this thing for you today. I actually am excited by pretty much everything about this episode. I can't wait to get to Brian. I can't wait to get to our chat, but I feel like we should dig into. I have like a. Like, we always do a film diary at the beginning of the episode. Right. Where we talk about film diary. And I just have. I watch something again. Very contentious, Very contentious. And it. I feel like opinions of this movie have changed so drastically over the years. I feel like my opinions have changed so drastically. Anyway, I just. I feel like it's just gonna be a big convo. So I was Wondering if you wanted to kind of, like, jump into the film diary.

[Brian Sauer]

I'm here. Let's jump in.

[Millie de Chirico]

Creak. That's me opening my old film diary that I bought at the Scholastic Book Fair in seventh grade.

[Brian Sauer]

Crack it open.

[Millie de Chirico]

So let me put the easier ones at the top. How about this?

[Brian Sauer]

Okay.

[Millie de Chirico]

I had kind of a crazy week of movies.

[Brian Sauer]

Sure.

[Millie de Chirico]

First of all, I was writing an article this week about the filmmaker, Nancy Savoca. Do you know Nancy Savoca?

[Brian Sauer]

No, not familiar.

[Millie de Chirico]

She is an incredible filmmaker, Producer, screenwriter. She has done a handful of films that are typically. They came out kind of in the late 80s 90s, and she's done several films. She's done a lot of tv. She's still alive, obviously, still working. She's married to a film producer. But Nancy Savoka is a great director. And I was. I was writing an article for a website about them. And so I was rewatching some of her films. And so I rewatched True Love, which came out in 1989, I think. Very cute film. Watched Household Saints, which I believe came out in 1993. And then maybe her most. I would argue maybe her most famous or most beloved is this movie called dogfight from 1991, starring Lily Taylor, who was also in Household Saints, but starring Lily Taylor. And then, of course, the God River Phoenix we've talked about many times on this podcast. But this movie, Casey, I don't know if you've seen it before. No, I think you would literally drop dead from your love of this movie.

[Brian Sauer]

Oh, my God. I've heard of this movie. I have heard of Dogfight, but never seen, and it's going right to the top of my queue.

[Millie de Chirico]

Yeah. Just, like, recently released on Criterion Blu Ray. Like, not super long ago, the first time I ever saw this movie, I, like, cried the entire time. Like, I just was like, this movie is so special, so tender. So, like, it's so. The story is it takes place in, like, the 60s in San Francisco, right? And, like, River Phoenix's character is a Marine. He's about to go to the Vietnam War, and him and his, like, Marine buddies decide they're out on the town, they're about to be shipped off. They're like, why don't we have a contest between us to see, like, who could bring the ugliest date to this party that we want to go to? And, you know, just typical, like, stupid guy shit. And, you know, Lily Taylor's character is this, like, woman who gets kind of brought into the contest by the River Phoenix character. You know, and at first, you know, she's basically, like, shy, but also, like, bold. She ends up, you know, revealing that she wants to be a folk musician. And she's just like, you know, I think the character. His character, River Phoenix character, brings her in this way that's sort of like, oh, yeah, wouldn't it be funny? But then he ends up, like, actually liking her.

[Brian Sauer]

Yeah.

[Millie de Chirico]

And they kind of have this like, wonderful evening in San Francisco together where they're just, like, getting to know each other. And she, like, completely surprises him, and then he sort of realizes, like, God, I'm a fucking moron for, like, participating in this, like, stupid contest. And, you know, it's just. It is so heartbreaking and wonderful, and it's, like, really well done. Like, it's not the typical, like, oh, it has this, like, sensitivity to it that I just really blows me away. And, like, part of the article that I wrote was talking about how River Phoenix and Nancy Savoca, like, intentionally had, like, a conversation about how they wanted to portray the contest. Part of it, because it's really cruel and shitty. Yeah. But it never makes a viewer think. I mean, of course the viewer thinks, God, like, what an asshole.

[Brian Sauer]

Yeah.

[Millie de Chirico]

But it's also, like, not about him being an asshole. It's more about, like, the bigger picture of it all. I don't know. It's really special.

[Brian Sauer]

Amazing.

[Millie de Chirico]

Yeah. I'm so glad I saw it again. I mean, I was, like, blown away again.

[Brian Sauer]

It looks incredible. I can't wait to watch it.

[Millie de Chirico]

Yeah. So there's that. And then I re. So the. And then the other component to this week was that I was watching the sort of winding down of TCM Turner Classic Movies. My former. My former place of employment has done this 31 days of Oscar festival every year. They basically do it in February, like, leading up to the Oscars, which was a few days ago. But, you know, I put some. A lot of stuff on my dvr. And then. So I watched the Red Shoes, the Powell Press Burger. The Red Shoes, which is fabulous, fantastic and beautiful.

[Brian Sauer]

Beautiful film.

[Millie de Chirico]

Yeah. And then.

[Brian Sauer]

And here's the controversial one, the one you were waiting to reveal.

[Millie de Chirico]

So I. This wasn't on my dvr. This was like, basically, like, I. I turned, like. You know how, like, when the DVR continues to record sometimes.

[Brian Sauer]

I haven't had a DVR in a long time, but I am. I am familiar with this.

[Millie de Chirico]

Well, what happens is it kicks over. So, like, sometimes when you're recording in real time, it, like, kicks over to the live feed after it's done recording.

[Brian Sauer]

Sure.

[Millie de Chirico]

You know, so I ended up sitting there and watching Annie hall again.

[Brian Sauer]

Interesting.

[Millie de Chirico]

Yeah. You know what I'm saying?

[Brian Sauer]

I hear you. You know, the topic of canceled filmmakers and canceled films is a delicate and sometimes painful conversation to be had. And I think what makes Woody Allen's movies so complicated is that he's in them.

[Millie de Chirico]

Yeah.

[Brian Sauer]

Too. And so he is so involved. His voice is so penetrating from that movie. Whereas, like, for me personally, it's easier to watch Roman Polanski movies because he's. I can kind of separate it a little bit more. Do you know what I'm saying? But, like, Woody Allen, he's like, there he is, you know, talking to me.

[Millie de Chirico]

Yeah. And they're like, about him. And I think that's kind of like, what. So I don't think I need to tell you. Like, when I was a budding cinephile back in the day, when I was first getting into movies, I love Danny Hall. Thought it was like, of course. I mean, I think most people did or still do. I would argue that a lot of people still love that movie regardless of how they feel about Woody Allen as a person.

[Brian Sauer]

Right. Yeah, absolutely.

[Millie de Chirico]

I will say that I feel like so much time has passed between that point and now. And I hadn't seen Annie hall in a really long time. Like, it had been a minute since I sat. Actually sat in front of it and watched it. And, you know, of course, there are moments of charm. Like, there's very charming things about the movie. But there was, like, this moment where I did think, to your exact point. I'm like, this is too much about him. This is too much about his. Like, you know, he's just, like, in the movie, it feels like he's constantly just trying to, like, remind you of, like, how weird he is. And I know that that's the point. And that was actually pretty fresh for 1977. I mean, I feel like that first person. That first person kind of character of, like, kind of being the narrator of your own mind through a movie or something was not. That was pretty new. I mean, now it's like everything is so about the author that it's, like, kind of played out in a way, I would say.

[Brian Sauer]

But his movies, they are good. And I think I still, you know, as a filmmaker, an artist, I still take. Derive inspiration from his movies.

[Millie de Chirico]

Yeah.

[Brian Sauer]

You know, and what he's doing was unique and interesting. And so that's what's complicated about it. It's very easy. I feel like a lot of times with People like Woody Allen, people will love to be like, well, I always thought his movie sucked.

[Millie de Chirico]

Yeah.

[Brian Sauer]

And it's kind of like. But that's the easy route.

[Millie de Chirico]

Yeah.

[Brian Sauer]

You know, I think about a Show like Louis CK's show, Louie. I really loved that show. And I thought it was like, kind of similar, like, auteurship. It's like he wrote, directed and edited every episode and he's in it, and then it's like, I can't watch that show anymore. I can't enjoy that show anymore.

[Millie de Chirico]

Yeah.

[Brian Sauer]

And it's. It's complicated, you know.

[Millie de Chirico]

I know. It's like you just now, you know, like how the sausage is made in a way, and you're like, yeah.

[Brian Sauer]

You're like, oh, that you're. The things you were doing in your life were so vile and that's what inspired your art.

[Millie de Chirico]

Yeah.

[Brian Sauer]

You know, and it's like the movie Manhattan with Woody Allen. It's like in that movie he's like a 40 year old dating a 16 year old and it's treated as normal. And I feel like even his friends are like, they're good together. We like that they're together. Like, it was like he. Like, how can you look at that without absolute disgust?

[Millie de Chirico]

Well, and like, yeah. And like you, obviously, in that era, I would argue that was sort of passable. But now looking back on it, you're just like, oh, hell no. And it's like you just know too much information, too much time has passed. And I. I was just like, yeah, I. I don't think, like, I, Like, I had a suspicion that if I had watched Danny hall again, that I would feel differently about it than I did when I first saw it. And I totally confirmed, like, I was just like, oh, yeah, I feel different. And I. It's sad because I just don't like it as much anymore. And I feel like the whole. The thing that I did think was fresh and unique about the way that the movie was being made, like about the kind of like, time movement and sort of like, like the characters sort of moving from, like, being, you know, like inner monologues to, like, real life and all that stuff. I felt like in his case, like just listening to him kind of go off about his isms and his, you know, ways of doing things and his thoughts. I was just kind of like, God, this is so like, navel gazy. And I don't. And I feel like that's just my modern brain. Like that, like when I first saw it, when I was like, whatever, 18, 19 years old, of course I was like, this is so cool. I like a movie like this. And now I'm like, well, I don't know. Too much time has passed, which is sad. But there again, like, I say that there were, you know, of course, like, little charming moments that I just did. You know, like, Diane Keaton is so charming.

[Brian Sauer]

Yeah. Yeah. But anyway, I'm just gonna read Orson Welles thoughts on Woody Allen. Have you read these? Do you know what I'm talking about?

[Millie de Chirico]

I believe I have, but I would always love to hear them again.

[Brian Sauer]

He goes, I can hardly talk to him. He has the Chaplin disease. That particular combination of arrogance and timidity sets my teeth on edge. The interviewer then says, he's not arrogant, he's shy. Orson Welles says he is arrogant. Like all people with timid personalities, his arrogance is unlimited. Anybody who speaks quietly and shrivels up in company is unbelievably arrogant. He acts shy, but he's not. He's scared. He hates himself and he loves himself. A very tense situation. It's people like me who have to carry on and pretend to be modest. So that's our king, Orson King.

[Millie de Chirico]

Grumpy. Fucking love it.

[Brian Sauer]

And that quote is attributed to an interview that Orson Welles did with his pal Henry Jaglum. And I believe you can read that compiled in the book My Lunches with Conversations between Henry Jaglum and Orson Welles by Peter Biskind. But, yeah, that's our king, Orson Welles.

[Millie de Chirico]

Fucking love it.

[Brian Sauer]

Well, we could dedicate a whole episode to a whole season of our show to cancel canceled movies. But is that all? Is that. Is that your film diary?

[Millie de Chirico]

That is it, sir. So what about you?

[Brian Sauer]

Okay, I saw one movie since we last recorded, which full transparency was four days ago.

[Millie de Chirico]

Oh.

[Brian Sauer]

So I've actually watched the movie we're talking about today. And this movie, how I watched, like.

[Millie de Chirico]

Five movies and you've only watched one.

[Brian Sauer]

I don't know. I have a baby that takes up some of my time. I saw a movie that maybe would have skyrocketed into my top three favorite movies of the year, and it's called Hundreds of Beavers. Have you heard of this movie?

[Millie de Chirico]

Of course I have. I have never seen it, but everyone I know is, like, you would probably love this movie.

[Brian Sauer]

Incredible DIY filmmaking from the Midwest, Wisconsin filmmakers. I think it technically came out or premiered in 2022, but it's still in theaters. You can still see it. So it's, like, out kind of like the people's Joker last year. It's directed by this guy, Mike Cheslick. It's very diy, you know, a lot of like cartoonish effects. It's in black and white. It's a slapstick comedy. There's no dialogue, but it's really, really funny and imaginative. Here's the log line. I guess. In the 19th century, a drunken applejack salesman must go from zero to hero and become North America's greatest fur trapping fur trapper by defeating hundreds of beavers. And the beavers are like people in like mascot outfits. It's not actual beavers. So it's like very theatrical, very over the top.

[Millie de Chirico]

Yeah.

[Brian Sauer]

And it's like very Buster Keaton, Charlie Chaplin. And it is a hoot. It's so imaginative. It goes to places. You're like, I would have never imagined this. There's like, he has to break into this like great beaver fortress at the end. It's kind of like wizard of Oz. I mean, it's incredible. It's an incredible feat of filmmaking. It really is. And it is so fun. You can watch it on prime right now, Amazon prime and highly recommend it. I think you would really like it, Millie. It's really fun and it's just like really inventive and imaginative.

[Millie de Chirico]

So, yeah, hundreds of beavers sounds good. That's great. Well, that's your only film diary entry for this.

[Brian Sauer]

That's my only. Yep. But that's. You know what, that's okay. We don't judge people. And I certainly won't be judged by my co host of this podcast. Absolutely not me.

[Millie de Chirico]

Judge. Never. Never.

[Brian Sauer]

All right, well, that's it. That's our film diary.

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[Brian Sauer]

Okay, this is our big main topic discussion. We're talking about 70 millimeter movies and the Hateful Eight, which was shot on 70 millimeter. Millie, you. You're the one who came up with this idea and you have, you know, like you said, it's this is to punish your friends this episode. But why, why else did you want to. Why do you want to talk about this and large format films and maybe you can explain exactly what 70 millimeter is to people who don't know what the hell we're talking about.

[Millie de Chirico]

I. So, so as a film person, as a film lover, as a cinephile, whatever you want to call yourself, right? You sometimes are presented with these like, different kind of, I don't know, what are we calling them? Nerdy conundrums or something?

[Brian Sauer]

Nerdy conundrums, Yes. I would say that's pretty good.

[Millie de Chirico]

Which are these like inherent to the passion situations, right? So it's like as a film person, if you're going to see movies in a movie theater or even if you're not, even if you're watching movies at home. Right. Like, you obviously want to see the best quality of things.

[Brian Sauer]

Yes.

[Millie de Chirico]

I mean, to be real, sometimes you don't. There are people that I know that are like, I kind of like a scratchy VHS once in a while. And I have to agree, it's a vibe.

[Brian Sauer]

Yeah. I think.

[Millie de Chirico]

Yeah.

[Brian Sauer]

I think that's why, like, film nerds are, like, you have to go to see it in the theaters. That's the end. Optimal way of seeing a movie. And now with, like, people's home video setups that are so magnificent and huge and crisp, it's hard to be like. Like, now it's, like, kind of seen as a cinema sin to watch a movie on, like, your laptop in bed, you know, like.

[Millie de Chirico]

Right. I think the general vibe is that you're on board with the idea that the director of the film wants you to watch the movie that they've intended to make. Right. So that's like the framework of film going is that you're like, okay, this director decided to make this movie in this very particular way and wants you to see it in the best way possible. And I will honor that request. Right.

[Brian Sauer]

Much like a chef at a fine restaurant, you don't want to be making substitutions, you know, you don't want to be fuddling with their rest the way they intend you to eat it.

[Millie de Chirico]

That is a perfect comparison.

[Brian Sauer]

Thank you.

[Millie de Chirico]

Actually, this is sort of the conundrum of being a film person, though, is that sometimes you're presented with films that are made in, you know, these. I mean, most. Most films at this point. I don't know you. You know this probably more than I do. A lot of films are being made digitally. Right. A handful of films are still being shot on actual film.

[Brian Sauer]

Yes. Famously, Christopher Nolan of Oppenheimer and Inception fame only shoots on film. Same with Quentin Tarantino, who directed the Hateful Eight.

[Millie de Chirico]

Right. Today, Paul Thomas Anderson. Does he do something?

[Brian Sauer]

Yeah, I think he does, too. I think he does. Only on film.

[Millie de Chirico]

Right.

[Brian Sauer]

But few and far between, I would say.

[Millie de Chirico]

And of course, as you probably know from like, a standard knowledge of. Of maybe photography or film, you know, the norm, the standard negative is 35 millimeter. Right. So you're, you know, you're shooting things in 35 millimeter.

[Brian Sauer]

But then, so basically, I just want to explain that.

[Unknown]

Yeah, yeah.

[Brian Sauer]

So like, that means the exact. The. The size of the film that the image is being Captured on is 35 millimeters wide.

[Millie de Chirico]

Right.

[Brian Sauer]

Which is small. You know, just like how small that is. But then you project through that little square, that little rectangle, the 35 millimeter onto a screen. And so the larger that little square is, the more information can be in that space. And so, like, there's 35 millimeter. But then just think how much more information there is on a 70 millimeter sized piece of film. Like, there's a lot more information and it's bigger and it can be projected bigger and still look as crisp as 35 millimeter on a small screen, smaller screen. Does that make sense? My explanation of that it does.

[Millie de Chirico]

The choice to go to 70 millimeter. Right. Is largely, I would argue that there's a reason behind wanting to see something huge. Right. A lot of times in the past when things have been shot in 65 millimeter, 270 projected to 70. Right. It's because it's usually something that needs to be shown big. Like a lot of westerns were shot in 65 or 70. A lot of, you know, big budget musicals, things that show, like a vast, you know, I mean, not to say that you wouldn't want to shoot somebody taking a bath in a bathtub in a dingy apartment in 70 mil. But it's like, you know, that's the thing is that, like, think about the film stock and the size of it based on sort of like what you want to show, what you want to represent. Right. And maybe this is all like really granular shit for people, but I think it's fascinating. Like, I. I like the idea that people shoot on film. I like the idea that people choose to shoot things in bigger formats because it is more of a spectacle. And I think that that's what ultimately I mean about the notion of seeing something in a 70 millimeter format is that it is a spectacle and it feels like more of like a thing to go see in a movie theater, right?

[Brian Sauer]

Yes. So that's kind of what we're talking about today. We're not gonna get into, like, the specifics, like, the differences of, like, what. Why 70 millimeter is better or worse than 35 millimeter. It's more that, like these big budget, these big formatted movies become much more spectacular. They're like, you have to go to the theater. And I think the Hateful Eight, the reason we're talking about that movie today is because when that came out 10 years ago, crazy. It was a big production. There was like a whole party around that movie being in the theater. And it's like you had to go see it in the theater, you know.

[Millie de Chirico]

Right. And like, the thing that you know is the Thing about Tarantino, Quentin Tarantino, the director of the Hateful Eight, is that he is a fan of that kind of. I don't know what to call it. Just like that kind of like the filmmaking tradition. Like the bit like using sort of the old. I don't want to say old timey, but like sort of the old techniques to bring them back. He obviously loves, like an old school vibe. And so, you know, when he was making the Hateful Eight, you know, obviously he had. It's a western. He was thinking, oh, wouldn't it be cool to do like a roadshow release of this film in 70 millimeter? And that's what it means. A roadshow is more or less the event, the event of seeing a 70 millimeter film. There's usually. And this used to happen back in the day in classic Hollywood, where it would be. It's like usually a longer film. So there would be like an intermission in between. In between sections, sometimes an overture, you know, like, so things before the film, music before the film, music during the intermission that kind of almost kind of like in a theater vibe, like an old school theater vibe of like having, you know, a movie, but then there's like stuff before in the middle and after, Right?

[Brian Sauer]

Yes.

[Millie de Chirico]

And when I heard that this was happening, I was like, oh, this is awesome. Because it doesn't happen often because it's, again, I think you could argue, is super expensive and super, you know, like, it's. It's a big undertaking, which is why a lot of people don't really tackle it. But that's the thing, I think that gets people. Certainly my friends that I'm like, that are like, oh, God, you really want to go and do the whole shebang? You want to go see Oppenheimer and imax or you. We have to drive all the way to the actual IMAX theater that we have here, which we're lucky to have here, which is like an hour away. Yeah, like, can't we just, like go and see it at Regal or whatever? And I'm like, can we just watch.

[Brian Sauer]

It on our phones?

[Millie de Chirico]

But then you're like, and it's, you know, sometimes a lot more expensive and you have to, like, fight. You know, sometimes the screenings are not every hour on the hour. In the case of Oppenheimer, they were selling out really quickly, so we had to, like, be strategic about it. And my friends, some of my friends were like, dude, what the fuck? Why are we doing this? I'm like, but when you see it in imax, you're gonna understand, right?

[Brian Sauer]

It was a big thing with Oppenheimer. It was hard to see it. Like you were saying, I had to go see it at like 9pm on a Wednesday or something insane. And it's like a three hour long movie. And that was tough. But yeah, it was, it was hard. It was an event. That's what it was. It was an event.

[Millie de Chirico]

It was an event. And I, I love that stuff. Like that's the thing is that I just, I think I like the pomp and circumstance. It's kind of like, it's kind of like a special edition box set or something. It's like, yeah, you could buy the regular DVD of it or the regular Blu ray, but if you're going to get like the booklet and the cool.

[Brian Sauer]

Stuff, you want the little essay.

[Millie de Chirico]

Yes. You want the special features, you want the, the cool design of the packaging that's different from the standard. So I don't know, to me, I like a little pom and circus dance and totally.

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[Millie de Chirico]

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[Unknown]

Oh wow, a real person.

[Millie de Chirico]

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[Brian Sauer]

I didn't realize you did that.

[Millie de Chirico]

Yeah, we can also send you samples fast and free. Wow. I mean, I always thought I needed a designer to come to my home, but scheduling is always a nightmare. Not with blinds dot com. We're on your schedule and there's no haggling, no pressure, no hidden fees either.

[Brian Sauer]

Hmm.

[Millie de Chirico]

I just might have to do more. Oh, okay. Whatever you need. How about you tell me what you had in mind?

[Unknown]

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[Millie de Chirico]

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[Brian Sauer]

Let me just. I just want to read some 70 millimeter movies so people kind of get the sense of what we're talking about. Like the type of movies that these are.

[Millie de Chirico]

Yes, please.

[Brian Sauer]

Lawrence of Arabia, Patton. Can you imagine George C. Scott in front of the big American flag?

[Millie de Chirico]

Oh, can I?

[Brian Sauer]

Tiny. That's 70 millimeter. 2001 Space Odyssey, the Sound of Music. So these are big, big ass movies.

[Millie de Chirico]

You know, so if you're out there and you're with a group of people that are suggesting that you see Ben Hur, you know, cropped like 4 by 3 pen and scan on a black and white television in a 1970s rec room. Yeah, I would say, okay, that's fine, but try it in a. Try it in the better way, the way that they intended to make it. You know what I mean?

[Brian Sauer]

I want to get into the Hateful Eight a little bit here. Sure. So the Hayfil Eight, it is about a group. This takes place post civil war in Wyoming. It's a group of bounty hunters and strangers who find themselves stranded in a blizzard at Minnie's Haberdashery. And some people are not who they say they are. Kurt Russell plays a bounty hunter who has kidnapped Jennifer Jason Leigh Daisy Domergue, who's wanted for murder. And he's gonna see her hanged, but they have to stop him. And he's haberdashery and he's trying to protect his, you know, investment to get the money for the reward. And there might be some people at Minnie's Haberdashery that want to see her set free. And. Yeah, so that's Basically the Hateful Eight came out in 2015, written and directed by Quentin Tarantino. I guess my question for you, Millie, first off, maybe this is an unfair question. Do you think this movie needed to be shot in 70 millimeter?

[Millie de Chirico]

Yes.

[Brian Sauer]

Okay.

[Millie de Chirico]

I want to say that because I actually think it is, like, the. The. The snowy scenes, the big, you know, picturesque mountains. Yes. I feel like, fuck, yeah. Like, go for it. Like, I don't know. To me, I love a western. Big fan of a Western. And I love, like, a big sky, big desolate, one person in the middle of nothing feeling. So I think 70 millimeter is great for that. Obviously evokes that sort of sense of bigness and isolation, I guess.

[Brian Sauer]

My thing. I don't disagree, but, like, 75% of this movie takes place inside a cabin, and it feels almost like a play. And so then I'm like, I want to see the mountains again. Maybe that's a stupid criticism of a movie, but I just thought, it's kind of funny that we have the most expansive, huge format used on a movie that takes place indoors for most of.

[Millie de Chirico]

It, but then it pays off when you see a guy, like, naked on the snow.

[Brian Sauer]

That's true.

[Millie de Chirico]

By the way, can I tell you, like, I have a Hollywood story?

[Brian Sauer]

Yes.

[Millie de Chirico]

I was at a party once a while back when I was still living in la, and I was hanging out with my friend. I can call her my friend Allison Anders, who is a director, and she is lovely and sweet, and I became friends with her over the years. We were at a party and she brought her date to the party was a guy in the Hateful Eight. And he was the naked guy in the Hateful Eight. And the minute he said it, I screamed. Like, I screamed. And he was so cool and nice, by the way. Like, he was very friendly. And, like, we. We were, like, all chatting and we had, like, all vibe going on. And he then he casually mentions that he's that character he plays, Chester Charles Smithers, and he has a very memorable scene. I won't give it away.

[Brian Sauer]

Oh, yes.

[Millie de Chirico]

And I. I screamed in this man's face. I was like, oh, my God, I cannot believe that's you. So anyway, I. He. And he was awesome. He was talking about how awesome it was to work on that movie and everything. So anyway, that's just a little personal.

[Brian Sauer]

Amazing. Personal Hollywood inside scoop. Yeah, the Jericho.

[Millie de Chirico]

I'm sure it's Hollywood minute, but it was fun.

[Brian Sauer]

Amazing.

[Millie de Chirico]

Honestly, this movie, to me, I haven't. I haven't. Like, there's a couple of his films that I'VE returned to quicker than others. And this one, for some reason, I kept. I think it's just because I watched it in kind of the best way possible that I felt like, okay, well, I saw it in the best way I could, and there's no need to go back and watch it on a laptop, like you said. But I definitely feel like it is something to return to. I had this whole. I remember when it came out. I wish I still had this in my phone. I was actually looking for it earlier because I wanted to bring it up. I remember when this movie came out, it came out, like, around Christmas time in 2015. And if you do the math, you will remember that that was like, the next year was an election year. And it was like the first Donald Trump, like, when he was first on the scene campaigning. And for some reason, I was, like, internalizing all that information. And I, for some reason, came up with this, like, wild conspiracy theory that this movie was technically about, like, the voting public.

[Brian Sauer]

Interesting.

[Millie de Chirico]

Like, I looked at every character and was like, oh, this. This character is an archetype for this type of person. The Michael Madsen character is, like, you know, an LGBTQ voter. Well, and his name in the film, his character's name is Joe Gage. The name Joe Gage was. He was a porn director. Like a gay porn.

[Brian Sauer]

Oh, wow.

[Millie de Chirico]

So I was, like, convinced that there was, like, secret political messaging in the hateful aid, being like, oh, this is. This movie. The characters, the movies are representing, you know, the people who are going to be at the voting polls and, like, all the different interests and everything. Anyway, I wrote it out in the notes app in my phone, like, a very detailed, like, conspiracy theory. And then, I don't know, I lost it.

[Unknown]

Damn.

[Millie de Chirico]

Sorry.

[Brian Sauer]

Sorry to recreate that for your substack.

[Millie de Chirico]

Yeah, I have to.

[Brian Sauer]

When I first saw this movie, I guess I was a little underwhelmed. Like, I was. I was kind of like, you know, Quentin was on his kick of, like, historical movies. It felt like it was kind of like Inglourious Basterds, Django Unchained, hatefully. And I was kind of like. I guess I had gotten a little tired. I was like. Because I loved Quentin Tarantino movies that were set in the present, but kind of, like, were kind of anachronistic with the past and stuff. Like, Kill bill is very, like, 70s and funky, but it's set present day, and same with, like, Pulp Fiction, Reservoir Dogs, you know, And I was like. So I was getting a little tired of that shtick. And honestly, he's still doing that. I mean, Once Upon a Time in Hollywood takes place in the past, too. So I'm kind of like. I'm, like, set a movie in the present again and then just have these kind of, like, fun allusions to the past. Don't, like, make it all the past. So at that time, I was just like, Django Unchained was his previous movie. And I was like, we were just in, like, a post Civil War world. I don't really want to revisit this. So rewatching at this time, I actually, like, enjoyed it much more for what it is, just because I was sort of tired of his shtick at that time.

[Millie de Chirico]

Sure, sure.

[Brian Sauer]

And I enjoyed that it was all, like, set in one location, that it felt like a play at certain points. And it's just he's such an expert in, like, building tension and, like, taking his time with dialog. It really does feel like a master making a movie, you know, a master filmmaker so well.

[Millie de Chirico]

And, like, to that point, too, like, you know, he has all these great people in his films all the time. And, like, you know, honestly, like, love of my cinematic life, Walton Goggins, originally from.

[Brian Sauer]

This is the first time I met him.

[Millie de Chirico]

Yeah.

[Brian Sauer]

I don't know if I'd seen him in anything before.

[Millie de Chirico]

I had seen him in, well, Django. That was the first time I laid eyes on.

[Brian Sauer]

Yeah.

[Millie de Chirico]

Although subsequently, after I watched Django and after I watched the Hateful Eight, I did start Justified, which is the effect series that he's in with Timothy Oliphant. Yes. Which is literally one of my favorite TV shows of all time.

[Brian Sauer]

People love that show.

[Millie de Chirico]

Absolutely obsessed with Justified. I have to do a rewatch, like, every couple years because I just love. Love the. Love My Boys and whatnot. But the. Yeah. So this is the thing is that I was like, oh, he's such a good. Like, Walton Goggins is perfect as that kind of, like Tarantino Western archetype, if there is one, at this point. Because he's like.

[Brian Sauer]

I mean, he feels like somebody. Doesn't he feel like an actor who would be in the 60s? Walton Goggins, he kind of has that look. I don't know. There's something about him that feels sort of like he's kind of goofy in a classic way.

[Millie de Chirico]

Yeah.

[Brian Sauer]

You know.

[Millie de Chirico]

Well, and that's the thing is, I think Tarantino is really good at. And this movie in Hateful Eight, I think is like, a perfect example of it, is the idea that he somehow manages to find current actors that have this, like, Character actor vibe to them. That's very old school, right?

[Brian Sauer]

Totally.

[Millie de Chirico]

And I think it's because he's a cinephile. I think he grew up, you know, obviously being interested in, like, 60s and 70s films. There was a lot of character actors working in. In these. In these eras. So I don't know. That's. His talent, for me, really, is to be able to find, like, modern actors like Tim Roth, like, you know, Michael Madsen, you know, whomever like Jennifer, Jason, Lee Walton Goggins who are, like, you know, do. They're interesting actors, but they're. They're kind of more character on the character side, which is.

[Brian Sauer]

Well, I think that's why some of Leo's best. Leonardo DiCaprio's best roles are in Quentin Tarantino movies, because he. I think at his heart, Leo might be a better character actor than, like, hunky leading man.

[Millie de Chirico]

Yeah. Oh, I think that, too. Of Brad Pitt. Even though.

[Brian Sauer]

Yes, Brad Pitt, too.

[Millie de Chirico]

I think that. More of Leo. I think, ultimately, I was just gonna.

[Brian Sauer]

Say, watching this movie came out in 2015. It is of its time, because. And I hate. I'm loathe to say this. I think one of the weak links is our good friend, Mr. Channing Tatum.

[Millie de Chirico]

Oh, no. How fucking dare you? I. I just.

[Brian Sauer]

I was kind of like, he's. I just feel like Quentin Tarantino is so good at getting these, like, grizzled guys. And then Channing. I don't know. For some reason, I was like, this was very 2015 that Channing Tatum was in this movie.

[Millie de Chirico]

Yes.

[Brian Sauer]

And I don't know. I think. And I love Channing Tatum. I just don't know if this was his spot. But that's just me, you know?

[Millie de Chirico]

Yeah.

[Brian Sauer]

I mean, fool.

[Millie de Chirico]

Sometimes he can feel a bit shoehorned into things. Like, what is the Coen brothers movie that he was in? Or was he in multiple Coen Brothers movies?

[Brian Sauer]

Well, he's in Hail Caesar.

[Millie de Chirico]

Yes. Maybe that's it.

[Brian Sauer]

I thought he was great in that, though, because he does a whole dance routine in that.

[Millie de Chirico]

Yeah. You know, maybe it's just that I want him to be the center of it, and I don't want him to be on screen for a very short period of time. Like, I. Yeah. You know, I feel like if you're gonna use him, let him use him. As you said.

[Brian Sauer]

Let him cook.

[Millie de Chirico]

Let him cook.

[Brian Sauer]

Let's see that big bubble butt. You know, we didn't even get to see that. And so I feel like. I don't know. I just. I felt like we could have used somebody else in that role and yeah, that's, that's all I was gonna say. Well, felt it felt a little shoehorned, but maybe they got extra funding because they were like, Channing Tatum's in this movie. Well, we can do a little roadshow.

[Millie de Chirico]

Yeah. To that point I think to wrap, to wrap up our discussion today about, yes. These large formats, these like weird, you know, kind of traditions within, you know, the movie going experience. Try it. Like if you're, like, if someone who's trying to get you to watch something like this to go drive an hour north into the suburbs to watch something in IMAX or something like the new Avatar or whatever, take it, take a chance, go up and just go to get some snacks for your little road trip and go up there and see it. Because honestly, it's pretty cool. Seeing Oppenheimer in IMAX was insane. Like, I brought earplugs.

[Brian Sauer]

Yeah.

[Millie de Chirico]

Because I was like, it was the.

[Brian Sauer]

Loudest movie I've ever been to.

[Millie de Chirico]

Loudest movie. But was it thrilling? Absolutely, yes. Do you think I would have been as thrilled if I had just seen it and like, I don't know, normal, normal circumstances. More normal theater circumstances? Probably not.

[Brian Sauer]

Don't you just go to the movie sometime and you're just like, wow, I love the cinema. Like when you're in the, when you're in the theater, it's just like, wow, this is enchanting, isn't this? I'm seduced by it.

[Millie de Chirico]

To quote the rapper Vince Staples on his Instagram recently.

[Brian Sauer]

Uh huh.

[Millie de Chirico]

Cinema. You feel me?

[Brian Sauer]

Love that. That could have been a title of this podcast.

[Millie de Chirico]

I know we should have named it that.

[Brian Sauer]

Amazing. Amazing. Well that is all we have to say about the hateful 8 and 70 millimeter movies and that. We said all that there can be said about it, frankly.

[Unknown]

Agreed.

[Millie de Chirico]

Well, well, now it's time for what we like to call my area of expertise. And we have somebody who has an incredible area of expertise, wouldn't you say?

[Brian Sauer]

Uh huh. I certainly would. Many, many areas of expertise. I also think it's great that Brian is going to be on the show today because we're talking about a Quentin Tarantino movie.

[Millie de Chirico]

That's right.

[Brian Sauer]

And Ryan does the podcast for the, you know, the Pure Cinema podcast, which is essentially the New Beverly's podcast. And the New Beverly is a theater.

[Millie de Chirico]

That's right.

[Brian Sauer]

In Los Angeles owned by Quentin Tarantino.

[Millie de Chirico]

Isn't it great? Those connections.

[Brian Sauer]

Those connections. Also, you know, the Hateful Eight, it's not a game movie. They're not playing a game, but it does have sort of a clue, gamey quality to it. So I feel like it's very apropos that Brian's on this episode.

[Millie de Chirico]

I think you're talking about an ensemble cast.

[Brian Sauer]

Yes, an ensemble. Anyways, here's our conversation with Brian Sauer.

[Millie de Chirico]

Okay, Casey, folks.

[Brian Sauer]

Yeah.

[Millie de Chirico]

We've got a guest who I absolutely love.

[Unknown]

Aw.

[Millie de Chirico]

I. I insisted that we bring him on because it had been a while actually since we chatted and I was like, oh, Brian, I gotta bring Brian on the new podcast. But I. I absolutely love this guy. Like, I. He hosts a podcast with his co host, Elric Cain called the Pure Cinema Podcast. It is real cinephile shit. I, like, love it. I love the deep dive they do it for the New Beverly Cinema in la, which, weirdly enough, on the topic of Tarantino, is Tarantino's theater one of his theaters? I think he is too now, right?

[Unknown]

Yes.

[Millie de Chirico]

But they've been hosting this podcast for a long time. Great, great dudes. And then he also does this other amazing podcast called Just the Discs, which is essentially like the quintessential home video freak podcast for anybody that loves, like, physical media, like dvd, Blu Ray stuff. He's your guru for that. And so I. I'm lucky to call him a dear friend. Please, everybody, welcome Brian Sour.

[Unknown]

Thank you so much. What a gracious, incredibly kind intro.

[Millie de Chirico]

Of course.

[Unknown]

Really appreciate from the.

[Millie de Chirico]

Straight from the heart.

[Brian Sauer]

I.

[Millie de Chirico]

That was. I wasn't. It didn't prepare at all. I just said what I felt.

[Unknown]

I love it.

[Millie de Chirico]

I was. Well, I was hoping that maybe you would give, like, I don't know if you would call it like an elevator pitch or just some. Give me your philosophy of why you think people should be buying physical media. Because there is a lot of people that were probably listening to this podcast that are like, again, we. We talked earlier about people who don't want to see things 70 millimeter in the movie theater. Like, people were just like, why would I buy things when I can just stream things? Like, so, like, what would you say to a person that says that? Or, like, you know, just give us your sort of like, philosophy behind Physical Medium.

[Unknown]

Absolutely. I mean, I had a better. I had notes. I did something like this on your old show and I had better, better notes. So I'm gonna wing it here. But like, oh, yeah, the basics are okay. One, I think the big one for me is it's. I'm always about the movies. Like, you know, I really like. I'm into the features and we'll talk about that in a second. But, like, I'm just really into the movies and people don't understand just how many movies are not available to stream and likely never will be. And. Or they're maybe available in some really crappy YouTube rip that is almost unwatchable. And, you know, I've. I've done that, you know, but there's just so much stuff that's not streamable. So that's one. I feel like there's just a lot of people who are like, I can watch anything. No, you absolutely cannot. And you never will be able to watch everything. And.

[Brian Sauer]

And it's getting worse.

[Unknown]

It is getting worse.

[Brian Sauer]

There are titles are being removed more and more as the years go on.

[Millie de Chirico]

Yeah.

[Unknown]

So we're definitely seeing more of an emphasis on newer films, you know, the last 20 years, what. What have you. And a lot of the stuff from 2000 and before, I feel like, just starts falling away as we move forward. And I think it's only going to continue to do that, honestly, because I feel like the algorithms then grab onto the stuff that people. This is just a theory, but they grab onto the stuff people watch, which is going to be more newer stuff because that's what's available. And so then that stuff kind of just continues to perpetuate itself and the old stuff gets left behind because the algorithms don't grab it or whatever, you know, but. So that's one. And for my show, for pure cinema, we're just the diss also. But we're always about trying to dig out, like, the lesser scene stuff. We really want to champion that. So that's a big part of the show is how do we watch and find these less seeable movies? And a lot of times it means getting a disc or something like that. And so that's a big part of it. There's so many movies out there for people to discover. And I want people to know you can't stream everything and you're missing out on a lot of good stuff if you only. Right away. A couple things come to mind. There's a movie called Payday that I absolutely love with Rip Torn as a country. Yeah. Country western singer. It's only available on DVD right now. It's not even on Blu Ray. But, like, it's not streamable. I don't think it's on YouTube. And YouTube is so unreliable because stuff gets taken down there all the time. You never know. But.

[Brian Sauer]

So that's just looks so bad. It doesn't so many. That's just like unwatchably bad?

[Unknown]

Well, yeah, and let's talk. We'll go to that site. Normally I would go to the feature second, but while we're talking about visuals, like, there's a lot of compression in streaming and I'm not like so video snobby that like I, I watch a lot of stuff. Streaming. My kids love streaming. They've grown up with it, you know, so it's not a big deal. But if you want like uncompressed, you know, really beautiful transfers, I mean, you can watch a movie that's available on, you know, digital and Blu Ray, but the Blu Ray might be a brand new. This is one thing that's happening a lot now is we're getting 4Ks and Blu Rays where they're going back to the original camera negatives and retransferring the films so they look the best they can. And I don't know for sure that the studios then take those masters and put them on streaming. I think sometimes they use old masters. I think a lot of times these new masters are exclusive to these blu rays and 4Ks. And they look great, they look better than ever, they sound better than ever. The audio's not compressed, if you're into that. And I mean, again, I'm not Mr. Video Audiophile, but I really do think that that presentation helps a lot. So that's another reason to get them. And the other big one is that the supplements you get, commentary tracks, you get interviews, you get context. Especially about movies that are maybe a little tricky these days, maybe have some problematic elements about them that could turn people off just from watching them. I think sometimes it's great to have a little context that allows you to appreciate the time and place they come from and what was going on at that time. And just I love to hear behind the scenes stories like how did this happen? And there's so many great film scholars out there doing commentaries and great interviews available with filmmakers and people that were involved in those films. It really brings up the experience, it makes it more enriching. And I think you miss out on that if you're just streaming it, you know. So those are the three basic bullet points for me.

[Brian Sauer]

Just switching gears here a little bit. We brought you on to talk about, you know, physical beauty is obviously an area of your expertise, but we also want to talk about, you know, in the film world, what is your area of expertise? What is a something within the world of film that you feel like you're like, I kind of have the corner on this. I know I can, I Can teach a university level class on this.

[Unknown]

Oh boy, this would be a good class.

[Brian Sauer]

What are you bringing to us?

[Unknown]

Well, by the way, this was a. Thank you.

[Brian Sauer]

Yes, I would do.

[Unknown]

This is a tough. This is a tough topic, actually. I was looking at it, I was like, oh my God, what do I pick for this? I like. I mean, the big thing is obviously if you listen to pure cinema, we talk about all kinds of cinema. We love all kinds. Millie, you were talking about documentaries on one of the shows recently. I absolutely adore documentaries. I could have done something on that. But this is actually kind of going back to the video store in terms of the origins of this kind of thing for me. And it's movies about playing a game where the characters within the movie are playing a game of some kind. And the goal within the movie is to win the game or, you know, to participate in such a game. And I was really drawn to one. The other VHS cover that I could have mentioned is a movie from Buena Vista, Disney called Midnight Madness, which is a big favorite of mine. Big nostalgic pick. It came out in 1980. It was, I want to say it was either the first or the second PG rated Disney movie after, I think, the Black Hole. But I could be getting that wrong. Maybe the Black Hole is G and it's the first pg. Anyway, it's kind of a raunchy comedy. Definitely. The artwork is spinning off of something like Animal House. And it's all about a college campus wherein this like super nerdy guy has picked out five, I think, five different people. Like there's a. And they're all archetypes. You know, there's a sorority girl, there's a jock, there's nerd. There is a sort of an everyday everyman guy played by David Naughton. And then there's this rich jerk played by Stephen Furst, who of course was in Animal House. And he sort of pitted them against each other and wants them to play this game called the Great All Nighter. And it is kind of like a scavenger hunt, except you. It's LA based and they're going around LA solving different clues that lead to different locations that lead to different clues to locations, trying to get to the finish line. And this is one that my sisters used to rent a lot, especially my little sister. We rented it a ton as a kid. And so it became sort of a family favorite. It's totally goofy movie. And if you watch it now with fresh 20, 25 eyes from people our age, you probably would think it's really stupid, but it's just a movie that I really enjoy. It's got a very young Michael J. Fox in it, and it's just a lot of fun. So I started to notice that there's a lot of movies like this that generally the 80s was a strong period for this stuff, but it's really not limited to that. So there were things like. I mean. Well, I mean, one of the big ones that people will know is David Fincher's movie the Game, which comes out in like 97 or whatever. And that's a different kind of like Hitchcockian, fully immersive game kind of thing. But there's other things like Tag the Assassination Gang and Gotcha. I put in both as a very. I also love movies that respond to weird, very short trends. And there seemed to be some kind of trend on college campuses in the early 1980s where they were playing these assassination games where you would hunt people on campus and you'd shoot them with darts or in the case of Gotcha, paintballs, which seems like a really bad idea. And that was just something that was going on apparently. And so, you know, a couple different studios made movies based on that. And then you have things like, you know, Cloak and Dagger, which sort of opens with role playing games and is very game centric. And then one that I mentioned to you off mic, but I love is, and this is back in the 70s, this is a movie called Last of Sheila, which is, as you mentioned, Casey, it's written by Stephen Sondheim and Anthony Perkins, who were famously big fans of putting on game nights, like not quite murder mystery, but that kind of thing. And so that movie in particular, it's also a big favorite of Rian Johnson's. If you watch it and then you watch Glass Onion, you can go, oh my God. And same thing with Knives Out. He definitely mentions it as an influence on that, but it's about a rich producer who's bringing a bunch of his Hollywood type friends on a cruise and they're playing sort of a murder mystery game that kind of goes real dark and people start actually dying. And it's really cool. It's a great cast and I absolutely love it. And you know, there's just a. So I made this letterboxd list and you know, so you have all these games, but then you have like race movies like Death Race 2000, Gumball, Rally, Cannonball. Those are their own sort of sub genre within the game genre. And there's just a ton of these that you can find and watch. And they all have sort of different stuff going on with them, but it's just something. I kind of like the idea of giving the characters in the movie an objective and you're watching them play the game. It's kind of fun to watch. It's like a.

[Brian Sauer]

Well, I love. Yeah, I love this type of movie as well. And I particularly like. Like, you put in a lot of the fun ones in there, but I really like the ones that are like. You have Cube in here, which I. I Love Cube from 1997. And that's like people trying to figure out a game or puzzle that they're in or they will be killed.

[Unknown]

Yes.

[Brian Sauer]

Which is also like the. The Escape Room movies, which is. Your escape Room is on here also. Or a movie like Battle Royale. I don't know if you're.

[Unknown]

Oh, yeah, I should have put that on here.

[Brian Sauer]

That's my bad film. Battle Royale is a Japanese film from 2000, and it's essentially the Hunger Games. It's before the Hunger Games came out, but it's a movie where a class of high schoolers have to kill each other off in a competition on an island. It's kind of set in a freaky future, but that's another one where they're, like, killing each other that I really. I love that movie. And I also love, like there. There's this Edward Furlong movie called Brain Scan where he has to play a video game.

[Unknown]

That's a whole other almost sub genre.

[Brian Sauer]

That's all. Yeah, I almost was loathing to bring that one in there because that's a whole other category.

[Unknown]

I like that movie too, but. But it does open up a can of worms of, like, video game movies, which is kind of another thing. But. But does fall into the game movie category also. So it's tricky.

[Brian Sauer]

Yeah, no, this is a fabulous list. There's some I definitely need to check out.

[Unknown]

Well, and then there's the whole Most Dangerous Game genre. So you have things like Hard Target, Surviving the Game, Open Season. These are all movies where you have humans being hunted. Turkey Shoot is kind of that, too. The Brian Trenchard Smith movie. So there's that genre. There's just all kinds of fun, silly stuff like that, you know?

[Brian Sauer]

Yeah, even.

[Unknown]

Even something like Quintet, which is a notoriously hated movie, even among Robert Altman fans. But I kind of like it, which is all about, like, this post apocalyptic, you know, snowy universe where people play this game that's kind of like Backgammon, but it's like the thing to do in that time. And I, again, my Game movie fandom makes me actually kind of like quintet too, you know?

[Brian Sauer]

Yeah. Well, I also loved when I was a kid and it really scared me was Jumanji, which I think is actually a Disney movie, but that was like. The idea of playing a game for your life is like, sort of scary.

[Millie de Chirico]

Let me pose this. This might be like too nuanced of a conversation. We'll see where it goes. So would you make a distinction between a movie, like a gay movie like the Last of Sheila or maybe Death Race or whatever, and then something like Saw?

[Unknown]

Oh, yeah, yeah, I think. Ah, yeah, definitely. I'm trying to think how to. Cause you're right.

[Brian Sauer]

For some reason that didn't even come to Saw feels like so different. For some reason it didn't even like. And I was just saying how I love movies where they're playing a game to like, survive. But that feels.

[Millie de Chirico]

That's like a Rube Goldberg type of thing or something. Like to me, where I'm like, the Saw is obviously not fun loving. And you know, it's. It is definitely not Cloak and Dagger or whatever, but. But yeah, I was just kind of curious about like, those types of movies. Like. Brian, do you like. I. I don't even know. This is kind of a. A little bit of a side, but have you watched like Squid Game or something like that? Like, you know what?

[Unknown]

No, I. I haven't really. And. And you know what I miss out on a lot of. Because of all the movie watching for the shows. And this is a constant thing I have with people is I miss out a lot of, you know, the really big TV shows, you know, like, just haven't seen them because, for one, like, I'm always late to the party and I feel like I miss the big cultural conversation unless I'm doing it at that moment. So I miss out. This is just a minor aside about me and tv, but. So, yeah, so I haven't had a chance with Squid Game yet. But I mean, I'm intrigued certainly. But yeah, there's something. There's something a little different about it is a little nuanced in that I'm trying to think how to articulate it because it's not like some of these other game movies where you're fighting for your life. They aren't. The odds aren't stacked against the players. But in Saw in particular, I feel like they almost don't even have a chance. They do, but it's really much more about watching them be killed than it is about watching them solve the puzzles. Whereas I think the game movies I'm talking about, we want. There's a little bit of us. It's like, oh, they can reasonably do it, and we want them to do it. And I'm not as into them getting. I mean, like, I like, you know, movies where people get killed. That's fine. But I'm just saying I think there's a little bit of a difference in terms of, like. But it is subtle, you know, in terms of.

[Brian Sauer]

A lot of the Saw challenges, too, are like, you have to chop off your own leg to survive, and so you're not. Like, you're making a sacrifice. Like, you're coming away very. Even if you win, you lose. You know where in a lot of these game movies, even the ones where you're, like, doing it for your life, you can win and walk away kind of like that. Like, it seems like there is a possibility. There's more of a plausible way to win cleanly. Yes, I guess.

[Millie de Chirico]

Yeah.

[Brian Sauer]

Maybe.

[Millie de Chirico]

Maybe that's a good way into it. Both of y'all have the right. Because I was, like, thinking, like. Cause Saw to me is just so, like. I'm like, ugh. Like, this is just too much, like. And honestly, it doesn't even feel like a game. It just feels like, well, this guy just wants to do what he wants to do, and you just have to. You have to be there while he enacts his, like, dumb crimes is dumb.

[Brian Sauer]

Well, his whole thing, too, which is. I'm a bit of a saw apologist. In Saw X, you get to learn his, like, mindset a little bit more. And he. It's all like, I'm not doing anything. I'm not killing them. They're. They're killing themselves. Like, I'm not. I'm not a murderer. I invented this game and I put them in this game. But, like, they're doing it. It's not me, you know? So it is about punishing these people. Yeah, yeah, it's more about punishing them.

[Unknown]

Yes. I think that is almost the key thing is it's about punishment and not the game itself. It's really about messing these people up. Whereas I feel like the game movies that I love tend to be more about the game and. And. And maybe the guy who. Person who's creating the game doesn't want them to solve it and makes it difficult. But there's still. You still feel like they have a chance, and it's not about punishment as much.

[Millie de Chirico]

There's, like, a level of, like, sports personship or something.

[Unknown]

Yeah, yeah, exactly.

[Brian Sauer]

Yeah.

[Unknown]

Some kind of honor to it.

[Brian Sauer]

There's a commissioner.

[Millie de Chirico]

An honor.

[Unknown]

It's a commissioner honor.

[Brian Sauer]

Yes. I do think you would. If you like. I do think Squid Game. I've only seen the first season. It is good.

[Unknown]

Okay.

[Brian Sauer]

And it does category that we're. That would fall, like, the category that is in your letterbox list. It's like, more like Cube, I think.

[Millie de Chirico]

Brian, I think you'd like it. It's pretty violent. And, you know, it's obviously like South Korean, so it's cool. There's cool actors in it. And, like, nice. I saw the whole thing. Like, my mom had actually seen every single episode during the holidays, and I was like, how have you seen the entire run of Squid Game? And I haven't. She's like, I don't know. It's good. So she watched it again with me. We binge watched it. It's really entertaining.

[Brian Sauer]

So amazing. Millie, did you have anything else to.

[Millie de Chirico]

Well, no, I just wanted to, like, you know, shout out Pure Cinema podcast as well. Because to me, I think that podcast is just such a great, like, it's just like, I know that, like, you and Elric are just incredibly smart and intelligent about movies.

[Unknown]

Oh, my goodness.

[Millie de Chirico]

I know that. You know, our friend Phil Blankenship, who was the, you know, basically an employee at the New Beverly Cinema who comes on very regularly. I mean, it's like. Like, being with the three of you guys is like being. It's like being on, like, inside the NBA or something with like. Like. Like, you guys are like Shaq and Charles Barkley and, you know, and Kenny, and I'm just like the Ernie guy that just sits there and enjoys everything.

[Unknown]

So Millie, I should say Millie is, I think, you know, with an upcoming calendar record that we're gonna do, I think she's our most returningest guest. She is. She's been on. I'm pretty sure you've been on, like, four or five times, and I don't think we've had anybody on. Karazewski's close, but I don't think he. I think you got him beat, especially with this new calendar.

[Millie de Chirico]

Oh, my gosh.

[Unknown]

Well, you're one of our favorites. Like, you. You totally, like, always bring it, and always. I. I've loved your programming and your cinematic taste for years, and so you're, like, the absolute perfect fit for our show. And I do appreciate all the metaphorical basketball comparisons. It's pretty. Pretty kind, to say the least. I have to say.

[Brian Sauer]

I. It's.

[Millie de Chirico]

I'm a. You know, everybody knows I Like basketball. So there was the only comp that I could think of, but really does feel great.

[Unknown]

I'm honored.

[Millie de Chirico]

Again. Thank you. Yeah, I would encourage everybody, especially if you're really into, like, finding out about, you know, just kind of stuff that's off the beaten path, stuff that's just like, not really, like, you know, out there a lot of times to watch, you know, kind of with any kind of regularity or, you know, I just think that that's your real, your talent is to find movies that people aren't really talking about as much and kind of elevating them. And, I mean, that's what the New Beverly does too. And it's programming and so, I don't know, it's a great podcast and it's really fun to listen to. So everyone check that out, please.

[Unknown]

So kind, so kind. Thank you so much.

[Millie de Chirico]

Love, love, love that Brian Sauer.

[Brian Sauer]

He is great. It was so great. I mean, it was one of those things where I'm like, this could go on for night 19 more hours. Because there was just so much I wanted to talk to him about. And he. He talked to us in front of like a wall, a wall of physical media. I was just. I was so impressed with his collection.

[Millie de Chirico]

Oh, yeah, like his wall. I mean, like my rinky dink two shelf scenario is just like puny compared to his collection.

[Brian Sauer]

His is like the Beauty and the Beast library.

[Millie de Chirico]

I wonder if he has like the giant rolling ladder that you can like in Karl Lagerfeld's house or something. But we love Brian. We were so glad he was on and. Yeah, yeah.

[Brian Sauer]

Well, next up is our film advice segment. That is where people send in their questions asking for our advice. And we have a voicemail today and we're really the experts to give out advice in this very specific regard movies. I don't know if anything I could give advice in any other category or anywhere else but this. I think we can give out some good advice. So we've got a great voicemail, so let's listen to it.

[Millie de Chirico]

Hi, Millie and Casey, this is Leigh. First time listener, long time voicemail leaver. Just kidding. Love the podcast. It's everything I could hope for in a virtual film friend. So thank you for that. My question is how do I sound more knowledgeable when I talk about films? Because a lot of my favorite parts of films are not the big thing. So it's not like the monologue or the actors little intimate moments. And I find them very hard to describe and why I like them so much. So I just need to know, like, what's a good way to. To learn the lingo? I got some film textbooks, but it's like a big data dump, and it's hard to reconcile the terms with what you're actually watching in a real film. So where's a good place to start? Just to learn about techniques or what shots are called or what camera movements are called, things like that, just to better describe the little things in films. Thanks so much. Love you guys.

[Brian Sauer]

Oh, man, Leah, what an incredible question. I could. This is such a good question.

[Millie de Chirico]

Lovely. A lingo question. This is so fun.

[Brian Sauer]

Yes. Does anything come to mind?

[Millie de Chirico]

Well, I'll speak from my own experience. Right. Unless you're lucky enough to, like, go to film school or have a job or be on set type of thing. Right. Cause a lot of that is it comes from talking to people who are, like, working in film or something. To me, like, there was so many things about film that I learned the techniques for when I was either at my job at tcm, on set, that kind of thing. But I will say another good way, if you're, like, not if you don't want to do it like that and you just want to, like, watch, I would say watch. Like, especially cinematographers go on YouTube and watch interviews with, like, Roger Deakins or, you know, whomever. You know, people who are kind of like a little bit more technical, like directors, obviously, but. But honestly, like cinematographers, lighting people. Like, a lot of times those crew members give a lot of info on either their own personal websites or on their YouTube channels or on podcasts, like film podcasts that they do guest spots on. And it's a little bit more, you know, they're thrown around the, you know, booms and the, you know, Steadicams and the rigs and this and that. Like, they're using the terms a little bit more. And so I don't know from those points, I just feel like I've picked up enough of, like, their vibe to where I kind of like, oh, well, that's what they call that thing, or, you know, rack focus is this or whatever, versus like, going and formally studying it, like taking a test on it in school, which is what I've also done. But I'm just saying, if you don't want to go that route, I would just listen to interviews, podcasts with working film professionals. Really? Right.

[Brian Sauer]

Yeah. My number one advice, keep listening to Dear movies. I love you for infinity. That's the big thing. You're going to learn everything you need to know about movies on this podcast number two, I think I just want to encourage you to not feel bogged down by not knowing the lingo. I think lingo and proficiency of skills is a tool that men a lot of times like to use to put down people who aren't as experienced or to gatekeep in certain situations. So I have been victim of that as well, where they're like, you don't know what that means. You're stupid. And it's very easy to feel that way. And so it's a bit of a losing game to feel like I need to learn a certain amount of lingo in order to fully appreciate or to fully feel like my opinion is valid or that I'm. You don't want to share your opinion because you don't know the right words to use. You know, but that's not true. You.

[Millie de Chirico]

You.

[Brian Sauer]

You have the right vocabulary in you already. So don't feel like you need to be chasing after this imaginary thing. I will say, just like, learning film stuff, I would say commentaries is really fun. And, like, because that's the whole thing. It's like, you don't want to, like, you just like in your question, you don't want to data dump. You know, you can, like, look up these terms, but that's, like, boring. I would say, like, watch film commentaries on movies that you really like and are interested in how they were made, and you'll naturally absorb it that way. I'm reminded of. So my. This is a big tangent I'm about to go on. My uncle was a very successful printmaker and lithographer. He worked with a lot of artists in New York, like Andy Warhol, Robert Rauschenberg, Jasper Johns, and he was working with them in printmaking. He was very close friends with Robert Rauschenberg. And my grandma visited Robert Rauschenberg's studio in Texas and visited my uncle one time, and Robert Rauschenberg asked my grandma which of his paintings she liked. And my grandma goes, that one. And he goes, why do you like that one? And she said, it's blue. And he said, that's as good a reason to like it as any. So that your opinion is valid and you don't need to know the terms. Guess what I'm saying? But maybe that's not what you're asking. But I would say, just don't be discouraged if you don't know every, you know, technique.

[Millie de Chirico]

And why am I saying that? Every time you've mentioned a female member of your family, it is the greatest story. Like between your grandma and your mom, I'm like, I love these savage queens that are all over your family timeline. Like, what the hell? What can they be on this podcast?

[Brian Sauer]

Well, sadly, my grandma Burl has passed away, so she cannot be a guest on the show, unfortunately. But maybe we'll have my mom on.

[Millie de Chirico]

Oh, my gosh.

[Brian Sauer]

Creator of chicks picks at Mr. Movies in South Minneapolis.

[Millie de Chirico]

That's good advice, though, Casey, honestly, because it is like. Like, even though I just, you know, gave you, like, a legit answer to solve your issue, I did not to.

[Brian Sauer]

Your answer was good, good, good.

[Millie de Chirico]

Oh, yeah. No, no, no. And that's fine. But it's also fine to be reminded, though, that you don't have to. And I certainly don't. I might use the terms, but I don't feel like I. I don't know. I'm just such a Godzilla stomping through all these motherfuckers all the time. I'm like, I don't care if I know anything or not.

[Brian Sauer]

Well, I. I remember there's some story. Do you know the director, Terrence Malick, who did the movie Badlands and Days of Heaven and the Thin Red Line?

[Millie de Chirico]

Yes.

[Brian Sauer]

When he was directing his first movie, Badlands, with Martin Sheen and Sissy Spacek, the cinematographer was like, oh, should we move in for coverage? Which what he's saying is, should we get some different angles of this same scene so you can edit it together and you don't just have one shot, one angle that the scene is shot from? And Terrence Malick goes, yeah, we can do that, but we should also get some other shots and angles of the scene. So Terrence Malick actually did not know what the word coverage was on his own movie that he was directing. That's an incredible film. So a lot of people use lingo as a way to make other people feel little.

[Millie de Chirico]

Yeah. And imagine humiliating Terrence Malick. What are you, a fucking asshole?

[Brian Sauer]

Yeah. Come on.

[Millie de Chirico]

I actually love that story. I didn't know that story.

[Brian Sauer]

Yeah.

[Millie de Chirico]

Well, Leah, thank you for leaving that voice memo.

[Brian Sauer]

Yes, thank you so much.

[Millie de Chirico]

We really, really appreciate it. Casey, do you want to, like, tell the people how to do it? If they want to, yeah.

[Brian Sauer]

Please send in your questions. For film advice, Write in to DearMoviesactlyRightMedia.com or, like, Leah, you can leave a beautiful voicemail and we'll play it on the show. So please do that if you're so inclined. Keep it under a minute and record in a quiet space, just like our new friend Leah did. Yes. And we'd love to answer them for you, Millie. We're at the end of our show. It's time for employees picks.

[Millie de Chirico]

Yes.

[Brian Sauer]

What movie are you going to recommend today?

[Millie de Chirico]

Well, okay, so this is kind of complicated this week because we're advocating that you see 70 miles Movies in movie theaters. But if you want to watch something that was shot in large format, I mean, I think maybe not 100% shot in large format, but most of it, a big, big portion of it. I would suggest watching the Master from 2012, Paul Thomas Anderson's coded manifesto on Scientology. I don't know if that's actually true, actually. Don't quote, don't say. That's not a code. That's not researched.

[Brian Sauer]

But I don't think it's. I think it's pretty, pretty out there. I think it's like one to one. I don't.

[Millie de Chirico]

I don't. Oh, wait a minute. They got Philip Seymour Hoffman to play a very similar looking L. Ron Hubbard type.

[Brian Sauer]

Oh, wait, I don't think you're going out on a limb there.

[Millie de Chirico]

Okay. I don't. Listen, I don't. With Scientologists. Right. I try not to like to mess with them.

[Brian Sauer]

I don't want to get.

[Millie de Chirico]

You know how.

[Brian Sauer]

I don't want to get audited.

[Millie de Chirico]

No, I don't want to, you know, I don't want to have people leafleting against me outside of my house. Okay.

[Brian Sauer]

Yes. 100% great movie. I need to revisit that movie.

[Millie de Chirico]

Yeah, I saw it in the theater in the large format version, so it was great.

[Brian Sauer]

Similarly, I am recommending a 70 millimeter movie that I feel like, even though it's like one of the most famous movies of all time, it gets slept on. And it is a more subversive movie than I think people realize. And that is Lawrence of Arabia, Peter O'Toole, directed by David Lean, came out in 1962. What? I mean, this movie is so huge. It needed to be shot in 70 millimeter. It looks beautiful. I think about this movie all the time. There is some queer. Speaking of coding, there is some queer coded things going on in that movie with Lawrence and some BDSM things that are surprising to see in such a mainstream film. Does it have Alec Guinness playing a Middle Eastern person? Yeah, that's not great. Like the. The brown face that's going on in this movie is bad.

[Millie de Chirico]

Yes.

[Brian Sauer]

And if you. If that makes you not want to see this movie, I understand that. But it is a beautiful, breathtaking film and it's very interesting and it's and it's very long and it's huge and it's big. And if you haven't seen it or you haven't seen it in a while, I highly recommend checking out Lawrence of Arabia.

[Millie de Chirico]

This is a little inside LA baseball. Do you remember that business that was. I think it was on Beverly, actually, speaking of the new Beverly, it was called Lawrence of La Brea.

[Brian Sauer]

Yes. Is that like a lamp shop or.

[Millie de Chirico]

Like a. I think it was a rug store, dude.

[Brian Sauer]

Rug store. Rug store.

[Millie de Chirico]

Yes.

[Brian Sauer]

Yes.

[Millie de Chirico]

I was like, that is fucking hilarious.

[Brian Sauer]

I, you know, maybe at one time I realized that that was a play on Lawrence of Arabia, but it's so, it's so far away from. It's such a stretch. It's like, hard to piece that together. Yes.

[Millie de Chirico]

I love that it's clunky, though, right? Like, don't you think it's funny that it's clunky?

[Brian Sauer]

It's so clunky.

[Millie de Chirico]

Don't change it ever. I just, just. I like that. It's just so dumb and funny.

[Brian Sauer]

Oh.

[Millie de Chirico]

Oh, boy. Well. Well, that's our show.

[Brian Sauer]

Oh, wonderful ep, Millie. What a wonderful episode this was. Thank you for talking about all this great stuff.

[Millie de Chirico]

Would you say it was our. Do you think it's our nerdiest episode so far?

[Brian Sauer]

It might be our nerdiest episode, but hopefully made it. We. We were. People were interested and educated as opposed to being horrified and turned away.

[Millie de Chirico]

I, I think that we're. We're decent. We're decent enough to like, take these big nerdy subjects and make them palpable to people. Absolutely don't give a shit. But that's what I love to do in life and in film. So, yeah, I hope you enjoyed it.

[Brian Sauer]

And thank you so much to Brian Sauer for being a guest on the episode today. Loved having him on. Just a great human being. Check out the Pure Cinema podcast and just the discs, his two podcasts. They're fabulous. And also if you want to see the game, like movies where people are playing a game list, follow him on letterboxdupertpupkin. Some of you may know what that's a reference to. Others figure it out. Look, Rupert Pupkin. And then. Yeah. So thank you, Brian, for being on the show.

[Millie de Chirico]

If you are on social media and you want to follow us, please, please do. We are on Instagram and Facebook. Earmoviesiloveyou.

[Brian Sauer]

Wonderful. And like we mentioned already, if you have any film advice you'd like, send it to DearMoviesactlyRightMedia.com but not only that, you should Follow us on Letterboxd Millie and I, we're posted on there and it's fun. You can see what we're watching and what we think about movies from the past too. If you're like, oh, what did Casey think about, I don't know, Dead Ringers? Oh, he loved it. I should watch it. You know, you can see what we've thought about in movies in the past too, so that's kind of fun. But our Letterboxd handles are Celyobrian and Decherico. Give us a follow.

[Millie de Chirico]

Well, that is all for this week. Thanks so much for listening and we will see you next time.

[Brian Sauer]

Bye bye bye.

[Millie de Chirico]

This has been an exactly right product production hosted by me, Millie de Chirico and produced by my Co host Casey O'Brien.

[Brian Sauer]

This episode was mixed by Tom Bryfogel. Our associate producer is Christina Chamberlain, our guest booker is Patrick Cotner and our artwork is by Vanessa Lilac.

[Millie de Chirico]

Our incredible theme music is by the best band in the entire world, the Softies.

[Brian Sauer]

Thank you to our executive producers Karen Kilgariff, Georgia Hardstark, Daniel Kramer and Millie To Jericho.

[Millie de Chirico]

We love you.

[Unknown]

Goodbye.

[Ryan Seacrest]

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[Casey O'Brien]

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