Robin Williams, Jeff Bridges, THE FISHER KING. We dissect , we explore, we expose Robin Williams and the wonder that is Terry Gilliam's 1991 film The Fisher King.
Have you seen The Fisher King (1991)? You should, and you will certainly enjoy surfing through this film with us. The 4th episode of the podcast, we delve into how this film got made and how it ended up in Gilliam's lap, along with the casting choices, and of course, the nudity choices. This is the first full-frontal nudity that Robin Williams had ever done, but it's certainly not his last.
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I like The Fisher King. How about you?
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I guess my main issue is kind of like with just the film is a little bit mess.
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Oh, my God. Don't even. Just don't dive into it with a mess. Build up to a mess. Um, well, hello there. Welcome to On The Bitte, the podcast that, um, uncovers full frontal male nudity in cinema. My name is Laura, and I am joined by my cohost Ryan.
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Hi.
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Uh, hey, Ryan.
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Hi there. This is a very energetic opening.
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I'm pretty excited.
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Okay.
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I'm excited to talk about the 1991 Terry Gilliam film, The Fisher King, uh, starring Robin Williams as Perry and Jeff Bridges as Jack Lucas. But before I get into those guys, tell me about Gilliam. Gilliam.
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Gilliam. So Terry Gilliam, the director, I think a lot of people know of him. I think a lot of people know of his work. They have definitely seen a bunch of his stuff, like, over this time.
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I hope so.
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Um, he is not obscure, and certainly if you're from the UK, you're probably going to know more about Terry Gilliam than most Americans would be.
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Okay.
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Certainly, because he is. What was sorry, still is. Let's say that, uh, they're still doing stage work and stuff like that. But, uh, he was part of the Monty Python comedy troupe mhm, so, yeah, that comes with it. You don't really need much explanation for Monty Python. Everyone across the globe will know who Monty Python are. You from the 1960s and into the 1970s and ending in the early 1980s.
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Yeah.
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But his contributions, other than, say, the small bit parts that he played in sketches and things was he primarily did the cut out animations that bridge the sketches together from episode to episode.
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Okay. So like, the intro was like the feet and the flowers.
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Pretty much, yeah. So that gave the show its own very distinctive loop, very distinctive style, for sure. Not to say that the comedy wasn't already quite stylisting in itself, because you never really had seen anything like that before. Very surrealist and stuff.
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But, yeah, I liked that a lot. I liked that just because you had a lovely kind of through line through each episode connecting those. I think the only other sketch show that I knew of that did that, which was obviously much later, was Mr. Show, like the David Cross, Bob Odenkirk.
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So very influential. Very influential.
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Definitely.
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So in terms of, like, Gilliam's history, he's American born and he studied political science, um, so very much his views, certainly when he was studying in the 1960s, his political views were very much influenced by the civil rights movement that would have been happening in the US at that time.
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Okay.
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He's left leaning. So his whole feeling around about that time was that by 1968, he leaves the United States to go set up shop in Britain. I guess because of his view of the US, he doesn't like the US particularly much. He renounced his citizenship in 2006. But here's the thing, he still resides in London. He's now an 80 year old. He has been married since 1973.
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What a Darling.
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It's lovely to know. And obviously by this time he's in the UK. Uh, he's an animator and he's on. He's doing Monty Python. Right. So he's part of that comedy troupe. So in terms of his filmmaking career and I guess this is obviously more important pertains to what we're talking about today. Up until this time, he's made 13 feature films.
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Like through his career.
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Completely. Yes. So from his first feature, which I'm going to say is his co directorship credit on Monty Python and the Holy Grail, which was obviously, uh, with Terry Jones and that's back in 1975. So that's where basically he kind of cuts his treads, so to speak. And obviously if you watch Holy Grail, you see a lot of, uh, key and very distinctive gileesque things.
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Right.
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We then later, as we follow his work, start to reckon. Nice. And he's more, uh, fully fledged directing work.
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Well, his quirks and stuff kind of penetrated through flying circus as it was. Anyway, so that's cool. Okay.
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I guess what I'm talking about is the angles.
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Uh, okay.
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It's like the use of wide angle lenses and if you use them in a close up situation, it um, distorts like faces and things.
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Oh, yeah. You see that a lot in this film too.
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Yeah. He's got a very distinctive visual look and just the way the sets are decorated and stuff. So basically the way that Holy Grail was constructed was that Terry Jones would deal with the performances and just make sure everyone was doing what they were doing. And then Terry Gillian would be more on the visual side of things. Um, so that's kind of how that, uh, partnership works. But let's be fair, obviously, Monty Python just as a troupe in terms of everything else, that was just their thing. That was just the way it was.
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What perfection.
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His first director, let's say, fully fledged director credit is Jabberwocky, uh, in 77.
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Right.
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That has Michael Palin in it. I remember seeing it like a while, a while ago. Yeah, same, uh, again, it's paving the way for what he's going to be coming in to.
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Do you want to start somewhere?
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Yeah. So 77, Jabberwocky 79 is Life of Brian.
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Yes.
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Arguably their best film. And that is a film that we're going to explore.
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That's on the docket.
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That is on the docket. That is coming program. But when you don't know.
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Yeah. You're never going to know.
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Well, you won't know.
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You will.
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No, don't say that.
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Not telling you now.
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Don't patronize our audience.
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Be patient, guys.
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I know we need every single one of you. Moving on. Um, so Life of Brian 79. And by the time they are making Meaning of Life, which is near 1983, at this point, Monty, uh, Python is no more effectively. They all broke up. They all started going off into the wrong direction.
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I want to say they broke up. Uh, they're still best friends.
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Yes. But the ones we have, there's no show. Let's say there's no TV show.
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Can't do it forever.
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The last movie is obviously The Meaning of Life, which is fine.
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I really like the Meaning of life.
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Okay. Waferfin Mint.
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Oh, my gosh. Yes.
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Um, but certainly, um, they all go off in their separate directions. And obviously John Cleese is an actor. Eric Idol started doing more things in, like music. And he was also acting a lot. And obviously, Gilliam pens himself now as a writer, uh, director.
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Yeah.
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And Michael Peeling goes off to do like, travel shows and stuff like that. And he's a beautiful man.
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He is.
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All of his travel shows are easily some of the easiest watching you can ever have in your life.
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Yeah.
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And Terry Jones is still directing all of a sudden. All very nice. All very amicable. What we get from Gilliam, um, and this is from his own words, is that he likes to look at his films as trilogies. Okay.
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Interesting.
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Now, they're related in some way, shape or form to each other because they explore very similar ideas, but from slightly different perspectives. Now, we also have to take into account that his background is effectively in, uh, an analysis of politics and of society, how society itself kind of works and things. So he's very much his focus. And you can tell that from his work and even the stuff that he doesn't write, because there are films and certainly Fisher King is one of those that he hasn't written. But obviously there is a definite focus on society and how it changes people and just the rigors of that of society just in general.
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Okay.
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So let's look at this first trilogy. So this is called The Trilogy of Imagination. All right. And this is very much about the ages of man.
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Okay.
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Okay. Now, all three of these films. Well, okay, two of these films are excellent. Okay. Now, firstly, one of the films in this trilogy, the first one is Time Bandits in it's fine. Perfect. Five star movie. Let's put it this way. I think Time Bandits is a five star movie. And we'll get to how I feel about the Fisher King. So Time Bandits, now, Brazil is the next film that comes out after that in Jonathan Price Robert De Niro Sci-Fi movie.
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I love that movie.
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So good, really good. And that's similarly on the theme, but it's seen from the perspective of, uh, fairy odd year old man. Then we get the adventures of Baron Munch housing, which is in. And that is seen from the perspective of an elderly man.
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Right. Okay. Yeah, that movie is fine.
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Yeah.
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And that one just proceeds fishing, right?
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Yeah, pretty much. Yeah. Well, Moon chosen has its own interesting story that kind of leads into the evolution of what becomes the Fisher King, obviously, for Gilliam. So, um, Fisher King itself becomes part of this next trilogy, which is the trilogy of Americana. And that's basically just like it's set in North American soil and they're effectively less fantastical. Let's put it this way. Fisher King comes out in 91 and part of this trilogy is then followed by Twelve Monkeys in 95, which is fantastic. And then Fear and Loving in Las Vegas in 98. But, uh, we're focusing on Fisher King, obviously.
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Because of Baron Munchauses. And Terry Gilliam didn't think, um, he was going to work again because he went so over budget, so overtime. Right.
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Yeah.
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He was like, oh, I'm out. I'm out of Hollywood. And he never thought he would make an actual film in the United States. No, he never thought he would make a film written by somebody else. And he didn't think he would make, like, a Hollywood film.
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No. Yes. The whole thing ballooned and just got out of control with Munchausen. With Munchausen.
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Yeah. And here we are. We get the Fisher King.
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Yeah.
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So since Munchausen, Munchausen, Munchausen, Munchausen. Well, you took German.
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Yeah, but I see.
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Say it in German.
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Munchausen.
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Munchhousen.
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Yeah. You're putting on, like, a fucking Elsa she Wolf sort of accent.
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Monchaun was such a disaster ride.
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Munchausen.
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Oh, my God.
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Right. Okay, well, look, it's not difficult. You can read it on the page.
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Munchausen.
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All right. Munch Housing.
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Munch houseen.
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Like an American.
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Munchausen.
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Munch house.
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So when Munch Housing was such a disaster.
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Munchausen, he ends up getting this script.
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And it was a script that he read and he loved, and he was never going to write or direct someone else's script. And it came from this guy, Richard LaGravenese. It was his very first spec script he'd been writing in Hollywood. And I guess his wife or his girlfriend was like, write a script, write one of your own. And it got sent out and obviously had gone through a couple of different directors in different Studios before it got to Gilliam.
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Well, I guess Lago Avenues was working as, like a factory writer, just like churning out stuff.
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Okay. Yeah. And when Gilliam got it, he goes, you know what? I bet this has a better. It wasn't just like this straight off the bat because it looked like it had a lot of changes and stuff. And so I think he wrote Lagravenes. It was like, I love this. Show me your first draft. Lagravenes sends him his first draft. Right.
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And he says he originally got the fourth draft.
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Okay.
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This is also a script that's gone through the Disney wheelhouse because that was the property in which they bought. And I think they were trying to turn it into something more of a keeper.
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Yeah. It had a bunch of studio notes in it. Yeah. It was definitely a caper instead.
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Some of those things survive in the final film, but they're less pronounced to the kind of pink Panther levels of stupidity. I think the one thing that they mentioned in the commentary and it was in the documentaries as well, Is the film Rafiki, which is, uh, a phenomenal heist movie. Fuck your Ocean's. 11th. It's Rafifi we're talking about.
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Okay.
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I think what they were trying to do is they were trying to mainstream it, but certainly at the heart of this story Is the relationship between two quite disheveled men.
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Yeah.
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Is what we have, like, two men at the lowest of the low, who one is responsible for, the other is downfall effective.
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Do you want me to read to you the letterbox synopsis?
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Yes. Instead of me worming around trying to figure out my head.
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Two troubled men face their terrible destinies and events of their past as they join together on a mission to find the Holy grail and thus to save themselves.
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Yeah. The Fisher King just as a story like the film itself, not the Fisher King story, Because it's obviously a story.
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Yeah, definitely.
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Um, mhm yeah, I mean, I'd say that's pretty much on point.
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Yeah. It's a very blanket kind of statement synopsis about the movie. I would kind of look at it as if you're going to go slightly more in depth but not ruin it. You have a radio DJ, very popular one, who inadvertently kind of drives a listener to shoot up a bar.
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Pretty much. They have a recurring caller who's a loner. And Jack Lucas, who's played obviously by Jeff Bridges, Makes an off the cuff comment about basically hating yuppies at that time, like coming out of the late 80s and obviously in the early 90s, Where there's a very distinctive.
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Like the upper crust of New York.
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Really kind of very distinctive difference between the people who live on top and the people who are living down below.
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Yes, I, um, think he has a crush on somebody who is of the upper crust, and Jack Lucas is like, you're never going to get it. You're never going to get her. We need to take them down. We need to take them down. The waste of your time. So the guy the caller takes it literally and shoots up this Manhattan bar. And what happens in the process is he shoots someone who ends up meeting the widow of widower, uh, the widower widower of someone that was shot in that bar who is Perry, who's played by Robin Williams And who is directly affected inadvertently by something that Jack Lucas has done. And I think it ends up being Jack Lucas'quest To help Perry find his Holy grail, whether that's literal or figuratively. Kind of help him get back on his feet and in turn, get Jack back on his feet and kind of find themselves again.
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Yes. So both of these characters are searching for metaphorical and literal grails passively. Jack Lucas is, I guess, in his way, for seeking redemption. Sees Perry as the lynchpin, that emotional lynchpin that will get him back to effectively like a normality but characterize. Jack Lucas a little bit more. I mean, he's one of those bombastic asshole DJs that we were like. He's a Howard Stern type.
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But he's on Am radio, which I thought was strange.
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Yeah, he listens to that? I have no idea.
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I mean, he's popular enough. He was about to get a TV show.
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He was about to get a TV show.
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Remember, um, what that TV show was called? It was called like I'm on the Radio. I think that's what it was called.
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Yes. I think it's something silly.
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I'm on the radio.
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Yeah. Um, the whole opening of the film is we see Jack Lucas and his high life, basically.
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Yeah. In his studio recording his show. We see him in his crazy apartment. Mhm can I say this now?
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What's that about?
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That ornament that you see?
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Yeah.
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Okay. So I hope you guys have listened to The Color of Night, the very first episode where you have that ornament that has those little glass squares that kind of multiply what's on the other side?
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Yeah, it looks like a flat version of what a fly would see.
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Yeah. There's the same exact spinning ornament in this movie. So we have which, um, predates Color of Night.
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Yeah. By two years.
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By two years. So you have The Fisher King Color of Night. And then when did Bound come out?
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95.
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There you go. So again, guys, where did this come from? Find me this desk ornament I'll put a picture, uh, up on Instagram so everyone can see it or on Twitter.
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Whatever glass or hard plastic ornament I am on the Hunt.
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That ornament is my grail. Yes, I digress.
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Obviously we're haunted by that. We're obsessed and haunted by this tabletop.
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Ornament, like, how does it keep coming up? How is that in this movie, too, out of the movie that we're doing, does that ornament follow Dicks around? How is this possible?
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It's how you see the Dicks. That's how it is. That's what it is.
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That hasn't happened yet.
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It's like a thick kaleidoscope.
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Oh, my God.
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Yeah.
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If it actually had a Dick behind it, I would just pass out.
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Twelve digs.
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Can I talk about Mercedes Rule?
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Oh, she's phenomenal, uh, in this movie. Phenomenal with a capital failure that no one else is going to get.
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She, um, plays Anne. She plays Jack Lucas's girlfriend who owns a video store called Video Spot. She is an entrepreneur. She's a business owner. She is a modern independent woman.
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Yes.
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And I love her. She's mhm fantastic.
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Yeah. It's been a while since I've seen The Fisher King properly. And obviously we've rewatched it. I've, uh, rewatched it for this podcast. Yes, I know. Jeez, I'm explaining what I do.
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My apologies.
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Just because we're married, does not mean that we are chained together. It's not, like, stuck on me. I'm not the Matt Damon in this situation.
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Oh, my God.
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Yeah, exactly. See, no one ever thought it was going to bring up Bufferli Brothers movie.
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But anyway, I'd rather be Greg Canear.
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Yeah, good. That's fine. I don't have a problem with Matt Damon anyway. Yeah. I remember seeing this film at least 20 years ago at this point, didn't she win the Oscar for this movie?
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Yeah, she won best supporting Actress for this film. Yeah, definitely.
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She did really well. Yeah, she's damn good.
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She blows it away.
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Yeah. Everyone's really good in this film. That's the thing. Everyone kind of compliments each other, so it's not so much that she's too good. She's also acting against, like, Jeff Bridges, who I think does a really good job in this movie.
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Yeah. He's an absolute treasure. Amanda Plummer plays Lydia, who plays the Apple of Perry's Eye.
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Yes.
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And what's funny is that Terry Gilliam didn't want her at all. Like, it wasn't her specifically, but he had a British actress, an English actress in mind.
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What's that name?
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He never said. He never, um, said who it was, but he was like, absolutely, um, adamant that he was going to have this woman. He's like, I don't want to see tapes. I don't want to see anything. The studio ended up sending him a video of, uh, Amanda Plumber, and he goes, Shit. Yeah, she's real good.
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It's hard to see somebody else doing that, though.
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She's, uh, so, like, tough but delicate.
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It's hard to see goofy. It's hard to see anybody else in the roles that they've all been put in. Yes, that's the thing. They all do a really good job.
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I think it's a really good example of just, like, perfect casting.
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However, one just has a really distinctive look. We looked at, um, the special features, obviously, in The Blue Rain. We were doing all the camera tests and all the costume tests and stuff like that. And just how it all kind of just works.
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It gelled, um, really well.
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Yeah. And it's like they all look good together. They all look good in, like, a line up and stuff. And it's like, yeah, you know what? I think that's a really good piece of casting. I think the blending of the legend through the course of the script, I think, is quite clever. They take the story, they subvert it, and it's directly referenced in the film. But I quite like how it helps to change and subvert character expectations and just kind of where the story goes with.
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Yeah, but when he was trying to write his own spec script, he essentially wrote something that was more like Rain Man. He was just like, I want this guy and this other guy.
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Well, the thing is, though, and the Rain Man didn't exist by that point. He'd written, he wrote it, he wrote it. Then Rain Man came in. Obviously, he had, uh, Perry as a savant and obviously takes him to Las Vegas.
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And then we all know the story of the seeing how people were reading the script and going, oh, it's the most amazing script I ever read. And then what it makes you think is that this just came from the bowels of his soul. You know what I mean? Like, oh, this the Fisher King is a story I really want to tell, but it's not really how it happened. Cream in their jeans over this script. I'm like, I don't know. Just having a backstory like, that makes it a little bit weirder for me.
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I would say that is the general makeup of any script that goes through the Hollywood gamut. That's kind of how I've always seen it. So at least for Lagravina, I kind of feel like it was always kind of grounded, and what it kind of needed was a Gilliam, um, to inject a bit more life into it.
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I've read a lot of Arthurian romances, and I did my minor in undergrad on medieval and Renaissance studies. And it's annoying because when we were doing this, I'm like, oh, I have a bunch of romances, and I'm, like, looking through the book, and I'm like, this is the only one I haven't read. So, of course, I spent my time reading it, and it is different from the legend that we end up getting because Katie and De, he probably died or something before he finished writing it. It literally ends. The story of Percival ends, like, mid sentence.
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It is medieval time. So he probably died when he was about 18.
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Yeah, probably. Poor thing. But it went through, like, four different or after that, like, three different variations before they ended up with the story of the grail that they ended up getting. Because the initial story is where Perceval meets the wounded King, who is the Fisher King, and he's just in a boat. He's fishing. And when he goes into his Castle, he sees someone, like, with a tray walking around, and it's this beautiful grail. And he had learned from a mentor early on when he became a Knight, where he goes, don't ask too many questions, okay? You don't want to be too eager, so don't ask too many questions. So he didn't want to ask, like, what is that grail? He also sees a spear that just bleeds from the tip, okay? And he's like, maybe a Lance. He's like, maybe don't ask about that either. And so when he leaves, he's told by this crazy woman in the forest, like, you didn't ask him. You didn't ask him about the cup. You didn't ask him about the Lance. And he's like, what are you talking about? He's like, what's the problem? And she goes, you have to ask, that's how you break, uh, the wounded King's curse. You were meant to ask, like, who does the Grail serve. That's what he was meant to ask. And it was, uh, like the biggest chance of a lifetime for Percival and for the King, because he's wounded. He was hitting the Dick or something by that Lance. And so he couldn't have kids. He couldn't walk. So that's why he fished, because he couldn't ride a horse and stuff.
26:28.772 --> 26:29.322
Right.
26:29.456 --> 26:57.922
Anyway, so then that story kind of ends. You never find out because Percival is looking for the Grail again and looking for the King. So he can be like, hey, what's up with the grill? So we can break the curse? Yeah, you know? And so eventually, when other people took up the story to kind of finish it off, it ends up where Perceval ends up meeting the King and the King's like, oh, I'm thirsty. Perceval doesn't know it's a King. He just sees this dude who looks like shit.
26:58.006 --> 27:00.978
Yeah, of course. And then there's a cup sitting while he's dying, isn't he?
27:01.064 --> 27:05.554
Yes. He's messed up the maimed King.
27:05.722 --> 27:06.126
Yes.
27:06.188 --> 27:13.926
And he grabs a cup from the side table, fills it with water, gives it to him, and the King's like, oh, my God.
27:13.988 --> 27:14.770
But he's healed.
27:14.830 --> 27:16.246
This is a freaking Grail.
27:16.318 --> 27:16.978
Yeah, he's healed.
27:17.014 --> 27:33.406
He's healed everything's great. And he's holding the Holy Grail in his hands, and he asks, uh, first of all, how did you find what my best and brightest nights and wisest Knights couldn't find? And he goes, Well, I don't know. I just knew that you were thirsty. And that's the story that they tell in the movie.
27:33.598 --> 27:38.810
Yeah, that's my favorite bit in the entire film is when they're lying down.
27:38.810 --> 27:54.834
Sorry if that's too long, but I think it's very interesting. I love those Arthurian romances. They're so funny and they're so weird. And, um, I think anyone should pick it up. It's fun. Some of the stories are really short anyway.
27:54.932 --> 27:55.374
Yeah.
27:55.472 --> 28:14.930
So this was Gilliam's very first film that he did without any of the Pythons in it, but it's his second film. Um, that's a quest for the Grail. That's fairly obvious. It's just kind of a weird coincidence. Like, he's reading the script and he's like, oh, shit, it's another Grail movie.
28:14.930 --> 28:15.438
Yeah.
28:15.524 --> 28:24.022
But he's like, Well, I know the Grail well enough. And it's also his second, um, film with Robin Williams. Because Williams was in Munchausen.
28:24.106 --> 28:25.774
Yes, he is in Munchausen.
28:25.822 --> 28:46.866
And I think Gilliam believed that the Studios really wanted Gilliam because he was kind of like the Honey Pot or the Honey Trap for Robin Williams, because they really wanted Robin Williams in this role as Perry while they're trying to figure out what to do with the Fisher King. Like, just before they were trying to get him to direct the Adams family.
28:46.988 --> 28:49.134
Oh, wow. That'd be weird. Yeah.
28:49.232 --> 28:53.694
So strange. And I think it came out the same year, but he never wanted to do it.
28:53.792 --> 28:57.366
That's a Barry, Sean and Felt movie now. I think I think that's what that was.
28:57.428 --> 29:13.026
It is. Yeah, it is. And it was Barry Seinfeld's first movie. He was the DP, um, on Raising Arizona, Big Miller's, uh, Crossing, stuff like that. So, yeah, Adams family was his first that's wild film. He ended up doing all, like, the Men in Black movies, right.
29:13.088 --> 29:13.386
Yeah.
29:13.448 --> 29:17.270
I don't know, um, what a Gilliam Adams family would look like.
29:17.270 --> 29:44.142
Well, I think because of how outlandish the Adams family just is in general, I think they felt like because of his exoticism is that it exoticism. Exoticism. Basically, Gilliam is exotic. So basically he would have brought his own brand of humor, uh, and style to that idea. I don't know. That doesn't faze me at all. That sounds actually super interesting.
29:44.276 --> 30:05.930
Yeah. Yeah. And so when they ended up, they start filming the movie. I think people were worried about Robin Williams kind of going off the handles, and I know Le Gravity was a little bit worried about him spinning too far off of the script, uh, and stuff. But what Gilliam would do is he would, like, let Robin Williams take one.
30:05.930 --> 30:08.406
You know, one for himself, one for what they need.
30:08.468 --> 30:10.070
Exactly.
30:10.070 --> 30:15.630
If there was any sparks of brilliance, then you just get the opportunity to do it.
30:15.680 --> 30:34.458
Yes. And Lagraveni was always on set, just kind of like as Gilliam's anchor, because Gilliam also could fly off the rails and do a bunch of crazy Gilliam stuff. And so he didn't want to do that because he's like, I'm filming someone else's script. I want to stay true to the script. And so that's why he had him on all the time.
30:34.604 --> 30:46.954
Yeah. There's an admiration to that level of loyalty and stuff like that. But I guess you always want to give yourself that level of being able, uh, to think a little bit outside the box and give it a bit more artistic expression.
30:47.002 --> 31:03.138
Yeah. A little bit of freedom. It was funny because we talked about that when we were doing Color of Night, and there was the writer on that film, and I was like, why wasn't he on set to try and figure out what is happening with this movie? Yeah.
31:03.164 --> 31:18.846
It's kind of a rare case because you don't want a conflict of interest either. Certainly if you have a writer who's very attached to the script that they've written, you don't want them on the set. Basically trying to direct it. When you have a director there, and it just kind of causing conflict of interest.
31:18.968 --> 31:24.654
I think Lucravenes was just, like, happy to have his script baby be born, I guess.
31:24.692 --> 31:44.490
But, I mean, Gilliamste invited him on set to kind of not oversee, but, like, be an advisor and just kind of just keep the whole thing on track, I guess this is also a major kind of safety tactic because of how far blown Moon housing got, right.
31:44.600 --> 31:49.254
Yeah, that makes a lot of sense. He's like, look, I can be tamed, I swear. Just like, let me do my thing.
31:49.352 --> 31:55.198
Let's put it this way. The whole reason the film got made in the first place, because everyone was creaming themselves over the script.
31:55.294 --> 31:55.590
Yes.
31:55.640 --> 32:07.462
So the last thing he wants to be doing is like, well, let's see what I can do with this. And it's like, well, no, he wants to kind of keep it a little bit safe. And it's very much like the Fisher King feels incredibly safe.
32:07.546 --> 32:53.330
Yeah, that's true. And I think that Gilliam had said that Jeff Bridges was, like, his one and only casting idea. He's the only person he wanted to play Jack. And Bridges kept trying to talk him out of it. He's like, no one's going to believe it. This isn't me. I'm not this character. But Gilliam knew, like, Hollywood's nice guy. Yeah, exactly. He's like, well, he's the only one that looks like he could be redeemed. Like, he can be such human trash. But then the audience will still pull for him. And there were times where Bridges was on set, and Gilliam was watching him, and he said he looked like a Golden God.
32:53.330 --> 32:53.838
Wow.
32:53.924 --> 33:02.358
He's just, like, so enamored by Jeff Bridges. He was like Metatron. He was like, so beautiful, like the voice of God.
33:02.504 --> 33:03.750
Bloody hell.
33:03.920 --> 33:09.166
Okay. He said there's times I wish I, uh, was gay just for Bridges.
33:09.298 --> 33:10.146
Well, there you go.
33:10.208 --> 33:13.490
He said that. And I know I'm, uh, on board.
33:13.490 --> 33:17.630
Of course you are.
33:17.630 --> 33:30.970
And he was also the one that was on set that didn't break character. He was not method necessarily, but he was the one grounding the production because, like, Robin Williams, Gilliam lightfire.
33:30.970 --> 33:31.914
Um, yeah.
33:31.952 --> 33:39.162
And so Bridges is always there just to be like, I don't know, the onset Daddy, making sure everyone was doing what they needed to do.
33:39.296 --> 33:42.290
Stall work.
33:42.290 --> 34:14.850
There was this scene where they're under a bridge, and they were always working at night. So many of the scenes were at night, and they're tired. Bridges, um, says to Robin Williams, they're like, let's just go. How do we sit? Like, let's just sit over here, and they go to sit on some trash cans or something, okay. And they go and they sit down. And then I guess they startled a bunch of pigeons that were sleeping, like, up on the bridge. Um, and all the pigeons just took massive shits on them.
34:14.850 --> 34:16.078
That's happened to me.
34:16.224 --> 34:16.642
Really?
34:16.716 --> 34:17.938
Yeah, it happened to me once.
34:18.084 --> 34:25.102
Wait a minute. Not exactly that. But that happened, like, when we first started dating. Do you remember? Is that what you're going to say?
34:25.236 --> 34:26.782
No, this was another thing.
34:26.916 --> 34:27.142
Yeah.
34:27.156 --> 35:03.010
I was filming. I was doing a film in 2016, and I'd set up, like, my camera and stuff on the street, and I was under some trees, and these trees were dead. There was no leaves, nothing on them. Next thing I know is I'm filming and stuff, and then I turn around and I look at myself, I'm literally peppered and bird shit. It was like one bird. So one bird took like an angry disliking to me. Covered my camera stuff and shit. Covered me and shit. Because back in the UK, I didn't really know what burrito was or anything, but they used to do, like, a Haggis burrito next to the sex health clinic. So there was like a. I know that.
35:03.180 --> 35:04.090
I know that place.
35:04.140 --> 35:32.250
I do the haggis burrito. And I was like, if I buy a war, can you just give me as many napkins as you can? Because I'm totally covered in bird shit. I've got a different camera, um, bag now, obviously, which is waterproof and ship proof, but nice. At the time, the napkins were red. It totally stained. Like, all of my stuff and my jacket and everything. It was, uh, fucked.
35:32.310 --> 35:33.270
Hilarious.
35:33.450 --> 35:51.374
Yeah, I was laughing at the time. Not. They were like, aren't you so lucky? Isn't that the thing, though? Like, they come up to you, they go, it's like, good luck if you get hit by a. Hit by fucking birdshot. I'm like, no, you're fucking unlucky, aren't you? You were in the wrong place at the wrong time.
35:51.412 --> 35:56.238
It's just something people say to make you feel better. But it's not true if you get hit with bird shit. Like, that sucks.
35:56.334 --> 36:00.790
Yeah. I'm like, put in your mouth.
36:00.790 --> 36:05.240
You know, Perry was a professor of medieval history.
36:05.240 --> 36:06.755
Mhm mhm.
36:06.755 --> 36:07.230
Yeah.
36:07.340 --> 36:46.950
Before the horrible tragedy. That's how he's able to recite all of these tales and stuff like that. Because smart, on the basis of this tragedy and the tragedy itself is that when this role caller goes into massacre these people at the shopping bar, basically, his wife is shot in the face and her face explodes effectively into Robin Williams Perry's mouth. Uh, and as a result of the trauma of this, Perry goes, uh, mad. And his name is originally not Perry. It's something else.
36:47.060 --> 36:48.414
Yes. I don't remember what it is.
36:48.452 --> 36:57.174
Yeah, I can't remember. There's a very brief shot of his credentials that someone who takes pity on and allows him to live in this basement, basically.
36:57.272 --> 36:57.786
Yeah.
36:57.908 --> 37:19.966
And that's how obviously Jeff Bridges finds out who he is and why he's ended up this way. Yes, obviously. Um, within his state of Catonia and the psychosis is that he's blended his past life into what becomes his modern life, where he is effectively living the Fisher King fantasy.
37:20.098 --> 37:25.198
Yes. So he is in a modern night New York landscape on the search for the Holy Grail.
37:25.294 --> 37:25.626
Yes.
37:25.688 --> 37:31.062
And he thinks Jeff Bridges Jack will be the one to help him. Yeah, of course.
37:31.136 --> 37:46.566
He is the neo of this story. He's the one Matrix. Yeah. Obviously, anyone who has ever seen a film ever has probably seen The Matrix. So, yeah, they're not, uh, don't patronize our audience. Laura warned you better already.
37:46.628 --> 37:47.518
Oh, my apologies.
37:47.614 --> 37:49.606
Two strikes dear listeners.
37:49.798 --> 37:57.710
So I know you really liked that scene when Jack first meets Perry.
37:57.710 --> 37:59.458
Yeah. With the bum hunters.
37:59.614 --> 38:02.194
Yes. Those ruffians.
38:02.362 --> 38:07.522
Yeah. So Jack's in a really horrible place because he is literally guilt ridden.
38:07.666 --> 38:08.750
Yeah.
38:08.750 --> 38:25.854
He is finding it rough. Like he's torturing himself watching the TV show that he didn't get in his past life is may he's reciting the lines in his bathtub and stuff like that. And obviously when the tragedy happens, everything goes to Rob Bottom.
38:25.952 --> 38:26.854
Fallen King.
38:26.962 --> 38:38.322
Fallen King. This is how it relates to the story, the Fisher King. But, um, what you find is, I mean, he's living with Anne. Right. Who owns the video store.
38:38.516 --> 38:39.154
Jack.
38:39.262 --> 38:51.510
Yeah. He's just a tortured individual. So it kind of feels like because this is three years after that, after shooting, uh, three years after. It just looks like it's complete in our torture for him.
38:51.560 --> 38:51.882
Yeah.
38:51.956 --> 38:53.478
For him and probably for her as well.
38:53.504 --> 38:59.410
Like, he's lost his job. He lost his TV show job that he was going to get voluntarily.
38:59.590 --> 39:03.006
I feel like just as in a mental state just couldn't obviously hack it.
39:03.068 --> 39:21.334
Yeah. He sunk into such a severe depression. And I think when the tragedy happens, they're like, oh, we've heard deep regrets from the radio station, but we haven't heard from Jack himself. So I don't think he ever really publicly apologized for what happened. And so he's just been living with that guilt.
39:21.442 --> 39:36.694
Yeah. Pretty much the entire time, eating them up. So by the time we meet the bomb hunters. Right. And I call them that mhm. Because they're kind of just the hooligans. The ruffians.
39:36.802 --> 39:40.918
Yeah. They're like rich tricks coming through, and they're like really nice Jeep.
39:40.954 --> 40:09.238
They drive through in a Wrangler. Jack at, um, this point, he's been drinking himself into a stupor. And I guess, like, the landscape of New York at this time is like, we are presented with quite a lot of homeless people. They become very much our perspective on just like, life from a very ground level, because Jack himself is now at their level as opposed to being the man in the high apartment.
40:09.334 --> 40:10.846
There are people on the beat.
40:11.038 --> 40:20.082
Pretty much beat kids, beat men. All seem to be men who were of note at some point.
40:20.156 --> 40:20.790
Absolutely.
40:20.960 --> 40:32.630
But I've obviously gone quite mad. That's one of the main concerns I have about the film in general is that all of the homeless people are pretty much sparked out to be like, crazy people.
40:32.630 --> 40:33.354
Yeah.
40:33.512 --> 40:45.466
And that's like one of my primary issues with it just that representation. But he's on the streets. He ends up getting given a Pinocchio, uh, doll by a rich kid from this hotel.
40:45.598 --> 40:48.370
Yeah. And he's Brown bagging some Jack Daniels.
40:48.430 --> 41:06.630
Pretty much. And he's very sad. He's very depressed. He's very drunk. So he just ties a couple of breeze blocks to his legs and, like, jump into the Hudson River. And this is when the Wrangler pulls up.
41:06.630 --> 41:08.786
I'm tired of seeing you on my streets.
41:08.858 --> 41:11.130
I'm tired soon.
41:11.130 --> 41:17.070
You're kind. And it's like he's just about to kill himself. Like, just give him a second.
41:17.070 --> 41:18.634
He's not homeless either.
41:18.732 --> 41:20.318
No, he's just a little sweaty.
41:20.354 --> 41:29.830
He's just a little sad and sweaty. They bring out some baseball bats and a fucking canister of gasoline.
41:29.830 --> 41:39.770
Oh, my God. They are pouring gasoline on a human being intending to set him on fire.
41:39.940 --> 41:40.454
Yes.
41:40.552 --> 41:41.190
Ryan.
41:41.310 --> 41:41.702
Yes.
41:41.776 --> 41:48.602
This is horrible. Uh, it's so dark. Yes, they're going to set him. Oh, no.
41:48.736 --> 41:49.430
Yes.
41:49.600 --> 41:51.458
Oh, it's so fucked up.
41:51.544 --> 42:08.826
The thing is, uh, he doesn't get set on fire. He get set on fire a little bit later, but he doesn't get set on fire here. But this is when Harry shows up. He's on top of the Wrangler and, like, what are you doing on my car? And then obviously, he's a Knight.
42:08.898 --> 42:10.622
Alas, unhand him.
42:10.696 --> 42:30.806
Yes. He's got a shield from Jay Street, and he's got, obviously, his wife beat her chain mail on, and he's ready to go toe to toe with these two assholes. And obviously, the entirety of the homeless community back them up at the same time to the public lately, hogtie one of the guys. The other guy drives off.
42:30.868 --> 42:31.586
Hell, yeah.
42:31.708 --> 42:37.698
And they save, uh, Jack, uh, from pretty much certain death.
42:37.794 --> 42:44.682
Oh, yeah. From being burned alive. They also, uh, serenade those ruffians with a tune.
42:44.766 --> 42:46.862
How about you? How about you?
42:46.876 --> 42:50.230
I like New York in June.
42:50.230 --> 43:04.818
Yeah. And there's, like, some really lovely visual cues where you're kind of looking high up at skyscrapers, and then it tilts down, and then you're presented with the scene, like, with the video shop, um, and stuff like that. Like that stuff, really. And you look at things like, from above.
43:04.974 --> 43:07.922
Well, no one looks up in New York, and that is true.
43:08.116 --> 43:12.050
The tourists. And Perry. Perry is the only one who looks up.
43:12.160 --> 43:12.434
Yeah.
43:12.472 --> 43:25.298
Because he looks at the clock every day. There's some really beautiful stuff within this movie. Even if, though, I feel like some of the representation calls for some issues.
43:25.444 --> 43:25.754
Okay.
43:25.792 --> 43:35.870
But I guess that's kind of again, when we think about old school representation in films and things like that, it can be a little bit derogatory at times.
43:35.980 --> 43:38.318
It's the 90s. There's no such thing.
43:38.404 --> 43:47.838
Yeah, but that's an issue with Hollywood that I'll have in general. Things are slightly better now. It's not like it's maybe tipped too far in the other direction.
43:47.874 --> 44:07.330
They definitely call back to your feelings, which, like, I'm sure that Gilliam thinks that he's making a very sympathetic view of the homeless community in New York. Uh, because he references that later in the movie where they're like, oh, we want to make a comedy show. But about homeless people.
44:07.330 --> 45:18.102
Yes. But almost that point feels a little contradictory. But I'm not saying he's not an intelligent man. I'm just saying that I'm like, okay, that kind of doesn't sit right anyway, Luke. Beyond that, he ends up under the obviously they've got under the George Washington bridges, um, like, where all the homeless people live in New York. And it's this homeless community. And it's this kind of very surreal, very strange scene where they sing, they're Philosophizing, these people, these older people, they've obviously gone mad, but they've all had lies beforehand. We need like, Wall Street banker and obviously someone who fought in the wars. And that ends up being this is the moment where it's probably my favorite moment in the whole movie. It's like I said to you, he didn't get set in fire then, but he does get set in fire later on. And there's this moment and they're all kind of talking and Jack's just like, what the fuck is going on? He's also drunk. He's very sweaty, he's very wet. And for whatever reason, his jacket arm ends up, uh, going on fire.
45:18.236 --> 45:18.642
Yeah.
45:18.716 --> 45:29.622
And all the homeless people, everything just kind of stops and they just watch them. It's like he frantically tries to Pat it out. And then there's a small moment of pause and they all start applauding him.
45:29.756 --> 45:41.022
Well, when he finally, um, gets it out, they freeze and they go, Yay. They clap, clap, clap, clap, clap. It's like, what is this sort of, like, freak show? What's happening?
45:41.156 --> 45:43.402
Very funny. Like one of us like his magic.
45:43.546 --> 45:59.602
Wow. Jack is trying to figure, uh, out, obviously, how he can make it up. In a weird way, I think he says at one point he just wants to be able to pay off his debt. He's like, crying. He wants to pay off his debt to Parry.
45:59.686 --> 46:17.470
Well, let's just put it this way. This encounter is very advantageous for the both of them. It's very coincidental. Uh, the one homeless person that he runs into that ends up saving them from these, um, two crazy assholes is the one guy who was affected by the tragedy.
46:17.530 --> 46:20.826
Well, a lot of people are affected, but this is one of like.
46:20.888 --> 46:26.502
Well, this is the only, uh, people. This is the only one that we meet, of course.
46:26.576 --> 46:32.370
Yeah, well, he only needs to pay off his debt to one person, and then he's totally absolved of all wrongs, right?
46:32.480 --> 46:36.078
Yeah, that's pretty much it. He doesn't need to seek everybody else out.
46:36.164 --> 46:39.780
Yeah, he doesn't need to apologize to anybody.
46:39.780 --> 46:47.074
Uh, I mean, he had all those news clippings in his house. He could have just maybe looked up some names.
46:47.122 --> 46:50.118
No, he's just going to sit in self pity and just, like, cry about it all day.
46:50.204 --> 47:08.362
Yeah. This is the kind of the Jack Lucas I caught me that we're kind of presented with here. You're, like, quite sympathetic towards them, but at the same time, when you kind of dig a little bit deeper, you kind of scrape away a few of the layers. You're just kind of like, oh, no, this is you're not very good. You're not very good person, mate.
47:08.446 --> 47:11.930
I shouldn't let you know. But you're Jeff Bridges.
47:11.930 --> 47:16.450
Yeah. We shouldn't let the Jeff Bridges magic cloud our judgment.
47:16.510 --> 47:18.234
It works. That's why it works.
47:18.332 --> 47:18.810
Yes.
47:18.920 --> 47:39.562
So in addition to helping Perry find the Holy Grail, Jack kind of takes it upon himself to also, uh, help him find a replacement wife. A replacement wife to the one he accidentally needed. He inadvertently made deceased.
47:39.646 --> 47:44.122
You're seeing it in such a way that he's got a love interest, Perry.
47:44.206 --> 47:44.670
He does.
47:44.720 --> 47:54.238
And it's evidence because we've already kind of established Jack's. Like, it's a fucking suicide mission to try and get this trophy from this rich man's library.
47:54.334 --> 47:54.702
Yes.
47:54.776 --> 48:13.421
Like it's not going to happen. Like, you try and walk in there, they're going to shoot you. So he thinks it's much easier for him to unite Harry with this love interest that he's been mildly stalking. Moderately stalking, yes, I guess so. Let's say within the moderate.
48:13.421 --> 48:31.138
Uh, to heavy, I would say I don't know if, like, some guy, homeless or not, was following me down the street and knew when I got to work, when I went to lunch, what I ate for lunch, what snacks I got for lunch, what books I read, and, like, what train I took home and how I behaved. Heavy stocking. That's heavy stocking.
48:31.174 --> 48:48.030
Yeah, that's pretty bad. But let's see, let's put it through the Hollywood. Yeah, let's put it through the Hollywood filter. It was not uncommon that men would behave probably very badly, and certainly if we look at it through modern eyes now.
48:48.200 --> 48:50.690
Right.
48:50.690 --> 48:59.570
It's just a film. That's what you would say. It's just a film. I don't know if I would hold up in court, but it's just a film.
48:59.570 --> 49:11.746
So Perry's waiting essentially for Lydia at Grand Central Station because he knows the train she's going to take home. And at the same time, Jack is there as well, but he's talking to Tom Waits.
49:11.878 --> 49:19.858
Well, let's put it this way. Jack is basically just spending his days and nights just hanging out with Perry.
49:19.954 --> 49:22.230
Yeah. It's like his redemption quest.
49:22.340 --> 49:28.882
Yeah. Because he's tried to give him money. He's tried to feel like, here's some financial compensation.
49:28.966 --> 49:32.914
Yeah. For your $50. For the loss of your life and your brain.
49:33.022 --> 49:59.142
Here's $70. And this will fix everything. But then he gives them that money and then, period, ends up giving the money to a homeless man. Yeah. He's like a crazy Wall Street banker. I was a crazy Wall Street banker. And Jack's just like the money he used sell. And it's just another example of, like, these crazy homeless people.
49:59.276 --> 50:02.742
I like, when he gives them that money and he gives it to the other guy.
50:02.876 --> 50:03.210
Yes.
50:03.260 --> 50:10.002
And he's like, why did you give him that money? And Perry, uh, is like, what am I going to do with it? Yeah, I've got everything I need.
50:10.076 --> 50:29.990
And then Perry goes, do you really want to help me in this kind of weird way. And, like, stares at him, and they hold on the shot for an, um, uncomfortable amount of time because Jeff Bridges reaction to Robin Williams staring at him for a good, like, 10 seconds, um, is that he recoils and tries to walk away.
50:29.990 --> 50:32.210
What does he think he wants?
50:32.210 --> 50:36.030
I don't know. His ass.
50:36.030 --> 50:41.670
It's another movie. I want to get on board with you guys. Let's make this movie.
50:41.670 --> 50:50.254
Well, there's already, like, a few porno recommendations at the beginning of the movie as well. Ordinary people.
50:50.412 --> 50:52.890
Ordinary people.
50:52.890 --> 50:57.430
That amused. Uh, you to no end. Uh, for.
50:57.430 --> 51:04.330
People. I like that movie. Does everyone break out into a waltz?
51:04.330 --> 51:04.910
No.
51:05.020 --> 51:05.474
What?
51:05.572 --> 51:09.558
No. What, you mean like in the scene in Grand Central Station?
51:09.654 --> 51:10.810
Yes.
51:10.810 --> 51:14.462
Well, remember, we're seeing things from Perry's perspective at that point.
51:14.536 --> 51:23.286
Yeah. When Perry sees Lydia, everyone kind of breaks out into this, uh, dance. It's like when he sees her. Everyone's in love, just like him. It's so cute.
51:23.418 --> 51:32.934
It's usually one of my favorite parts in the entire film is when the entirety of, uh, that base floor of Grand Central Station just starts out into walls.
51:33.042 --> 51:53.666
And that's a scene that Gilliam kind of came up with on a whim. They went and were doing, like, location scouting, and they were with Lagravenees, and he goes, Wouldn't it be cool if everyone just started dancing? And LaGravenese is like, I like it. And he said it would be cool. He's like, I just want to keep it on your script. And they're like, we're doing it.
51:53.788 --> 51:56.874
I have ideas, but they don't have to be ideas.
51:56.922 --> 52:02.154
And I'm like, Whatever. Gilliam, you were probably standing there like, we're fucking filming this glass scene.
52:02.262 --> 52:14.070
Yeah. I guess with this whole partnership and things like that, it's kind of like, just do something RT Gilliam. Yeah, there's some Gilliam in this movie.
52:14.190 --> 52:23.538
And he said that they still do a waltz there at Grand Central, like, every year. It's like a tradition post Fisher King.
52:23.694 --> 52:24.998
Okay, that's cool.
52:25.084 --> 52:41.250
While all of this is happening, that's when Jack is talking to Tom Waits. And I also love that Bridges, who had worked with Tom Waits on a film called Cold Feet, asked Gilliam, hey, man, how can I get my friend Tom in this film?
52:41.310 --> 52:43.362
My bud Waits, Mr. Waits.
52:43.446 --> 52:50.558
And my friend and Gilliam's like, I guess I'll make him this homeless man, which is cool. Yeah, I like that a lot.
52:50.644 --> 53:08.790
They're both musicians as well. Probably why they know each other as well. Yeah, the Crazy heart. If anyone's not seen that's where basically Jeff Bridges plays Jeff Bridges.
53:08.790 --> 53:09.470
So cute.
53:09.530 --> 53:10.670
Ailing country singer.
53:10.730 --> 53:15.550
Well, he's not playing himself in Tron.
53:15.550 --> 53:22.722
I don't know. Um, I mean, I wouldn't even say Tron. I'd be like, Last Picture House is like, that's like, the earliest I can think of a Jeff Bridges movie.
53:22.806 --> 53:26.514
Okay. Bringing out art films. Listen, I'm talking about movies.
53:26.682 --> 53:30.130
It's only the staple of American cinema. But anyway.
53:30.130 --> 53:31.310
Yeah, okay.
53:31.480 --> 53:35.530
We tried to watch Tron recently, and, I don't know.
53:35.530 --> 53:38.666
Don't finish that sentence. Don't finish that sentence. Sean is amazing.
53:38.788 --> 53:47.038
Whatever. Fisher King. Fisher King. Come on back on point. Yeah. We come out of this slow dancing scene.
53:47.134 --> 53:55.010
And we are walking to Central Park to take off our clothes.
53:55.010 --> 53:57.406
Now we're here. We're at Central Park.
53:57.538 --> 54:02.030
Oh, yeah. What do you want to do at Central Park?
54:02.030 --> 54:03.439
I thought it was at night, right?
54:03.439 --> 54:04.730
Uh, yeah.
54:04.730 --> 54:09.142
I don't really want to be there. You don't want to end up. You don't want to be there at, uh, nighttime?
54:09.226 --> 54:16.190
Yeah, I kind of want to be there. And I want to take my clothes off and rub my ass along the grass like a dog.
54:16.190 --> 54:17.814
Okay, I see.
54:17.972 --> 54:23.394
And then I want to lay on my back and break apart clouds in the sky with my mind.
54:23.492 --> 54:35.410
So I've not been to Central Park, and I've certainly not been to New York or anything yet. But sadly, I remember the parks near where I used to live when I was younger and growing up. You didn't go fucking near them in the nighttime. You get stabbed.
54:35.470 --> 54:38.962
You yelled at me for. Well, no, you didn't yell at me because we're adults.
54:38.986 --> 54:39.894
But I warned you.
54:39.932 --> 54:46.370
You warned me about going somewhere in the daytime because there's all these murders up on Kristorff and Hill.
54:46.370 --> 55:00.170
Yeah. People get killed when you get stabbed in the neck with a fucking heroin needle. And you're like, oh, right. I'm like, oh, I'm on an AIDS program for the next six months.
55:00.170 --> 55:02.034
Well, there's a part where there used to be.
55:02.072 --> 55:03.726
Here's a story. Here's a tale. Right.
55:03.788 --> 55:04.050
Okay.
55:04.100 --> 55:22.234
In the parks, back where I was like, there were tales going up next to the tennis courts where I used to live. And it's like, no, don't go up there, because there used to be kids who put fishing line across the pathway, and they would wait for people to trip on the fishing line, beat the shit out of them, and then take their wallets and their phones.
55:22.282 --> 55:23.166
Oh, my God.
55:23.288 --> 55:32.826
Yeah. So if you thought I was at Ever point shouting at you, I'd be like, well, do you want to trip over some fucking fishing wire and then have your shit taken off of you?
55:32.948 --> 55:34.910
No.
55:34.910 --> 55:39.930
So don't be so idealist.
55:39.930 --> 55:42.994
I will prove guilty. So I trust everyone.
55:43.152 --> 55:47.290
Everyone has just come back. Yeah. Apart from our audience. Sorry.
55:47.340 --> 56:02.434
Different opinions on the human kind. Well, they go out into the park, and Perry starts stripping his clothes off, and Jack is absolutely, uh, like, Livid, why am I here? He's, like, yelling to him.
56:02.532 --> 56:06.254
What are you doing? Why are we in Central Park? Please don't get naked in Central Park.
56:06.302 --> 56:08.518
And he's like, It feels great, Chuck. It feels great.
56:08.604 --> 56:08.998
Yeah.
56:09.084 --> 56:20.318
Just waggling in the wind, and Perry's just wiggling around like crazy and this is where you see Robin Williams totally nude.
56:20.414 --> 56:21.794
Yes. This is the Dick scene.
56:21.902 --> 56:27.586
Here we are. And it's at 59 minutes.
56:27.586 --> 56:29.650
Um, okay.
56:29.650 --> 56:44.810
I like to log it in just so everyone has that timestamp. And I absolutely love that Gilliam said that he was trying to use shadows to cover Robin Williams penis, but Robin Williams jumped around too much that he gave up.
56:44.920 --> 56:45.446
Yeah.
56:45.568 --> 56:52.278
He's like, fuck it. Here it is. It's just there. He's like, I can't cover this with shadows. Robin Williams is bouncy.
56:52.434 --> 57:01.326
The thing is, it's mostly seen in, like, a wide shot. And obviously, Robin Williams is basically doing Prime Robin Williams at this point, and he's just let loose.
57:01.398 --> 57:15.906
I got to say, I watched it again, and you see more than like, I remember seeing initially, there's a part where he kind of gets on his knees and he's like, come on, Jack. Come on, come over here. And I'm like, you get an eyeful.
57:16.038 --> 57:16.766
Oh, yeah.
57:16.888 --> 57:35.890
You really do. Yes. Which is hilarious. Um, it's so good. And Jack's just yelling at himself, and he's like, I don't want some repressed, um, rich boy coming back here who's, like, repressing his homosexuality to come beat us up out of revenge for his father.
57:35.890 --> 57:52.674
Well, that's the thing. Perry is spending most of this time calling Jack a little too Midwestern because enjoy them in this, but he's wanting them to take off his clothes. This kind of thrilling, um, moment so that they can watch the patterns the clouds make in the sky.
57:52.722 --> 57:55.278
Yeah. And just break apart the clouds with their minds.
57:55.374 --> 57:57.790
Pretty much, yeah.
57:57.790 --> 58:07.818
And you just kind of see the difference between Perry just being this free. Well, I don't know. I don't want to call him a free spirit because he's locked inside his sadness.
58:07.914 --> 58:46.154
Well, the thing is, it's the ignorance of his self conscious that's kind of keeping him prisoner. So he has a very idyllic view of the world and the sense of adventure and his level of ignorance that is totally not his fault. It's just a side effect of the psychopath, uh, coping mechanism. Coping mechanism. But, um, yeah, he's living a life of ignorance that most people would beg for.
58:46.312 --> 58:50.306
He's just living every single moment because he's not, like, again.
58:50.368 --> 58:55.614
And we kind of say that he is not bound by the rigors of society.
58:55.722 --> 58:56.210
Yeah.
58:56.320 --> 59:10.210
He is just home free, so to speak. So when Jack is kind of seeing it again, he looks like he's off the rails. Like he's crazy.
59:10.210 --> 59:19.878
Yeah. And that's what Jack yells at him. He's like, you're out of your goddamn mind. And Perry yells, bingo. And he's just wiggling and wiggling.
59:19.974 --> 59:44.130
The thing is, this level of freedom and this spirit that he has and that pervades through the course of the entire film is the most appealing characteristic of Perry. It's the thing that makes him stand, and it's the thing that Jack effectively adopts.
59:44.250 --> 59:52.190
It's infectious from infectious to Jack, to the people around him, to all of the homeless people that he interacts with.
59:52.240 --> 59:53.262
Yeah. It's endearing.
59:53.346 --> 59:54.578
Yeah, absolutely.
59:54.724 --> 59:58.658
Because it brightens up everyone's life just for a little bit.
59:58.744 --> 00:02.682
Life in this context of this film is shit.
00:02.766 --> 00:05.190
Yes. Dire sucks.
00:05.310 --> 00:14.918
Everything is sad and bleak and dark, but he tends to just bring a bit of joy in that ignorance to everyone around him.
00:15.004 --> 00:27.550
Yes. And this is the prime example of that. And we're just basically giving, uh, a full face view of his cock pretty much what it is.
00:27.550 --> 00:36.938
Yeah. Jeff Bridges does not get naked. Um, in this movie, by the way, I've seen chatter on the internet. He does not happen. But it's okay because that's not what he's about.
00:37.084 --> 00:52.990
The thing is, they do end up lying on the ground. And this is one of my favorite bits. Jack is just like mumbling to himself. He's just like exercise DJ found dead with Naked dead man.
00:52.990 --> 01:07.290
Naked dead man found next to ex radio DJ. Not Naked companion naked. Because he's always like writing his autobiography in his head and it's just like, oh, wow, what a heck.
01:07.350 --> 01:09.670
What should I call it? Jack.
01:09.670 --> 01:14.150
Yeah.
01:14.150 --> 01:25.966
Okay, so what we're getting is the subjude guiltridden Jack that we ultimately prefer. But this is where Perry tells them the story of the Fisher King.
01:26.038 --> 01:32.382
And this is also when Perry says the titular line of the film. Yeah, I love a titular line.
01:32.456 --> 01:33.538
Yeah. And then we have a drink.
01:33.574 --> 01:34.306
Just have a drink.
01:34.378 --> 01:34.902
Yeah.
01:35.036 --> 01:35.646
It's fun.
01:35.708 --> 01:38.110
Yes. It could be pure methanol, but you have a drink.
01:38.170 --> 01:38.646
That's crazy.
01:38.708 --> 01:39.042
Yeah.
01:39.116 --> 01:39.822
Don't do that.
01:39.896 --> 01:46.234
But what we're, uh, not Jack Lucas, please don't do what I'm saying.
01:46.332 --> 01:47.970
Yeah.
01:47.970 --> 02:03.390
This is what wraps up this scene, uh, very nicely, is that he recites the story and stuff and he does it like Robin Williams does it in that prime, kind of subdued, uh, very slight way that only he can do.
02:03.390 --> 02:05.066
It's just a great monologue.
02:05.138 --> 02:19.030
Yeah. It's fantastic retelling of the story. And he just kind of says, oh, I knew you were Thursday. Uh, and what you find? The scene itself closes up with another showing of the Red Night.
02:19.200 --> 02:46.606
Right. Because every time that Perry has a connection to his true self and his past, that's when the Red Night comes in, because the Red Night is a manifestation of his trauma also during the scene. So obviously Robin Williams is totally naked. And the Studios were really worried that Robin was going to lose his fans because of how hairy he is or how hairy he was.
02:46.788 --> 02:56.198
Yes. Well, here's the thing. Yeah. Unfortunately, Robin Williams is no longer with us and this is not a slight against him, but he was a hairy champ.
02:56.294 --> 03:00.278
Very hairy. But not his butt wasn't hairy.
03:00.374 --> 03:05.294
Where did Robin start in the hair end? His butt. He didn't have a hairy butt.
03:05.402 --> 03:08.446
I don't think so. I think it would have stuck in my mind.
03:08.628 --> 03:20.530
Okay. That's also covered in a lot of shadow, so we don't really know, but, I mean, that's part of his comedy act as well. He was incredibly hairy.
03:20.530 --> 03:22.302
That's so, um, uncomfortable.
03:22.446 --> 03:27.260
Yeah, I think it's very funny.
03:27.260 --> 04:00.870
Uh, there is this part of one of his stand ups that I saw and how he's talking about, like, going down on a woman, which he, um, put his mouth on the inside of his elbow and he's just, like, going to town on it. And I never forgot it. It was so visceral, it was so real, and I just so hairy. And he was very sweaty. And I just.
04:00.870 --> 04:17.790
Tortured by that image this way, at least. Yeah. That's why people don't have mirrors in their bedroom, just in case they were ever to catch a glimpse of what they were doing to themselves, perhaps. Yes. Out of body experience, watching yourself, doing something on a bed.
04:17.790 --> 04:34.746
Yeah. I'd rather not good on you if you film yourself and you're like, yeah, I'm just flexing in the camera.
04:34.818 --> 04:36.426
No, that's really funny.
04:36.438 --> 04:42.970
I mean, he's gorgeous. If I was Patrick Bateman.
04:42.970 --> 04:53.210
Don't look at it. Eat it.
04:53.210 --> 04:56.586
We have to get Lydia and Perry together.
04:56.708 --> 04:57.966
Yeah. What are they going to do?
04:58.028 --> 05:09.261
They are going to fake a contest in which Lydia wins a one year membership to video spot that Anne owns a borrowing of a VCR.
05:09.261 --> 05:15.754
Uh, she has to rent out a VCR for a small period of time until she's able to get one of her own VCRs.
05:15.802 --> 05:24.330
We were researching this cost about three to $400. Like, more than a PlayStation, more than a PS five.
05:24.380 --> 05:26.902
Either way, VCRs are fucking expensive.
05:26.986 --> 05:49.258
They were super expensive. So I guess that's why, like, when Jack's like, we'll give you a VCR and she slaps him, he's like, we'll give you a VCR on rental until you can get a VCO of your own. They just want to get her into the, uh, store so that Perry and Lydia can meet. So what they do is send one of their homeless cohorts, Michael Jeter.
05:49.414 --> 05:50.166
Yeah.
05:50.348 --> 05:53.502
Dressed in drag. Oh, he's so beautiful.
05:53.696 --> 06:05.886
We meet him initially in Central Park during the day as they're hunting down the red light. And then he's, like, trying to bury himself. So the horses all trample them.
06:05.948 --> 06:08.238
Yeah. He's having a hard time. Having a hard time. Yeah.
06:08.264 --> 06:10.114
Everyone's having a bit of a hard time in this movie.
06:10.222 --> 06:41.510
But Michael Jeter's friends with Steven Sonheim and Steven Sonheim never let anyone change the lyrics to his songs before, but they really wanted to sing this particular song. And Sonhan's like, yeah, Mike, go ahead. You can change the lyrics to the song. And so Michael Jeter just burst out in song on top of these filing cabinets or these tables or whatever, and it is so funny. I love that scene so much. But then they get to go. They all end up going on this date together.
06:41.510 --> 06:50.730
Chinese? Yeah, they go get a Chinese Chinese restaurant. Yeah. It's one of the nicest looking scenes in the entire film, actually.
06:50.840 --> 06:56.270
Harry is kind of chatting with Lydia, and that's when she ends up kind of.
06:56.270 --> 07:02.142
This whole moment seems to unite Anne and Jack back together as well.
07:02.276 --> 07:06.110
That's true, because he'd been feeling.
07:06.110 --> 07:16.610
I think Anne is kind of, up until this point, kind of like, well, I love you and everything, but. Yeah, it's a bit much.
07:16.610 --> 07:17.190
Yes.
07:17.300 --> 07:20.570
And then she starts to fall in love with them again, basically.
07:20.570 --> 07:45.630
What did he say to her when he's like, It looks like they're definitely going to bang, and he's going to take her up to the apartment, and he's like, they're having a smooch and stuff. And he starts like, I don't know, going down her chest. And then he just picks her up over his shoulder and he's like, what does he say? Dim sum, mushroom pork.
07:45.630 --> 07:57.030
Just scratch about some pork. Deep fried, crispy beef, special fried rice.
07:57.030 --> 08:12.838
But while that's happening, Harry's walking Lydia home, and she kind of goes through her head like, I guess she's had a lot of bad dates. And she's just like, I'm over this. Like, this is going to end. I'm just going to end it now. And he's, like, chasing her down. Like, we haven't even had our first kiss yet.
08:12.984 --> 08:29.830
Well, she's in a defense mechanism because Lydia's character, just in general, she's very clumsy. She's always on the defensive, and it's like her history just with men in general. I kind of feel like has been. They've, uh, probably just taken advantage of her.
08:29.940 --> 08:42.330
But I like, it's like, you wouldn't expect someone who is so clumsy and awkward to also be so strong and independent and weirdly confident.
08:42.330 --> 08:48.610
She's also quite probably happy on her own, even though if there's a niggling doubt in her head that maybe someone is out there for her.
08:48.660 --> 08:51.870
Yeah. It's almost like she's given up at this point.
08:51.870 --> 08:54.866
Musicals, I guess. There's like, Merman.
08:54.938 --> 08:55.282
Yeah.
08:55.356 --> 09:07.834
She likes against romanticism about the things that fascinate her a little bit. She likes, like, trashy romance novels and stuff like that. There's little things.
09:07.992 --> 09:10.298
There's nothing trashy about romance.
09:10.394 --> 09:22.994
No. You can find some beautiful things in the trash. There's hints and highlights that she's wishing for something a little bit more than what she's actually getting.
09:23.032 --> 09:29.886
He walks her through. He tells her straight off the bat after he tells her he has a boner for her the size of Florida.
09:29.958 --> 09:30.410
Yeah.
09:30.520 --> 10:08.234
He explains to her that he loves her first date, and then it's also like a group date, like a double date. And then he explains to her how he's been seeing her and following her. He tells her he's been following her and the things that she does every single day. And the way that he explains it to her, uh, and it's also these sweet things that he says about, like, what he notices about how she acts and how he loves the way that she acts and making assumptions on her character because he's never talked to her before.
10:08.332 --> 10:09.858
Yeah, he doesn't know her technically.
10:09.954 --> 10:23.770
But she eats it up so hard, and it just hits her in the soft spot, and she starts, like, just a really delicate tiara, and she loves it, and she's like, oh, are you real?
10:23.770 --> 10:26.190
Yeah. This is Hollywood logic.
10:26.370 --> 10:46.630
It is Hollywood logic. Because I got to tell you, on the stalker scale, we have to figure it out on the stalker scale, because I was talking about this with a co worker of mine recently. Um, and we were thinking about, like, on a zero to ten scale. So you've got zero to ten of attractiveness and you have a zero to ten of creepiness.
10:46.630 --> 10:47.102
Yes.
10:47.176 --> 10:53.738
Because obviously, the more attractive or how about this? The more attracted you are to somebody.
10:53.884 --> 10:56.410
Yes.
10:56.410 --> 10:58.950
The more they can get away with creepy behavior.
10:59.070 --> 11:00.198
Norman Bates.
11:00.354 --> 11:01.362
Norman Bates.
11:01.446 --> 11:07.298
Norman Bates. God, where would he be seven only attracted on this scale? He's not seven.
11:07.384 --> 11:13.750
You would put Norman base seven in attractiveness. I was going to say, like, four.
11:13.750 --> 11:15.134
He's not that bad.
11:15.292 --> 11:16.780
I'm not saying, um.
11:16.810 --> 11:20.110
The Hitchcock one or the Gus Van Sant one.
11:20.110 --> 11:22.630
I never would have thought about Vince Vaughn.
11:22.630 --> 11:26.042
Okay. Masturbating while looking at her people.
11:26.176 --> 11:34.194
Anne Hayes. No, I was not. Honestly, I forgot that that existed. I was thinking about, obviously, the Hitchcock original.
11:34.242 --> 11:40.886
Just to let you know, it's a shot for shot remake of the Hitchcock original. Where would Robin Williams sit on that scale, then?
11:40.948 --> 11:48.558
I like Tiered Robin a lot. Okay, okay, so on the attractiveness scale.
11:48.594 --> 11:53.874
Zero to ten, because it's not Robin that's on the scale. It's Harry who's on the scale.
11:54.042 --> 11:59.102
Okay, well, we also saw a clean shaven Perry in a flashback, and I wasn't into it.
11:59.176 --> 11:59.846
Yeah, that's true.
11:59.908 --> 12:04.982
Okay, so I like this filthy homeless Perry. I think he looks better.
12:05.116 --> 12:12.102
Yeah, I guess, like Flubber Williams. Yeah, he's clean shaven.
12:12.126 --> 12:13.826
And I don't like it so much.
12:14.008 --> 12:19.966
Maybe your favorites, like, Jumanji is very hairy.
12:20.098 --> 12:32.658
Oh, God. Okay, let's not talk about the hair again. I'm, like, freaked out by the hair in this scene. Attractiveness. I would give him a seven or an eight. 7.5.
12:32.744 --> 12:33.210
Okay.
12:33.320 --> 12:36.718
Attractive. Yeah, I think he's cute. And then on the Creek.
12:36.754 --> 12:38.382
Cute little dirty homeless man.
12:38.456 --> 12:50.814
Yeah, well, he's clean. He had a shower. He didn't brush his teeth, I don't think, because they're still Brown. And on the, um, creepy scale, I swear I'm talking an eight or nine. It is rough. Like, it's high.
12:50.972 --> 12:57.390
Yeah. I guess when you start deliberating and categorizing all her little quirks, uh, and things like that.
12:57.440 --> 13:12.414
Then it's when you tell me that on Wednesdays, I go by Dumplings, and then if I'm having a good day, I buy a romance novel, and I also pick up Jawbreakers on my way to work. I'm like, I step away slowly, and I try to find my keys just in case I need to stab you.
13:12.512 --> 13:15.994
I mean, it's one step away from potentially wearing my skin.
13:16.102 --> 13:16.770
Absolutely.
13:16.940 --> 13:32.030
Okay. There is this one bit I forgot about where it's like, he, uh, talks about, like, his hard on is the size of Florida. And he's like, I have a confession to make. And she's like, what? You're married now? And he's like, you have a disease.
13:32.030 --> 13:33.318
He's like, no, stop talking.
13:33.404 --> 13:35.178
Yeah, please just shut up. Now.
13:35.324 --> 13:36.726
Harry sees the red light again.
13:36.788 --> 14:27.358
Yeah. Let's put it this way. Every time he sees the red night is when he's having moments of clarity, sees and relives. He lives in drama. That's where the old Perry comes in. He sees his wife and clashes with the destiny that Perry is under in his mouth. Oh, this is fucked up. Yeah. So we see the whole, uh, memory. We've only seen it in flashes up until this point. But, yeah, this is where it's like, yes, she gets a shotgun blast to the back of the head, and it blows out into Perry's face and into his mouth, and he's, like, going to grab her. And his, uh, face is covered in blood. And then obviously, the next day, and this is the thing. I don't know why this was, but these health workers, like, take off all of his clothes, put him in a straitjacket, but they'd never clean his face of all of his wife's blood.
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That's all of his blood is all over his face and his glasses.
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I'm like, no wonder he's traumatized.
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Yeah. He's like, all he could see is her brain on him. This isn't going to die.
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He's, like, tasting her brain in between his teeth.
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Oh, my God.
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And he's like, fucking gross. He's fucking trying to deal with this trauma. No wonder he gets all fucked up.
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Then he goes back. He goes back into a state of, uh, catatoni.
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He reverts back into a catatonic state.
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Okay, that's better.
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Yeah. He's in hospital. Jack, uh, and Ann, by this point, have fallen out by the time they meet him. Furious, Livid not only that, like, her world just starts crumbling down.
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You're with someone for three years.
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He comes across as incredibly ungrateful.
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Oh, of course. He's been living in her place, not paying money, just mooching off of her.
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And, like, yelling at the TV, because obviously, Harry Shearer took his role on the TV show he's meant to do so now that Harry's in a coma.
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Jack decides, all right, well, I guess getting him a new wife didn't work. I have to actually go get the grail, which is in some dude's mansion. Here's the keeper for you.
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So he steals, like, this shitty trophy that's on the shelf. It's like, from 19 to 38.
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It's like a contest or something. I can't remember exactly what it was. It was like, this.
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Worth absolutely nothing. But basically, it's not what it's about, Ryan? Uh, they wake up, he gets the grail. They sing a rendition with himself and the rest of the patrons of this mental hospital Ward. Uh, a rendition of New York in June.
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Uh, how about you?
16:14.132 --> 16:22.050
How about you? And then obviously, Lydia comes back and sees that he's awake and they start their lives together again.
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Are you my girl?
16:23.252 --> 16:25.970
Yes. Did you notice the dude with the Hitler stash?
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I very much noticed him. He was like on the left side of the group that are singing that song and like, that dude got a Hitler mustache.
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Yeah.
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And then I want to go to Central Park again.
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Yes. And obviously, as you might expect.
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They'Re both naked this time and they're both naked. You don't see anything this time, by the, um, way.
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No. Yeah. Very kind of Hollywoody ending where all the lights turned out on the cityscape and they all change different colors and they're talking and then there's fireworks, and a big of the end comes up in fireworks.
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It's nice.
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I like that sort of thing. Reminds me of simpler times in movies.
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Uh, so, yeah, that's the end of the film. And I'll tell you my ratings. I'll start with the penis, the Dixie visibility in context. I gave it a four.
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Yeah.
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Because even though I think I saw more of it than I remember seeing before, it's not in a stark light or anything. I still got Gilliam shadows.
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Yeah. I think it kind of depends on the settings on your TV as well, because it is also quite dark.
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Okay. I think that it's there and it's in your face, but it doesn't shy away. So I'll give it a four. I think it's perfectly fine. And also the context is fine. It's great. Whatever. Four.
17:53.552 --> 18:08.510
Yeah. I love how free spirit the scene itself is. And it's very different from scenes we've spoken about already because there's no sexual element, um, to it whatsoever.
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Yeah, actually, yeah, definitely.
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It's just an accident.
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All of them have been sex scenes.
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Uh, this is an appreciation of the human body variety.
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We do variety around here.
18:24.456 --> 18:54.922
Anyway, I like the fact that it is like it's indicative of the character, what he's doing, and it's tonal shift. And it's what characterizes these two characters were someone very straight laced and grounded. And you have obviously that's Jack. And obviously you have Perry, who's a free spirit. It's totally more in the realm of comedy than it is anything else.
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Right. Because this is a comedy drama.
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A dramedy or tragic comedy drama. But the scene itself seen in a much lighter. Lighter, lighter. It's in a much lighter tone, let's say.
19:17.776 --> 19:18.730
Yeah.
19:18.730 --> 19:40.214
So I would probably give it a three for visibility because I still think. I think it's relatively quite dark. And in terms of context and stuff like that, I think it's nice that it's there, but if it wasn't there in that scene for whatever reason. And it was just him wiggling his ass around and stuff. It would still get across the same thing.
19:40.372 --> 19:40.766
Okay.
19:40.828 --> 19:42.630
I feel like, personally.
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I think when I have things like that where I see those things, I feel like, let's just say he was just wiggling his butt around. I'd go, okay, let's say he's wiggling his butt around, and then when he turns around front ways, we just see, like, his upper torso. I'd go, okay, yeah. You're playing a trick on me.
20:01.216 --> 20:01.562
Yes.
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Because that's not fair, and that happens a lot. But the fact that that didn't happen, I commended for that because he is naked again.
20:09.740 --> 20:14.346
Uh, I'm kind of just like straight down the middle with it. I give it threes. Couple of threes.
20:14.538 --> 20:18.730
Okay, well, I skipped ahead and gave the movie a four.
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Yeah.
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Because I think that's what I like this movie, and I'm more in the mood for it some days than I am other days. But I think it's a sweet movie. I think it's an interesting adventure tale, and I had a lot of fun with it. And it's got prime bridges, Prime Williams.
20:43.218 --> 21:10.602
Yes, I would see. Yeah, maybe more. Again, I feel very much kind of straight down the middle with The Fisher King. I felt exactly the same way as I did the first time I ever saw it. And I was kind of just like, okay, there it is. And I'm more aware of run times and stuff now more than ever. And I kind of feel like The Fisher King. Almost two and a half hours long. This movie.
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It is a little long.
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It's a bit blowy. I feel like it kind of goes on a little bit too long. Uh, so it's worth watching. It's, um, not as Gileesque. I think that's where my problem is, that it's not as Gilliam as I want my Gileum to be. Gilliamd.
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I think that's why I like it more. I like it just more focused on relationships.
21:40.370 --> 21:49.435
Yeah. I think if it's directed by somebody else other than Terry Gilliam, it's a very different beast. And it's probably not as interesting there is. That 100%.
21:49.445 --> 22:04.070
Yeah. Goodness. Thank you so much for being here with me today, Ryan. It has been a thrill coming to you from the porno room at Video Spot. I have been Laura.
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I've been Ryan.
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Oh, yeah.
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I was going to talk in my radio voice to close it up.
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Thank you guys so much for being here. Hit us up on the social media and see you next time.
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Yes, uh, hit us up digitally totes my goats toes. My goats. Well, forgive me. So we're back recording. Just let me get into position. I can't even lean back in this chair for whatever reason.
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Is it not bend?
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Well, the thing is, I need to be closer to the mic, and we're over a thing. That's why we need to get those, uh, things that come all the way around and come down towards a head and I can just move it in and I can just sit back in my chair as opposed to having to bend over.
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Your chair is also so squeaky.
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Yeah, it's very squeaky because it's cheap. But I know fucking every time we come out of a podcast, I feel like Quasimodo taking a dump. Like I'm just wandering around the house like I'm crippled and I don't know, like I'm only 35 years old. What's happening to me?
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Need to stretch more?
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Of course you with the logical answer.