‘Michael’ Wants to Start Something It Can’t Finish. Plus: ‘Mother Mary’ With David Lowery!

Summary

Podcast Summary: The Big Picture – “‘Michael’ Wants to Start Something It Can’t Finish. Plus: ‘Mother Mary’ With David Lowery!” (April 24, 2026)

Episode Overview

In this episode, hosts Sean Fennessey and Amanda Dobbins are joined by Yassi Salek (of Bandsplain) to discuss two new music-related films: Michael, the Michael Jackson biopic, and Mother Mary, David Lowery’s audacious goth-pop fantasia. The trio breaks down news in Hollywood (including festival lineups and reboots), debates the effectiveness and omissions of Michael, and dives deep into the complexities of pop stardom with Mother Mary. Later, David Lowery joins for an in-depth live Q&A at Vidiots, shedding light on his creative process and the themes of his latest film.

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Key Segments & Topics

1. Movie News & Festival Buzz

Timestamps: 03:01 – 10:20

• Miami Vice reboot (03:14)

  • "Miami Vice 85" to star Michael B. Jordan and Austin Butler, directed by Joseph Kosinski.
  • “This is my comfort food.” — Yassi (03:31)
  • Speculation about nostalgia cycles and the return of ‘80s aesthetics.
  • Discussion about Top Gun Maverick 3 rumors, Cannes festival prospects for films like Paper Tiger, and anxiety over packed schedules at Cannes.

• New acquisitions and horror reboots (09:44)

  • Neon picks up James Gray’s Paper Tiger, starring Scarlett Johansson, Adam Driver, and Miles Teller—set for Cannes.
  • Texas Chainsaw Massacre reboot announced; skepticism about the horror remake trend.

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2. ‘Michael’ – The Michael Jackson Biopic

Timestamps: 13:01 – 55:45

Initial Impressions & Discussion of the Biopic

• Hosts reflect on their generational experience of Michael Jackson as the preeminent pop star.
• Amanda: “Thriller might be the greatest pop album ever recorded... By the time we became sentient, he already existed as the most famous person in the world.” (13:57)
• Yassi: “It’s impossible to overstate how important and famous and iconic Michael Jackson was to the global world. Nobody’s like that anymore. We don’t have that anymore.” (15:43)
• Sean: "The movie has this huge burden of recapturing what made Michael Jackson so special. I would make the case that the movie does a pretty good job of that. ... It's kind of a huge failure, but also, I did have fun as a lark." (18:56)

Performances and Representation

• Jafaar Jackson (Michael’s nephew) praised for uncannily accurate depiction of Jackson during the Thriller years.
• Both actors playing Michael get acclaim for physicality and musical performances.
• “It is only recreating what the public knew. There is nothing below the surface.” — Amanda (19:21)

Biopic Tropes and Critiques

• Hosts and Yassi dissect biopic clichés: surface-level impressions, failing to dig deeper than iconography, and “Walk Hard” sins.
• “If I were Michael Jackson, I would come back from the dead and haunt these people for doing this to me.” — Yassi (20:25)
• The film seems more interested in brand management and reputation whitewashing than revelation.

Handling (or Dodging) Controversy

• The film ends before the most controversial and tragic years, implying a planned sequel that will tackle the allegations and darker material.
• Scrapped third act: Due to legal constraints, filmmakers cut sequences depicting lawsuits and settlements over abuse allegations.
• "What this movie is now is effectively like a two-hour prequel for the trials of Michael Jackson." — Sean (31:18)
• The movie positions Michael’s trauma (father’s abuse) as central, with little exploration of his own actions.
• The public’s knowledge and the film’s omissions create a paradox: “It’s glaring—it’s not even the elephant in the room. It’s just an incomplete movie.” — Amanda (49:42)

Discussion of Michael’s Music & Persona

• Film lauded for energetic musical numbers but criticized for failing to explore the psychology and grit behind MJ’s work.
• “Where did Billie Jean come from? … There’s none of that in this movie.” — Sean (53:29)
• “He only is sad and scared. He’s sad, he’s scared, he’s sad, he’s scared.” — Yassi (53:42)
• Moments such as his first nose job and MTV’s resistance to Black artists are touched on, but without real depth.

Legacy, Empathy, and the Art/Artist Debate

• Panel reflects on fame as a societal “mental illness.”
• "It's not hard to feel empathy for 8-year-old Michael Jackson being thrust into a world that he doesn’t want to have any part of." — Sean (47:00)
• Wrestling with the separation of art from the artist continues: “That’s something you work on as a consumer of art, but that’s not what this movie is asking us to do.” — Amanda (49:42)

Notable Quotes

• “You could have just strung together 12 music videos and I would have come to the theater and seen it and felt emotionally exactly the same way.” — Yassi (32:09)
• On the omissions: “Janet Jackson is not present in this movie... there’s an unusual amount of LaToya.” — Sean (42:09)
• On brand management: “This is total image rehabilitation. The estate allowed them to do this as a partner in it.” — Amanda (39:28)

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3. ‘Mother Mary’ – Pop Stardom and the Cost of Creation

Timestamps: 56:19 – 1:06:28, 1:12:54 – 1:18:41

Film Overview and Initial Reactions

• “Mother Mary is an incredibly audacious piece of work and demands to be discussed.” — Sean (00:28)
• Anne Hathaway stars as pop icon Mother Mary; Michaela Coel as her estranged best friend and costume designer.
• “I like it when people go all in on something a little strange and also something that is in my interest set.” — Amanda (58:27)
• “This is very Yassi-core… If you're a person who likes a movie explained in detail, this is not a movie for you. Also, if you're a person who hates women, not a movie for you.” — Yassi (58:33)

Themes and Unique Aspects

• Explores female creative partnerships, artistic ego, resentment and service.
• Passes the Bechdel Test resoundingly: “There's not a single man in this film, I don't think.” — Yassi (58:58)
• Blends pop-culture elements from Madonna to Gaga, with religious iconography and meta-commentary on fame as faith.
• “Idolatry now too, right? Taylor Swift—that’s our religion 100%.” — Sean (64:24)
• Conversation regarding how modern pop stars differ from '80s/'90s singular personas like MJ or Madonna.

Production and Style

• Praised for lush visuals, credible pop star world-building, and attention to details (fashion, costumes, stagecraft).
• “I loved like all the textures, cause it’s about—it's partially about fashion.” — Yassi (60:21)
• Discusses use of metaphor (the red cloth/puppet) and reflections on co-creation and artistic dependence.

Notable Quotes

• “I love a movie where I get to have my own inputs on what it means.” — Yassi (58:33)
• “The nature of these creative relationships and partnerships and maybe even love relationships and the ways in which they break and come back together.” — Sean (59:18)
• “A pop star couldn't fill a stadium with these songs about the Holy Spirit.” — Yassi (65:16)

Memorable Moment

• Sean recounts being starstruck meeting Kaia Gerber at the Vidiots screening—awkward floating hand photo becomes an in-joke among the crew. (68:42)

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4. David Lowery Q&A: Crafting ‘Mother Mary’

Timestamps: 1:12:54 – 1:18:41

Origins & Inspirations

• Written during a difficult period while shooting The Green Knight in Ireland; in part autobiographical.
• Inspired by pop star/fashion collaborations (e.g., Madonna-Gaultier, Gaga-McQueen), documentaries (McQueen, Homecoming, Taylor Swift’s Reputation), and an interest in how women’s creative partnerships operate.
• “Rather than lay awake in bed, I started writing about this… I’d been wanting to make a pop star movie for a long time.” — David Lowery (73:12)

Process & Casting

• Anne Hathaway cast first, then Michaela Coel. Discusses how their collaboration “almost started to live the movie in a really interesting way.” (82:07)
• Emphasizes the importance of chemistry and deep personal collaboration.

Music Production

• Songs crafted by Charli XCX and Jack Antonoff, then internalized and performed distinctively by Hathaway.
• “It was like alchemy. Watching them conjure it out of thin air was incredible.” — Lowery (91:43)

Visuals & Thematic Choices

• Stadium concert sequences shot for real in Bonn, Germany: “We would just play the same song 30 times every night. … We had 500 people, which, in a stadium, is nothing. That’s the front row.” — Lowery (97:12)
• The ghostly elements: use of puppets and fabric to visualize energy, emotion, and the haunting of creative relationships.

Philosophy & Metaphor

• Cites “quantum entanglement” as a metaphor for the mysterious, lasting bond between creative partners.
• On interpretation: “Mikaela literally says what the movie’s about in the first 20 minutes. She lays it very clearly on the table, and that’s what the movie’s about.” — Lowery (89:56)
• Considers filmmaking a living process, constantly open to reinterpretation and audience response.

Endnote:

• Last great film seen: Melancholia (von Trier) at Alamo Drafthouse; also praises Testament of Anne Lee as a recent favorite.

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Notable Quotes & Moments (with Timestamps)

• “I think that’s super insightful... If this movie were called Thriller and actually the Springsteen approach of let’s just tell the making of one great album... could it fix at least some of the problems that we had in Michael?” — Amanda (12:14)
• “It’s just a recreation of existing tape.” — Amanda (20:09)
• “The movie wants to psychologize why Michael Jackson was the way he was... but also wants to shield the audience completely from everything ugly, sad, or scary...” — Sean (22:00)
• “The real story of his life is enough for him to be one of the most mythical figures of all time. Far more interesting and compelling if they showed another side.” — Yassi (39:02)
• “Fame is a mental illness... It should be in the DSM-5. Even the modicum of fame I have—I'm mentally ill from it!” — Yassi (46:15)
• “If you're a person who hates women, not a movie for you.” — Yassi, on Mother Mary (58:58)
• “That is our idolatry now too, right? Taylor Swift—that’s our religion 100%.” — Sean (64:24)
• “It inspires weeping people in the crowd. And I guess people do probably weep at Taylor Swift.” — Yassi (66:18)
• “Last great thing I saw was... Melancholia... It is better now than I—how have I been sleeping on this movie for 10 years?” — David Lowery (104:43)

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Key Takeaways

• Michael is an expertly staged but fundamentally incomplete and evasive biopic, defined by omission and the necessities of estate control. It delivers musical nostalgia, but little psychological depth or honest reckoning with Jackson’s complexity.
• Mother Mary is celebrated for its ambition and rich subtext about artistry, femininity, and the personal/creative hauntings of fame and collaboration. It’s notably feminist, visually lush, and open to interpretation.
• Both films spark an honest, funny, sometimes raw discussion about music, pop culture, legacy, and the ways in which myth-making fails or succeeds.
• David Lowery’s process underscores the living, collaborative nature of cinema and the value of letting films evolve in response to audience and self-discovery.

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For anyone who hasn’t listened, this episode delivers shrewd, passionate debate, inside-baseball industry news, and the kind of big-hearted, clear-eyed engagement with art and culture that "The Big Picture" is known for.

Transcript

[A]

I'm Sean Fennesee.

[B]

I'm Amanda Dobbins and this is the

[A]

Big Picture a conversation show about Michael and Mary. Today on the show we are digging into two new music related releases with our pal from bandsplain Yossi Salik. Hello.

[C]

Hello.

[A]

The first movie is the Michael Jackson biopic Michael, which is directed by Antoine Fuqua and stars Jackson's nephew Jafar. The second is David Lowry's gothic fantasia Mother Mary. It's an extended two hander about a fictional pop star played by Anne Hathaway and her costume designer stylist played by Michaela Cole. Later in this episode I'll be joined by Lowry. Our conversation was recorded live at Vidiot's after a screening of the movie. Mother Mary is an incredibly audacious piece of work and demands to be discussed. We will do that here as well. This is David's full fourth time on the show after coming by to discuss a ghost story, the Old man and the Gun and the Green Knight. He's one of my favorite directors to speak with, so stick around for that programming note. On Tuesday I promised you that the Physical Media High Council will return and I was not lying. We are opening the Sacred Chamber and reconvening Tracy Letts, Timothy Hitmaker Simons and Chris Ryan for a special council meeting and we want to hear your questions. That's right. It's the first ever High Council consultation. That's bigpickmailbagmail.com bigpickmailbagmail.com want to hear about recent Blu Ray and 4K Buys gear used at our houses? Shelf space concerns Anxiety about the news that Disney is shutting down their home entertainment division. Gleeful excitement about the forthcoming new Fight Club 4K. It's all on the table. Email us and we'll dig into your questions. But first, we have some movie news right after this. This episode is brought to you by the Autograph Journey credit card from Wells Fargo. The Autograph Journey credit card from Wells Fargo is built for travel. You can earn rewards wherever you book your favorite hotel site, your go to airline and more. You get five times points with hotels, four times with airlines, three times on restaurants and other travel, and one point on other purchases. Whether it's a big vacation or a quick getaway. From booking your stay to that first meal when you arrive, you're turning your trips into rewards with the Autograph Journey credit card from Wells Fargo. Learn more at Wells Fargo.com autographjourney Terms apply. This episode is brought to you by State Farm upsizing to a large Popcorn. Smart move. Staying for the post credit sequence.

[D]

Smart move.

[A]

Finding ways to be financially savvy. Very smart move. Maybe the smartest, especially when you choose to bundle home and auto with help from one of State Farm's 19,000 local agents. Bundling. Just another way to save. With a personal price plan. Like a good neighbor. State Farm is there. Prices are based on rating plans that vary by state. Coverage options are selected by the customer. Availability, amount of discounts and savings and eligibility vary by state. Okay, Yossi, you're here to talk about news. I haven't prepared you for this at all. Have you looked at the document?

[B]

It's fine.

[C]

Freestyling today. Okay.

[B]

We will break the news to you and then you can react. You know, you can press the button live in real time.

[C]

I wanted to raw dog the pod.

[A]

You're gonna have to channel the spirit of Chris Ryan right now for this first piece of news. Cause it's very important.

[C]

Okay, I'm listening.

[A]

Miami Vice 85. This is a new movie major that has been greenlit. Starring Michael B. Jordan and Austin Butler as Crockett and Tubbs. Directed by Joseph Kaczynski, he of F1 and Top Gun Maverick. August 6, 2027 for Universal. You say what?

[C]

Couldn't be more stoked. I, as Chris Ryan, would say that this is my comfort food. I know that Christopher Ryan comes to Miami Vice when he's feeling low.

[A]

That's right.

[C]

And I, as Yossi, say that it fits really in with my new bubbling theory that the 80s are so back because I really feel like so much of our childhood things are starting to come back into. It's like, like clockwork. We're at that point and this is only furthering my theory.

[A]

And we're going to be talking about that later in this episode, I think. What do you think about Miami Vice?

[B]

Well, it's also been reported that Joseph Kaczynski officially out for Top Gun Maverick 3. Except that's not official. It's just. That's.

[A]

You don't want to believe that that's what, that's.

[B]

That's what the streets are saying. That's what Matt Balany is saying and what I'm hearing. So I mourn that slightly. But sure. I like it when Chris Ryan's happy. I like Michael B. Jordan, I like Austin Butler. I like Go Fast Boats Mojito, you know, so individually and together. So why not? Great.

[A]

Yeah, we'll see.

[B]

Happy birthday to me in 2027.

[A]

Will we still be podcasting then your birthday movie? Will you still Be alive. Who could ever say, maybe this will be the last day?

[B]

Okay, that'll be like episode 1100. So we'll still be going.

[C]

If that's the last movie you ever see before you die, that would be pretty dismissive.

[B]

It'll be the Ringo movie because that's the last Beatles movie. And then I'm out.

[A]

Presumably this movie is set in 1985. Is that a good choice?

[B]

What if they're Both born in 85?

[A]

Oh. Oh, I love it.

[B]

And then that's. Well, it's aging both of them up a bit.

[A]

Or what if it's graduated in high school in 85? They're the class of 85.

[C]

I feel like I'd like to see some fantasy time period 80s Miami again. I think it could be really cool. It could be done.

[A]

Well, yeah, it's just there's a whole show called Miami Vice set in the 1980s in Miami. Like, we got that. We saw that already.

[C]

Oh, yeah. Because it's illegal to make a movie out of a TV show that already existed.

[A]

Wouldn't it be funny if it was 21 jump street style? You know that if it was just a pure meta comedy about Miami Vice and MBJ was being asked to flex those comic muscles, that would be interesting, no?

[B]

Sure. Is Austin Butler funny?

[C]

Yeah, I was gonna say, is Austin Butler. He was kind of funny.

[B]

I don't need him to be funny on purpose. Well, no, he was kind of funny

[C]

in the Caught Stealing movie.

[B]

Kind of. That wasn't his fault, but that didn't land. Maybe he can be goofy funny. And if Austin Butler is of the Brad Pitt school. Brad Pitt can be funny, but it is a specific type of comedy.

[A]

It's gotta be in the right scenario.

[C]

I mean, he's no Don Johnson.

[A]

This isn't gonna be a comedy. It's gonna be guys holding guns. Sh. And trying to get cocaine off of a boat. Kind of a movie, I think.

[C]

Let's fucking go.

[A]

Speaking of movies where two men are probably dealing with drugs, Paper Tiger was acquired by Neon. This is the new film from James Gray, and it is officially going to the Cannes Film Festival, which Amanda sent a very excited text message to me about this.

[B]

That's right, because I will be there at the premiere. James doesn't know that yet, nor does anyone at Neon. I'm announcing it now. Don't have a ticket because that site isn't open yet. But I'm very excited to be attending the premiere of Paper Tiger in Cannes. I know we both, you know, love James Gray and His films. This was one where it was. We assumed that it would happen and it was not in the initial festival lineup, but they worked everything out. I'm excited. Scarlett Johansson, Adam Driver, Miles Teller. We'll be talking about again. Miles Teller. Yes, yes. So. So that'll be great.

[A]

I'm very hopeful and very excited about that movie. Also announced at the Cannes Film Festival, a movie called Victorian Psycho, which is my nickname for you. Zachary Wigan has a new movie that I've heard great things about. Stars Micah Monroe, Jason isaacs, Thomas and MacKenzie and Ruth Wilson. That's going to. In certain regard at Cannes. Few more titles trickling in there. And now Yossi. I'll tell you, I have a lot of anxiety about not being able to see enough stuff when we go to Cannes. I'm only really gonna be there for about six days.

[C]

You're only one man.

[A]

I'm just one person. And I'm gonna try to go to four movies a day and really do it up. But now the invites are coming in. Come have a drink. Come do a thing.

[B]

So am I. Good.

[A]

I'm not good at that. Stu.

[B]

Gonna have to start sending you calendar invites for the things I require you to attend, non movie wise.

[A]

Yeah, yeah, exactly.

[B]

Yeah. Cause, you know, no one else is coming to take me to the prom, so it's kind of like, you know, let's. My last.

[A]

I called it my brother. Yeah.

[B]

Whoops. So. But you denied my Cannes Film Festival Google Calendar invite a year ago. Look who's laughing now. But will you accept the invites that I send you?

[A]

Tbd. Okay, great. You've attended a European film festival with Amanda. Any tips?

[C]

I had a wonderful time. She's a gorgeous and perfect partner in crime to go to things with. As long as there's no delays or lines.

[B]

Yeah, well, I don't do well with lines. Yeah. And European administrators. I would not say I don't like American administrators either. I haven't met an administrator that I

[A]

like in common with Hitler. I would say.

[C]

Oh.

[B]

I think that he was big into administrators.

[A]

Well, his.

[B]

They were his.

[A]

Yeah, they were his administrations. He didn't like that.

[B]

Yeah, no. We had a grand old time.

[C]

We love to have a drink.

[B]

Yeah.

[A]

Okay.

[C]

We love to have a pasta.

[A]

Okay.

[C]

Yeah, it was wonderful.

[A]

They have pasta and can.

[B]

No, food's going to be interesting everywhere. I mean, you know, they have. Yeah. They also have French food and hopefully some seafood because we're by the. Have you noticed that many of our invites have been like, water themed?

[A]

Yeah, I have.

[B]

Okay.

[A]

Not really. My ideal location.

[B]

But can I tell you that. So the medicine Mediterranean is not really like a sand forward beach environment.

[A]

Oh, rocks. Yeah, I like rocks.

[B]

Rocks. And then, you know, or a little pier that we walk on to the. You know, the floating vessel.

[A]

Yeah. Constructed wood.

[B]

Okay.

[A]

One of my favorite things.

[C]

Maybe you might need a sunscreen sponsor. Something to think about.

[B]

You know what? Actually, I'm getting there before you. I will honestly just. I will go buy you. I'm going to the pharmacy. The day that I land, I'm picking up my pass and I'm going to the pharmacy and I'm buying all of my toiletries for the week. And I'll get you some European sunscreen, which is, in fact, better than American sunscreen.

[A]

No kidding. All right, well, this has been very helpful. A little bit more news before we dig into Michael Curry. Barker, who's the director of this new horror movie coming out in May called Obsession, was officially hired to direct and I guess write, in addition to JT Molnar, a reboot of Texas Chainsaw Massacre. There have been several reboots of these movies over the years. One of the seminal horror films ever made, Glen Powell is also producing this movie, though it does not seem like he's starring. Okay, well, and it's interesting. Barker is yet another guy who has come from YouTube. There's this huge wave of mostly horror filmmakers who are coming from YouTube and transitioning to making studio movies. Do you care about Texas Chainsaw Massacre?

[C]

Not like a super horror movie, girl. You know about me.

[A]

I'm sorry, why is that?

[C]

I don't know. There's some I like like. I loved Sleepaway Camp.

[A]

Oh, sure.

[C]

Yeah. That was one. It was really formative for me. Carrie.

[A]

Very transgressive movie. Quite an ending on that movie.

[C]

Yeah. You know what it is? I think, much like Amanda, I don't like jump scares.

[A]

Okay. You find them annoying.

[C]

I find them annoying.

[A]

Okay.

[C]

But I can.

[A]

So you're out on this?

[C]

Sure, I'll see it if you make me, but otherwise, probably not.

[A]

I don't make anybody do anything. I just want to put that out there. I encourage activations.

[B]

Okay.

[A]

You know, do you want to be a part of what's going on here? All you gotta do is go see a movie.

[B]

I liked Strange darling, which is J.T. molnar's last film, but I prefer chainsaws in, like, a humorous context. There's a. There's a. There's a great chainsaw gag in the Minions footage that we saw. That really cracked me up. You know. So we'll see. But I'm open. I like horror movies now, as you know. So maybe I'll also go see Victoria,

[A]

our new scream queen.

[B]

Darling.

[C]

No.

[B]

Victorian Psycho.

[A]

Victorian Psycho. And Texas Jan.

[C]

I'm very interested in Victorian Psycho because that's one of the best I've ever heard in my life.

[A]

It's incredible.

[C]

Yeah, so you had me at hello on that one.

[A]

Shall we talk about music movies?

[C]

Yeah.

[B]

Yeah. That's why we're here.

[A]

That's why we're here. So were you last here for the Bruce Springsteen film Deliver Me From Nowhere?

[C]

That's right.

[A]

Do you think that that film would have been more successful, given what we're discussing today, if it were simply called Bruce?

[C]

Do you think that was the problem?

[A]

No, I'm not saying that was the problem. But would it have been more successful?

[B]

One thing I was positing on the drive over, because we have all just seen Michael at the Americana because my invitation got lost in the mail to.

[A]

I'm also not invited to a screening of Michael.

[B]

I don't know what happened. Lionsgate. It's okay.

[A]

Interesting.

[B]

So we went to see it at one of the Dolby theaters in the Americana, and then we drove right here to record this. And I will say I left the film, Michael, got in my car for brutal traffic and immediately turned on Thriller, the album. And I was thinking that if. If they. If this movie were called Thriller and not Michael and were actually the Springsteen approach of. Let's just tell, the making of one great album, arguably the greatest pop album ever recorded, then could it fix at least some of the problems that we had in Michael? But at least as. As a text, before we got to, you know, the larger, you know, pop

[A]

culture nightmare I love, I think that's super insightful. I think that could have been a way to elide a lot of the major challenges of this movie.

[C]

I don't think Scope was the film's issue.

[A]

It's one of them. For me, it's one of them. It's not the only problem.

[C]

If they were gonna bring the same tone and lens to that version, it would still, I think, totally not be successful.

[A]

I agree with you, but I think it would have lightened the load. And when I think about what my issues are with this movie, which we will probably go into detail at great length. It's got nothing to do with thinking about how the music was made. Thinking about how the music was made and then watching the music be performed. And so let's use that as an entry point. To the conversation, which is basically like, what does Michael Jackson mean to you? We're all roughly the same age. We all come from roughly similar backgrounds. We're pop culture and music addicts. Amanda, what is your exposure to Michael Jackson? How do you think about him then now?

[B]

I mean, I just said that I think Thriller might be the greatest pop album ever recorded. And despite everything else, you know, that has happened since the early 80s, that could still be true. And I was just absolutely rocking out in my car on the way here and also rocking out during the moments that the songs are performed in the movie. Michael, I mean, he was everywhere. And by the time we became sentient, he already existed as Michael Jackson and was the most famous person in the world. And so I was always kind of catching up. Like, Thriller has always existed in my consciousness. Billie Jean, bad, all of those. And even bad. Right. So we came to it a bit later. We were talking about how Dangerous is a very formative album for us. And that was 1991. We were all young. Michael. The film does not make it too dangerous in 1991. So. But, like, I literally remember watching the Countdown to the Black or White video be premiered on mtv. I remember I was, like, visiting, like, my aunt's, like, family friends.

[A]

It premiered on Fox. Right. I remember it being a huge deal. Macaulay Culkin and who played his father at the beginning of the video. I can't recall. Very famous actor.

[B]

Anyway, I don't remember either.

[A]

I just remember after an episode of the Simpsons that it premiered.

[B]

Yeah, it could have been. I was with, like, strange teenage boys that somehow. But we were like. Because it was like, family friends, and we were all together, but we were like. We actually have to talk to each other for long enough to sit down and watch this cultural event. So, I mean, he's larger than life. Or he was. And then, you know, we can or cannot talk about the next 20 to 30 years.

[C]

Yeah, I mean, I think it's. I've. Sorry, I can, like, barely speak. Cause I podcasted for five and a half hours yesterday about Madonna. But it's related, what I'm gonna say. It's like going back to that time. Like, I don't remember a time in my life that I didn't know who those two people were, Madonna and Michael Jackson. And I think I leaned over to you during the film, and I was like. I was like, it's impossible to overstate how important and famous and iconic Michael Jackson was to the global world. It's not. Nobody's like, that Anymore. We don't have that anymore. Like watching footage. Even though I think we can all agree maybe it's not our favorite movie of the world. I was getting emotional at some of the pieces of watching the fans cry in his presence, because that was real and we don't have that anymore. That level of pop star, I would argue, is not able to exist anymore. We don't live in that kind of culture.

[A]

I agree with you. I'm a little bit older than you, but I also was born into a world where Michael Jackson not only existed, but was already dominating. And I was talking to my brother. My brother just turned 40, and we were talking yesterday.

[B]

Welcome, Kyle.

[A]

Yeah, Kyle, you're in now. And we were talking about how my mom had off the Wall on vinyl, Thriller in Bad on cassette. And Dangerous was a CD I got for Christmas. It was one of the first CDs I got. And that you could kind of track the arc of the way that popular music was consumed and sold through the lens of Michael. And Michael gets into this a little bit around the idea of MTV and his relationship to mtv, which we can talk about. But to say that I loved his music would be wildly understating it. I just thought he was the absolute coolest person on earth. And doing the show, actually, over the years has been this series of confrontations with Marvel characters and Star Wars. And you're having a lot of these moments of looking at things you loved as a younger person and having to watch them get remade, rebooted, reimagined. And this is a unique one because it's a real person. This is not he, man. This is a guy who existed, who lived. And so the movie has this huge burden of recapturing what made Michael Jackson so special. And I would make the case that the movie does a pretty good job of that. And the performances and the way that the music is staged, it's like, kind of stunning how well they live up to a person who seemed like a supernatural event that happened in our lives. But then also there's all of this other psychological and actual chaos and fallout from his life. And the movie kind of starts to take it on, but then never follows through for a variety of reasons. And it erodes all of that magic and all of that feeling that you were describing of feeling so, like, moved by watching other people, actors, be moved by an actor playing Michael Jackson. So it's such a unique movie proposition in its way. It's kind of a huge failure. But also, I did have fun as a lunch.

[C]

It's worth seeing.

[B]

Yeah, well, the Jafar Jackson performance, and that's, we should say both Michael Jackson performances because there's also a young Michael Jackson played by Giuliano Cruv Valdi, who's amazing. Who's amazing. But Jafar Jackson as Thriller Michael, it's uncanny how close he is to what I remember in my head.

[A]

That's it.

[B]

And so they do an incredible job of recreating all of the images and video that we know and had access to. And it is. It is like in the acting, it's more of a surface level impression which he speaks as he spoke at that time. From what I know from like, very short interviews and then just amazing physical performances. And the, like, the dancing and the physicality is totally excellent. But it is only recreating what we, the public, knew. There is nothing below the surface. There is no attempt to or certainly achievement of like, revealing something about Michael Jackson.

[C]

And we have access to that, by the way, the originals on YouTube.

[B]

So you can see it does kind of feel like a recreation. And it's amazing that there was someone else recreating Michael Jackson performing to the level that he is because he's not around anymore. And it's still rare, electrifying stuff, but that's all it is. It's just a recreation of existing tape.

[C]

Yeah, I don't want to be like the wicked witch of the coming to shit on music biopics all the time as my official big pic correspondent role. But I said this on the Bruce Springsteen one. The reason it makes me upset is because these people deserve a better piece of art made about them. They were important and monumental figures and artists. And like, if I were Michael Jackson, I would come back from the dead and haunt these people for doing this. To me, like, the main framing of the film is like, I meant to pity this person. Did you not feel that way?

[A]

Like, well, I would like to talk about that with you guys because there's so many things. There are so many competing forces of motivation, I think, behind the film. On the surface, it's very easy to say one, this is an act of brand management by the estate to generate more cash flow against what we all know and love about Michael Jackson, which is his music, his performances, his history. Right. We've seen a bunch of movies. You've appeared on podcasts with us. There are a lot of movies like this now that are just like, Queen happened, Elton John happened, this great artist happened.

[C]

I do think Freddie Mercury did come to haunt Rami Malek because, as you know, Right after he won the Oscar, he fell right off the stage. And I think Freddie pushed him.

[A]

That may be true, but it also won him an Academy Award. So he.

[C]

But I think Freddie pushed him right after. I'm just saying. And the career after has not been giving, so.

[A]

Yeah. In addition to that, though, the amateur,

[B]

you know, it's just not what we want.

[A]

It didn't work out.

[B]

No third hour of Oppenheimer, you know, like, stack it Up.

[C]

Freddie Mercury up in heaven like this

[A]

again, the film that achieved great success.

[B]

He has a clipboard in a basement somewhere.

[A]

The second thing that this movie wants to do is it wants to at least tell you that it's going to psychologize why Michael Jackson was the way that he was. It wants to show you the origin stories. It wants to show you his relationship to his father, his quick rise to fame, the way that he felt unbeautiful, unaccepted, misunderstood, and how that led him to so many different pathways through his life. But it also wants to shield the audience completely from everything that we think we know about Michael Jackson that is ugly, sad, or scary. And that includes allegations of. It includes allegations of drug abuse. It includes allegations of a bizarre series of surgeries and a strange lifestyle. There's no one, to your point, about him being the most famous person. There's no one more covered, more explored in our culture than Michael Jackson. And so we all come to the table, assuming you're, I guess, above the age of 15, with a ton of preconceived feelings about this person. So the movie also wants to kind of, like, beat them back or ignore them, but also show you why they happened at the same time and also

[B]

provide their answer to it. You know, there's this scene where Michael Jackson is, like, is in an onstage accident and he's very badly burned. And they have the Michael character saying, I don't want drugs, no matter how much pain I am in. And because the doctor is suggesting Demerl, which Demerl has really helped me through some tough times. But listen, shout out Demerl.

[C]

If nobody got me, Demerl got me huge.

[A]

Wait for Demerl.

[B]

Give birth. And then. And then tell me whether you don't want some Demerl. But it's getting. Parts of the movie are also trying to get ahead of some of those things that we know and both explain how they happened, but also maybe shift blame slightly.

[C]

They're trying to be, like, hurt people. Hurt people. Yes, for sure.

[A]

Which is true. Like, I think it's actually okay. To acknowledge that the American success tragedy of Michael Jackson is not the story of an individuated person who hurt people. There's. It's a link in a dynastic chain of pain. And that's. It's okay to understand that, but it's not okay to not clarify with nuance.

[C]

That's what it is. It's not okay to clarify how all of this happens into like the most basic airplane also, I think. But to your point that we were saying earlier how there was or did we not bring this up on mic yet. Sorry if we haven't. That there was a third hour of this film.

[A]

Yeah, we should talk about that.

[C]

It does change the hurt people. Hurt people. To me, it gives it a little bit more reason to exist if they were leading up to doing something with it.

[A]

Yeah. Forgive me for being glib about this, but the. This film ends in, I guess, 1987. 1988. 89.

[C]

Yeah.

[A]

And after Bad. And there's a suggestion that his story will continue.

[B]

That's quite literally what the last card says. It says his story will continue.

[A]

And I'll tell you what I thought of after that was Wicked and Wicked Part two, because everybody said when Wicked came out, this is the good half. And then what's coming is not going to be as good. And that's kind of Michael in a nutshell too, where we pretty much. We saw obviously some very challenging stuff in his childhood where he's abused by his father, which then leads to a lot of his feelings and actions.

[B]

Right. I mean, Joseph Jackson. Joe Jackson is the main villain, quote, unquote, of almost.

[C]

Also a little cartoonish villain. I'm like, if hurt people, hurt people. It applies to everybody.

[A]

Well, that's the thing, is there's no psychology of Joe Jackson.

[C]

Why did he become like this?

[A]

I have the same thought, Yossi. That's a really. I think that's important to talk about that because you can't lean on those ideas and only make Michael Jackson this sort of centerpiece of light without understanding everybody else around him. And the movie doesn't really make an effort to understand anybody else around him.

[C]

No one's carrying real figures except for his best friend, Bubbles.

[A]

Bubbles, yeah, we got some of Bubbles.

[C]

Really emotive cgi. A lot acting.

[B]

A lot of bubbles.

[A]

Yeah. It does turn into a Planet of the Apes movie for like eight minutes, which is a very strange.

[C]

Really made Better man be like Fellini, to be honest. And I'm a better man truther. I know Jack Sanders is brother. I think It's a great movie, but, like, in comparison to this CGI monkey movie, it's like music biopic.

[A]

Monkey movies. Yes, I'll give you that.

[B]

Which that is a movie you've been on this podcast for that's like pretty good. And it's also a biopic ish movie that you've been on this podcast for that does not feature people writing important thematic ideas in a notebook and then

[C]

double underlined and double underlying, which they

[B]

did like three times, which happened again in this movie after the Springsteen movie. I was like, I cannot believe this.

[A]

Yeah. There are a number of moments throughout this film that commit a few walk hard sins. And some of them are also just illogical steps in the story of Michael Jackson that if you care about his history, they'll just pop out to you. There's a moment early on in the movie when the Jackson 5 have signed with Motown and Michael is recording alone in a studio. His brothers are watching him in the control room. It's his brothers and his father. And Barry Gordy, played by Lorenz Tate, is sitting at the engineers at the table in front of the board. And. And it looks like Barry Gordy is running the session and there's no one else in the room and he's like pushing all the buttons. It's like, did Barry Gordy run the session?

[B]

He's like, michael, you can't move your feet while you're singing.

[C]

There was no engineer there, no shout out. Lorenz Tate, though, still so hot. Good for you.

[A]

Very handsome. I actually hurt my heart a little bit when I saw him. I was like, oh, you got Lauren's Tate and Nia Long in this Michael Jackson movie. God damn.

[C]

I wanted Lauren Harrier. Is it Laura Harrier's part? Like, she's just like showed up to be hot and smoke cigs.

[A]

Well, she's Suzanne Past, who's a very important person in the Michael Jackson story, the Motown story.

[C]

Not according to the five line.

[A]

She's just a gal who says that's natural born talent. Right.

[B]

She does give himself. She's very beautiful.

[A]

She is. She's very, very beautiful. She, like every other actor in this movie, with the exception of Colman Domingo and the two actors who play Michael Jackson, don't really have any depth whatsoever. But it does feel like. It does feel. I felt at times like the movie was almost taunting us with the things that we know about Michael Jackson. There's several scenes where Michael Jackson is just with children in the movie.

[C]

Yeah.

[A]

And it's obviously trying to say, well, he felt a connection to and a warmth towards and a love for kids. You know, he felt like a kid himself. The movie circles back to this many times. There are many cutaways to the book Peter Pan and his relationship to the iup.

[B]

Not even just to the book Peter Pan, but to the specific page welcoming you to Neverland. There is, you know, there are little Easter eggs of. Oh, you think you know this about Michael Jackson? Well, you know, here is like a tiny little stuffed chimpanzee before Bubbles does actually show up on the scene. So it's crazy.

[A]

And, you know, the movie believes it. The movie believes it is doing something that is helping us better understand this person. But it's impossible to watch those moments and not think about the other way that you can perceive what's on screen and that ugly and terrible feeling, given what at least has been reported and very credible people have come forward and talked about over the years. So the whole thing is just a. It's, it's just a mess. Like, it's just an emotional mess on screen.

[B]

It totally is. Can we talk a little bit about what Yassi alluded to, which is that there was an ending that does address some of the allegations that was filmed. And so the, the movie was made with a different ending. And then because of legal reasons, that entire third act of the film was scrapped. They did reshoots, like a whole new ending. So I can't tell whether what the scenes that you're talking about and all the Easter eggs, which I agree are just like kind of galling as you're watching them, and certainly completely like juxtaposed against just like the very fun performances of Michael Jackson on stage or like you get real whiplash, it pulls you

[A]

right out of the movie.

[C]

So.

[B]

But I can't tell whether those were put there because they're written for like a different ending.

[A]

I think that's reasonable to assume.

[C]

I would assume so. Right.

[B]

But. So it makes me wonder about the ending and what they think they're setting up.

[C]

They are legally barred from.

[A]

Yeah, I mean, reportedly there was a lot about allegations and settlements that were made in the movie and that Michael is portrayed as having overcome these challenges in the third act of what was meant to be, I think more like a three hour mega biopic. The challenges of those allegations and the hit on his public reputation and so on and so forth, and him being exonerated in the public eye. And what the filmmakers did not know is that there was a clause in the settlements that identified that those settlements and those People who participated could not be portrayed in any kind of dramatized scenario. Brilliant legal work on that's obviously a nightmarish fiasco for the studio, for the filmmakers and they had to junk all of this stuff. So what this movie is now is effectively like a two hour prequel for the trials of Michael Jackson.

[B]

Right.

[A]

And then the second film will be so much of the ugliness. Now there's some ugliness in this first part of his life. Obviously he's got these, these really devastating issues with his father and he catches

[C]

fire and none of the ugliness comes from him.

[A]

That's right.

[C]

That's the problem.

[A]

That's right. And I would imagine that most of it won't be quote coming from him in the second half. Assuming we get a second movie and based on how well this movie is likely to do, I would imagine a second movie is going to happen. This movie is already not being very well received kind of critically, but I do think by fans of Michael Jackson, of which there are still millions and many of whom who do not care about those allegations and either do not

[B]

believe or disinterest it, it's an A minus CinemaScore. So, you know, people are, to your

[C]

point, like, the performances and the songs are incredible.

[B]

Listen, the whole time I was thinking,

[C]

I was like, man, you could have just strung together 12 music videos and I would have come to the theater and seen it and felt emotionally exactly the same way without laughing.

[A]

Yeah, well, you said that all this stuff is still on YouTube. You could have just run another documentary and it wouldn't have generated as much money, but it would have been a similarly like exuberant movie going experience. Because there is like, there's just real exuberance, you know, of watching him, you know, watching the young actor who portrays young Michael singing Jackson five songs and like I turn to you, whatever, 20 minutes in and I was like, these are just the best songs of all time.

[B]

Wall to wall bangers just absolutely shout

[C]

out Michael Bush and Dennis Tompkins put some respect on their name. They're not mentioned. They were the costume designers for Michael Jackson for 25 years and created all those iconic looks I was so excited to see on screen because they're crazy good.

[A]

Yeah.

[C]

What's the implication, by the way, that the glove comes from the vitilago? Like he started wearing the glove because he had the vitilago.

[A]

I believe so. Got it. And the movie does really make a point of that as he sits down for his first nose job, that he also speaks to a nurse about the vitiligo that he's been diagnosed with, which leads to his skin coloration changing.

[B]

That's really the only thing.

[A]

That's another thing that's like, okay, I guess we just have.

[C]

Maybe there was more about that later in the second, third hour when he gets whiter in skin tone.

[B]

Right. They do have him in the moment where he asks to be put on MTV more. And it's explained to him was that Mike Myers.

[A]

It was Mike Myers.

[B]

He was playing Walter Netnikov.

[A]

I did not recognize the head of cps. Well, it's kind of an homage to Bohemian Rhapsody where he played the same character. Not the same character, but a studio chief.

[B]

And it's explained that MTV just won't play black artists. That's pretty accurate.

[C]

And the way it was done by him is actually pretty accurate.

[B]

You know, they have a point of having Michael Jackson say, like, I'm a proud black artist. And it's very important to me that, you know, I be on mtv. Anyway, so the nose. The nose job scene was interesting because that was really the only time where anything was coming from the Michael character. They have the doctor come in and say, like, are you sure you want this? You're a pretty handsome guy. And he's like, no, I need symmetry. I need to be. I need to be perfect. And that is really kind of the only characterization I can think of. Besides, he loves animals and he wants

[C]

to be his own man.

[B]

Yeah, he needs the entire script.

[C]

One third of the script.

[B]

That's one of the things. That's one of the things he underlines in the Notebook.

[A]

I think that there's. He's such a wide open field of human psychology. There's so many things that you could explore and that we assume and we don't know because you didn't talk about these things. But, you know, of masculinity, daddy issues, male beauty, being a black American 100%. Being a famous person. What his relationship to sex and lose.

[C]

Famous person.

[A]

All of these things. I mean, he is the lodestar for all of these ideas in America over the last 75 years.

[C]

He's one of the first examples of, like, excessive celebrity plastic surgery. Like, I can't think before that. I mean, Jocelyn Wildston, the cat lady. But like someone. There's so many people that famous that you watched go from one person to a completely different person.

[B]

And it was happening in real time. It wasn't like it was during the heyday of his success. Also not kind of after the effect.

[C]

The MOV did a good job I think even though they were very subtle, this is one of the only things they were very subtle about. His nose did keep changing, his skin keeps changing. But I was like, nobody in your family. There's not one scene where, like, Tito is like, bro, you look kind of crazy.

[A]

Well, the one thing I really liked was there's one moment in particular later in the film where Michael is being pressured to do the Victory Tour with the Jacksons by his father. And his father, obviously does not have his best intentions at heart, but he says to him, do you really want to live in a world where no one ever doesn't say anything other than yes to you?

[C]

Totally. And that was a really sincere moment where you're like, oh, you know, even a broken clock is right twice a day.

[A]

Joe Jackson, he's kind of psychologically manipulating his son by saying something that he knows will resonate with him, which then eventually leads to, of course, the Victory Tour transpiring. Way more time spent on the Victory Tour in this movie than I ever would have guessed. But it is portrayed as this kind of pivotal moment in his young adult life. You know, there's a couple of other people who get some screen time that you pointed out had maybe a bigger role than we expected. There's a man named Bill Bray.

[B]

Sure.

[C]

Bill Bray is the third lead of this film.

[A]

He really is.

[C]

He's in almost every scene just in the background like this.

[B]

Yeah. And every once in a while he gets a concerned close up because he's meant to communicate that there is at least someone looking out for Michael, someone who understands this. This special person and the impossible situation he's been put in.

[C]

Yeah.

[B]

And gave me some sense for us

[C]

that he was like, the omniscient narrator somehow, because he was always kind of there. And I kept. I asked you during the night. I was like, was. Because a lot of that stuff, like, how did. Who knows what happened in those rooms? Did it come from that man? Like, did you know, like.

[A]

Yeah, I don't believe it was actually based on, like, his autobiography or anything. He passed away in 2005. Michael spoke about Bill Bray as though he were his second father. He was his real protector. He was the person who, for, I think, probably more than 20 years, was at his side all the time. And so there is something interesting about there being one person who is proximate to all of this craziness. I like that idea. The movie is just, like, becomes like a Mr. Show sketch at a certain point where, like, the camera keeps, like, zooming in on Bill Gray's reaction to things going on.

[C]

I'd be like, oh, there he is in the mirror.

[B]

But also, it does answer one of your mid movie questions, which is, who drove him home from the nose job?

[C]

That's true. It was Bill Brown.

[A]

It was Bill Burn, because he just

[C]

walked in the door and I was like, you can't drive after a nose job, sir.

[B]

Is it a same day procedure? Yes, you can go home afterwards. Oh, cool.

[C]

I haven't had one, but I haven't had one either.

[B]

I haven't had one.

[A]

I didn't cross my mind.

[C]

Yeah, no, you have a nice nose.

[A]

Well, it's nice of you to say.

[C]

What, do you think I could use a nose job? No, not at all. Is that what you were thinking?

[A]

I actually don't think anybody should get plastic surgery ever.

[C]

Oh, I don't know about that.

[B]

Okay. Yeah, well, that's how I feel. Okay. Good job.

[A]

I think we're all beautiful.

[B]

That's exciting culture.

[A]

And I don't think people should be judged on the way that they look.

[C]

Okay.

[B]

He says on Netflix.

[A]

Well, I would prefer to not be judged if I could help it.

[C]

You talk about Hollywood for a living,

[A]

but I try to not do that. I actually don't. Not to stand on my soapbox. If someone looks good, I like to say that they look good. But if somebody doesn't look good, I try to not talk about that because I find it's counterproductive.

[C]

Much like Michael Jackson, you're a bit of a saint, as was portrayed in this movie. That's what really got my gall, I gotta say. Where I was like, are we trying to canonize him? Because I think he.

[A]

But we already did, like a hundred times over.

[C]

The real story of his life is enough for him to be one of the most important and mythical figures of all time. And in fact, far more interesting and compelling if they showed another side to him.

[A]

What do you think that could have been though? Like if. Cause you know the Paul Schrader biopic of Michael Jackson, I of course would love to see. No one's gonna let that happen in the Michael Jackson escape.

[B]

No one's gonna let any of this happen. Guys, you don't get the music. If you get. If. This is total image rehabilitation. The estate allowed them to do this as a partner in it and gave them the music. And so you have to follow what the estate says.

[C]

It wouldn't have been a blockbuster, but I would genuinely have watched a music less version where they grapple with his actual psyche.

[A]

Like Jimmy, by youy side. That movie starring Andre 3000, where there were no Jimi Hendrix songs. But we watch him kind of have a relationship in 1967.

[C]

I missed that one.

[A]

That one. There's a reason nobody watched it. There were no Hendrix songs in it. You can't.

[C]

I know, it's rough. That means I just keep thinking back. I'm like Nico 1988, which no one has seen on Earth.

[A]

I haven't seen it.

[C]

It's so good because they show a real person. They show every part of this person who was complicated and challenging. And I know we're never gonna get that. I understand. I'm not stupid. But I wish there's some. It seems like they wanted to try.

[A]

Well, there's something so fascinating about the Bruce movie being such a failure, too. Because the Bruce movie is a real effort to show wounds, you know, to say, here's why I'm fucked up and here's how I used art to work through it. And I'm flawed and I made mistakes and, you know, I left this girl

[B]

behind kind of, but I left this composite.

[C]

Composite 5.

[A]

I agree. I was gonna say the movie's got a lot of flaws. It's like an effort to do that and with.

[B]

But still managed. And Springsteen was a part of it. And what is told is told. Even, you know, like, how much depression can we go through and, like, how much weakness and when are you allowed to look sad and when are you allowed to be handsome? And Bruce, you know, whenever everything is managed, though, I know that.

[A]

Like, how do we get to a place we're never gonna get to? This place, I guess is the point is that we're never gonna get to a place where the same feeling that near the end of the film when human nature is performed and all three of us are like, oh, my God,

[C]

shout out to Steve Carcar.

[A]

This song is just Steve Porcaro of Toto.

[C]

Do you know that? Sorry, not to bandsplain for a second, but this is actually so interesting. Supercar of Toto also inadvertently invented the drum machine by suggesting to the engineer who created the Lynn drum machine that has live drum sounds that he should make that. And then he went and made it and has one guy playing real drums on it. And it's on Thriller.

[A]

Interesting.

[C]

Very interesting.

[A]

I would say a lot of the people who were participants in writing the music on off the Wall, Thriller and Bad Erased from Rod Temperton's name is mentioned in the movie, but we don't really see him. We see Quincy Jones mostly just genuflecting Before Michael's tal. Inside of a booth somewhere, we don't see his contribution.

[C]

How about my girl, who we don't see, who doesn't exist at all?

[A]

Janet Jackson is not present in this movie.

[C]

It's Janet if you're nasty. And she's like, it's nothing in this film, babe. That I'm sorry for you or I'm happy for you, but I'm not reading all that.

[A]

Didn't you assume she just asked to be not included in this narrative?

[C]

Yeah, I actually heard a rumor that they did initially include her and they had to cut her out. Interesting, because she saw the film and

[B]

was, like, told absolutely not to through her own lawyers, which I hope more

[A]

power to an unusual amount of Latoya in the movie. And weirdly, no Janet Jackson. And we know Michael and Janet were very close.

[B]

Quincy Jones is also no longer with us, so I wonder how much his estate had to say.

[C]

His estate. Probably pretty powerful, I guess.

[A]

I think it's interesting that he was effectively not present for anything that wasn't about creativity, which I think probably makes sense from his estate's perspective. I'd love to know what Miles Teller was thinking.

[C]

I do, too.

[A]

I find this to be an odd choice for a person who is, like, legitimately famous and, like, a really good actor.

[B]

Yes. And now we've learned. Congratulations to Miles Teller on the sale of what's it, High Drink.

[A]

Long Drink.

[B]

Long drink.

[C]

Yeah.

[B]

He made a huge amount of money

[C]

that did make it into my news cycle.

[B]

Yeah. Yeah.

[A]

$325 million. So some years ago, Amanda and Bobby Wagner came to my garage and we did a movie star liquor taste test. Not on video, just audio. And one Friday afternoon, we got super drunk on the po.

[B]

We were medium drunk.

[A]

We got medium drunk on the pod. I evaded jury duty on that podcast. And we tasted Long Drink. And you know what? I loved it.

[C]

What is it?

[A]

I thought it was great.

[B]

It was sort of. It was not that different than a hard seltzer, but better.

[A]

It's kind of like a. It's a Finnish drink. It's a Finnish company. Is it? I want to say, like, it's not tangerine. It's not cantaloupe. It's like.

[C]

It's like Nordic White claw or something.

[B]

Yeah, sort of.

[A]

I think that's very.

[B]

Like, Fresca, but hard Fresca. Yeah.

[C]

Who does?

[A]

Very enjoyable.

[C]

80s.

[A]

I imagine if he had sold the company before this movie went into production, he wouldn't have done this movie.

[B]

Probably not.

[A]

And I'm sure He went in feeling like, I love Michael Jackson.

[C]

Maybe he's a major Michael Jackson fan. I'd love to be a part of this.

[A]

I get that. But he has like 11 lines of dialogue in the movie and mostly just like looks confidently at Michael Jackson.

[C]

Are they allowed to read the script before they say yes to the part?

[A]

I think that. I think so.

[C]

Okay, well then that's a questionable choice.

[B]

Thinking about this with every single actor in the movie because the script did change and so what do you do? And they're like, oh, well, sorry guys, can't use the third hour now. You're going to have to reshoot this still.

[C]

Any. Some of that script is so ham fisted.

[A]

So over the top. Okay, so this is an interesting thing. So we haven't talked about the fact that John Logan wrote this movie, who wrote Gladiator, and Antoine Fuqua, who has directed many hugely successful movies including Training Day Direction. I think for the most part the movie actually has surprisingly solid pacing. And you said it felt very long to you. I didn't feel like it felt very long. I think because every six minutes they're like, do you like this song? And so it had this similar feeling of Bohemian Rhapsody where I was like, this is actively terrible, but I don't want to leave. That's a unique brand of movie.

[B]

You're waiting for the next song. Everything that happens in between the song or the montages of them recording songs. And by the way, a lot of silly things happen in those montages, but they're set to amazing music. But anything that is music less and just dialogue. And two quote unquote characters speaking to each other to advance the quote unquote plot is really dire.

[C]

There are three lines in this movie that are repeated in different ways. You're either a winner or you're a loser. You gotta be perfect. And I want to cut my own path. You have to let him cut his own path. You can't cut your own path. That's the entire script.

[A]

I just, I need more for Neil Long. Really one of my first favorites.

[B]

Of course she was good.

[A]

She's doing her best. I mean, another person with no agency or character. Like, she just likes to watch old movies with her son.

[C]

That's her whole character still alive. Michael Jackson's mother didn't realize that they called her mother. That was a little jarring for me.

[A]

Yeah, big Mike Pence vibes there. Yeah, it's a tricky one. I. What else do you want to say? I mean, we can talk through every single song performance if you want to.

[C]

I think just one thing, I want to say that and I don't want to get ahead of going into the next film, but I do think like one through line for me is that like fame is a mental illness. I couldn't believe this more by each passing day. Fame should be in the DSM 5. It is. You cannot overcome it. Even with the modicum of fame I have. Have you, Rocket, which makes a lot of sense. I'm mentally ill from it. I have brain damage from the like 2% famous podcaster that I am. Yeah, it's not okay.

[A]

It's not, it's, it's definitely not healthy. And whatever low grade version of it we experience, we're suffering as well. It clearly has damaged all of us. And so. Yeah, I'm sure you are.

[B]

Thanks for the negronis, everyone.

[C]

Yeah, I love the free stuff. Don't, don't stop sending the free stuff.

[A]

But I think, I think it's not hard to feel empathy for 8 year old Michael Jackson being thrust into a world that he doesn't want to have any part of.

[C]

I can feel empathy for adult Michael Jackson being so psychologically twisted that he makes whatever the questionable choices were that he does questionable things. I am willing to actually extend that level of grace because I think that that's a very true thing and it would ring true to people and especially his fans.

[A]

Yep. I know. By the same token, you just, you can't equalize the whitewashing reputationally of the, you know, accusers of the allegations and how they would be feeling watching Michael Jackson star once again be elevated onto 3500 screens and people like us having chills watching him perform music. The whole thing is, it's impossible to just like settle it in your mind.

[C]

The documentary. Did you see the documentary Leaving Neverland?

[A]

Yes. Amazing film.

[C]

That was brilliant in how it handled it. It left you being like, oh, you know, it wasn't like it didn't have a point of view that it was shoving down your throat. It was so good at kind of doing what I wish this film had done, which I guess I know they would never do that. But like you walked away and you were like, I don't know what to think. You know, like in some ways I

[A]

feel like that film is pretty definitive at times. Yeah. But here's the thing. After I saw that movie, which I found to be extremely powerful and credible, I thought to myself, I'll never have the same relationship to Michael Jackson again. But the truth is, when I listen to these songs and When I watch sequences in this movie, I still feel like the kid who was eight years old who loved listening to Bad and who loved watching those music videos. And there's something about this unbreakable connection to culture that we make at a young age that it can't change no matter what we learn. To this day, people, you know, ask me about Kanye west because, like, I spent time with Kanye west in the 2000s, and I. I loved his music more than anything. And they're like, well, how do you feel now, asshole? And I'm like, I can't change how I felt at that time about him.

[C]

Well, you got asked about Woody Allen. To be definitively clear, I didn't say, I don't know what to think, as I don't believe the accusers. That's not what I meant. It just was more that. It was like, you see, you kind of are like, oh, God, I feel bad also for Michael Jackson.

[A]

The whole thing is just a nightmare.

[C]

Well, yeah.

[B]

I mean, so what. What we're talking about, at least in terms of Michael Jackson's music and, you know, all the other complicated relationships, you know, it's the classic separating the art and the artist, which is very difficult. And can you do it? I don't know. And we'll continue, like, we will certainly wrestle with it on this podcast.

[C]

It's a personal choice.

[B]

Yeah, but listen, that's just. That's something that you work on as a consumer of art, but that's not what this movie is asking us to do. This movie is about the artist, not the. And it's the artist creating the art. But this is quite literally a biopic about the artist. So I. It's. It's just kind of. It's glaring. It's not even the elephant in the room. It is just. It is completely omitted, and we know that actually from the making of the film itself. It's just a whole chapter of his life that is just missing. But it's an incomplete movie.

[C]

It's not even about the art, which is, I think, what.

[B]

What.

[C]

That also got me. The whole time, I was like, I want to know more than. Fine, then tell me more about why. What's behind these songs? Why did you choose these? Looks like. What. What was your thinking around your presentation, around the songs you chose, around what you were trying to communicate when you wrote these lyrics. Like I would have. There's none of that in the film either, except that he's like, I like to have the gang members teach me how to dance. This is a sea Watch.

[B]

I forgot about that until just now. Popping along crazy, remember?

[A]

I mean, that's based in fact, I don't know if it actually played out the way that it plays out in the movie.

[B]

So he's alone in, in the studio working on the track list for Thriller and then he looks up to see a breaking news, local segment like about the gang violence in Los Angeles, learns about that, and then is led to hold this summit, which, you know, maybe that's how he was learning about things. You know, he did live. Axe.com it's true, he was not like out in the world a lot.

[C]

It was his own. Playing Twister with Bubbles, as we saw, that was sad. It was actually really sad.

[A]

I want to talk about one thing that I found interesting about Michael Jackson when I was younger and that I still am interested in, in his music that is in direct contrast to his public Persona and the way that he spoke in interviews, which is that his music, especially from Thriller on, was extremely attitudinal and aggressive. And it was very. His vocal inflections, the phrasing in the lyric writing, the energy that he communicated as a vocalist could be angry, could be arrogant, could be very different from the very soft voiced man who you saw who just talked about healing the world. And my favorite Michael Jackson song by far is Leave Me Alone, which is, I think it's the last song on Bad. It might be one of the last songs on Bad. And I was always fascinated by that video, which the bonus track. The bonus track featured the bones of the elephant man and the sort of animation of moving through the circus mind of Michael Jackson, this kind of hall of mirrors that he has to endure as a famous person. It was written in response to all the Wacko Jacko stuff and his relationship to Bubbles. And it's one of the clearest evocations we have of his psychology and the way that he was responding to becoming a famous person. Leave Me Alone is not in the movie. And that whole Persona, even the Persona that you find in Beat it or in Billie Jean, where there's like just this rage and this swagger and all of this stuff that was endemic to his music is not in the movie, is not explored about him as a person. And maybe he only used his art to explore those things. Maybe that was the only place where he found it. But as a fan of his, you could have the same attitude towards the world by loving his music that you could by listening to Nirvana. He actually was like a very singular personal artist who wrote about how he was Feeling about things and explored them in a musical style in addition to also just being somebody who made 300 million people happy with the universality of his music. And there's also none of that in this movie. There's no, like, where did Billie Jean come from?

[C]

That's what I'm saying. Where's the. If he got angry, which he clearly had every cause to be, why don't we never see him get angry? He only is sad and scared. He's sad, he's scared, he's sad, he's scared.

[B]

And then he gets on stage.

[C]

And then he gets on stage and says, I'm not doing this anymore.

[B]

Well, but I mean, his, you know, his dancing and the choreography is also equally like forceful and like a complete contrast with the person that he is off stage, which is interesting. But once again, this movie is not interested in tension because it was made with legal handcuffs.

[A]

I knew I would be a little bit flummoxed by this. I knew the movie was likely to be not good. Right. That there were gonna be dramatic sequences that were cringe worthy, that there was gonna be performances that seemed over the top, that it was only gonna be serving at the altar of Michael's hagiography. But it's so much more challenging to me than Bohemian Rhapsody or Deliver me from Nowhere because of the paradox of Michael Jackson, because of the incred that he instills and the anguish I think that he represents for a lot of people.

[C]

I mean, I had the chills during the movie. I'm just like, even being transported back to that place is really special. So we're seeing, I guess if you

[A]

like Michael Jackson, it's a very relevant cultural artifact of modern Hollywood. For sure.

[C]

You can remember what it was like when we had that level of pop star that moved that many people.

[A]

Is there any other thing you would have wanted to see? A song, a performance, a moment from his career that is not represented here? Obviously, pre1900.

[B]

Well, that's hard because that cuts off Dangerous and also the Free Willy song, which. Listen.

[A]

Yeah, was that Heal the world?

[B]

No, that's. Will you be there? Oh, yeah, with the fire. Come on.

[C]

It's 91. But I would have wanted to see him attend the Oscars with Madonna because

[A]

Brooke Shield's not included in this film. A handful of the girlfriends, the friends, the people who attended things with him are not present in this. It really is. Is like the boy in the bubble with bubbles. Like, that's how he's portrayed in the movie.

[C]

I do think he was like an extremely lonely person and they didn't get that across. And those were largely like I think press op people that could have seen them.

[B]

This episode is brought to you by Apple and at&t. Scroll long enough and you'll hear it all. Miracle diets, fitness trends, you name it. But with iPhone and Apple Watch, you get meaningful insights from a very trusted source. Source your body, you can track sleep quality, cardio fitness and more. Then unpack all the information in the health app on iPhone to get a picture of your overall health. These health insights are developed with clinical experts from start to finish. Find out [e-mail] health Apple Watch is not a medical device and should not be used as a substitute for professional medical advice.

[A]

Okay, should we pivot away from Michael?

[B]

Yeah.

[A]

Let's talk about Mother Mary. Fascinating movie, as you say, sort of similarly related in its portrayal of a major pop star going through a crisis where we have some understanding of the origins of that crisis. This is the new movie from David Lowery starring Anne Hathaway, Michaela Cole, Hunter Schaefer, FKA Twigs, a whole host of people including my girl Kaia Gerber. We'll get to that in a minute. The log line of the movie is long buried. Wounds rise to the surface when iconic pop star Mother Mary reunites with with her estranged best friend and former costume designer on the eve of her comeback performance. What did you think of this, Amanda?

[B]

I like pop star movies and this very much is and I appreciated the attention to detail of creating this pop star world which is, you know, what the movie is about. Anne Hathaway plays a pop star named Mother Mary who has some Gaga, some Beyonce, a lot of Madonna for sure. I mean obviously, obviously it's you know, right there in the, in the title. And she has had a falling out with her creative director essentially played by Mikaela Cole. And it has all of those people but it's really like a two hander about how you create something and ownership and the relationship, the creative partnership. And I thought maybe just also about relationships and break in general. You know there is something archetypal about what's going on here. But all of the pop star recreations, the performances, the songs, the dresses, the world that they create was really credible and I thought interesting and I thought about like how much time Anne Hathaway must have spent preparing for this because it is again she is performing. She can obviously sing but there is choreography. There is some even like non performance choreography that she has to do. That's amazing. So you know, I like it when people go all in on something a little strange and also something that is in my interest. Set.

[A]

Yeah. What did you think? You're a chronicler of modern pop and rock iconography.

[C]

I loved it. This movie is, like, very Yossi core, where I'm like, I love a movie where I get to have. Have my own inputs on what it means. I think that that is a. If you're a person who likes a movie explained in detail for you what they're saying, this is not a movie for you. Also, if you're a person who hates women, not a movie. You guys remember the Bechdel test?

[A]

Yes.

[C]

There's not a single man in this film, I don't think. Or if there is, they're not ever. They're not a character ever in my life. And I'm sure there are examples and I'm sure you know them off the top of your head, but me personally, I don't think I've ever seen a film in my life that doesn't have one single man in it. Not to put my pink pussy hat

[A]

right back on the big picture. I haven't thought about it that way, but that obviously is a big part of it, I think. And it's struck me it's interesting too, because it is not a rah rah feminism movie. Zero. Anyway, no, it's not about that movie. It's much more about, I think, what Amanda is circling, which is like, the nature of these creative relationships and partnerships and maybe even love relationships and the ways in which they break and come back together. But then also the movie is this phantasmagoric kind of ghost story in the second half and sort of like, what is underpinning creativity and where are ideas coming from and what happens to people? Like, can you be spent? Can you be haunted by something and it allows you to not go forward with your creativity? When I talked to David at the Vidyat screening, which you guys were both at, I was basically like. And I never do this. I was like, what's this movie about? Because I agree with what you're saying about there being different inputs and different ways to read into it. And what I just said is like, that's my reading of it. But other people might see it as something different. Like, is this a queer romance? Is this, like an existential dread movie about, like, being at the end of your life or the end of your, you know, vitality? Like, there's a lot of different ways to read it. It's staged pretty cool as well.

[C]

It's so, like, it was just so beautiful and fun to watch. Like, so lush and gorgeous. And I loved, like, all the textures. Cause it's about. It's partially about fashion.

[B]

And, like, Mikaela Cole is cutting fabric, and they have actually good stuff. And we sit through so many movies about this world where. And just about worlds where visual representation is very important, which, by the way, is what cinema is. And people take shortcuts. And this felt really lived in.

[A]

You mentioned that the costume designers from Michael Jackson are sort of, like, not mentioned in the Michael movie. And this movie, obviously, is about how there's always someone or many people behind these icons that we love.

[C]

That's one of my central preoccupations. So that's another reason I think I really like the movie. Like, the idea of being working in the service of another person's creativity. Because even though that is her creativity, the costume designer played by Michaela Cole, it is in the service of Mother Mary. Right. And what kind of person you have to be to be okay with that, because you won't get the credit. You never. A manager, a publicist, an agent, you know, a choreographer. These people are all in the service of someone else's light. And I thought that was dealt with. Really interesting. I thought the meta using the red. Actually, it's really funny because there's a line that I just remembered where I think Anne Hathaway is like, this is too many metaphors. And I was like, that's very funny that he put that in there. But like that red piece of silk or cloth or whatever, like, can I believe it was a puppet?

[A]

It is a puppet.

[C]

Yeah.

[B]

David Lowry. What's up to my puppet crew?

[A]

He's a puppet boy, just like me.

[C]

Yeah, it's gotta move. It's gotta move beautifully.

[A]

I love the girl over here. Yeah.

[C]

You'd rather a cgi Bubbles? No, we don't

[A]

want to talk about pageantry. You want it to be real.

[C]

But I found it, like, again, a place that you can put anything. I was like, oh, this could be resentment. And it's leaving one person's body and going into this can be ego, you know, and it's just like, depending on your own idea of the world, like you were saying, or what you're interested in. It left a lot of room for you to play with it without being like, I didn't walk away being like, that movie didn't mean anything. Which is a risk, right?

[A]

It is. And look, I think the movie's been very divisive critically. There are people who Are like, this is a huge miss. Which I find with all of David's movies. They're super rewarding on second watch because you're not trying to figure out what's going on anymore and you're kind of accepting it on its own terms. I had a chance to see this movie a long time ago, and then I saw it again a second time at Vidiatz, and I really enjoyed it even more the second time because I wasn't trying to like. Because the first half of the film is very talky between these two characters. Chamberpiece. We don't really know their history. They're sort of like explicating without over enunciating their history. And it's hard to get your bearings a little bit. You know, it's a very stormy movie at first. And then it takes this huge leap in terms of the kind of gothic ghost story elements in the second half. So it's a lot to take in. But I very much agree with you. I mean, it's also true that I think in all of Lowry's movies, he asks a lot of his actors, he kind of asks them to put their ass on the line with really deep, weird, dramatic stuff. Like, I thought a lot about Rooney Mara in a ghost story in this movie, which is also a very brave and odd performance in a very sad movie. This is also a very sad movie. Casey Affleck in 8th and Body Saints, Dev Patel in the Green Knight. He asks actors to really expose themselves. And Anne Hathaway has to be kind of ridiculous in this movie.

[C]

She's incredible.

[A]

She's amazing. She's one of the few big stars who's up for this kind of a thing. So, yeah, I really enjoyed it and I think it's quite an accomplishment to be able to pull off that scale at what I imagine was not the biggest budget in the world. You think about a movie like Michael Relative, a small movie like this.

[B]

I don't know.

[A]

I thought it was interesting.

[B]

Yeah. And staging, because they do stage a lot of the work in addition to that sort of chamber piece. First half of it.

[C]

Also, I obviously love religious themes, which you can't get around because the pop star is a religious coded pop star.

[A]

But that is our idolatry now too, right? Is Taylor Swift. That's our religion 100%. And just being committed to those figures and worshiping at their altar.

[C]

But it also is so interesting to back to what But Amanda was saying, it's like, I don't know if he meant to do this, but I Feel like he did is like. You also hearkens back to, like, Madonna, who is. I know I'm a little bit Madonna brained right now, but she was kind of arguably the first major pop star in this lineage. Like, every pop star that we have now has come from her.

[A]

In her wake.

[C]

Yeah, yeah. From her vagina. But her whole thing was all the Catholic imagery and grappling with Catholicism and God and. And guilt and stuff. So having it echoed in this pop star. But then you can be like, I don't know. Would that fly now? You know, I don't know if you

[A]

could be successful in that same way.

[C]

That was the one place I couldn't suspend disbelief, where I was like, a pop star couldn't fill a stadium with these songs about the Holy Spirit.

[B]

You're right. It's not that it wouldn't fly. It's that it would not be the level of controversy and attention that Madonna got. Like, we all remember like a Prayer, you know.

[A]

Yeah. Who's the most successful pop star who pursues taboos?

[C]

I guess it probably used to be Lady Gaga.

[B]

Right.

[C]

Maybe now Lana. Although her taboos are kind of different.

[A]

She's not a stadium artist, though.

[C]

No.

[A]

You know, like in the stadium or. I mean, you know, I guess Beyonce does do some transgressive things, you know, but.

[C]

But I think it's back to the Michael thing.

[B]

It's.

[C]

We don't have that anymore. Because. Because the value proposition of pop stars now is I'm just like you, you know, Whereas it used to be.

[B]

I'm not just pop stars.

[C]

I am everything.

[A]

So much parasociality.

[C]

You can never. I am my. I am a. Look at me. Look at my jacket. Look at how I can moonwalk across. I am an alien. I'm an angel.

[A]

You know, I do miss that. I like that. I like Larger than Life. I'm really interested in that.

[C]

It inspires weeping people in the crowd. And I guess people do probably weep at Taylor Swift.

[A]

I think they definitely do. But it does feel different. It does feel.

[B]

They also, you know, do friendship bracelets in between themselves and then take pictures. I didn't go. Everyone said it was a nice time.

[A]

Yeah. And David talked about how the Reputation.

[C]

The Eras tour.

[A]

I think the Eras tour.

[B]

No, no, no. But the reputation of the concert film,

[A]

that was a huge inspiration for how they shot a lot of the Dark.

[C]

It was her darkest album, so.

[A]

Is that true?

[B]

Yeah.

[A]

I'm not aware.

[C]

I thought Michaela Cole was exceptional. I love her. I want to see her more. All the time. I love chewing gum. I think she's just like so talented.

[A]

Yeah.

[B]

Check out the Christophers.

[A]

We just talked about Christopher. It's weird. I felt like she was just not in a movie for several years and now she's in two movies and back to back weeks, which is quite fascinating. I think she's really interesting too. And she's really. She has a kind of flinty performance style that is very well suited to the repartee between the two of them.

[B]

A bit like a play.

[C]

Again, I love movies that the dialogue is like a play. That's a very yossi very much.

[B]

This episode is brought to you by Apple and at&t. Scroll long enough and you'll hear it all. Miracle diets, fitness trends, you name it. But with iPhone and Apple Watch, you get meaningful insights from a very trusted source. Your body. You can track sleep quality, cardio fitness and more. Then unpack all the information in the health app on iPhone to get a picture of your overall health. These health insights are developed with clinical experts from start to finish. Find out [e-mail] health Apple Watch is not a medical device and should not be used as a substitute for professional medical education advice.

[A]

This episode is brought to you by LinkedIn ads. Ever invest in something that seemed incredible at first but didn't live up to the hype? Marketers know that feeling. They optimize for the numbers that look great, impressions, reach and reacts. But when they don't show revenue, well, that's a not so great conversation with the CFO. LinkedIn has a word for that. Bullspend. Instead, why not invest in what looks good to your CFO? LinkedIn Ads generates the highest roas of all major ad networks. Reach the right buyers with LinkedIn ads. You can target by company, industry, job title, and more. So cut the bull. Spend, advertise on LinkedIn, the network that works for you. Spend $250 on your first campaign on LinkedIn ads and get a $250 credit for the next one. Just go to LinkedIn.com thebigpicture that's LinkedIn.com thebigpicture Terms and conditions apply.

[B]

Would you like to talk about your photo with Kai Gerber?

[A]

Yeah, let's talk about it.

[B]

Okay.

[A]

What would you like to know?

[B]

I know everything. You maybe want to address people who are like, what's going on here?

[A]

Sure. So the three of us went to Vidiot's one night to watch Mother Mary. And I spoke to David afterwards beforehand. Vidiots, which is wonderful nonprofit located in Eagle Rock. They do a photograph with the filmmaker in the video store, which is attached to the movie theater.

[B]

Yeah, it's good Instagram content.

[A]

It's great Instagram content. Shout out to vidiots. So there was going to be a photograph with David and they said, sean, we want you to be a part of that photograph. And that's obviously a tradition that we've been doing here on this show where we take a photograph of the filmmaker. I was like, sure, that sounds like a good idea. They were like, well, David's ready for you in the video store. Come on back. So I walk back to the video store. Familiar space for me somewhere I go frequently. I was just there Sunday with my daughter, and David's there and I spotted him and some folks who work in pr. I'm just chit chatting with. And start walking towards David and then right to his left. Kaya girl Gerber. Who

[C]

were you?

[B]

Starstruck. It's as. As one of our. As someone on one of our group chats, probably Rob Mahoney, but I can't remember said about the photo. It's the most. I don't know what to do with my hands pose of all time from Sean Fenesty. Just. And just totally taken aback. Right?

[C]

Yeah.

[A]

Speechless.

[B]

You never see him speechless.

[C]

She's luminous.

[B]

She's an international supermodel.

[A]

Is that the word?

[B]

Sure. That is award that communicates light. I think luminous is probably better.

[C]

You're not awestruck by the beauty of women like myself and Amanda? It's only.

[A]

I think you are both beautiful. And I'm very. Save it. Thank you.

[B]

But, you know,

[A]

no, I mean, it goes beyond. There's a hot coin. It's like she has a. You can see that she has a unique gene. Right. That's her job. She's a professional model. She has the greatest genes in the universe.

[B]

She's an aspiring.

[A]

The bigger challenge was the surprise. You know, like, I'm very comfortable.

[C]

What would you have done to prepare a beta blocker?

[A]

I would have not gone. I would have not put myself in that situation. Nevertheless, she said, hey, Kion. She said, hey, Sean, I'm Kyle.

[B]

You're back in that space right now,

[A]

and you can't get anything close to Kaya. And she was very, very kind. And then they were like, let's take a photo. And I was like, kaya's gonna be in the photo. I have to be in the photo at the same time. And then the decision had to be made. Do you touch Kaia Gerber? And I Decided no.

[B]

Yeah.

[C]

Oh, you got one of these floating hands. The classic floating back hands you haven't seen.

[B]

The photo's really funny.

[C]

You know, I didn't even notice. I screenshotted you and Kyah really big to make my phone magazine.

[A]

I'm in action figure pose because I'm like, I don't know what to do. I panicked, you know, and so I did that.

[B]

You know what? In your defense, that happens most of the time that a photo is taken of you.

[A]

That's true.

[B]

And I'm just trying to.

[A]

But I'm like, I don't.

[C]

You know, you're an ally.

[A]

That's right. What I don't want to do is violate in any way.

[B]

She gave a lovely introduction with David before. That's great.

[A]

And chit chatting with her was lovely. She was super cool and, you know, I wish her all the best and I hope we cross paths again one day. But not in photographic form.

[C]

I thought the casting of the tertiary characters was, for lack of a better word, extremely cunty. And I loved it.

[A]

It was. It was FKA Twigs.

[C]

Hunter Schaefer.

[A]

Hunter Schaefer. Kai Gerber. There's more. Who else?

[B]

Alba Baptista is the Taylor Swift character who opens.

[C]

What is her last name, Sean?

[B]

Clifford.

[C]

Clifford who? I love Fleab. The sister from Fleabag with the bad haircut.

[A]

That's Jessica Brown Finley from Downton Abbey.

[C]

Incredible backing.

[B]

Really good stuff.

[A]

Yeah, I think you're right that there's not a single man in this movie.

[C]

No, I know, and I'm sorry to have been struck. I literally just was like. I walked out and I was like, bechdel test passed, bitch.

[A]

Great job.

[C]

Bechdel test found dead in a ditch after this film.

[A]

Any other closing thoughts, Michael? Mother Mary. Okay, let's go to my conversation with David Lowery. Hi, everyone. What'd you think? Very easy movie to understand. Please help me in welcoming writer director David Lowery.

[D]

We like to let the credits play so that you can kind of like, decompress a little bit.

[A]

Yeah, yeah. This is my second time seeing it and I wish I had more time to decompress, actually. So you mentioned you started writing this movie seven years ago.

[D]

Yeah.

[A]

What was happening in your life that this came out of you?

[D]

I was on the set of the Green Knight in Ireland and there were a bunch of things. I had shot a scene with Dev Patel and Sean Harris and was like, huh. Doing a scene with two actors in one room is really fun. I hadn't really done much of that, and I was kind of Thinking about just where I was, like, as a filmmaker, like, what I wanted to do, what I had had done, what I was anticipating doing, Having a couple long nights of the soul, dark nights of the soul. And then I also just got really, really, really sick. And I felt like my body. Like my body was breaking open in weird ways not to get too graphic. And I was like, I'm just gonna. Rather than, like, lay awake. I couldn't sleep. And I was like, rather than lay awake in bed and not. And just stare at the ceiling. When to start writing about this? And I wrote it as a dialogue sort of between just me having a conversation with myself, but very almost immediately. I'd been wanting to make a pop star movie for a long time, and I was like, okay, this is the perfect vehicle for my pop star movie. And so I wrote the scene where Mother Mary comes and asks Mikayla for a dress. And then it went off in other directions. And over the ensuing years and working on other movies, it gradually became. It's still autobiographical, but became separate from me and became what. You know, what ultimately manifested over the course of. However long it took to make this, which was a long time as well.

[A]

Yeah, I want to hear about that. Your previous two films are very large in scale.

[D]

Yeah.

[A]

And was there a conscious decision to say, I want to do something that feels more achievable, like, more modest?

[D]

Yeah, I was really excited about doing something simple, but. Yeah. Yet I'm always. I mean, when I made A Ghost Story, it was also, like, one location we're never gonna leave. And I was like, but what if you went into the past and that was a much smaller movie than this, but still we wound up having these huge weta effects, came and did all these digital CG cityscapes for us. And with this one, I really wanted to. I'd really fallen in love with that scene with Dev and Sean Harris, with working really intensely with actors, which was something I've always loved doing. But my movies had, up to that point been. There were other things that took priority for me. And when I made Peter Pan and Wendy, which was really big and a really challenging movie in all sorts of ways, there's one scene in that movie that was. Again, it was Jude Law and Ever Anderson, and I was like, we spent two days in one limited location, and it was such a treat. And I just wanted to spend a few more days doing that and didn't really think about how two days is great, but if you're doing it for 40 days, it starts to turn into something, weird things start to occur. You start to live the movie in a really interesting way. And then it, as my movies tend to do, I reached a point in the script where it could have stopped. It could have been the end, it could have been over. But I was like, I haven't seen this through all the way yet. I need to keep pushing. And that's where it got a little bit more maximalist.

[A]

You said you'd always wanted to make a pop star movie. Were there inspiration points? Were there people who you saw at certain stages of your life who you thought, that's a movie star as well as a pop star?

[D]

That's a great question. I really hadn't been to a. Like, a stadium tour show up until when lorde was on tour with melodrama. And that was when I realized I love stadium shows. Like, that was. It was really. It was. It had a huge impact on me.

[A]

Well, what was it you liked about

[D]

them just being surrounded by that many people? I, you know, I'd been to see, like, rob zombie in high school, Hillbilly deluxe tour. I'd been to stadium shows before, but something about this is kind of a

[A]

living dead girl movie, actually. Yes.

[D]

Yes, exactly. Yeah. Something about going to see that type of spectacle surrounded by that many people, and specifically that type of music was really transformative for me. Prior to that, I made movies that dealt with folk music or had sort of more of an old fashioned classic americana sensibility to them. But as I was making those, I was secretly also discovering that I really love pop music. And when we made ain't the body saints, I can't say this. We hid a certain song in the movie as many times as we could by compressing it into the gunshots you hear in the movie. Just because I was like, you know, I've been listening to this song a lot. I really want to. It's infecting me, and I want to pay tribute. So we. We secreted it away into the movie.

[A]

And that song is called I'm never gonna say it. Okay. How do you research a movie like this? Because it is very much about a pop star and about a person who feels somewhat reflective of some of the big icons that we see. But it's also about the flip side, the sort of the support system, the creative shadow of someone like that. And I don't know a lot about that world, but it does feel realized. It does feel true when I watch it. So how did you come to understand how that world works?

[D]

It started with watching a lot of Documentaries. And I would say the two that were really instrumental to me were McQueen, the Alexander McQueen documentary. And it's not touched on that much in that film, but his relationship with Lady Gaga was something I had in mind. Even Madonna and Gaultier. But that. That pairing of a performer and a designer was really potent to me. And then just watching every music documentary, basically, and seeing. Just getting just the idea of what it means to go on tour, something I could never dream of doing. My hat's off to anyone who is capable of that, because it is a true. It's a superhuman feat. And I think the first one, maybe when we were shooting the Green Knight, Beyonce's homecoming documentary, came out, and watching that was really, really impactful. And then the Taylor Swift Reputation documentary, which is, as a cinematic spectacle, really something else. I really love the way that was shot, and we could barely scratch the surface of that scale with this film, but that was something we looked at a lot, too. But just even watching all of those, you just get the sense. And then talking to musicians, like talking to people who do this, and trying to get a sense of it, trying to understand what it's like. And not just the ardor and joy of getting to go do this night after night, but also the creative collaborations that beget something like a stadium tour.

[A]

Who was cast first? Mikayla Cole or Anne Hathaway? Way.

[D]

I sent it to Mikayla first, but we wound up meeting after I'd already met Anne, and so Anne was cast first. So by the time I met with Mikayla, we didn't really talk about. I try to be agnostic when I'm casting movies, and I just like to send the script and see what people think of them. And I honestly think there's an incredible version of this movie where the roles are reversed. It would be just a completely different dynamic. But I did cast Anne first. And so then when I met Mikayla, and we were talking about it, and we weren't even talking necessarily about her playing Sam, we were just talking about the script and talking about what she found meaningful in it, which was really a big. Like, I was so starstruck because I'm such a huge fan of hers, and to know that she found value in something I'd written, I was like, what's going on here? But the. As we were speaking, as we were talking about, you know, personal experiences that she could relate to within the script and the things that. Where it came from for me, I really started to hear Sam's dialogue in her voice, and almost instantly, I Was like, this has to happen. It has to be her.

[A]

You're saying you like the idea of working with two actors, and if there's no chemistry between the two people that you cast, a movie like this can't work, and there's such a toxic chemistry between these two people. How do you. How do you make that happen in a movie without it making everybody go insane?

[D]

We might have gone insane. I mean, it's there in the script, so you know what you're signing up for. And I was very confident that no matter what, the chemistry was like a. They're professional actors, and we're gonna come here and we're gonna perform these scenes as they're written, and we're gonna explore them and extrapolate from them and expand upon them and. And something will emerge from that. But also, I just want to see the two of them in a room together. And it could have been anything. And I would have been, we can work with this. I would have known we could work with it. But it really was, like, a really interesting process of. I mean, you hear about this with other movies, but, like, you start living it. You really become every day you're going there. And we shot not entirely in sequence, but we tried, at least for the first three weeks we were in sequence. And we were really, I think, had a plan, and we knew what we were doing. We had rehearsed the first act of the movie very, very thoroughly, and we were sticking to that plan, and it was all working according to plan. And then at a certain point, we started to feel things more deeply. And there are fewer words in the movie. At a certain point, you start exploring in a different way. And at that point, it really became an almost supernatural experience, making this. And I don't know if that comes through in the movie, but we felt while we were making it, we were like, wow, what are we conjuring here? This is so. It felt sometimes incredibly beautiful, sometimes incredibly painful. Sometimes it felt evil. Like we were summoning something terrible. And we were like, oh, no, what's gonna happen at the end of the story?

[A]

Tell me a moment when you were conjuring something evil.

[D]

There was a moment after Anne has told her story and they're sitting there and she asks, no, after Mother Mary's told her story. And she asks Sam if she believes her. And Sam clearly doesn't, but knows she needs to address this and is going to invite her up and remeasure her. And I remember Ann saying, I'm afraid to speak the words right now because there's something inside of me that might come out when I open my mouth and it might hurt. Hurt all of us. And maybe that was a metaphor. This is a movie full of metaphors. Maybe it was literal. And Mikayla knelt down at her side. I didn't quite know what to say. I was like, this has never happened to me. And Mikayla knelt down at her side and just took her hand and said, I love you and I trust you, and you can say the words. And that was one of those moments. Was just like. In that moment, it sounds almost like.

[C]

Like

[D]

something I wrote. But it also. Describing it doesn't really capture how intense that moment was. And I remember the crew was all gathering around, being. Watching us as we're all just working through this moment. They're like, what is happening? And then the other thing, when they're in that circle, it was. There's the scene where they do this breathing exercise and they just breathe. And it's one of my favorite things in movies is just to watch people breathe and fall into that pattern. And we would do that before every single take and really get ourselves into that space. And it really felt like we were entering some weird zone. And that scene was scheduled for, I think, two days. And we probably shot it for seven days, which is an insane thing to say out loud because we just kept. I really wanted this to be a film where if anyone felt that something was wrong or that we were going down the wrong path, we would stop and course correct. And that sequence, we were always refining it, trying to find for them the performance, like where they were, where the characters were. For me, that's one of the most. Visually, there's a lot going on visually in that sequence and finding the right visual language for it. And we were constantly exploring within the parameters of this tiny little circle on the floor.

[A]

I remember vividly you talking about completely re editing the Green Knight during COVID and just changing the tempo. And even maybe some of the meaning of that movie by having free time on your hands and changing it. It seems like this movie similarly had a kind of ongoing redefinition.

[D]

If it wasn't opening next week, I would still probably be doing stuff. But with the Green Knight, it wasn't that I recut. I didn't change what the movie was. I just. Just gave myself time to take some time away from it and then was able to tease out that meaning more effectively. And that really did involve changing the tempo. That was the big thing, just changing the pace of it. And with this movie, I watched it like December 31st of last year or of 2024, and was like, like, this is the best thing I'll ever do. I'm done. Not gonna touch it. And then showed it to some people and realized, okay, maybe I'm not done. And that happened repeatedly where I would just be like, okay, I've crushed it. And then I'd watch it with an audience and be like, oh, they're not getting what I want them to get out of it. And then a lot of it was me, just consistently. Cause I edited it as well. It was just like, what else can I do? And that's the same thing I do with the writing. Like, this movie could have ended at various points. Michaela's monologue was at one point the ending of the movie where she talks about that final performance. And I was like, no, there's more to find, there's more to extract, there's more to dig out of this. And with the editing process, it was the same thing where I was always like, I don't know what it is, but there's more. I'm not through with this yet. There's more I can get out of it. And because of delays with strikes and other things, we had the luxury of continuously just digging back in and pushing.

[A]

It's something that makes filmmaking such a unique art form to me, which is that unlike a painter or even a songwriter, you can kind of show a work in progress and take notes and feedback and change it based on things that people say to you. And I feel like you have to really evacuate your own ego to let that happen. Is that something that you do on every movie where you really want to hear what people think of what you've done so far?

[D]

I wish that I could just be like, I made the movie I want and I'm done. And maybe I should try that. I don't know. But I would still go through that process on my own. I love hearing what people think of it and I love showing it to people because I believe that's a movie's a living thing and it really needs to engage with the organism that is the audience. But I want so much of it is self imposed, where I just, like, I hear what people say, then I have to not look at it for a while because I don't want to just answer those notes. I want to hear those notes, let those notes sort of like simmer on a very low boil, and then take what I need from them. But it really is informative for me to just like, am I. Achieving what I set out to do. And sometimes I have kind of an idea of what I set out to do. Was a movie like this, like. Like 10 years from now, I'll still be trying to figure out what I was trying to do. I know what I was trying to do. But I'm going to learn more about it as I discuss it now as it makes its way out into the world.

[A]

Yeah, I know better. But there is a part of me that wants to just look you in the eyes and say, what does this movie mean?

[D]

I'm not going to say it because I want everyone to just go see the movie again. But Mikaela literally says what the movie's about in the first 20 minutes. She lays it very clearly on the table. And that's what the movie's about.

[A]

Yeah. I also was thinking about, this is the second time I've seen it now. And thinking about, who are you between the two of them? And you indicated that you're both of them, that it's a conversation between yourself. But I'm wondering if maybe you had relationships creatively where you were Sam or you were Mother Mary and kind of how that informed some of the dynamic that you created between the two characters.

[D]

I haven't had specifically those relationships, but. But I have seen the way. Because I work with the same people over and over again, and you see the way in which relationships can ebb and flow from one project to the next, and the way in which those collaborations can be really, really intense in a way that can sometimes almost seem dangerous. And that's a beautiful thing. I really love that. I've thankfully never had one that has gone this way, but I could project and imagine what would happen. It definitely was. Also, though there was a scene in the movie at one point where they explicitly referenced Disney movies. And I was like, I love making Disney movies. That's one of my favorite things. And I also love making movies like A Ghost Story or like this. And it's like every now and then, most of the time, those two sides of me live in perfect harmony. But every now and then, I'm just like, what the heck is going on? And when I started writing this, I was having one of those moments.

[A]

The biggest potential pitfall for a movie like this is just getting the music wrong. If you get the music wrong also, the movie will not work. And I find the songs in the movie to be very credible. And they're living in a weird, liminal range between a bunch of different active and past pop stars. So how do you Know that you're getting the right songs. How do you cast the right people to write those songs to make this a legible world?

[D]

Charlie was the first person I met and I had been a fan of her music and was. And her documentary, but I had not been thinking about her specifically while writing this. But the thing that I knew was that the music I listened to while writing this movie was one thing that was the tone of the movie. But the character of Mother Mary needed to be something very different. And talking to Charlie was like, oh, oh, you could bring that to this film. And you're brilliant, you're amazing. Please, please bring that to this film. And then collaborating with Jack and her to create the songs was a real learning experience for me. Like, I've never been lucky enough to sit. I've known a lot of musicians, but to just sit and watch these, it was like alchemy. Like watching them conjure it out of thin air. It was incredible. And I have to give an immense amount of credit then to Annie, who had to perform them. We had written a couple of the songs early on and I shared them with her and she liked them, but she was like, I don't know how to make these mine. And I was like, well, of course these have to be yours. You have to go on stage and sing them as if you wrote them. They have to feel like they're coming from you. And that process, I think, was what really took them to the next level. Level, because the songs were great, they were always great. The rough demos were incredible. But the thing that really made them hum in that ineffable way was what Annie brought to it. And she just. We know she can sing, she's an incredible singer. But to sing in this way was really. It was a new muscle for her to learn. And so she would go into the studio over and over and over again and just re record these songs and was just constantly trying to get them a little better in a way that I couldn't even hear. Sometimes, like, I would be like, it sounds great, I love it. Top 10 hit, here we come. And she's like, no, we're not. We don't quite have it. And sometimes it was changing lyrics, sometimes it was like things that would work better for her, but more often it was just a feeling and a vibe and she just kept pushing at it. And I owe so much to all of them, but also to her for not letting it rest.

[A]

There's also something in her performance that really jumps out, which is both when she's on stage, performing. And also when she's just in the kind of chamber set, she has a very explicit posture and personal choreography. The way that her hands move, the way that her body moves. And I'm curious how much of that is written in the script. How much when she's making hand gestures to communicate with her lack of language in that sequence with Mikayla. Is that all there? Is that something you guys are figuring out when you're working on the scene?

[D]

Some of it, like the hand gestures was all there. That was something in the script. That long story. But due to my love of Anna Karenina, it's like a vague. I stole it from. And I didn't even steal it. It's like, anyway, love Anna Karenina. I love the movie, too. But the book. Novel. Novel, apparently.

[B]

Okay.

[D]

But she came to set with so much of that already worked out. And that was truly one of those. I remember when we made Ain't the Body Saints, Rooney didn't want to let me hear her accent until day one. And I was nervous because it's a thing. And then she did, and I was like, oh, this is perfect. Why was I scared? You're an incredible actor. You're gonna nail this. And with Annie, she had done so much work in the physicality, not just of the performance stuff, which was a whole other thing, but just the way that she carries herself, the way that she holds things within, the way she uses her hands. And the few times where she would let the pop star flare, pop through, like when she snaps her fingers, like every now and then, that would pop through in a very calibrated sense. But everything else was so. She'd worked through, like, I think, every gesture in advance. And it was so incredible to see because I. Again, we'd rehearsed it, but it wasn't until we got to set that I really saw how much thought she had given to the physicality. We put so much emphasis on the dancing. Like that was. She had a pop star. Boot camp. Our choreographer was working with her three months before we started shooting. And then for a year afterwards. Cause we shot most of the concert sequences much later. And it was incredible to see her. Not only her commitment, but the way in which that commitment paid off and what she found that she was able to do. And so we were always focused on that. We were focused on the dance, focused on the. And the expressiveness that she could summon up. But then all of the stuff that was less expressive was a beautiful surprise to me on set.

[A]

How did you execute the concert sequences? And make them seem as though they were happening in a stadium environment.

[D]

I'm sure there's a million ways to do this. And what we kind of figured out for us was that we just had to put on a. A stadium concert show tour. Like, not a tour, just five nights. Five nights of Mother Mary. And we did it in Bonn, Germany, where we could get a stadium for a week or two or three weeks. And we. I mean, hired people who do this for a living. And I was like, this is a whole art form unto itself, that I would. I have no idea how. Like, I can talk about how to light a set. How to light a stadium is insane. And thankfully, Rena Yang, who was one of the cinematographers in this film, she had a lot of experience with that, so she kind of held my hand through all of that, but just putting that on. Danny, our choreographer, was really instrumental in helping us make it feel real. Our production designer, Francesca, did tons of research into how to do this, but we were really just like, this is not a movie anymore. We're just putting on a concert and filming it. And we would just play the same song 30 times every night. But it was like, that was. And we had 500 people, which, in a stadium is nothing. That's the front row. But it was enough for Annie to be able to communicate with the crowd and to feel like she was performing to someone and to engage with them. And I will. My hat's off to all of our incredible background talent in Germany because they gave it their all every single night.

[A]

I'm hoping you could talk a little bit about the phantasmagoric aspects of the story. Was it always an essential part of the story, or did this start as something that was more stripped down between two people and then evolve into something that became more ghostly and spiritual?

[D]

I would say that it always started with a sense like it was from the very beginning, had this gothic quality to it, whether it's. You know, I was definitely thinking about Rebecca when she pulls up to the house, you know, and literal thunder and lightning. Exactly. Yes. Yeah. And then, as I tend to do, I just, like, remove the tethers of reality and start to explore the themes in a more phantasmagoric way. And I tried to hold back for as long as I could because I didn't want to just instantly plunge headfirst into that. But at a certain point early on in the writing, I knew it was going to go in that direction, and I didn't know how far or what form it was going to Take. But I'm really into phenomenology, and I really wanted this movie to feel like a phenomenological exchange between these characters. And I wanted the ghost, which we try to not even refer to too often as a ghost, to be just energy, an emotion exchange between two people that takes form, that takes. Not human form. It takes some sort of form. And I like the idea of someone who sees something that they know is not literally real, but it feels real. And that's what phenomenology is. You have to assess it on the base of the emotional truth that the subject is experiencing. And so these are two people who are experiencing the same phenomenon that they know is probably not real, and yet it's real to them. And they have to reconcile that. And.

[B]

Yeah.

[D]

And so there's a ghost. The reference that I gave when we were trying to figure out what it would look like was the T1000 at the end of Terminator 2 when it falls in the lava. Because I love the idea of something that can't figure out what it needs to be. Like it doesn't know what it needs to be. And that I kept showing that sequence where it's like, look, he's turning into all the different forms. And so we tried to find our own version of that. And I've made a movie with a fabric ghost before, and it wasn't intentionally setting out to do that, but it just made sense for this film.

[A]

Yeah. And this is like an elegant elevation of a ghost story in a way.

[D]

Yes.

[A]

You used puppets.

[D]

We got some puppets.

[A]

You're a puppet guy.

[D]

I love puppets.

[A]

Talk about it. How'd you figure it out?

[D]

So we had. I knew it was going to start with this weird sort of mass of bloody tissue. The whole tooth thing happened to me, but not the part with the ghost crawling out of my gums. I did have a wisdom tooth crack open. And that was a rod puppet. So we had, like, two or three rod puppets. I built it out of clay or made some clay maquettes. And then my friend Anel, who did the ghost from a ghost story, she made these little rod puppets with, like, bellows that would make it breathe for when Sam first sees it on the floor. And then I knew it needed to transform. And we went through so many iterations of what it would transform into, all involving fabric. But some of them were costumes. Some of them were more like sculptures. And then I was looking, I was trying to just figure out a way to make this unique and truly, like, something that I'd never seen. Before. And I was just looking at YouTube and saw this artist named Daniel Wurtzel who does these sculptures with wind and fabric. They're just incredibly beautiful. They feel like they're choreographed, but they're not. It's just fabric moving. He has this custom air table that he uses. And so we reached out to him and asked him if he could collaborate with us in creating. And he does it, like, at scale, like these huge things. And we did a couple of those. We did some that were smaller. We used all sorts of different fabric. We had fabric that was, like, covered in gore, just all these different forms. And then film photographed all of that and then composited that into the other footage that we'd already shot. And it was really incredible to just sit there for five. We did spend five days with a VFX unit just filming fabric in the breeze. And it was really hypnotic.

[A]

Can you tell me what quantum entanglement is?

[D]

I mean, we could go really deep on this. It's when. When two particles share properties across time and space. So you could have like a. Let's just say an atom. It's usually smaller. An atom that is blue, let's say, and blue in a very specific way. And another atom on the other side of the universe has exactly that same color blue. And they're virtually identical, and yet they have no sense of connection in a spatial way. And. And it's a phenomenon that was theorized and then eventually proven. And it is one of the best metaphors for a relationship you could possibly hope to find.

[A]

And did you stumble upon it while writing this? Why did it become a hole for it?

[D]

I had known about it for a while because I love quantum physics. I was working on. At one point, I was working on the Joe Dante movie Explorers. I was working on it. TV show adaptation of that and completely destroyed my brain trying to research every aspect of quantum physics. And that show never happened, but it did give me a deep love for something I cannot wrap my head around. I cannot explain it. I don't understand it. I'm terrible at math. But I love it. And so it worked its way in here very, very quickly.

[A]

I love how unpredictable your movies are. I literally could never imagine what you're going to do next. But I do like asking you, do you know what I think? Have you started writing something or have you already made something?

[D]

I'm going to knock on wood because we just. We're in prep right now. So ideally, this one will happen. It won't. You know, this one is. God, I'm Going to just shoot myself in the foot. I'm like, this is a small film. I'm just going to make a small film.

[A]

Mother Mary, too.

[D]

Exactly. It's a very small film. But yeah, we're underway on that right now.

[A]

Okay, David, we end every episode of this show by asking filmmakers what's the last great thing they've seen. You are a true cinephile.

[D]

Yes. The last great thing I saw was the Alamo Drafthouse showed melancholy about two weeks ago and I hadn't seen it in about 10 years. And it is. It's long been my favorite Von Trier movie, but it is better now than I was. Like, how have I been sleeping on this movie for 10 years? This is utterly incredible. I know you covered it last year.

[A]

We did, yeah.

[D]

25 or 25. And I was so happy to just see it on the big screen. And then I also want to give a. That's an old movie. A new movie that I saw last year but also repeatedly watched this year is a testament of Ann Lee, which I just can't get enough of. Absolutely breathtaking movie. I can't stop listening to the soundtrack. It is a movie that is quickly rising as one of my all time favorites.

[A]

They would make an incredible double feature with Mother Mary, too. I mean, they're a match made in

[D]

heaven I had not even thought about. But I'd love to go see that double feature.

[A]

Everybody give it up for David Lowry.

[D]

Thank you, everybody.

[A]

Thank you to David Lowery. Thanks to our friends at vidiot. Thanks to Yossi Salik. Hey, you gonna come back for a truly great movie next time? I would hope so.

[C]

I mean, I love this tradition of you sending me off to the theater to see. Sort of difficult.

[A]

Yeah. Paw Patrol 2 next for you. What do you want to do?

[B]

Yeah, what's on your radar?

[C]

Madonna's career. I've not been. Is Madonna gonna be in a film anytime soon? I'm a little preoccupied. Thank God.

[A]

Will not happen, but it will be portrayed as if it were real in the studio. Season two because.

[C]

Go. Because we don't need anyone destroying her legacy like that.

[A]

Take it up with Julia Garner.

[C]

I'll take a look at the coming releases.

[B]

Okay.

[A]

Thanks to our producer Jack Sanders for his production work on this episode and that live event. Thanks to Lucas Kavanaugh for his production support. Next week, we are drafting again. We've actually already recorded it. It's a Star wars movie draft.

[B]

It was totally normal and I had a perfect draft.

[A]

Yes, Amanda did very well. I yelled at Amanda. She yelled at me. Everybody else was chilling. Well, we'll see you then.