Episode 779: Megalopolis (2024)

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From visionary writer and director Francis Ford Coppola comes an event nothing can prepare you for.

Imagine today's society has a branch of civilization about to reach it. Dead end.

Is this way we're living.

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Meg, Welcome to the Projection booth.

I'm your host. Mike White joined me once again as mister Rob Saint Mary.

Don't let the now destroy the forever.

Also back in the booth is mister Mike Thompson.

Time stop. It didn't work, Oh well, next time.

In September of twenty twenty three, the New York Times positive that men think about the Roman Empire at least once a week, if not once a day. I don't, but since September of twenty twenty four, I have thought about Francis Ford Coppolis Megalopolis at least once a week, if not once a day. But can you blame me? Megalopolis is Francis Ford Copalis self financed passion project that was one over forty years in the making. It's the story of Caesar Catalina, a man named after not one,

Shut up? It does what I say it? Stop asking questions? If anything, I think we need to really talk about what the heck this movie is about and see if we can make some sense of it. I can warn you, dear listener, that there are no spoilers for this movie. It cannot be spoiled. It can only be pondered. So, Rob, when was the first time you saw Megalopolis and what did you think?

Well, as soon as I heard that it would be in the theater, I got there as quick as I could because I knew it would not last long, and so I think it only played locally here where I'm at for about a week. My initial reaction is, I hope Francis had fun. I hope he had a lot of fun, because that's a lot of money. I hope it does exactly what he wanted it to do, because at times I don't know exactly what he wanted to do.

And mister Toompson, I know where you were because we saw this movie together. You want to give your initial impressions.

I just remember when it was over, the first thing I said was wow, and you just said yeah.

Oh.

I didn't say platinum.

I was reacting to the song they were playing at the end, because I was very excited that they that the was there. I don't get to hear them at the movies very often. But then your reaction immediately to me, oh wait, wait, let's think about the movie for a second instead of this song, which is now washing away this experience, at least for the moment. I've seen many many movies where things don't feel connected. This one, though,

No, not surprised at all. I mean, we saw the trailers, we saw that teaser that was out there of Adam and Drivers standing on the edge of the Chrysler building feeling very much like Men and Black three but not nearly as good, and saying time stop and apparently he can also stop gravity because he's pretty much falling off of it, and also thinking, wow, it's a tribute to

On my most recent watch for this show, my note here is feels like a pot smoking college kid who had some philosophy and history courses and Shakespeare and decided to write a movie to fit in all of his ideas.

I feel like that that's accurate and yet also generous. At the same time.

There's a YouTuber that I watched, Steve Schives, and his opening to his little review question mark was this feels like an Iron Rand novel directed by Edwood, and I felt that that was kind of unfair to Edwood.

Yeah, I mean I would have enjoyed it if it had Edwards, not special effects, but symbolic effects. There's another movie we'll talk about later that came out the same year, and I'm like, I can't believe that they only spent ten percent, like the catering budget probably of this movie to make a film that dealt with an architect in a really interesting way.

Not to jump into the documentary already, but yeah, when watching that and just those little things they would show of like this is how much they're spending on this, and this is how much they're spending on that, and like, oh, he's gonna buy this hotel and convert it into it. Like, just like the movie itself, these are all bad decisions,

To start with the beginning.

It's noted as a fable, and that to me feels like Coppola is letting himself off the hook that he's saying, you know, it doesn't all come together. It's a fable. It plays in its own heightened sense, so therefore it's okay.

It's a fable. So my intentions will be on the screen and that will be good enough.

I mean, we talked so long ago about the persistence of plot, but this doesn't even have the persistence of plot. You can't carry through from one scene to another what is supposed to be happening. It's like so many times we get shorthand when it comes to like well, it's like the coolest shof effect right where you get this image, you get this image, and you're to make a connection between the two. It feels like there's no connection between

The big theme that I get is the one Great Man narrative. So he has this whole thing with and we can get into the history of New York with the whole you know, Jane Jacobs Robert Moses, because he's kind of a Robert Moses character. He's he's doing this like urban renewal, Right, He's gonna tear down this slum and build this beautiful thing, and that's going to revitalize

Our main character is such a shithead throughout the entire thing that I don't empathize with Caesar Ketalina ever, and I don't think I empathize with anyone in this film.

I can't say that I know all the particulars of that history, but I know that it was this part of this whole thing. I mean, it even happened to try to a certain extent, you know where we're from that there was this whole you know, urban renewal, and it's like, we got to clear the slums and we put the freeways through, and this will be the great you know, future city that we want, you know, Delta City, Proble Cup. So it's all, it's just all of this

Is that you saying that that's Caesar Catalina or is that you saying that's Francis for a Coppola or is that yes to both?

I think it's I think it's a combo, you know, because when you look at the documentary later, he talks about the value of art and the artist and the strong artist and.

All of this.

And I do see that in the in the Adam Driver character, and that he's like I have this vision and I have this you know, people don't trust him, you know. It's like he's got this mysterious goop that he can do things with and he killed his wife and there's all of this background on who he is and why he's sinister, and people don't appreciate him.

And it's this stuff he's got send stuff.

I don't know what it is, I don't know where it comes from, but it will.

Give you one hair of a headache. I definitely see it as both, and it's like Copola wants to have it both ways too, where it's like Caesar's a great man, but he's also flawed, you know, because he's he's he does all these terror he does all these terrible things. But it's okay he does the terrible things because that's when people how he gets people to listen to him, because because if you're good all the time, then nobody cares.

The story is a little labyrinthine when it comes to Caesar versus Cicero, and Cicero is the mayor of New York, Cicero is Gihn Carlo Esposito. We should say that there are many versions of Megalopolis. There's the script that might refer to there's the comic book version of this. There's what we see in Megadoc, which we'll talk about after

Depends on which version we're talking about.

And she's sleeping with him. He's not into her that much anymore, I guess, and so she plots and starts sleeping with John Void and becomes his new bride.

That all of the things that you just said happened in this movie.

All of those exists, but it took a long time to sort that stuff out because it feels like at times there are ten twelve main characters on screen at one time.

The original script was even worse. There are multiple characters who got you know, combined into a single character. But yeah, it's just the way you just described it in terms of all the different versions and how long he's been working on it just makes me think like, this is what happens when you have an idea for too long and you just grind it into well this.

Well, we talked about that on the fifth Element episode where I was just like, you can tell that Luke Wassan had this idea when he was a kid. And he probably worked on it so long that the first time I watched it, I was like, it feels like there's such a rich tapestry here, but it's completely opaque, Like it's too taking me a long time to ever get into the fifth element, just because it was so

One of the things that I thought when you mentioned that there were all these ancillary pieces, you know, I mean, the doc is its own thing. I don't include that as part of this, but the fact that there is a graphic novel that reminds me of when we did Southlane tails.

Fuck, yes, you're gonna hear that a lot of this episode.

Yes, And there's part of me and I said that on that episode. If the film itself is its own thing, doesn't stand on its own And I got to go read a bunch of comic books or watch a bunch of short films or all this other stuff in order to make everything make sense. Then it doesn't work as

It should come.

Together in this version in two hours, and all the the other stuff is ancillary and it adds it in riches. It does not need all of this filigree in order for it to make sense.

This is not to be an apologist or anything, but the graphic novel of Megalopolis is just a Marvel super special movie tie in kind of thing. There's nothing extra there except I was saying to earlier at Mike, like, there's except one scene that's not in the movie that was shown in the documentary is in the comic book. But even the comic book is sort of for me.

When we get so many of these characters together for the first time, because we're introducing so many of these folks individually, I think Julia is introduced around the same time that Claudio is, and but then we get Mayor Ciso on his own, and then we get that scene, and it's one of two scenes that take place like on an elevated thing, because we're going to talk about

And that's staging on the I'm basically this elevated walkway. It feels very theatrical. And that's the thing that I wrote, is I go, you know, couple to me wants this to be oporetic, Like it almost feels like with the Shakespeare stuff with the big scale, that he just wants

That was done.

But at least that one kind of had more of a you know, it was operatic and big, and that one seemed to have more of a held together a little bit better. For me here, I'm trying to figure out why why would you stage this like that? Like is it just because you think it looks cool as opposed to is that the best way to bring out the ideas of the scene and the characters, Like I don't understand why this is like staged at like a height and it's obviously over you know, it's up in

It's like in Jesus Christ Superstar when they're all on like the building platforms and stuff. Yeah, this does feel very much like something I would go to the Fisher Theater and see, like, Ooh, isn't the stage and cool? They're all above this model of the city and they all have these very particular ways that they're moving around and stuff. And then we're going to iris in on things, which seems to be the thing that he keeps loving to do on this is irising in for close ups.

All I could think is like, Okay, are they supposed to be like the gods looking down in this city and all the things that they're going to, you know, and here they are fighting and all that. But to both of your points, like, there's nothing there to say. Even if that is the idea, here's like it doesn't

Yeah, absolutely, I mean at some place. There's all this footage of Harvey kai tell as this being character.

I'm trying to hold off about everything I want to say about the documentary and the earlier footage. Man, Like, I.

Kept wondering if Adam Driver is the best actor for this role.

He wasn't the first choice for this iteration. He wanted what did Oscar Isaac? And he passed wisely, Because I was thinking about that while I was reward watching it yesterday, like well, what would it have been better? No? I just would have felt bad for him too.

With the ultra performance that he's giving. At times, I'm like, couldn't you call up your nephew Nick Cage? And get him in here. I know he's way too old for the role, which is sad to say, but I'm not expecting Adam Driver to go off the deep end. I mean some of the dialogue while you're just like, what are they even saying? Like is this English? Like when he has his first confrontation with Wild Platinum, I'm just like,

Other conversation that it isn't enough. It's the questions that lead it to the next step. But initially you have to have a conversation. The city itself is immaterial, but they're talking about it for the first time.

And it's not just about us talking about it.

It's the need to talk about it.

It's his urgent to us as water.

Is it getting messier?

In you mess? What mess?

Not only that, but go into that scene. Go into that scene where they're in I think it's in her apartment.

Her very messy apartment.

Yes, it's the place in which I think she's laying on the bed and he's kind of standing over her talking. If you listen to his rhythm and intonation he's doing Coppola, it sounds exactly like how Francis speaks. If you have ever heard Francis for a Copola in an interview, that's what he sounds like. And there was part of me that just went, wow, we're not even trying to hide this, are we?

And that, to me is one of the reasons I got thinking when I was watching it again, like, so, this is why you change the ending from the script then, right, because now you know, when you were younger, you could go ahead and have this more tragic ending, but now that it's just become this very as you're saying, transparent metaphor for you and making this movie and your aspirations, the ending needs to be upbeat because you want this

Consider that over the last ten years we've been dealing with a real estate moguls from New York who has become the great man authoritarian, And there's part of me that feels like he's trying to push back on that while embracing aspects of the Great Man narrative. It's he's kind of stuck where he's like, well, I love the great Man narrative, like you know that the hero's journey, who's gonna lead all of us, you know, forward, But at the same time, we got to deal with this guy.

The great Man is fine as long as it's me, right.

I'm the one.

I'm the one who knows everything.

It's not Cicero.

Cicero doesn't know anything. Cicero is a jerk who apparently prosecuted the case of my wife. Who let's talk about the wife. What the hell happens with the wife? I mean, we have Julia becomes kind of fascinated by Caesar Catalina and follows him, and we get well, first, the first mention of the wife is that scene where they're all on those not girders but above the city and Cicero steps up to him. That's the first well, no, actually

That's one of the.

Few moments of this film that I like, all of the body painting that makes this form of a woman with a fetus inside of her, and then they break apart and you realize that it's people with body art on and it's all like, you know, kind of like ultraviolet kind of stuff. I was like, Oh, that's actually a cool thing France. This way to go. But I don't know what the fuck ever happened with this woman, and I guess that's the blocker for him and Julie to get together. And by the way, one other thing,

Oh, it's totally in there.

Yeah, and just completely appreciating Oh he is the great man, like of course, yeah.

He probably has a horse cock, right, Yeah.

And and the whole thing with Shilah buff being in drag and he's queer as hell in here in his stylization, and just just this whole thing about you know, which of course goes to you know, we love Caligula on this on this sh I guess we guess we've done Caligula what three times now?

Three times now?

Yeah, sexuality and especially bisexuality or you know kind of you can go anyway as as a sign of decadence. This whole thing about family and traditional heteronormative family, is it not. It's not a stretch for anyone who knows anything about Francis because Francis, they always say, is very family oriented, Like if you've seen Heart's Darkness, it's like he brought his family to the jungle to make a movie. Like he wants to work with his family. He loves

The great thing.

And so to me it falls into that trap of using queerness as as decadence, which is to me kind of outdated a little bit too.

Revenge tastes best when wearing a dress.

That's true. Yeah I think that was an old Klingon proverb. Yes, yeah, yeah.

But the other thing in here, and this goes back to you know, the great man, is that he even says Driver's character even says at one point, my Emersonian mind. So I decided to go and look up what Emersonian means. So individualism, self reliance, the condition of the nature in nature and the soul together, critical thinking, and rising your instincts over social conformity. So again he's just layering on this. I'm a great man because I live by my instincts.

But isn't there even a lie though in there where he literally says, instincts are overrated.

Everyone else's, everyone else's.

The fact that she's also a woman of color doesn't really feel very good to me either, And that Cicero, our enemy, is also a person of color. I mean John Carlo Esposito, He's got a very interesting background, but he definitely seems to be coded as black in this as well as her, as well as of course Laurence Fishburne, who is his manservant. And I'm just like, wow, that really leaves a bad taste in my mouth as well. And like you said, yeah, Claudio being very queer coded.

Like no, no, no, dB, sweety sweetey. Yeah, he's in another place.

He's the guy that sole all that money and jumped out of the airplane. Yeah, so dbe Sweeney's in this movie and he's an ice hockey player and he's teaching this girl how to figure scot Wait no.

No, no, no, no, no, you're confusing. He's he's the best friend of this guy who died but made a deal with the devil and has now come back as a superhero.

Dad, That's what it was. Yeah, But he's also rocking the no eyebrow look. And when he's got the no eyebrow thing, I'm like, he looks like, oh, and I'm going to fuck up. Another person's saying Frederick Forrest, who I don't why he was even alive at this point when they made this movie. And I know, like I think the Hoffman character was originally supposed to be James Kahn, right, and Hoffman's character, what the fuck's going on with this character?

And I want to talk more about that.

But like Mike was saying, there's so much about the Duck, Like I can't wait to get to the duck.

But yeah, this whole thing of like we have to form a family and be normal in all these things. It just it's it's a weird hill to die on for this, and even like that kind of to me, it's kind of racist when Adam Driver does that whole go back to the club thing, which is one of the things that makes me laugh the most in this movie, and I feel like I shouldn't be laughing.

Well, I want to learn, and you think one year of medical school entitles you to plow for the riches of my Amerzonian mind.

Titles me yes, Entitles me.

Yes, Entitles me yes.

Entitles me yes, Entitles.

Me yes, Entitles me yes.

Entitles me yes, entitles.

Me yes, entitles me yes.

You have no idea about me. You think I am nothing, just a socialite.

No, not nothing, But I reserve my time for people who can think about science and literature and architecture and art. You find me cruel, selfish, and unfeeling. I am. I work without caring what happens to.

Either of us.

So go back to the club, bear it all and stock the kind of people that you enjoy.

Fine, I will Laurence Fishburne like let's talk about great actor his time rap like slam poetry piece in here, like with the uh huh again. I feel like that was another one of those hey just do this, and he did it, and I think, oh, we're putting that in him.

It feels very Gremlins to Key and Peel.

Skits in the movie Doe.

Oh you want to do the taber.

Not to be speech?

It's in the movie Doe.

Oh, you want to do slam poetry about time?

It's in the movie, Doe.

I feel like some of the actors there were probably like, no, can we not put that in the movie, Like, oh no, no, no, it's in there.

It's in the movie, Doe.

There is a fan editor of this movie, and I made several requests of the fan editor to send it to me, but he never got back to me. A lot of the stuff that we're complaining about, like the taber not to be stuff all cut out. I was like, is there a good movie inside of this movie. I don't know if that's true, or is there a movie that just is not as much because this movie is very much movie. There's very much movie to this movie. More is less and yeah, the whole thing of Southland tails.

No one gets it.

At the same time, there's also visually beautiful things in here. I am not going to deny that it doesn't look good. There's one thing that I like as a visual that feels like it would be okay in a music video, which is the Crumbling Justice.

Oh yeah, yeah. The drive through the city is actually like when the trailer came out, and that was in the trailer, my wife was like, oh, I think I want to watch this, and I'm like, you need to understand that scene there is you've seen it all, like that's not gonna like there's not going to be any

And what hurts, you know, for me as a fan of his work, is that he can do things.

He can tell.

Great stories with next to nothing. And one of my favorites of his that I have ever since I was on this show, and even before I was on this show, I used to just hammer it, and we did it on this show is the conversation I'm like. The conversation I'm like that is a like one of the cheapest movies, and it's all put together by the edit. It's all put together by the use of the sound. It's very simple,

That only just speaks more to his genius, the very idea that you could make something it's not what you thought, but then make something else out of it, Like that's like, that's it. That's incredible.

So when I see that he can do something like this, like I wrote about the Crumbling Justice, I go. I go at times it's just so beautiful to look at, but sometimes it's so on the nose that it takes away from the power of the story.

Production design of this movie is beautiful. Caesar Catalina's office is absolutely gorgeous. I love the use of the lines, the maps, all of these things. It looks so good. Somebody called that recently, like how specious it is to

It makes me feel terrible when I think this is because it feels so like it's ageist, but it's just sort of like I like think of going to the documentary. Also, when he talks about, you know, only wanting like practical effects and stuff like that, where he just seems like these are the moments where he feels out of touch with modern filmmaking to a certain extent of just like, oh, it looks fine, and it's like no, no, no, it doesn't.

To talk real quick about the kid in the uniform, the tuba player who just is in this parade, wanders away from the parade, hooks up with Clodeo, and then becomes this like master of evil throughout the rest of this film. And it's like, who the fuck is this kid? And why do the other people hate him so much that they're just like, oh, is so and so here? No, okay, let's go on, Let's just let's go the other way kind of thing, is what the commandant says. It's just

I'm like, what how did this happen?

It seems to line up with the story that Colpla tells in the documentary about how he left military school and sold his uniform and and and so it's like and even in the documentary, if I'm remembering all this correctly, I feel like Shilah Buff is like, that's just something you're hung up on, man like, and they get into like this argument about it, and it's and I think I said, like, so this is my wife. I'm just

There's an interview I saw with Shilah Buff and it was some podcast, but it was a video podcast, which I guess is a podcast these days, and it was him, Shia and David Mammett and they're being interviewed and the Boof goes off. Of course, the name of the video is something like Shilah Boof comes clean about working on Megalopolis. He talks about it for like thirty seconds in a ten minute video, and he just goes.

And we fought all through the thing because it wasn't my dream, and I was trying to learn his dream, which he always trying to do. When you're on a movie, you try to learn your guy's dream. Sometimes those dreams aren't easily accessible. Sometimes you feel like you're not old enough to get to the dream. With me and him, it felt like that. It felt like, oh, you know, I don't know about you know, because I'm a baby and you don't live to life, you know, so I would acquiesce to him.

Yeah, That's what it feels like as an audience member, is that I'm being kept from his vision at all times, that I'm not being allowed to know what the hell is happening, Like I don't know what the significance of the Soviet said, Like cruising overhead that we get little shots of here and there.

That's cult war leftover from an earlier draft.

If I keep in mind that one of the early drafts of this was nineteen eighty three, I can see star wars and Soviet relations and all of this kind of stuff. I can see Skylab coming out of the sky. I see all of these things, but in a post nine to eleven world, it's a whole different story.

When I was rereading the script, I was like, Okay, the satellite crashing to Earth is clearly a metaphor for alluding to to nine to eleven. But then in the script, nine to eleven happens, and the satellite is still comes down later, and so I'm like, what are we doing here?

Time is such an important piece of this movie, and time passes in this movie, but you wouldn't necessarily know it very well, even her being pregnant and then suddenly they're getting married and then suddenly there's a baby, And I'm like, okay, how much time has passed? Like how much time passes between the beginning of this movie and

To me, he is the Trump stand in. I mean, I feel very maga. There's a lot of symbology that feels exactly maga. I would say, if there's a timeline on this, I'd say maybe a year and a half from where it starts to the end, because I mean, obviously we're hemmed in by nature nine months a woman having a baby, so that gives us that timeline off the back end. But I'm not seeing too much further before that, you know, maybe your naf.

I feel like there's only one sequence where you see like the calendar pages lying by, But even that wasn't as much time. Now, I do think that we need to understand that. I think it takes about six months for a megalon to fully heal a headwont So that should explain at least some of it.

You have that information on good authority that it's suggested.

Okay, I got it from one five to one seven nine.

Yeah, how long does it take to heal a dog leg? Because suddenly we're talking about megalon can heal dogs? And we get that little shot and then yeah, later on he there's an assassination attempt and he gets shot in the fucking face, and yeah, they use some Megalon on him. And that leads to my other big, big laugh scene is him just doing that whole no no no thing. And I told you this as soon as we left the theater, Mike, I was laughing because it's so reminded me of the Internet cat that says no.

No no no no no no no no no no no.

Crosses, someone froze our accounts, someone's messing up.

Oh no no no, I'll be in the car if you need me.

Okay, no, no, no no no no no no no no no no no no no no no no no no no no.

No no no no no no no no no.

Like they reused that, they loop that a few times.

That helped me enjoy the script more because none of that's there. There's no assassination attempt. He and Julia don't get married, they don't have a kid, and then you know they ultimately, you know, have the very tragic ending that adds to the whole thing you guys were talking about in terms of the whole you know, bringing the family together and how important that is to Coppla where it's like in these earlier drafts, it's like he wanted to do that, but it was the world that was

The calendar stuff is while Platinum's substory of her and Crassus Hamilton Crassis, the John Voight character. And it's interesting that we talk about kind of maga in this movie and it's not John Voyce Wow Platinum, who in the script was what w Wow Baltimore and she had a first name. She was like Lydia wal Baltimore or something, and Wow is just her nickname, whereas in here it feels like it's her real name. It very much feels

I mean the actress name is Aubrey Plaza, which the first time I heard Aubrey Plaza, I go, it sounds like a hotel. Oh I stayed at the Aubrey Plaza.

It was lovely, you know.

I mean, so there's part of me. It's just one of those things with that character. And I got this like like he was watching way too much, like before she went to Fox. I think probably the Maria Bartaromo money Bunny Wall Street business, cutesy gal who tells everybody about the stocks and all that stuff.

So that's where the calendar flipping happens. Is her now machinations of I'm going to marry this banker and I'm going to take all of his money somehow, And rather than it being a celebration of their wedding, which is what I think is happening in the script, it's more of a celebration of their a nuptial announcement, which is what leads us to the whole scene at the coliseum, the bread and Circus sequence. And don't worry, folks, they

Where stands the Colosseum so stands wrong. When the Colosseum falls, and Rolling falls too, and when Rolling falls, the world falls with it.

That scene goes on for fucking ever. It is just like the longest sequence in the movie. At least that's how it feels to me. In a movie of things that feel like they go on for a long time, this feels like it goes on the longest because it's got this whole thing of Caesar Catalina getting drunk and now suddenly Julia is his representative, right and like taking him through and he's like shuffling through the press line

Well, this is also a thing too where you'd need to know a little bit of Roman history to understand why he's represent vestal virgins, because vestal virgins are the keepers of the fire, and that the idea being that they had to be virgins, and if they weren't, then the fire went out, then Rome wouldn't be safe and the whole thing would collapse. So you have to understand again, men think about Rome, as you said, every day, so of course we would know this already.

I just learned it right now because the movie certainly didn't explain it to me, even though it had ample opportunity to do so. With Laurence Fishburne, you know, one more voice over everybody. That all felt gross. It's just like, this is just this is all very and it was. It was worse I think in the script too, because like in the movie, it's it sort of alludes to, oh, no, this was all doctored and it wasn't real. In the

There's part of me that wonders, and I don't know anything about you know, I know very little about her background. But is he writing their love story eleanor did he upset her dad?

You know?

Was he like, you're not marrying an Italian? Not back then in the early sixties, you know, So I don't know.

I wondered about the same thing at the beginning of this this as you were saying, Mike forever a scene, because yeah, I almost fell asleep watching it the second time when he goes off on his drug tangent. But we also get this weird introduction to his mother. Yes, what is.

Going on with this Talia Shier relationship and.

They're bizarre relationship, yeah, and her just talking about how like, you know, what would she say, is it alligators or crocodiles have it right because they eat their young And it's like, what is this about? And then it comes it comes back later that that actually is one of the lines I enjoyed the moments was when she when he's introducing her to Julia and she says that I always wanted a girl. He goes, Julia is a girl. Mom. But again it's like, what is what's happening here? Like,

The Wild Platinum character is basically Sarah Michelle Gellar character from Southland Tails. You know, I was waiting for that to say not as interesting. No, I was waiting for to say that in the future things will be much more futuristic, but as opposed to this, where in the

Coherent, but in the end it actually wasn't because I guess it was a deep fake or something.

Yes, yeah, and then it changes her her way of performing to suddenly now she's more like a sex bomb. And maybe it's a Britney Spears reference or something.

I don't know.

Madonna, it's Madonna.

It's the eighties Madonna.

Madonna.

My first thought was it was like, oh, this is the this is like the whole Miley Cyrus thing when she made that pledge to her dad all those years ago. But then it's like, now, this script existed before that, and but it's just yeah, it was, but it's either way, it's still like I what are we what are we

Yeah, let's talk about that, because it's like just such a throwaway where it's just like, oh, yeah, don't worry, I took care of the Dustin Hoffmann character cut to him walking in all of these fucking pillars falling on him. I'm just like, that's it.

I think in the script and in the comic they explained that one a little bit better because I gets it's Claudia on his people cave in the place that they had lured him to, and you know, he gets buried under the rubble I had forgotten that, and I was like, oh, I think in the movie it must be that the satellite hit him. But then when it happens to like no, it's that's not what happened, Like I mean, and it's so weird. It's like it said

If there's one great line reading in this movie, Oh.

I know exactly where you're gonna go. Please tell me the best line reading in this movie.

What do you think of this? Boner? I've got what do you think of this boner?

I was thrilled to find a surprise that that that line was in the script, but he's that he kept it for all these years, Like no, no, no, this line is not going anywhere.

Yeah, that's probably the best moment of this entire movie.

Joe Buck comes back around.

Had he and Coppola worked together before John Voyt and Coppola, I don't think so?

Okay, So either I was I was thinking about that, you know, you know, going to the documentary where they where they they It felt like they'd had a relationship or knew each other before, but I couldn't think of an example of where they'd actually, you know, made a movie together.

Yes, so much of Caesar Catalina's process feels like Coppola process.

You know.

I was talking about the model of the city with all the garbage and everything. There's a moment when we're in his office and there's all of these people with the Design Authority jumpsuits and they're forming human pyramids and stuff, and I'm just like, a, is this inspiring you, Caesar

It seems going to the ending, right, So You're going to freeze this moment in time for all of you because this is your triumph. But I guess what we're saying here is that, you know, the baby the next generation is like, you can be stuck in this moment in time, you can hold on to this moment in the past, but the next generation it doesn't mean the same for them, and they're gonna keep moving forward. You know. Maybe that's what it means, but mostly it just feels

That's what it feels like. It almost feels like to commit suicide at the end of this movie by freezing themselves. Because every other time that Caesar says time stop, he and Julia apparently are okay to move around. But now when he says time stop, or she might even stop time, I don't remember, but when they.

Stop, yeah, he tells her, Julia stop time.

Okay, so she stops the time, and time stops for everyone apparently in the entire world except for that baby. So, yeah, does that baby does it just die sitting there on that magic carpet because no one's there to feed it.

You know, it's got megalon. Okay, that's true.

Yeah, you can eat it.

You know. It's a bit of desert topping. It's a floorway.

Oh no, no, that's I was thinking like now that it's right. That's right. He got shot after she got pregnant, because I was wondering if maybe the baby was part Megalon.

We talked about the whole gimmick of the stopping of time. The other gimmick in this movie, which was actually more of a gimmick for the movie, was this whole thing that happened. Now this is did this happen in con and did it happen anyplace else? This whole idea of people asking the screen questions.

It happened in con and then kind of like when they did not with this movie, but you know, with like certain movies were like, oh you can go see it in seventy millimeter film print. You know, it was only in certain theaters. But to me, I don't even know where that takes place. So there's a part of me that's like I don't even know where the guy would stand up and say, hey, you know what the hell?

Well, that takes place at exactly one hour, in like twenty three minutes. It takes place right after the satellite finally crashes to Earth. It seems kind of harmlessly, but you get those shots of the people's shadows on the building where I'm like, Okay, that's actually kind of cool, like showing the destruction.

You know, yeah, that was a great shot.

Okay, for instance, you still have it like you still have an incertain part. So at like one hour twenty two minutes, they cut to this black room and this white spotlight comes up, and then suddenly we're in what looks like a theater, and there's a person that stands up in front of us who's completely blurry and asks the question of a screen. And that's where Caesar is there, answering the one question.

What remains is the movie's wow moment, which stunned audiences and can at its first public screening. In a news conference scene, someone physically stands next to the screen and asks Caesar a question. Adam Drive actually suggested this to replace Copela's original idea after the Alexa ordeal forced him to cut the gimmick as it.

Is in this movie. It doesn't fit whatsoever. Maybe in the real experience that we're talking about, that might have worked, but here in this film it doesn't work at all. And they should not have had even this framing, like literal framing of a person in a movie theater talking to a screen their own shadow cast. You know, pretty soon they start throwing rice and spoons. It's the whole thing.

I think. I found a clip of one of those screenings on YouTube and it was awkward, more awkward than the actual movie.

You said that as we jump into the future, we should do so un aFrame, but what if they do jump into the future if there is something, well, there's nothing to be afraid of.

If you love.

Or have loved The timing was was odd because it's not like Copla hasn't done weird stuff like that with some other movies, not any that I've seen, but I've read about or heard about. But it just feels to a certain extent like is this just experimentation for experimentation's sake? Right? I don't I don't know what this is supposed to have, how this was supposed to have enhanced if your intention was to feel like you were bringing us into the movie.

You even see what looks like ground zero after that, But again it's like, we didn't see any buildings get destroyed. We just saw a metaphor of people reacting as shadows.

I see.

I thought it was going to be towards the end because there's a whole speechifying piece and here it's also like, oh God, like if you have to do this, then you've really lost the narrative. That's like, you really have to hammer us on the head in terms.

Of this is what the theme is, and the.

Theme is we need a great debate about the future.

Pull yourself up.

Let it not be said that we reduced ourselves to be brutes.

And mindless beasts.

A third, the human being shall rightly be called a.

Great miracle and a living creature. For all two in mind, we are such stuff as dreams.

Are made up.

There's a few moments in here where I was reminded of how the West was won and the way that that was shown when it was in road show, the whole thing of the three screens, because after that press conference, then suddenly we're in a triptich for like the longest time of Caesar in the middle, like working on his stuff and things on either side, and that we've got all these architectural drawings that basically looks like you know, production design drawings, just kind of reusing it for that,

I think that was Coppola also trying to be Avlganz because he was behind restoration on Napoleon and at one and it goes into triptych at one point.

So right, you're absolutely right. And the whole thing with like him constantly working with the I guess megalon these crystals and things, and he just keeps seeing images of his dead wife. I just kept thinking of a Minority Report and how much more I like Minority Report and the whole idea of like the guy who's haunted by his past and stuff, and it's just like, at least with that you kind of get an idea of what happened. I still don't know what the hell happened with Caesar's wife.

Minority Report that also informs the character, and in this I don't know what it does. Like I mean, yep, he's yep, he's damaged and he and he still loves his wife because Julia told me that when she somehow or other saw the thing that he could see but didn't see it. My assumption is, you know, the little bit that we get sounds like she came to tell him that she was pregnant and saw something that offended her.

I was also thinking another theme that comes up here, and this is after the assassination of getting shot in the head. There's a line that says that will not let time have dominion over my thoughts, which to me is the whole uh. You know, Vita Brevist artists lung, you know idea that you know, art and great things live on beyond us and the importance of creation as an artist, because if you know enough about Coppola, he champions the idea of that. And I understand, dude, you're

Yeah, that's how this movie is introduced in the Sam Lawson book. I believe it's called The Path to Paradise, where it's a him, it's Copola talking with it sounds like Wasson saying, you know, and I can't remember what the Italian is, but basically it's I'm close to death. You know, Vincente Muerte or something. I'm in the Vicinity of Death and so it's like, Okay, this is Copola like pulling out all the stops. I'm going to make

Either mixed metaphors or you know, or poor metaphors. Right. I took some of that to be that you know, this is this is also how Wow looks at him, you know, how Wow sees him? Is this, which which again is one of those just annoying things where it's just like, here's what to me looks like a self made woman. But no, no, no, no, no, what she really wants is this guy. And the tragedy of her life is that she just can't you know, she can't have him, or she can't understand, you know, who he

Were almost two hours into this movie and it becomes while platinums movie for a little bit, with all of her plotting and her machinations, and suddenly she becomes associated with scissors because she starts cutting Clodio's hair when she's letting him fuck her. And then we have this scene that really reminded me of Orson Wells's Othello that takes place inside of a steam bath. It's so reminded me

No, nothing sticks to landing. That's it. That's it.

I want to talk about the end of the movie because I not make it all the way to the finale. So, Mike, can you talk a little bit about how the script of this ends as opposed to the film.

In the script, Cicero contrives a way to finally get what's his name in the script, Surge, not Caesar. He's gonna have him killed, and so he's he says to him like, look, you're you're right, I'm terrible. Come meet me here, and you know, I will do whatever. And so he goes. Julia and Caesar go to the to the meeting place. You know, he gets out and Julia realizes,

My note about the ending in my letterbox was, it's ultimately a tale of a great man. The world will be perfect if everyone just realizes what a genius Caesar Catalina is, shuts up, give him the money, and files along. Meanwhile, it talks about the value of democratic values, but ending with an almost socialist pledge of allegiance.

Oh yeah, that pledge of allegiance. I mean you're already cringing through this movie, and to end on cringe at the end.

We have to contrive this way for Gopolo. Let you know how it is.

I mean, he's always been, I don't want to say anti American. He's always been a very much critique critique care of America. I mean, The Godfather is such a critique of America. Apocalypse Now is a critique of America. And this film could have been a critique of America, but it just it doesn't seem to know what the fuck's trying to say. All right, guys, let's go ahead and take a break and we'll be back right after

You know why I'm doing this movie.

I have money, I already have fame, I already have asked yours.

What do I get that I want so fun?

I want to have fun. You have been working on this project for a while, thirty years.

How did someone spend one hundred and twenty million dollars off their money on Phoon?

Say your prayer action.

I read the script twenty five years ago.

I'm John Carlo Esposito.

People may look back in thirty years and say, God, you gotta go back and watch Mechaaloblis.

Know what I'm working with, realizes how weird a movie this really is.

I read it and then I email I'm back, and I said, this is a nightmare.

What is going on right now? That guy knows.

He has structured to trust his cast to come up with something that he hasn't thought of.

I want you to be able to do anything you want to do.

You seem to tried on chaos.

No, I am confronting chaos. Everyone sit down and don't do anything.

I've done this for fifty years.

He works from here passion.

Give mean what I want. I don't know what you want.

He's a romantic, he's very repressed.

He's very worth.

What was the last France?

I was so young when I started working with him.

He is my godfather.

It's Francis.

I know where I am and I know it's.

The super Bowl. He's got a big dream. He feels that it's visceral.

Or in need of a great debate about the future.

God good. That's what's extraordinary about Francis.

He's the opposite of me. I'm a planet out lodding along and he's a jump off the cliff guy.

Jack that team for his last sell, put all his money in and lost it, died broke.

But who shares if you die broke if he made something that you say, isspute.

With the.

All right, we are back and we were talking about Megalopolis. And a few months after Megalopolis came out, there was a film released called Megadoc, which has nothing to do with the Meg I was really hoping that it was a whole thing about the making of the Meg series, maybe talking about the third one, which I'm desperately waiting to come out. But instead it's a documentary directed by Mike Figus, all about kinda the making of this movie. I'll just say this right out loud. I don't like

I wrote that.

I said Figus did a good job giving us a view of what was a foot in the creation. I go, but he doesn't sense any larger theme, and even at one point he even says as much. He's like, I don't know what I'm doing here. I feel like I've gotten sucked into the vortex along with this production.

The one part in the documentary where it says this is his video diary. That's the only entry we get from his video diary, and it's like, well, wait a minute, like you know clearly you've been doing this for a couple for a while, like why are you not talking more about these kind of things? In many ways, similar to the movie, it's sort of like all over the place, and there'll be these moments where it's like, oh, I want to know a lot more about that, and then Nope,

Any use of on screen titles would have been very welcome, the idea of here's Uma Thurman reading this stuff, here's Ryan Gosling actually in front of these green screens, and this stuff is obviously edited together, you have multiple takes anything of Yeah, that very brief thing of Virginia Madson, and thank you for confirming that that was Virginia Madsen, because there's no on screen title that says that it's her.

If I can pull out one thing that I think is a thematic that I found funny later, is like one of the first lines that Copola has is who cares if you die broke as long as you make something beautiful. Then I feel so bad for the effects team in here when they all get fired because he starts penny pinching. So there's part of me that's like, dude, I thought you were the fuck it. I'll go live in a cardboard box in my retirement as long as I can make exact, factly what I want to make,

Kh X and all the other stuff that he did.

So for me to hear someone who knows him that intimately in that well and has respect for his friend and that to say, you know, he's.

The opposite of me, which I was like, that's why we've got along so well. I'm a plodding along, careful what I'm doing, plant it out, and he's a jump off the cliff guy. He had the feeling that he was sort of invincible.

It's ironic because George Lucas met him because he was doing a behind the scenes look at the Rain people, right, like that's how they came together, and it's like, who's this kid kind of thing, and yeah, like I watch I rewatched Hearts of Darkness for this podcast, and it's so funny to see here's George Lucas, young George Lucas talking about like, oh, yeah, originally I was going to be directing this with this Millias script and YadA, YadA, YadA, and then like I watched this and here he is

That's exactly what I was thinking. You look at like his method quote unquote.

I don't see any listen.

At all.

Like you're saying, has not changed. I kept thinking watching this like Chilah Boff is coming across as like the Corey Feldman of this situation, where he's trying to make it all about him, but at the same time he's not one hundred percent wrong, Like some of these things that he's complaining about are legit issues, you know, And Copla's reaction most of the time seems to be like,

Sixty percent of the time it works every time.

It does very much feel like he's still living in this other place, like like going back to the Hearts of Darkness when he talks about like you know, if you if you take this much money and treat it like it's way more than it just makes and it's like, you can't treat one hundred and twenty million dollars the way that you're you know, you can't spend it this way.

Figus is up against the fact that Adam Driver, the actress who plays Julia, there's a lot of people who either will give him a little bit of time or like none at all.

She isn't like when people film her eating.

When I think about this documentary, it almost feels like like you were talking about, let's see if we can re edit Megapolis and see if there's a better film in there. There's part of me that it's like, let's re edit this and make it a documentary about Shila buff because he actually is the most interesting and engaged person here. It's like him and Aubrey Plaza are the two most interesting people I find in this entire documentary.

Because they're the only participants.

Like Aubrey Plaza, both in the movie and outside of the movie, feels like she is so disconnected from everything and she's just like, yeah, I'm having a good time. Yeah this is good. I'm gonna drink this champagne. I'm gonna just you know, enjoy myself on set do these acting exercises, and like it feels like half of this movie is that I'm doing acting exercises and I'm just like, you are wasting so much time and money. Francis, what the fuck are you doing well?

And that whole weird thing between with her and Dustin Hoffman where they're doing the arm wrestling thing, which he just ended it like it was like, okay, forget it. I'm like, I know everything I need to know about you now.

And he just comes off as a total creep in oh yeah thementary, Yeah, yeah, very much so. And yeah, your main character, Adam Driver does not really want to talk to you at all, And I'm like, Okay, that makes for a great documentary. This feels like a DVD extra that I would complain about on the DVD for Megalopolips, which has never really been released in the United States.

You know, he's doing that road show. This is how movies make money. This is how Apocalypse Now made money. You just keep you just keep it in theaters for one hundred years, even though it's not in any theaters right now.

She's doing acting exercises, even when she's auditioning for the part. He's asking her to do these things, and I'm just like, Francis, you are so fucking annoying. I know that Hearts of Darkness did not paint him a good light in any way, but at least I kind of empathized with him at times because it felt like his whole world was crashing down.

The great thing about Hearts of Darkness is that he can always point to Brando and go, see, I've got a deal with the Diva. The Diva is doing this to me, And in this he's.

Got no by himself.

This is his own diva.

Yeah.

And the thing about Dustin Hoffman, I love the honesty of Dustin Hoffman in here, where he's like, I don't, I don't know what any.

Of this means.

I don't have a clue. I still don't.

He's like, I shot it, and I shot it and I still don't. Just to be that honest and that willing to be that honest, I mean, that's great. I think it's partly to do with the fact that he's about the same age as Copla and he doesn't care anymore since eighties, what you find is Shia Labuffo in the other way and trying to push back and go hey, man, like help me with this, and he's like, yay, you know that's not real.

That's not real. Like you said, Mike, that's not real. That's real.

Going back to what your earlier question about, in something like Shilah buff should have directed this, then we would have Then we would have had something. He'd still be shooting it but still or.

He'd be watching it in a movie theater. I would like to see his reaction to watching Megalopolis now, like, let's re rent out that theater, Shia and just sit there and watch the movies that you've made since you did that kind of art installation thing that he was.

Doing yesterday, you said tomorrow, So just do it.

Make your dreams come true. Just do it.

Don't let your dreams be dreamed.

He is responsible for some of the best things in the Internet, and his whole thing where he's talking about how he has to make amends with John Voight and because I was like, oh, yeah, they were in holes together.

Yeah, I agree, but at least.

We really are clear on what's staff statory rapez.

Yes, that yeah, that was. That was very helpful in U in the in the fourth one, like a critical plot point to to that entire story.

But to your reference to Michael Bay, since you invoked him, uh, do we agree that a bad Francis Ford Coppola film is better than a good Michael Bay film?

No?

No, I think Pain and Game is way better than a lot of the movies that Francis has done.

I don't want to say say but like the film nerded me wants to be able to say no, no, no, no the worst. But but I have to agree with Mike and I haven't even seen Pain and Game. I feel like there are other Michael Bay movies. I'm like, like, uh, I think that that might have been better.

Armageddon way better than some of the things I've seen.

I mean, it was better than this movie.

Armageddon got a criterion, will Megalopolis?

Ever, I don't know who is he ever going to release it? Ever?

I feel like that conversation was happening right up until the movie was released, and then it was like, no, we're good.

I will say, Peanut Butter falcon way better movie than this one.

That's almost enough to get me to see it.

Yeah, it was actually pretty good. Yeah, it's so weird, Like even when Sam Wasawson shows up in this movie, like my wife was just like who is that? I was like, oh, it's Sam Watson. He wrote a couple of books and I forgot that he wrote about Francis. And then I was like, why was he in that movie? Why am I asking this question? You know, mister Figus, Like why aren't you presenting me with a little bit more information about this stuff.

It also does make me wonder, though, if, now that we're talking about it, if this was the best they guess could make out of what he was allowed to do.

Well, you can at least put on some on screen fucking titles. Man, I don't need to see the stuff

Yeah, that's true. That feel very much like she is. This is my moment, and you know I am. You are all very very fortunate to be in my presence and seeing all these things happen right now. It's like, Okay, the costumes were fun to look at in that display case that they had for them at Greenfield Village or Heavy Forward when we were there.

They made so many good decisions and then they were just followed by bad decisions.

That in Aubrey Plais, this crazy outfit at the end, well, you need to make sure that there's enough enough space there so that the so that the arrow can get right in there.

Yeah, I do like the I can't remember who it is, it says, last time I saw you, you were getting an arrow pulled out of your ass.

Yeah, yeah, No, I think it was the biggest saying that too to him in the h in the in the No, maybe you're right, maybe I'm wrong, but yeah, I.

Think he might be right. I think I might have been figures.

Yeah, and before you get Mussolini and.

I don't know, do we want to talk at all about the controversy when it comes to how friendly Francis was with some of the extras in the movie, because they sure skirt that issue big time in the stock.

At least they put some passing reference to it in there. So I guess if you want to know more, go find out.

I mean, it just it to me. It just adds on to like the there's just a creepiness to so much of this, especially the script when Caesar is just going on and on and on about women, and it's just like and how weak he is and how much he wants this, and it's just like, man, this is all gross. And it was like, because I was reading that before I watched it again and I'm like, was

And then Rob you brought up another movie that happened to come out the exact same year, made for a fraction of the cost, also about an architect.

Yeah, just thinking about doing this movie got me thinking about architecture film and the fact that you have two movies that came out This kind of felt like to me, you know, in its own little way, that one year where you had the two World War two movies, you had Saving Drivate Ryan and you had Thin Redline, two very different filmmakers, different styles, you know, both doing World War two movies. So The Brutalist was made for probably the catering budget or maybe the hotel budgets that they

You're fucking idiots. I'm the one who who knows.

Yeah, I thought the Brulis was great, and and to your point, in many ways, the antithesis of this, right, the brutaliss is is the less is way more, whereas this is more is so so much less, like I've been staying earlier, where in the Bruless is like, Okay, we're gonna go ahead and follow this one character and we're gonna stay with them, and we're not gonna go off on a whole bunch of different tangents. There will be other people in his life, and they will be very,

Well, the other piece I was thinking about, Mike, and you had mentioned this about Coppola commenting on America, and the Brutalist does that in such a way that it says,

It's a little much with the Guy Pierce character doing what he does later in the movie. That's a little on the nose, But otherwise I was pretty pretty happy with The Brutalist from Stem to Stern, especially all the hand jobs that are given to the Brutalist by his wife. Yeah, that was fantastic. It was such a stronger story. I

In the In the French one, the baby ends up trapped and the guys are all frozen in time. It's it's crazy, man.

When I brought this up, my girlfriend said, Sleepless in.

Seattle, Oh right, yeah.

And then and then as I went into Wikipedia and pulled up movies about architects, it gave me click which I've never seen, the Adam Sandler, which he's an architect.

I don't really want Adam Sandler designing anything. I would much rather have Mike Brady and his brood of children around rather than Adam Sandler, like, oh, bebety pop. I'm going to make the house.

A lot of these tropes of the architect I mean, for lack of a better it seems like everyone's playing a riff off of Iin Rand. The character has to be a control freak, the character has to be better than you, I know, you don't you know? And then they get to come up and I guess it's all the individualism, the Emersonian mind.

And you think one year of medical school entitles you to plow for the riches of my Emersonian mind.

Entitles me yes, entitles me yes, entitles me yes.

Iin Rant's her whole other ball of wax where it's just I know better than everybody else. Everyone is a leech on the state. But yet I take SSI. I mean, it's it's snap benefits all over again.

I mean, if anyone who's listening has any take on architects, feel free go to the Projection Booth podcast website and tell us other architect movies. And why does this trope exist? Why isn't he a painter? Why is he a sculptor? Why isn't he doing some other kind of art? Why is it going to be an architect?

I just keep thinking about how it culminated with Seinfeld, right, like with George always talking about wanting to be an architect.

I don't see architecture coming from you.

Yeah, well you know Megalon is very much like Latex and Latex accessories Vandale industries could create Megalon if they just worked a little harder at it. It could be like transparent aluminum. Who's to say that he didn't invent it in the first place, all right, guys, I don't know if I've learned anything more about Megalopolis today from our discussion than not, but I'm hoping that I can stop thinking about it on a daily basis now. I feel like I've exercised some demons with this.

Can only think about it less now, That's what I'm taking from this. More is going to still be less.

Nothing six feeds or maybe it doesn't.

Well, thank you so much, guys for being on the show today, Robin, Mike. So, Mike, what's been keeping you busy?

Sir? Now that Megalon is out there, I'm really focused on I think it's called fluid karma or is it liquid? I think it's fluid karma. So once I'm done developing that, and you know, then I'm going to stop time and let my kids live their lives.

As you're stuck in a time loop forever.

Yeah yeah, but I'll just be by myself and.

Rob, how about yourself?

Well, I'm continuing on the path of being the great man, So you know, just give me your money and follow what I say. Beyond that, just continue to do the writing I said, I've written a couple of books over the past year or so. I'm working on editing them so that they may be presentable to someone who may be interested.

So that's been.

About it, watching movies and glad to be since we're coming into early twenty sixteen. By the time this comes out, probb me sixteen you are controlling. Yeah, I have drilling time twenty six I will be on the show more often. I think I'm on maybe once a month in the coming year, so that's nice and I always enjoy coming on talking with you, so it'll be fun.

Thanks again, guys for being on the show. Thanks to everybody for listening. Do you want to support physical media and get great movies in the mail, head over to scarecrow dot com and try. Scarecrow Video is incredible rent by mail service, the largest publicly available collection in the world. You'll find films there entirely unavailable elsewhere. Get what you want, when you want it without the scrolling. And yes they

So I don't wide up bobus not down a fraize far out bad, said mom. I get said it is a fell lot sounds far out of bad.

Go.

Down.

I don't rather show off my dog like far out bad, go.

Strivest my doll right far bad, got lost it said s side. Oh why not on.

Right?

Because not find a way.

Entitles me yes, Entitles me yes. She entitles me yes, Entitles me yes, Entitles me yes, Entitles me yes, Entitles me yes, Entitles me yes, titles me yes, entitles me yes, entitles me yes. She entitles me yes, Entitles me yes, entitles me yes. She entitles me yes, Entitles me yes, Entitles me yes. She entitles me yes, entitles me yes, entitles me yes.

She entitles me yes.