Oh, folks, it's show Die.
People say good money to see this movie. When they go out to a theater, they want cold.
Sodas from a pop popcorn, and no monsters in the protection booth.
Everyone for tend. Podcasting isn't boring.
Cut it off.
Jenny Rowlands is Gloria. She's tough, but she sides.
With the little guy.
I don't want to die.
What do I do with you?
You know you're not my family or anything.
You're just a neighbor's kid, right, Gloria.
You know we're not interested in you.
All we want is the book and the kid.
What you're going to do?
Shoot a six year old kid on the street?
For Gloria, the danger is always getting closer, and getting closer is always the danger.
Tony, Gloria, how are you?
Can you help me?
Glor Yeah, maybe you can do something.
Trust you?
Hey, Tony, I know you. Where is the boy?
I don't want to go home?
Hey, don't be stupid.
You got no home.
You got me.
I understand you got a woman.
He is a little boy.
You'll follow in love. Every woman is a mother. You love him?
I love Bill?
You love me?
How can I resist you?
Hey?
I don't like this kid.
We need the boy.
I'm gonna get up, walk out of here now if you wanna stop a car.
Like Cagny and Bogey and all those great tough guys. Now there is Gloria the chick. I got the old block.
Come on, come on, Oh I love it.
Come on, don't hang bab I love it. I got a six year old kid over there.
That his whole family.
I'm murdered by you.
Go ahead, John, Okay, hell, little woman bad.
Yeah, your little tiny nothing.
General is Glory. She's trying to beat the mob at their own game.
Welcome to the Projection booth. I'm your host.
Mike White.
Joined me once again is mister Andrew Rausch.
Hey, it's good to be back.
Also back in the booth is miss Judith Main.
Hi, Mike, it's good to see you again. And Andy, it's nice to meet you.
On this episode, we are looking at the nineteen eighty film Gloria, written and directed by John Cassavettes. It's the story of a young boy whose family is killed by the mob and their tough neighbor, Gloria, who becomes his reluctant guardian. The gangsters are after a book which they called the Bible, and I honestly thought it was a Bible for a long time while I was watching this movie. Yeah, I did some Cassavettis films over the last few years,
usually on other people's shows. It's about Opening Night on one show and Woman under the Influence on another. I really wanted to talk about more Cassavettes and I remember this movie from when I was a kid, So yeah, I'm excited to talk with y'all about this one. Andrew, when was the first time that you saw Gloria And what did you think.
I'd say? The first time I saw it was I don't know, thirteen twenty years ago. And I've got to be honest, this is one of those things like I love gangster movies and I love the idea of casabettes, and so this is a lot like The Killing of a Chinese bil Key for me. On paper, I love it, but sometimes it just doesn't seem like it mishes together
in a way that I find entertaining. It's more artistic than it is entertaining in a way for me, to be honest, this was only the second time actually watched the whole movie, and for the longest time, I thought it was because of its pace, which is slow, but it's actually for me. The little boy just he grades on me and Judith, how about yourself.
Sure When the first time was I saw it, it was with my spouse, who was a huge Cassavettis and especially gener Rowlands fan. And then when she passed away, which hasn't been that long ago, in honor of her, we decided to watch Gloria again. And I have to say, I adore this film and I am in love with Gena Rowans. To me, she is just the most astonishing
presence on camera. And I know that this is a collaboration and they made fabulous collaborations together, But to me, I know it's a John Cassavettis film, but it's also a gener Roalans film, and I find every aspect of it just really engaging and really wonderful. So I think this is a great film, and you know what, I think it is a great woman's film.
She's amazing in this film. I think this is her best performance that I've ever seen. I think she's amazing in this blovie.
She really is the woman has as a presence. And you know, we talk about people being photogenic. As soon as the camera looks at her, she is just off and running. She has like this aura that just draws you in so strongly. I think she's phenomenal.
Yeah, So, like I said, I used to see previews commercials for this. I might even remember Ciskel and Ebert talking about this on That the Movies so many years ago.
Jeane starts out with John Cassavidi's new picture, Gloria.
One of the more interesting filmmakers working in America today is John Cassavettis, whose films look improvisational, scenes run on and on the actor's pause, and sometimes fumble. Cassavetti's movies have a gritty, real life quality. Then general, Rowlans is absolutely convincing every time she has a gun in this picture. To my mind, the film is less successful in its portrayal of the relationship between Rolands and that little boy. A lot of the scenes between them seem too cute
and forced. But when Rowlands is tough, Gloria work so mixed feelings about Gloria more good ones than bad ones. It's an enjoyable, offbeat chase picture. I like the character of Gloria very much. It's that little Brad. I can't stand you know.
He is a little bit much to take, isn't he, Especially when he delivers that dialogue as if Darry anyone to change one word once he's memorizing it. Have a little bit of trouble sometimes with anyone under twelve. In the movie two, something that I noticed. I suppose you noticed this too. This is the fourth time the story has been told in a movie, and the second time this year. This plot is Little Miss Marker, the jam and running story. The gangster gets custody of the kid,
hates the kid, then gets to like the kid. Usually it's a guy, this time it's a girl. Maybe what Cassavides was doing was looking for a little more discipline in terms of a framework. He's famous as a director for letting actors really go with their material and a mote and let it all out and so forth, and sometimes at the end of his pictures, you've had two hours of talking and acting. You don't know what it
was about. This time with that little Miss mark or framework, he gives it a plot, which is kind of a discipline.
But this was a first time watch for me, and I was really excited, Like you, Andrew, I had seen Killing of a Chinese Bookie and I'm just like, it didn't really connect with me. I don't know, it's the filmmaking style of Cassavetti's and it's so odd, you know, to finally sit down and read a lot more about him. They always talked about the whole style of just improvisation, and when you look at the script of this, every
word is there. I mean, there is obviously some improv going on, and probably more in the style of the performance rather than the words themselves. So I was thinking, oh, yeah, this is all improv. But then I went back and read the script. I was like, oh no, this is all here, this is wild, and it is oddly the most commercial of his films, I mean, actually coming out
from Columbia Pictures. Originally this was supposed to be Ricky sch and who was a Barbara streisand was approached at one point, and so it was just supposed to be kind of like a follow up to The Champ, which was odd, like after Ricky Schroeder took the world by storm with The Champ, he was supposed to be in this one with a aging gangster mall and him as this you know, lost little boy type of thing, and like you Andrew, the little boy in this one at
MS is just man oh Man, the voice everything, and I know it probably is acting like a kid, but my god, get this kid away from me. I could not stand him through this entire film.
I think for me, it's the cadence of the way that he speaks. I realize he's a little kid that's not a real actor, and so that's where part of it comes from. But also I feel like Cassavetti sometimes put sentences in his mouth that don't seem like a seven year old or six year old to me, which isn't necessarily I mean terrible, it's just but to me, it's the way he talked. I can't say that I
don't like this movie. I get admired this movie. It just doesn't entertain me as much as I would like it to, which sounds kind of dope and I hate to admit that, but I also try to be transparent. What are you going to do?
I think the kid is fabulous, too, but he was really He got a Razzie Award. When this film came out, people just shredded him and he was never in another film ever. He like gleffed acting forever. I do love the I'm a man, I'm the man, I'm the man. The way he does that, this combination of childhood bravado, trying to stand in for his obvious insecurity, knowing that he ain't the man, but really trying to pretend that he is. He's so good at that.
Well, I mean, he's a toughness that and that was the reason Cassabeti's picked it was because he does have a toughness that doesn't necessarily equate to great acting, but the toughness does shine through, sure does.
I read a really interesting take that was comparing the relationship between Phil is little kid's character's name Phil and Gloria and Phil is also a strange shame for a kid, but anyway, Phil's have to come from somewhere. But it just it feels like such an adult name, you know, Phil and Gloria being maybe a comparative relationship between Jenna and John. Especially this little tough guy and the whole I'm the man thing.
And I don't know.
If Cassavetti's was that self aware, like I'm this little shrimp who thinks he's a lot tougher than he is. It reminds me a lot of his character from The Dirty Dozen, you know, that little dog that just keeps sparking at the big dogs. Kind of thing that actually hit home for me when I was watching this again,
just going, oh yeah, I can see that. I could see him being a little John Cassavetti's And I like the way that this movie begins, that we start with the shots of New York actually before that, I mean, its are interesting too, just the way that we're using the painting. The Bill Conti score at the beginning is very different from what it is the rest of the time. There's a little bit of like Spanish guitar in parts of this, and then other parts it becomes much more
of that big Bill Conti score. You know, you can really hear that through a lot of the action scenes. But starting this off with following this woman who we don't know she is not generalland she ends up being the mother of Phil and following her through her journey of coming home with the groceries, the bag falling apart, the really shitty apartment building that they're in, and I guess this was shot down in South Bronx, And we talked a lot about how South Bronx was just this
war zone at the time. We talked about that on the Wolfen episode, with just how it feels like it's like an alien landscape, like it's the remains of a dystopian past that people are walking through. But yet here's this nuclear family, well bigger than nuclear family's family living amongst them. And surprisingly Buck Henry as the dad was a real shock to me because it just felt like he stuck out like a sore thumb amongst these Latino people.
The way that it's set up initially is really interesting and it works really well because when Gloria is introduced, it's like, who's this. Okay, we know it's the neighbor down the hall, but what the heck? You know, why why is she here? And she seems like very much an intruder into this space, although and gradually the space
organizes itself pretty much completely around her. She's been in prison, she used to be a gun mall, she used to be very tight with the mob, but it takes a while for that to be revealed in the film, and I like this slowness of that reveal. It makes her somewhat ambivalent in terms of what her play in the plot in the entire film is going to be and when that's revealed, there's still mysteries about her. There are still puzzling things about uting she lives alone? We think,
does she have any children? Know? Is she married to a man? No, she was, we think. But she's such a character without a past, and it's only alluded to gradually in the course of the film. It's like, in terms of protecting phil that journey is really crucial and really important, but it's also a kind of process of finding who she is, of finding who Gloria is in this in this film, and I think it's done really beautifully.
I love the photographs of the cats that are in dreams in her apartment. I do want to back up real real quick, and why not or I just wanted to say, I totally do not buy the beautiful Puerto Rican woman with Buck Henry, this Nebbish. And what's funny is I belie that the characters are Puerto Rican in the script. So if you think about this, we could have ended up with Ricky Schroeder and Bug Henry as
Puerto Ricans, which is okay whatever. And you know, I interviewed Bug Henry once and he was a really kind of sour fellow, which you know, I'd grown up seeing him on Saturday Night Live. I thought, you know, on some of those episodes of the seventies, I thought he was, you know, gonna be funny, but just don't buy them together. Not that that necessarily means anything, but it's a weird choice. And also Seymour Gassell, you know, begging for this role.
I couldn't really see him in that role either, But I don't know, it's just it's interesting casting.
We'll say, well, it seems a little miscast, and I think that might be part of the Cassavetti's charm. Are the Cassavetti's touch to cast people who kind of rub against what you would assume the character to be, because there's not a lot in this film in some ways, because Gloria doesn't seem to be a typical dame. She is a dame, but the details are only revealed very very gradually. And did this film not come right after A Woman under the Influence? Is that right?
This one sat on the shelf at Columbia for a while and they had some misgivings about releasing it.
This is not how one expects to see Genna Rolland's I don't think. I know, she's played a range of roles, but I think seeing her as an aging gun mollow is really pretty unusual. I like that aspect of Cassavetties, that people are cast who don't seem to belong in this film, you know, but somehow they're part of the whole fabric of the film. Anyhow.
Well, maybe that's how you know it is in real life, is that sometimes people in the real world, we accept them for the roles that they play in real life, but we saw them in the movie. We wouldn't necessarily believe that. And maybe that's part of the Casabetti's trying to catch realism thing.
Yeah, I think that's right, That makes sense to me.
I will say that the casting of the gangsters is on point, and some of these guys were actual gangsters, actual mob people from New York. And I'm not sure who is and who's an actor, but my god, the faces that he uses for some of these guys. There's one guy in particular, but as soon as I say that, it comes into both of your heads. He looks a little rat like and he's got the longer scraggly hair. He's there at the bar when she has them all dump their bullets out. That guy, his face is amazing.
And also that bigger guy who seems to be going through the whole thing, the one who's like, I'm not mister Tangiers or whatever it is Tanzini.
I think it is.
Yeah, I'd love him as well. And then it was great scene speaking of wolf and Tom Noonan had a very small role in that. Tom Nonan just kind of breezes through the frame at one point in this movie. I kept waiting for him to show back up again. I was like, holy shit, Tom Nowonan.
That's great.
And talk about surprise. I didn't know that Laurence Tierney was in this.
What's interesting. And I'm referring back to my book Here's plug on nineteen seventies in New York Films, The Taking of New York City. The most interesting bit of casting was the guy Basilio Franchina, who plays Tony Tanzini. And he was a screenwriter, not an actor, who had worked with Betrico Fellini and.
Just pikat Buck Henry also screenwriter. This guy screenwriter, It feels like this is kind of Cassavetti's giving back to his friends or people that he wants to work with or people that he admired their work, rather than maybe this is the perfect person. I agree with you that Tanzini is cast really well. Buck Henry maybe not so much though Buck Henry does look like he would be an accountant for the mob. Maybe not married to this gorgeous Puerto Rican woman, but yeah, and you know, maybe
maybe all the money hopefully he was making. But again, they're kind of living in this shithole apartment and everything. I mean, it's big, it's spacious. This is New York in the nineteen eighties or seventy nine when this was shot. Again, kind of cutting this kit some slack too. I'm thinking back, I think he's just about the same age as I am, so at that point he would have been nine years old, no, seven years old, So a seven year old. I mean, they probably could only work with him for how many
hours a day. I don't know what the child labor laws were. Yeah, I can't imagine like having to put up with all the stuff to have a child as an actor, you know, as one of the two main characters of the film.
The guy that's standing in the elevator at the beginning of the movie, and it just keeps bouncing on. I mean, is he high or what? What the heck was your cake on that? Because it's really weird, but it adds to the kind of the greediness and the just dilapidation and questionable appearance of this apartment building. And she just is like, okay, you know, by the way, and I got to go through here.
It's New York. I mean, these are the kind of things that happened in New York all the time. I like that a lot. But I also liked she doesn't get all I mean, she's scared obviously that she just kind of come on, I gotta get out of the elevator, move please. And I like that.
And apparently the only other thing that actor was in was The Warriors, who was one of the Gramercy riffs. I don't know if he was one of the leaders, if he had a role, you know, talking role or anything, but yeah, when I looked him up, I was like, oh, okay, another great New York as shithole type of movie.
The guy with the hair and the kind of rat face you were talking about her whatever we'd call it. It's a picture of him. In my mind, I was thinking he's kind of like a poor man's shun Kazel his name.
Oh, I can see that. But he has this exaggerated sense of his stone sexual war, which is hilarious. Like when they strip, he's all, I'm here, maybe I'm ready for you. He's pathetic, but in a very entertaining way.
Well, and she has no problem humiliating these men, which I really like.
And that's believable. Like we buy her because you know, we talk about how she's not the typical gangster's mall or whatever, but she's tough. Every time she's keep doing these things, I'd buy.
Oh, she's very tough. I mean, as I said, I really do see this as I don't want to call it a woman's picture because it's not really a melodrama. It's a little film with the unusual aspect that we've seen plenty of examples of this, but it's still unusual when it happens that the woman is the center of it rather than the crime bosses or the gangsters or anybody else. And our place in this coourty environment is totally of a piece with who she is as a
character in the film. She's tough, but she also takes nothing from anybody. She is so determined to just push make her way through the world. You know, if you don't agree with what she's doing, that's too bad, goodbye.
She's the best part of this movie by far. I love her and both the actress and the character. General Rowlands is so good in this movie. And you know, we talked about her performance in this movie. One of the things that I found interesting was I had read that they'd argued a lot on the set because God Savetti's had pushed her so much. You know, their husband and wife, and everybody's listening doesn't realize that their husband
and wife in real life. But he had pushed her because he knew what she could do, and they fought a lot on the set. And one of the things, you know, he thought with one of them was that the producer he fought with somebody trying to remember somebody from the studio while they were filming, because he believed that they were you know, he just didn't get along with them because he also fired his editor on the first week of shooting because he thought they were spy
from the studio. So there's so much interesting stuff there. And also she goes down from heat exhaustion because she's giving her all, she's doing these things in the movie, she goes down from heat exhaustion, and he just keeps shooting like it just goes around her and cute for the rest of the day, which shows you how insanely dedicated to the filming both.
We talk a lot about collaborations in the making of motion pictures and between actors and directors, and usually it's a male director, not always a male actor. I mean Scorsese and Robert de Niro, but I do think that Cassavetti's and Rollins this is one of the greatest collaborations in the history of American cinema.
I don't want to.
Be absolute about it, but I can't think of a single collaboration that works as well for the actress as for the director. So much of the time the actress, you know, the old cliche of the actress is just a honk of clay that's molded by the director, et cetera. She's no honk of clay. One of rowlins is. So they're so dominant at our take on this role. How many great collaborations between male directors and female actors do
we have in the history of Americans? And I mean, this is really I can't think of any better than this. Chris i Ador, Jenna Rawlins, and I like Cassavetti's pretty much too.
They talk about George Kuker going back, but I think that's so different. And one of the things that really works here is my guess is that because they're married, because they're in this relationship, because they know each other's everything, their deepest dart, the secrets, the brightest moments, whatever, And I think that they know exactly how to push each other's buttons, both in the arguing in real life way,
but also in getting the best performance. We're getting the best shot for each other.
I think that's true. Also, evidently there's quite a bit of tension in their relationship. I don't know if too many long term relationships, whether it isn't so there or maybe a lot of tension here and there, but I do I think the nature of the collaboration is really quite extraordinary.
You know.
The only one that I can think of that comes even close is about this is French. I'm sorry, but it's isabeut Im and now she's very different. She's her way of acting is sort of like, Hi, I'm a mask. Trying to penetrate this mask. He won't have any luck. You know, she's very out of cold and remote. But it works. It works in all the films they made together. But I cannot think of another as successful collaboration in
the history of American cinema. I mean, this is just it's remarkable what they were able to do with each other.
The only thing that came to my mind when we were talking about female actress male director is Marlene Dietrich and Josephin Sternberg. But a lot of that was how are you shooting me? Are you able to bring out the look? They made so many good films together as well, and again, and you're going back a century for that.
That's someone it's actually thought a lot about Marlna Dietrier that I should have been the first example that gave to my mind. Yeah, that's true.
But as far as Americans, I mean, maybe now with some of the stuff like Ryan Johnson and Natasha Leone or I'm trying to think of some other actor director relationships that we have where you're like, oh, here's the new thing, but no, we don't tend to see that too often. And yeah, I totally agree with you Andrew as far as they probably knew how to push each other the right way. And I was like, I got to tell the story, I got to get this out,
I got to make this happen. And just that driven passion that both of them have comes through in a movie like this. Even if you know Andrew and I don't care for it that much, I think both of us can agree that we still see the passion.
I wish I could make you two boys love this film as much as I do.
I'll tell you, Judith, it's good when we had these kind of conversations because I will usually start to come around towards the end because it's like, okay, yep, to see it through another person's eyes, to hear what you're seeing versus what I'm seeing is very enlightening. So I really appreciate that well.
And again, I love her and I think she is the film. I mean, let's be real, both the actress and the character. I think that material wise, in some ways, his shooting style doesn't necessarily to me fit with what the film is supposed to be. And I wonder if some of that is you know, there are five drafts of this, and some of this is studio stuff. And I wonder, even though he didn't apply to give in at all, how much did he give in between script one and script five. I don't know. I mean, probably
not a while. But to him who blew things up in his mind, we know, who was very anti any kind of changes, well, you know, it might have been a lot. And he talked about you know, this being a commercial movie and blah blah blah, and which he didn't necessarily like the idea of from the get go. And also he saw it as this violent picture, which he is, but he wasn't wild about that in the beginning.
And I'm just not completely sure that I think his directing, like he was the one to direct, even though he wrote it. He wanted to get rid of it from the beginning. He didn't want to direct it. And to me, maybe they just don't align in that way for me. But she amazing.
I do think that this is one of those examples, and I think this occurred with von Sternberg and Dietrich as well, where the woman pushes back. Okay, I don't like her fainting of heat exhaustion. But I see a lot of general olans in this, like no, you don't go there, don't make her a Patsy, don't let her be any kind of stereotypical quote feminine character. I guess the conflict between them. I don't like to romanticize conflict, but I do think the conflict between them is productive conflict.
And the same was true with von Sternberg and Dietrich that I do Jenna Rollins is just so I don't know how one can be not enchanted with this presence in the film. She's a dynamo, but she's also like still water's constantly running deep, you know, constantly having something else there that she's holding on to a little bit, and it's going to come out sooner or later. I wanted, can I say something more about fill Noir. I've been
thinking a lot about phil Noir and women lately. How sad it is that fill Noir in so many instances went the direction of basically, if you don't know how to deal with a woman, just let's just erase her from the film, you know, let's just make her so tangential that she doesn't have much to do except someone to have sex with or someone to be hagged. So I'm really drawn to fill noir where the woman is
really central in American film noir. I think Anne shared it and has that kind of presence, like a Nora Apprentice, and I'm not going to be able to remember others. Oh the one where her husband is being tracked by the police. It's like nineteen fifty and at the end, the end of at the Beach and there's a statue of her. Okay, never mind, I'm blithering. I think that it's so rare in fill noir to really have women
be front and center, and I love seeing that. And this is probably more of a crime film and a gangster film than it is a film noir. But let's split hairs, you know why not. There's plenty of film noir elements in this, although I still have a hard time seeing a color film as filmmore. But that's neither here nor there. But I do think the way that she tilts everything to be read through the woman's perspective, through the woman's point of view.
I think that movie with the statue is the unfaithful. Speaking of black and white, I was reading last night now This is very interesting because I am totally in line with your thought process to Andrew as far as Cassavetti's just hated the studios, hated the overhead, hated anybody telling him what to do, just was such a maverick
and such a little bedstrong guy. And they were talking about I was reading Race in Cassavettis on Cassavetti's book, I think it was, and they were talking about how the end of this movie is actually different or was different in Europe when they released it over there. The end scene in the cemetery, that final cemetery scene when they're reunited, that was all printed in black and white, and Cassavetti's is like, oh, I really like the look
of that. We're going to do this, And then the studio here in the US was like, no, we're not doing that over here. You're going to put in color. And he's like, okay, and he's just he seemed to be alright with it. I don't know if it was the benefit of hindsight. He was like, I wasn't married to it. It was all right. It was kind of neat experiment. Obviously, with the version we see today is the one that's all in color. But I was like, oh, that sounds like it might have been an interesting thing.
I don't know exactly why, but okay.
The ending of the film is a bit of a pusslerk is when you shoot in an elevator, do the bullets necessarily hit the people inside? I have no clue.
I don't know, especially with that shotgun that they've got. Oh, that's just like they keep using those different guns, like give me the magnum.
You know.
It's like holy shit, over.
And over again. David Grevin wrote a really nice essay on Gloria that I mentioned I think I've mentioned to you, Mike, and he just reads The ending of the film is very ambivalent. We have no idea if Gloria and the kid what's his name, Phil, if they survive, and putting it in black and white makes the distinction even more remarkable. It's like they're in some fantasy space at the end of the film. This is how we'd like to see it,
and very much so. It's almost like there is some kind of Bardo space, you know, a space beyond death, and it can let you hold on to the idea that they didn't die. I can't stand the idea that two of them dying at the end, but I have no idea what bullets do to elevators.
When taking that a step further, and I never would have thought of this until we were talking. But the black and white could, you know, also give the indication whether it's meant to or not. You know, he thinks she's dead. We don't know if she's lived till the end, and what if he's just dreaming that one thing I really would have liked to have seen at the in the mix is really a small, small thing. But when she shows up and she gets out of the car and she's talking, I mean, we know who it's going
to be. But close up would be nice because she's any bitty in the background for a long time, which also again could indicate I could I mean, I'm reading way, way way into that, but it could indicate that she's not really there, can't sighs in the background.
I think that's totally on Targe. That part of me wants to say, of course they die at the end. Of course they die in the elevator and another party. He wants to say, oh.
Like Lauria untill the live please, and then's better. The idea like that makes us happy.
Why was this film hated so much? It was trashed.
I really think it's the little Boy. I absolutely think it's the little Boy. It's just his rhythm and I feel like if he could talk less, it would have been better. And I know that's an awful thought.
Yeah, I like the King. I thought the Kid was really good. He didn't deserve a razzie.
I think because I feel like during different movies, like when she speaks, I'm like, oh my god, she is great. She deserves an Oscar nomination, which she but then he speaks I want to turn into television of Yeah.
I mean, I agree, he's a grading presence, but that's a part.
Of the film that some people are great in presence as it happened. So again there's that realism, see realism there is.
But he also refuses to sentimentalize childhood. He refuses to make the kid the sweet little darling that Gloria is gonna. Of course I want to be your mom. No, I don't want to even to do with you go away, And of course that changes in the course of the film. That's still it's.
So weird that this came out the same year as like little Miss Marker, which is somewhat similar that the Davon Remyan story about the bookie with the little girl. It's Julie Andrews. But this is such a tradition of hearing the gruff person, whether it's a man or a woman with the child and using the child to basically break down the defenses of the adult. But in here it doesn't really know there's a little bit of that. Of course she changes throughout this, but there's not a
lot of loving that goes on with this. I mean she calls him a little shit, pretty oddest in this, and yeah, when he runs away and everything, she's like, what the fuck are you doing? You know, it's like this is real life here. Yeah, Like you don't feel like these are cartoon gangsters that are after her. This is like the real deal. This is taking like a little Miss Marker and putting it right in downtown, you know, the Bronx.
Yeah, that's good. I also like taking the stereotype of the grumpy old man and making it a female. I love seeing that kind of exception to the rules of how again, it's always so sentimentalizing when an older woman you have to find something sweet and kind and darling about her. I mean, I think she's darling, but not in the way that stereotypically older women are supposed to be presented. And yet even though she's tough, I don't think she ever becomes a stereotype of the grumpy old
woman either the grumby old lady. She's someone who really has agency. I think there's so much of this film that is seen through the experiences of Gloria, and that's part of what I love about him and part of why I think it's such a woman's film.
And Tanzini, of course, tries to put her in that box. He tries to come with that stereotype. He's like, you're a woman. Of course she didn't fall in up with the kid.
You know.
He's immediately like, okay, it's kill him, you know, but he says, of course you're willing to. And I, of course it's the male blah blah blah. Maybe probably especially that kind of male. You know, working's mat show and we're out here shooting people and doing these things and I've had sex with you before.
Oh well, she does it well well, and she emasculates the men so often. I mean the taking off of the clothes and everything, you know, even just the taking away of their guns. It's basically just that complete emasculation. It's a castration type of thing right there. And then even when she gets away from them in the subway, she could just turn around and walk away, but it says she's like, ah ya, sissy, look at what I did. Yeah,
this woman bested you. And I'm just like, hey, tone it down, like you don't want to make these guys more mad. But at the same time, I'm like, you know what, go for it. And I love things like how there's the car wreck that happens and the I think the text driver's like, oh hey, what happened here? Blah blah blah. She's like, I don't want to talk about that and just gets in the car.
I'm like wow.
Also, when she makes them take off their clothes, it's certainly a masculation, but is desexualized. The one then, goofy guy that we talked about with us longer hair, he tries to sexualize by you know, I'm here, I'm ready and acting as if he's jerking off. But it's so I just love putting the woman at the center of that scene and refusing to let her be sexualized as the instigator of it. I thought that was just great.
Talking no cab drivers.
I love how friendly the cab drivers are through this whole thing, and just how helpful they are. I like the scene with Val Avery. Now I'm a huge Columbo fan, and Val Avery was in that group that Cassavetti's Peter full K, Ben Gazarre, Gina Rolands type group and him showing up in just one scene and then he says something to the cab driver that's completely offensive. I think he calls him a gorilla or something. And the cab driver's just like, okay, out of my cab, and I'm
just like, oh yeah. And when that guy gets out of the cab, he's like he looks like he's seven foot tall. I'm just like, holy shit. Like Val Avery, I hope you're smart and you don't try to mess with this guy because he will put you down. And I was really happy with that scene.
Well, his machnis immediately falls to the sign too, because he's shocked, like all these people are talking to me this way. I was supposed to be a tough guy, you know, were in their world. I'm this tough white guy. I can't believe this, And it's hilarious. It's amazing.
So many things they're turned inside out in this film. So many of the cliches and the stereotypes are turned inside I.
Love the whole thing when she gets the money out of the bank and just goes, fucker's at the bank. Just talk about like institutionalism, you know, just they're so suspicious of everything and just so corporate and all that. But I love she gets that money out, like the whole like, hey, do you mind if I'm alone with my money please? You know, just really she takes no shit from anybody. And when she's got those hundreds later, she's just like, hey, you got change for one hundred.
Just keeps trying to do this. And then all the things with the cab drivers where she's like, if you stick around, I'll give you the rest of this hundred kind of thing, and just it's so great and again almost always helpful with these cab drivers even and that's one thing that you know, the thing that Phil learns through this is how to be really a tough guy. Like he pretends that he's a tough guy. You know,
I'm the man I'm the man. But when he listens to Gloria, that's when he starts to pick up on this stuff. There's the repeated lines like, you know, him with the cab driver later on, or him with the waitress when the waitress is kind of hanging out and Gina Rolmans is like, hey, take a walk, and then they have a whole conversation, her and Phil and then later on the waitress comes back and he ends up the whole scene with take a walk to the waitress.
It's like it's precocious, really fucking precocious. But at the same time, it's like, yes, you're learning some lessons. You're learning from this woman who can really teach you a thing or two.
You know, I would watch five more movies about her character. But I would totally love to watch her play this role in other movies. I'm not gonna get that now, obviously, but you know what I.
Mean, it's so indelible, that roll of Gloria. I mean, it's just the presence is so strong and it emanates so much like in so many different directions. I'm being a little over I'm probably being over the top a little bit in my enthusiasm for Gena Rowlands and Gloria bit. I think this is just remarkable in terms of her presence in the film.
Like you said at the beginning, Judith, she's a glamorous woman, and you get to see her deglamorize as the movie goes through, and she doesn't give a shit either. And then as the movie goes along, you get some of these close ups and it's just like, okay, and I'm start to see the bags in her eyes. I'm starting to see the eye makeup run a little bit here.
You know.
It's just like she's being beat down by this whole thing, but you know that she's gonna persevere because she is.
Yeah, when she's determined to do that.
Yeah, Apparently Cassavetti's was like, what am I gonna do? I'm gonna leave the kid there at the cemetery alone.
No, of course she's.
Got to come back that. I can't end a movie like that. I'm like, Wow, how fucking sentimental of you, John Cassavetti's that's great and great stunts too. By the way, the thing with the car, it's such a quick thing, but I love that it's actual people in the car. At first, I was like, oh, it's gonna be dummies or whatever. But when you see all four of those gangsters in the car and the one guy's arm hangs out, and it's like, oh, okay, like that they pulled that
off pretty well. I think that was one of the complaints about this film is people are saying, well, when it's supposed to go fast for the action scenes, it goes slow, and when it's supposed to be slow, it goes faster whatever. And I'm just like, ah, I don't see the pacing that much of a problem as far as the action versus the dialogue, but I know there is a lot of stuff in between those action scenes. Those action scenes when they happen are great, but yeah, they might be a little too quick.
I've never had that reaction to the film.
She keeps saying over and over the still can't speak English, but this is all these things in the whole hobe. I thought that was weird.
Yeah, he has no accent whatsoever.
Really, it's I think she also was referring to how a kids saying stuff like I'm a man. That's not what we consider proper English. I mean, it's not certainly not polite English. And part of what she's referring to. Is these so uncouth? Now he's so rowdy and loud and obnoxious.
I'm much more believer in the children should be seen that herd kind of school like, they're.
All pretty uncouth. But what I do find great. We talked earlier about how the looks of the gangsters they shown us in seventy nine. So they're, you know what, seven years out from the God bother right, and everybody's kind of you know, you've got Michael burleone and all these guys that are you know, sloth, kind of just well dressed, well presented, and then these guys look like goofballs. Some of them are ugly kind of looks and things that match their personalities. And so I do think that
is great. It kind of touches them what you said earlier, But it's just small dog I had.
They remind me more of like the guys from the Friends of Eddie Coyle, just that style of gangs, Like we are struggling every day to get through this kind of thing. It doesn't feel like until you get to Tanzini's house. There's where the luxury comes in. The rest of these guys all seem like more you know, blue collar stiffs where this is the only thing that they have going on. Possibly can as well like grunts and
can ask them. And this is that great time of New York City where it's just still such a hell hole in places. This is like a few years north of Taxi Driver. This is like the New York of Abel Ferrara to me, you know, where you just feel the dirt on the street.
That's right. And what year was Raging Bull was? Nineteen eighty eighty? Yeah, it seems strange to me, is a point of it's not comparison at all. But to me, that's what part of what makes this film so much. It's so unique, is that in a midst what was a kind of massive exploration of masculinity, and most of it brilliant. I think Raging Bull is fabulous, you know.
And the way that it explores what it means when somebody is trying to be a man and trying desperately to be a man, I think of this a brilliant idea to ask the question, Okay, well, in amidst all of this, what's meant to be a woman? What does it mean to be an old woman trying to find her way in this particular world, and I like the journey that she undergoes. Yeah, of course it's taking care of a kid that's taking care of herself too.
I didn't think, you know, we talked about to do about the grittiness of the city, and I did think it was interesting that I had read that cassavettis like one of the buildings they had gotten was a hotel where it was an actual mob hang out many many many years before, and it was dilapidated and it wasn't being used, so they decided they were going to use that. And I'm assuming I don't know if that's for the
tangany stuff. I don't know which, because I know that there was one building they used for three different sets, but this was a different one. But I thought it was interesting was that he comes in and the set of people are in there cleaning the walls, and he comes out of the loud no. No, note, this is why we got it. It's supposed to look like shit, you know, And I just wanted to preserve that and catch that again, you know.
But it's like add the scum to the walls, you know, make that paint, you know. I love some of those shots, like when we're down a hallway and you see the peeling paint on one side and you're just like, when was the last time this building was maintained? It feels like half a century ago. It feels like those glory days of film more, this is what we ended up with forty years later.
Well, Judith, you have made me like this a little bit more. I feel like I'm gonna have to go back and watch it again. Damn it.
Oh, I'm so glad.
Yay and Mike mission accomplished. Yes, I definitely can appreciate this a lot more. It's still tough to hear Phil's little voice, but yeah, a little bit easier than the kid in the remake. But I we'll definitely talk about that in a few minutes. So in the meantime, let's go ahead and take a break and we'll be back right after these brief messages.
Hello everyone, this is Malcolm McDowell. I just want to say that this is a request to listeners of the Projection Booth podcast to become patrons of the show via Patreon dot com, P eight e EO N dot com slash Projection Booth.
That's pretty simple. I think you can do that.
It's a great show, and Mike, he provides hours of great entertainment. So now it's time to give back my little drovies. Settle down and take a listen and have a sip of the old molocco, and then you'll be ready for a little of the.
Old in out, in out, real hard show. Bye bye.
You know, women got the greatest deal in the world.
All they gotta do is fall in love and some guy just takes care of him.
Had chances.
The hell is this? There's someone new in glorious life.
My girl's supposed to be young lady.
If she tried to ignore him, go on, go home home. She tried not to care.
Kittie's got nobody.
Oh families, Did the hell am I doing with you?
Huh?
I never even like kids.
But one look at him.
It's just a teeny little baby bug thing over there.
And she knew that the answer her uncle's life. She had no other choice. What's your name, Nikki, I'm Gloria.
What about the kid?
He's under five?
Will not I'm seven?
You're learning to keep your mouth shut.
I don't like the way you talk.
So I got this kid, you know, my kid? I just kind of got involved with him.
I mean, his whole family said he's got nobody, you know, so I get stuck with him.
Who listens to me.
A little punk?
Come on, baby, I'm a man.
This kid is try for me nuts. He got pretty big feat for a girl.
What are you trying to win me over?
Columbia Pictures and Mandalay Entertainment Present.
Freaks your heart?
What the hell are you thinking? You're Sharon Stone.
I could see him doing something with his life.
In the Story of a Boy Orria.
Do you like me, kid?
I like you all alone in the world. Oh my mommy, want my puspy and the woman who meant the world to him. I want to do the great.
Thing to him, the feeling fun and.
Spettle thing.
He does as much, but then he does the stars and I can't train a lot. The followers charge, I'm a love for him.
If you wanted me to, I could be your Gloria.
I like sleeping with you.
You know you're the first guy to tell me that.
All right, we're back, and we were talking about Gloria, And as I say, any good movie deserves a really bad remake. So here we are in nineteen ninety nine, one of the if not the last film from Sydney Lumette and Sharon Stone coming back as Gloria, and I have to say, I really like Sharon Stone.
I really appreciate her. I feel like she's really gotten the shit end of the stick quite a bit when it comes to her experience in Hollywood. Now, some of that might be the fault of the people around her, some of it might be her. She's the one that signed the contract for Sliver, and Sliver is one of my least favorite movies of all time, but Gloria might be in the running. Holy shit, was this movie back?
It's awful. I couldn't watch the whole thing.
I couldn't watch the whole thing either. So I don't know Andrew if you made it through the whole thing or not, but I couldn't do it.
I watched the whole thing, but it's crap.
I really love Sharon Stalin. I think she's pretty great, And yes, it disturbs me how she was treated in Hollywood. But in this I have a standard for not that I'm a great judge of whether someone is a bad actor or not, but my judgment bar for bad acting. And I thought of this as soon as I started watching, well soon as she appeared in the remake. Never show Girls. I know a lot of people think it's the end all and be all. How I don't know, but I really disliked Showgirls, and I even went to see it
because I thought it sounded so intriguing. I even went to see it on opening day, so it was meaning all the raincoats in the movie theater. But when Elizabeth Berkeley is asked where she's from, she gets frustrated and she says, Tim frink Places. To me is the ultimate statement of bad acting, Frank Prick says, And that's what I wanted to scream at Sharon Stone in this remake of Gloria.
The accent does not help.
Oh it does not.
It comes and goes, it gets thicker in places. She doesn't pull it off particularly well. And I feel like that does her disservice because you go back and she's so good in Casino, like so good. I think Lumette was just not firing on all cylindersy even we know that by the end of his career, and well, you don't know how an accent. I think that was a terrible idea.
Who's the idea. Was it to remake Gloria? It makes no sense to me. Was this something she wanted to do?
Sharon Stone, I wish I knew it came from.
I don't know either, but it's really and I do not understand. A different person got screen credit for this screenplit and I can't remember the name, but it's not John Piocevei's.
Yeah, it was Oh geez, Steve and Tin who I think it done one of those movies that came out. He was I believe he's an actor and then a writer. Oh yeah, that's what it was. Inside Monkeys Zetterlund, So the nineteen eighty two filmed He wrote that one. He did not direct that one, but yeah, and then he wrote this one as well. Yeah, his filmography is pretty spotty. I haven't seen Inside Monkeys Etterline, and I remember hearing a lot about it because it was during that inn
B boom. But I have to say, Andrew, I hope you don't chafe when I say this, but this feels like Gloria in a very post Tarantino world. So you get those things like the gangsters in the car and the guys talking all about the fucking pigeon, and I'm like, oh boy, we are so post Guarantina right now. We're going to have these guys have a funny conversation. And it's not even that informative.
It's got this real, superficial new job city look to it too.
It's just stupid. And the role of Gloria is like this insipid jerk in this film. I mean, there's nothing about her that comes even close to generals in the original. Gloria just don't get this film.
And of course the sexual lasher immediately like this is because you know, if Sharon Stones in it, they're gonna think we gotta make her money. We've got to insert these sean So, I don't know. It's just a weird and bad idea.
It is, yeah, a weird, awful idea.
To have her leave prison in a cocktail dress. I mean, this movie starts very different. We have a lot of setup. She doesn't even meet the film character until about half an hour in, so it's like the end of the first act. And yeah, to have her in that cocktail dress. When she leaves prison, she goes over and visits her former mob boyfriend. Her mob boyfriend asks her, do you want to make love. And I just said, who the hell wrote this thing? That sounds like a real gangster line exactly.
I know.
It's terrible. It's like it wants to imitate Gloria, but its idea of imitating it is to be as thick headed as possible. Like, Okay, Gloria alludes to having been in prison. Oh well, let's show that. Let's show that at the beginning of the film. That'll give her backstory. No, it doesn't. It just makes the film more stupid than it already. Well, it's the beginning of the film, but it predicts the stupidity of the entire film.
You know what drove me crazy here is when we start up in the apartment, or when we get to the apartment and he's got the disk, YadA, YadA, YadA. Okay, I swear it was it Mike Star that was coming down the you know, the hallway. He was, okay, and of course a generic white little guy anything in the nineties, you have microsphone. Okay, So Mike Stars walking down the hallway, we see him, he's looking at him to the people. I swear to god, it takes him twenty minutes to
get down that hallway. The guy runs in and owen, it's what's his name? I forget the Italian guy with the eyebrows, what's his name? That that is the.
Dad and Bobby Cannaballe.
I love that guy, even though he doesn't have a lot of dimension as an actor. I really do like him, but in other things, not this. But anyway, So he goes in the room and he's telling the kid, I swear to God. Instead of just saying go out the window, he's talking to him for Edinburgh. He doesn't call in the daughter. He doesn't just let the daughter die, because it's not like the other one with the daughter whoes No, I don't want to talk to you. It builds in
the other room. No, in this one, he doesn't even think to try to save the daughter. Like he's just like, you're the man. We forget you're says oh of course. Yeah.
I really like him a lot too. I was surprised to see him show up in this and.
Just be so you.
But it's odd how often I see him. Like I just watched Motherless Brooklyn and I had no idea he was in it, And here he is such a guy and of course it gets killed. I think his casting. Now, they definitely have raised the income for Phil's family in this one, they're living in a much nicer place, and Connor Valley fits with that and his outfit and everything he's got. I think it might even have suspenders on.
He looks almost like a young corporate type guy. That makes more sense as far as him being this accountant or something. And then yeah, we have to move it from a book to a disc.
His speech goes forever to the like we're still imagining it. Mike starts walking up the hallway and forever, I mean, then he starts banging on But even when he's banging on the door and it's now emergencies time, he's still talking to the kid, like pushing the hell out the window and go back. I don't know. It's just a dumb scene.
Now, Yeah, it's just poorly done on every score.
It's like she goes and meets with her former boyfriend, gets an outfit change, and it's even a skimpier outfit, like now her cleavage is covered, but her legs are completely on display. And I'm just like Gena Rowlins was glamorous, Sharon Stone can be glamorous, but in this it's like she's this weird glamour queen walking around in this world of mobsters, and it's like, this doesn't fit at all.
That's not You're just not a real person. Yeah, it's like every outfit they put her in is more and more revealing.
No, she looks tag game.
She knows it always gets being these movies is how they had people running around in heels, like for Retal. My wife always points us out. I don't know her heels, but she'll always pointed out to me, how the hell did they run this star and heels doing all this.
It's ridiculous, but it's always.
In these movies, and I always think that's kind of interesting too.
I really can't say anything redemptive about the remake other than it's nice looking at Sharon Stone, but I'd much rather see Gena Rowlins and who can actually give a really good performance. I feel like if there was a performance there, they just gutted it. And yeah, that freaking accent, Holy cow.
I find it cringey to watch anything. I mean, it's just awful. I insisted we've fast forwarded to be able to see the ending because I knew there wasn't gonna be anything ambivalent to the end in the ending of this, and of course there isn't. But it's just one ridiculous scene after another.
Okay, I rewatched this Friday, and I've never seen the only to but we watched it Briday for this and I already don't remember much about it on what we talked about.
Well, that is that kind of movie.
It's just I didn't notice that they changed the boy's age by a year, and I thought, why didn't you even have to do that? It didn't take his name? Is it Jack or something? I can't remember. It's no longer filled. It actually sounds like a name could have been a little boy. But and I think he talks a little less.
I think he does too, which is yeah, I appreciate it, definitely.
I find something sacrilegious about about this remake. Leave Genner rowls alone. To me, I know you don't agree that. That's okay. To me, this is a perfect film, Gloria. I think this is such a masterpiece. It just dissolves everything about the film. To make a remake. I mean, I guess a remake could be good, but I'm not imagining it, and this ain't it for sure.
No.
I mean, have they ever done a remake of a Cassavetti's film that is actually successful. They haven't done that many remakes, thank god. I know they've done little tributes and stuff. There was a short film of a woman under the Influence in twenty seventeen. There was a movie called Before Opening Night that was done in twenty ten. I'm curious about that one a little bit because I was a Spanish film. It might be the Chilean No Argentinian.
That's what it is.
He was such a specific flavor and the way he made movies was so revolutionary at the time. I mean, he is so the symbol to me of new American cinema, and yet he usually gets footnoted, like they will concentrate on your Lucases and your Spielberg's and your Dipalmas, but they will take Cassavettis and just like, oh yeah, and this other guy was doing this thing too. He knew why because it's challenging. It's very challenging to watch his films, and I appreciate that about him.
Yeah, I think he's one of the people whose films should never ever be remade. Some films are unremakable and they ought to be leave them alone.
Now, I did find this little write up, little review that you guys said. Something made me think about it, and this is of the original, but this was from one of Ray Carney's books. It was a different one. It was from American Dreaming, the Films of Joe and Cassavetties and the American Experience, and this is obviously for the Cassavettes. When but I thought this kind of summed it up. He said, but halfway between a Warner Brothers thriller and a Disney fairy tale, Gloria will probably satisfy
neither children nor adults. But he could never be confused with the work of any other director. And I thought that was kind.
Of a that's us. Yeah, that's a good point, so true.
Yeah, thank you for giving me the right name. I think I called him ray Stanton before.
I don't know, it was a What's interesting is on that book he's credited is Raymond to Corey Eric Carney, even though one of the Cassavettes. On Casavettes, he's not that. I'm Andy rush On half of my book, so held one.
Yeah. I tried to get a hold of him for this because he seemed like such the expert on cassavettes, but unfortunately never got a response. I had a pretty old website out there, not a Goo Cities, but it was around that era of websites, so I was like, all right, this hasn't been updated for a while.
Has it one little thing I wanted to through in elin? I never did, but it's right before that ending, and I wanted to say, I don't buy the six year old going up and buying a ticket at the train and no one says anything about it. You think that they would sell a ticket to the six year old to go to another gown, another city. Yeah, I think my first question would be where's your mom and dad? Because he feels like a runaway. He is a runaway at that point.
All right, let's go ahead and take another break and play preview for next week's show. Right after these brief messages.
England needs an air let the dynasty die with Henry the eighths, and we'll have gymnastic wars again.
It's like what you watch.
King has declared war on the pope because the Pope will not declare that Queen is not his wife.
No queen.
Son after sons she's born me all dead at birth? Ever saw that?
And a gods clean in anything.
This English Church will first divorced him from the Queen, then marry him to Lady Anne.
The king wants Sir Thomas to bless his marriage.
I will not take the earth.
I will not tell you why I will not. I might get it out of you in other way. Yes, And when you safe out, that is among us a brood of discreet creative.
It's my own judy to put away in the queen, and all of them shall not come between.
Me and my jut.
A light light in your own ants. Thomas is always ants.
Happens for us all even for kings.
He comes.
That's right.
We'll be back next week with something very different. We're going to be looking at a Man for all Seasons, an appropriate episode for winter, spring, summer, or fall. Until then, I wanted to thank my co host Andrew and Judith. So, Judith, what's been keeping it busy?
Well?
I've been working on this book for a long time, and I do have a great title. I think French Film Noir in the Occupied Zone. It's about French film noir during World War Two and as you both know, most people do not understand that the French invented fill noir as much as any American director ever did, probably
more so. And I've seen lots of films, and I have been in touch with this great guy named Don Malcolm and he ran for ten years a series in San Francisco every year, and he has excavated all of these film noir as from the thirties up until president and almost present day. And he's a great curator. And so I've really learned a lot from his work and excited about talking about.
French fille noir and Andy, how about yourself?
So I have an unbelievable four projects coming out or right out, and I apologize for the quick little grow in here, but okay, I just had a book out. We talked about the taking of New York City Crime on the screen in the Streets of the Big Apple in the nineteen seventies. That is from Applause, and it covers fifty movies. I had a book that just came out that I edited with Kieran Fisher that's from McFarlane called The Cinema of Quentin Tarantino. It's a collection of essays.
It took five years to get that book from start to finish, so I am glad to be done. That comes out in a month. I have a book in July about the generation of nineties filmmakers you'll love. The title of it is the Generation Tarantino, The last wave of young Turks in Hollywood, covers all of the people you would think it would cover. And the last one, The Life and Art of Gary Graver, which I co
wrote with Dave Wayne and Maddie Boudrowitz. We meet these people online, we don't meet them, so I'm probably butchering his name, but that comes out from bear manor. Gary Graver, of course, was the director of many movies, including adult films, and he was a cameraman for everyone from Orson Welles Too drum Roll, John Castle, Peppies. Sounds good. I'm so burned out now that I may have nothing else coming.
I was gonna say take a break.
But Judith, when your book comes out, I definitely wanted to talk to you about that, And if you've got any titles that you would recommend in the meantime, please shoot them on over.
I'd love to check them out.
The problem with some of these films is that they are hard to find because a number of them are available on DVD that it used to be in trance, but they're hard to get in the United States. But I'm thrilled every time I see the Criterion channel do one of these occupation films because they're not easy to find, and I always recommend Lookobo because we did an episode of Projection Booth on that and to me, it's still buying number one favorite chilm.
Thank you so much folks for being on the show. Thanks to everybody for listening. If you want to hear more of me shooting off my mouth, check out some of the other shows that I work on. They are all available at Weirdingwaymedia dot com. Thanks especially to our Patreon community. If you want to join the community, visit patreon dot com slash Projection Booth. Every donation we get helps the Projection Booth take over the world.
Go Yeah, you're always on the throne now lading after somebody.
You gotta get it somehow.
I think you got storm down, boys stopped boming. I think you're heading for a breaking down, So careful off the show head. You really don't remember wanting something.
That he said?
All the miss in your Pence.
By Bryn stop thing than hands and up. I think thanks you not I think thanks thank you? Nothing? Is it your p.
Boria hours and go and go down?
Will you meet him? Ama? Pain? Man?
Oh?
Will you get your mom rebound?
Will you marry for the man?
Take the lover in the afternoon we made a sense stepping away. Don't believe it's coming back soon, and you don't said in your head, glory.
Now and think God in on anything. Nobody post. I think they get I think they get.
My son.
In your story.
Baton as the spot and of Bransports and Boston as Instanscotsport Statsport as Scott stoton Asso