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Speaker 1: Well, hello there and welcome to a brand new episode of PICK 6 Movies.

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Speaker 1: We're doing something a little different on this episode, but before we get into that, let's catch you up on what it is we do when we're doing something a little normal.

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Speaker 1: See, this is a podcast on the internet, and that means two guys me, Bo Randsdal, and my oldest and best pal, jack Cooper are talking about a bunch of nonsense.

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Speaker 1: The nonsense in question is a show about movies, six of them, to be precise, and we pick those six movies each season around a theme.

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Speaker 1: The theme for this season season 25, is Holiday Road, where we are talking about a half dozen road trip movies.

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Speaker 1: We do a little introduction about the movie and then come back together, all wonder, twin style, to discuss the movie in question, and this is where the unusual part comes in.

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Speaker 1: We normally talk about a movie that is questionable at best and downright bad in most cases.

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Speaker 1: This time, though, we are talking about a genuinely great movie Thelma and Louise, a story of friendship with a great script, great performances, great editing.

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Speaker 1: So what the hell are we going to talk about?

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Speaker 1: Well, since you're here already, how about you join us for the rest of this trip through a very good film.

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Speaker 1: Chad, get in here and tell us how this really good movie got made already, will ya?

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Speaker 2: It's time to record the intro.

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Speaker 2: Hello, bethes the intern, not to be confused with Beth T the intern.

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Speaker 2: We've never had two interns with the same name, let alone two interns both named Beth.

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Speaker 2: Hey, bethes, don't tell Beth T, but I like you, bethes, the best, and it's not just because you're listed first in the alphabetical order in our staff roster here at Pick Six Movies.

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Speaker 2: Bethes, let me ask you a question What do you know about Paducah Kentucky?

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Speaker 2: Well, i'm about to take that absolutely nothing and turn it into absolutely something, bethes.

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Speaker 2: Paducah Kentucky is located at the confluence of the Tennessee and Ohio rivers on the western part of the great state of Kentucky.

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Speaker 2: It's about halfway between Nashville, tennessee, to the southeast, and St Louis, missouri, to its northwest.

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Speaker 2: And in 1991, the National Quilt Museum opened and it's unofficially known as Quilt City.

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Speaker 2: Yeah, it has a population of around 27,000 citizens and it's the location of the Dippin' Dots Ice Cream Empire Headquarters.

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Speaker 2: Notable people from Paducah Kentucky include Weatherman Sam Champion, who you might know from ABC's Good Morning America, pga golfer Kenny Perry, professional WWE wrestler Ricochet.

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Speaker 2: Never has it that rumor Willis, daughter of Bruce Willis and Demi Moore, was born there.

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Speaker 2: Have you heard of her?

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Speaker 2: Of course you haven't.

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Speaker 2: Let me ask you this, bethes What do you know about Paducah, kentucky's beloved hometown rider, callie Corey?

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Speaker 2: Well, let's say we turned that nothing at all into a whole lot of amazing at all.

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Speaker 2: Callie Corey was raised in Paducah, kentucky, after her family relocated from San Antonio, texas, when she was very young.

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Speaker 2: Callie grew up in the south of the 1960s, filled with segregated movie theaters and schools.

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Speaker 2: As she grew into a young woman, she was acutely aware of the hypocrisy and prejudices that surrounded her.

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Speaker 2: Her family was better off than others, with her mother, virginia, active in their church and local arts community, and her father, eli, was the head of the regional medical associates at a local hospital.

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Speaker 2: Callie was close to both of her parents, citing her father's drive as an overachiever as a real driving influence for her later in life.

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Speaker 2: When she was 16, her father complained of a headache and went to the hospital.

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Speaker 2: Shortly after he suffered a cerebral aneurysm and he died within 24 hours and everything changed for Callie and her mother.

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Speaker 2: Callie continued through high school.

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Speaker 2: She was active in theater productions that brought her a sense of escapism, but later in life Callie reflected on this time and said the 10 years after her father's death was just a real fog.

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Speaker 2: She began to read books and magazines and opened her eyes to the life of possibilities beyond her small hometown, especially for a young woman.

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Speaker 2: Callie went to Purdue University for no real reason at all.

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Speaker 2: It was a large university.

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Speaker 2: It was a place where she said she could just intentionally get lost and maybe find her way to somewhere.

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Speaker 2: She majored in landscape architecture because why not?

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Speaker 2: She ultimately changed her major to theater, looking back on her high school years and the refuge that theater productions provided her.

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Speaker 2: During a time of such deep sorrow for both her and her mother, callie dropped out of college just shy of getting her degree, describing her time in higher education as a wasted experience.

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Speaker 2: She moved to Nashville, tennessee, at the age of 21.

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Speaker 2: She picked up some work in theaters and wound up waiting tables at local music venues, including the exit in, and she surrounded herself with all types of creative forces, including musicians from genres ranging from rock to bluegrass, country and jazz.

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Speaker 2: One night, a young country singer named Pam Tillis was performing on a stage and asked who she could have a Coca-Cola.

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Speaker 2: Callie brought Pam the beverage and handed it over, and Pam looked at Callie and said you're not just a waitress.

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Speaker 2: And Callie responded you're not just a singer, and this was the start of a lifelong friendship between Callie and Pam.

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Speaker 2: They were two very different people, but together they complimented one another and they were a force to be reckoned with.

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Speaker 2: Pam was messy and scattered, callie was a methodical.

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Speaker 2: Pam was naive, callie was jaded, pam was innocent, callie had a smart ass mouth Two different people that were also very much the same.

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Speaker 2: After four years in Nashville, callie decided it was time to head west, so she moved to Los Angeles and got an apartment in West Hollywood in 1982.

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Speaker 2: Callie studied at the Lee Strasburg Theater and Film Institute and she waited tables at the improv comedy club.

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Speaker 2: In the mid 1980s, stand-up comedy was exploding.

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Speaker 2: Overnight, comedians could go from standing behind a microphone in a smoke filled dark room at 2 am pitching jokes to sitting next to Johnny Carson on The Tonight Show with multiple offers for a sitcom pilot deal with a show named after and starring them.

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Speaker 2: Callie hung out with some of the funniest people of the time Jerry Seinfeld, jay Leno, paul Reiser, robin Williams And Callie fit in perfectly slinging comedic insults and jabs with the best of them.

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Speaker 2: She was a smart, sassy Southern woman who let people know she would not be taken advantage of As much as she enjoyed her time with the comedians at the improv, callie never aspired to be a comedian.

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Speaker 2: This may have been influenced by the perception that women didn't have the required aggression needed to be a stand-up comic at the time, or at least meet the expectations of what audiences wanted from a stand-up comic.

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Speaker 2: At the time, roseanne Barr was really the only comedian who was able to deliver the comedic feminine hostility to break out as a superstar, the likes of which had not really occurred since Joan Rivers arrived on the scene years earlier.

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Speaker 2: Callie continued pursuing acting, but after a while she realized it wasn't in her future.

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Speaker 2: It was 1985, callie's career hit a wall.

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Speaker 2: She was smarter than most of the men she worked with.

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Speaker 2: Hell.

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Speaker 2: She was funnier than most of the men she worked with, and this hurt.

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Speaker 2: Plus, callie continued to feel the impact of her father's death while trying to find direction in her life.

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Speaker 2: Throughout her 20s, callie left her job at the improv, moved to a new home near the beach in Santa Monica and took a job as a receptionist who helped to manage the logistics for music videos.

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Speaker 2: Again, this was the 1980s.

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Speaker 2: Mtv was huge and every band needed a music video to go with their hopefully hit song.

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Speaker 2: Callie hired wannabe starlets and strippers to her spandex and dance around behind Alice Cooper or Winger or a list of bands you've probably never heard of.

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Speaker 2: She swept sound stages.

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Speaker 2: She did whatever was asked of her Well, almost everything.

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Speaker 2: Callie had a front row seat to the misogyny and the subjugation of women in front of and behind the camera.

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Speaker 2: She worked her way up from the reception desk into video production, all the time suppressing her outrage at what she saw all around her, often looking the other way, just to get her job done.

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Speaker 2: Women in the film and video industry were not in a place to stand up to the male dominant power structure.

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Speaker 2: Unless you were Jane Fonda or Barbara Streisand, you couldn't take the establishment head-on.

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Speaker 2: In 1987, callie was working as a line producer, doing everything from delivering film to the labs, ordering lighting, scouting location and arranging casting All unsatisfying work.

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Speaker 2: But it was a great place for her to learn.

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Speaker 2: Up-and-coming film directors full of visual flair and no restraint got behind the camera to make music videos in the minor leagues of major motion pictures.

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Speaker 2: Michael Bay, david Fincher and countless others cranked out music videos in hopes of getting the chance to make a feature film.

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Speaker 2: Callie was underpaid compared to her male counterparts doing work that was often degrading to women, casting for Motley Crue and White Snake videos, providing women and bikinis to prance around behind guys with big hair and minimal talent.

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Speaker 2: But bills had to be paid and Callie kept her head down to keep the lights on.

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Speaker 2: Callie believed that you get what you settle for, and she was tired of settling for what she was getting.

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Speaker 2: In the spring of 1988, callie Curry was 30 years old.

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Speaker 2: She was driving home from work and, out of nowhere, inspiration struck.

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Speaker 2: Two women go on a crime spree.

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Speaker 2: That one sentence.

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Speaker 2: She felt the characters and immediately saw the entire movie.

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Speaker 2: Callie had never written a movie script before, but she had one to write now.

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Speaker 2: She knew where the women started and where they would end.

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Speaker 2: They would go from being invisible to being too big for the world to contain.

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Speaker 2: They would stop cooperating and they would just be themselves.

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Speaker 2: Over the next six months Callie wrote the draft of her screenplay.

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Speaker 2: Two lower-class women in Arkansas leave to go on a fishing weekend.

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Speaker 2: Things get out of control, turning an innocent weekend of fun into a mix of desperation, exhilaration and liberation.

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Speaker 2: Callie's screenplay also found inspiration in some violent encounters that happened to her, one involving her and comedian Larry David being robbed by some young men outside of the improv.

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Speaker 2: On a separate occasion, callie and her lifelong friend Pam Tillis were jumped and a thief tried to steal Callie's purse.

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Speaker 2: Callie put up a struggle until Pam told her to just let the purse go.

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Speaker 2: Callie listened to her friend and the assailants ran away safely.

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Speaker 2: Callie later said to Pam if I'd had a gun I'd have killed him.

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Speaker 2: Two friends, pam and Callie.

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Speaker 2: One a lovable, compliant, sweet, free spirit.

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Speaker 2: The other an orderly, wounded person with a quick wit and a smart mouth.

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Speaker 2: Thelma and Louise.

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Speaker 2: Callie's goal was to make a low-budget indie film to hopefully get some broader distribution.

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Speaker 2: This was a growing trend in the 1980s.

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Speaker 2: Spike Lee's Do The Right Thing and Steven Soderbergh's Sex Lives In Video tape showed that independent movies could reach a broader audience and be commercially and critically successful films, leading to bigger and better things for aspiring writers and directors.

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Speaker 2: Callie wanted the movie to star Holly Hunter and Frances McDormand.

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Speaker 2: She worked her connections and the project was pitched to different production companies.

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Speaker 2: But everybody said no, and by everybody.

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Speaker 2: It was mostly men who read the script And they said no because they felt that the two lead characters were unsympathetic and they were women.

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Speaker 2: Eventually, the script landed in the hands of a friend named Mimi Polk, who ran Ridley Scott's production company.

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Speaker 2: Ridley Scott had a few movies to his credit Alien starring Sigourney Weaver, blade Runner starring Harrison Ford, legend with Tom Cruise and Black Rain starring Michael Douglas.

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Speaker 2: He was not the Ridley Scott we know today, because he had yet to direct Thelma and Louise or Gladiator or The Martian.

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Speaker 2: Polk read the script and completely identified with the character's situations.

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Speaker 2: She gave the script to Ridley Scott in hopes of his production company helping to get the movie made.

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Speaker 2: Ridley Scott loved the script, so much so that he bought the rights to the movie for $500,000, but he had no interest in directing the movie.

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Speaker 2: Ridley Scott initially considered his brother, tony Scott, who was fresh off his success directing Top Gun and Beverly Hills Cop 2.

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Speaker 2: The latter movie features a scene where the hero of that film, axel Foley, is saved when his partner, lieutenant Taggart, shoots the movie's villain, as played by Brigitte Nielsen, by shooting this woman offscreen, then stepping into frame and saying women, while Axel Foley laughs with that inhaled brain that he often did.

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Speaker 2: Maybe Tony Scott was not the right choice to make Thelma and Louise.

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Speaker 2: Ridley Scott took the script to his brother to see if he would be interested in directing it, and Tony Scott declined because quote listen, dude, it's two bitches in a car, tony Scott.

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Speaker 2: Definitely not the best choice to make.

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Speaker 2: Thelma and Louise.

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Speaker 2: Tony Scott's next movie at the time was Days of Thunder, a movie about alpha males racing around in circles.

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Speaker 2: You can go find that one on this podcast.

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Speaker 2: We did it And it's exactly what you would expect.

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Speaker 1: Let's move on.

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Speaker 2: Other A-list directors were considered, including Richard Donner, who was fresh off of directing Lethal Weapons 1 and 2.

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Speaker 2: Kevin Reynolds was considered.

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Speaker 2: He would later go on to find great success with Robin Hood, prince of Thieves, and then his career would crash and burn with Waterworld.

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Speaker 2: Bob Raefelsen, who directed five easy pieces, was considered, but everybody turned it down.

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Speaker 2: They couldn't see in Callie's script what Ridley Scott saw.

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Speaker 2: This movie was epic, set against a landscape that itself was a character in the movie, and the more Ridley Scott spent with Callie discussing their vision of the film, the more he realized that he was the right choice to direct the movie.

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Speaker 2: After all, he was the one who decided Ripley and Alien should be cast as a woman and not a man.

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Speaker 2: His production company was run by women.

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Speaker 2: He recognized this movie was filled with male characters that were childish, dangerous, misguided and vulgar.

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Speaker 2: She knew that the movie required a delicate touch to blend the weightiness of the film along with the humor that Callie wove into her characters in their dialogue.

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Speaker 2: But this was show business.

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Speaker 2: Callie wrote an incredible screenplay and turning it into a successful movie by not alienating half of your potential audience, men.

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Speaker 2: A movie about two women on a road trip crime spree needed humor.

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Speaker 2: This script was full of men behaving badly across the spectrum of bad male behavior.

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Speaker 2: Scott felt that the movie would be a mirror held up for many men to see themselves, and humor would make this self-reflection easier to see.

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Speaker 2: During the early stages of pre-production, the two leads were cast and the movie was going to start Jody Foster and Michelle Pfeiffer But, as you know, this is not how things ultimately turned out.

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Speaker 2: Ridley Scott went to his friend Alan Ladd Jr, who was the head of PATH Entertainment at the time.

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Speaker 2: Ladd Jr was a studio executive at the time Blade Runner was made and he had a history of taking chances on innovative movies including Body Heat, the Right Stuff and Chariots of Fire.

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Speaker 2: He also had a history of producing high quality movies about women, such as Julia, the Turning Point and An Unmarried Woman.

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Speaker 2: Path Entertainment was financed by an unknown Italian investor named Giancarlo Peretti.

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Speaker 2: I'm not going to get into the history of this production company or the state of its finances at the time in this introduction.

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Speaker 2: Just know that their money troubles were only surpassed by their legal woes.

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Speaker 2: It's a small miracle that Thelma Louise was ever made, released or had any dollars to help promote it.

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Speaker 2: Alan Ladd Jr loved the project and was able to secure financial backing to get the movie off the ground.

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Speaker 2: As pre-production drug on, michelle Pfeiffer was offered the lead role in Silence of the Lambs but opted instead to star in the movie Love Field, which you've probably never heard of.

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Speaker 2: Jody Foster also dropped out of Thelma Louise to go famously fill the vacancy left by Michelle Pfeiffer starring as Clarice in the movie Silence of the Lambs.

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Speaker 2: In any given year there were maybe 8-10 solid roles for leading actresses, and I'm being generous here.

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Speaker 2: In 1991, the year Thelma and Louise was released, the top-grossing movie was Terminator 2, a movie that had a strong female character, sarah Connor, as played by Linda Hamilton.

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Speaker 2: The fifth highest-grossing film that year was Silence of the Lambs, again also with a strong female lead, but everything else in the top 10, robin Hood, prince of Thieves, hook, jfk, the Naked Gun 2.5, the Addams Family, cape Fear, hot Shots these are all movies that were absent strong female lead characters.

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Speaker 2: The point I'm trying to make is that for actresses in Hollywood, the options are shockingly limited and decisions to stay with a project or leave for another role are really based on what options are available at the time.

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Speaker 2: And at the time it was unsure if Thelma and Louise would ever be made.

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Speaker 2: With Michelle Pfeiffer and Jody Foster out.

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Speaker 2: There was a need to recast the leads, peter Meryl Streep and Goldie Hawn.

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Speaker 2: This was very close to happening.

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Speaker 2: Streep loved the script but did not love the ending of the movie.

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Speaker 2: She really wanted at least Thelma or Louise to meet a different outcome than the one in the original story.

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Speaker 2: Now, if you haven't seen Thelma and Louise or forgot how it ends, thelma and Louise both die.

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Speaker 2: This wasn't just a concern by Streep.

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Speaker 2: The film producers were concerned audiences wouldn't react positively to such a tragic ending.

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Speaker 2: However, callie was immovable on this point.

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Speaker 2: From the moment inspiration struck, she knew how this movie would start and, more importantly, how it would end.

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Speaker 2: Ridley Scott agreed, but he was open to shooting an alternate ending where one or both of the women survive, based on early screenings and how audiences react.

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Speaker 2: Meryl Streep ultimately dropped out due to a conflict with another movie and Goldie Hawn was deemed just not right for the part.

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Speaker 2: During this entire pre-production time, one actress showed determination to be cast in the movie Thelma and Louise.

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Speaker 2: That was Gina Davis.

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Speaker 2: Gina Davis had her agent called Ridley Scott's production company every week for the better part of a year, inquiring as to how she could get cast in this movie.

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Speaker 2: Gina Davis had just won a best supporting actress Oscar for her role in the Accidental Tourist.

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Speaker 2: She was a known actress and was on the rise, appearing alongside Dustin Hoffman in Tootsie, her renowned asshole, chevy Chase in the movie Fletch, jeff Goldblum in The Fly and Michael Keaton in Beetlejuice.

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Speaker 2: Ridley Scott met with Gina Davis and she came prepared with an hour's worth of arguments as to why she should play Louise, the headstrong more grounded of the two female leads.

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Speaker 2: Ridley Scott listened to her argument and then said so you wouldn't play Thelma.

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Speaker 2: Gina Davis stopped, thought about it and realized, yeah, i should be playing Thelma, and she got the part contingent on who would be playing Louise.

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Speaker 2: Susan Sarandon at the time was 44 years old.

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Speaker 2: She was not only an established actress but also a political activist going after President Bush for portraying people of color.

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Speaker 2: Now this is Herbert Walker Bush.

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Speaker 2: It would be a few years later where Kanye West went after Dubya for not caring about black people, next to a stunned Mike Myers on live TV.

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Speaker 2: Ridley Scott met with Susan Sarandon and felt that her poise, authority and sensibility to play Louise was a perfect fit for Gina Davis as Thelma.

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Speaker 2: Now let's turn to the casting of the men in this movie, and there are a lot of them.

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Speaker 2: Ridley Scott felt that the lead detective, hal Slokum, who follows the crime spree of the movie's heroines, was key to the film's success.

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Speaker 2: Slokum was a man who felt that the two women were victims of bad luck and bad decisions.

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Speaker 2: He was sympathetic and he really just wants to do what's right by the law and right by these two people.

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Speaker 2: Harvey Keitel was known for playing hard, rough characters, like his appearance in Taxi Driver, and Keitel also appeared in Ridley Scott's first film, the Duelist.

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Speaker 2: It was almost against height for Keitel to play a good guy but after some convincing by Ridley Scott, keitel agreed to take the part and he fell into the role of a Southern lawman sympathetic to the film's female leads.

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Speaker 2: Because husband Daryl arguably the movie's comedic relief was a described in Callie's screenplay as a man for whom polyester was made.

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Speaker 2: Gina Davis recommended her ex-boyfriend, christopher McDonald, who would later go on to gain fame as shooter McGavin in the Adam Sandler comedy Happy Gilmore.

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Speaker 2: Mcdonald and Davis were dating.

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Speaker 2: At the time Davis was making the fly with Jeff Goldblum.

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Speaker 2: The making of that film broke up the previous romance and it led to Gina Davis marrying Jeff Goldblum, her second of four marriages.

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Speaker 2: Whoa good for her.

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Speaker 2: The role of Jimmy Louise's boyfriend was filled by Michael Madsen, who was friends with Harvey Keitel at the time, and he would later go on to play the guy who tortured that cop and cut off his ear with a straight razor.

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Speaker 2: As Steeler Wheels stuck in the middle with you played in Quentin Tarantino's film Reservoir Dogs, ridley Scott originally wanted Madsen to play the role of Harlan, the man who assaults Thelma, but Madsen didn't want to risk being known as a rapist for the rest of his career.

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Speaker 2: Ridley Scott couldn't see Madsen and Sarandon as a couple and asked for the two to go to lunch, and they did, and it went very well.

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Speaker 2: Madsen got the part and he delivered a performance of a man who was complicated, troubled and at the same time principled.

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Speaker 2: Lastly, there was the casting of JD, the hitchhiker, cowboy, hustler.

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Speaker 2: Ridley Scott auditioned a lot of good looking young actors.

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Speaker 2: His number one choice was Billy Baldwin.

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Speaker 2: Fresh off his performance in Flatliners, however, baldwin ended up taking a role in the Ron Howard ensemble firefighter movie Backdraft, a film that starred Kurt Russell, robert De Niro, donald Sutherland, jennifer Jason Lee, scott Glenn, rebecca DeMorne, jt Walsh and, of course, clint Howard.

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Speaker 2: That's a hell of a cast and it's a pretty good movie if you've never seen it.

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Speaker 2: Other actors were considered and offered the role, but conflicts prevented the perfect match from appearing.

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Speaker 2: Throughout this whole audition process, a young, handsome let's be honest gorgeous, sculpted movie star to be was auditioning for the role of JD.

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Speaker 2: I'm speaking, of course, about Brad Pitt.

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Speaker 2: As the movie got closer to starting production, four finalists were brought in to read for the part alongside Gina Davis.

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Speaker 2: Davis was so smitten with Pitt's acting, good looks and just movie star quality.

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Speaker 2: She flubbed her lines As Ridley Scott and the casting directors wrestled over which one of the four finalists to pick.

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Speaker 2: It was Gina Davis who said the blonde one duh, and Brad Pitt got the part.

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Speaker 2: Brad Pitt gave this small role a big personality.

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Speaker 2: He was good looking, white trash.

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Speaker 2: He was polite, charming, seductive and funny.

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Speaker 2: Pitt's performance added to Ridley Scott's vision of the movie, balancing heavy drama with comedic undertones.

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Speaker 2: Reportedly, one of the other finalists who auditioned but was not selected was an actor with work on sitcoms and a few small budget films at the time, an actor by the name of George Clooney, maybe a herd of him, who went on to luckily find success elsewhere in Hollywood.

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Speaker 2: Ridley Scott, who is British, also had a senior production team that was from the UK, including production designer Nora Spencer and Thomm Noble, and their awe of the American West helped the movie to reintroduce the majestic landscapes of the film to American filmgoers.

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Speaker 2: Composer Hans Zimmer provided the music to deliver a score that reflected the characters, tone and majesty of Ridley Scott's vision.

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Speaker 2: Now there is so much more that I could discuss regarding this movie's production, and I highly recommend you pick up a copy of Becky Aikman's book Off the Cliff, which chronicles how Thelma and Louise got made.

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Speaker 2: It is fantastic.

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Speaker 2: It is a wonderful read.

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Speaker 2: For anyone interested in the messy, misogynistic manner in which movies get made, please go by it, read it.

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Speaker 2: You will not be disappointed.

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Speaker 2: Let's jump to the end of production, where it turns out that the company that's funding this entire movie well, guess what?

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Speaker 2: they ran out of money.

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Speaker 2: Ridley Scott delivered Alan Ladd a pretty damn good movie and the production company didn't have money to pay for the processing of the film Post-production drug on.

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Speaker 2: Due to this lack of funding, there was no money for marketing because the people behind path entertainment were constantly lying.

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Speaker 2: As I mentioned earlier, their finances were a complete shit show Coretty, the guy behind the company.

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Speaker 2: He eventually got arrested and was found guilty of multiple crimes, including misuse of corporate funds and fraud.

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Speaker 2: What did this mean for Thelma and Louise?

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Speaker 2: Well, the film got a delayed release until May of 1991, and they only had about 40% of their expected marketing dollars to promote the film.

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Speaker 2: But something unexpected happened.

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Speaker 2: The culture in America was primed to embrace Thelma and Louise in a way that nobody could really see coming.

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Speaker 2: Thelma and Louise was advertised as a lighthearted female buddy action film.

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Speaker 2: Nowhere in the trailer or poster did the film hint at the darker tones of the movie.

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Speaker 2: Audiences had no idea that the movie would directly address social issues and tell the truth about the lives of women living in America.

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Speaker 2: Audiences at early screenings gassed, clapped and at times cheered.

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Speaker 2: After Louise shoots Harlan in the parking lot, audiences were on board.

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Speaker 2: They laughed, they were emotionally invested.

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Speaker 2: But in the original screening of the film, ridley Scott added an ending that varied from Callie's original script.

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Speaker 2: Just a few short seconds of footage were added where you see the car with Thelma and Louise in it continuing to drive in the desert.

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Speaker 2: It was intended to be a metaphorical survival, or so thought Ridley Scott, but instead audiences hated it.

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Speaker 2: You can go find the clip online and see it for yourself.

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Speaker 2: It's totally inconsistent with the lead up to the finale of this film, especially with the accompaniment of BB King's song Better Not Look Down playing in the background.

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Speaker 2: The audience response was abysmal.

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Speaker 2: They hated the ending.

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Speaker 2: Ridley Scott and his crew scrambled.

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Speaker 2: They cut off the last few seconds of the film as included in the original screening.

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Speaker 2: They screened the movie again without that ending and everything changed.

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Speaker 2: Audiences were on board from start to finish.

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Speaker 2: Well, some audiences were on board.

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Speaker 2: The movie was released on May 24th 1991, and guess what?

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Speaker 2: the number one movie that weekend was Backdraft.

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Speaker 2: You heard that cast earlier.

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Speaker 2: Clint Howard puts asses in seats, people.

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Speaker 2: Number two at the box office was the Richard Dryfuss Bill Murray cringe comedy What About Bob?

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Speaker 2: followed by Bruce Willis and Hudson Haunt, and then came Thelma and Louise in fourth place.

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Speaker 2: But the next week it stayed in fourth place and it remained in the top 10 grossing movies for six straight weeks.

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Speaker 2: Not too bad, considering it had some stiff competition from Terminator 2, boys in the Hood City, slickers, the Rocketeer, point Break, robin Hood, prince of Thieves.

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Speaker 2: The movie was a success because people were talking about it to one another and in the media and people wanted to see what all the fuss was about.

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Speaker 2: Women gave the movie high praise as a representation of all the bullshit that they have to put up from idiot men.

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Speaker 2: There were others who saw the movie as transformative violence, calling the heroine's thoughtless people who committed aggressive actions to justify robbery and manslaughter.

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Speaker 2: But let's be honest here.

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Speaker 2: It was mostly conservative right-wingers who bashed the movie, and not surprisingly.

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Speaker 2: The movie did not perform well with male audiences, especially those south of the Mason-Dixon line.

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Speaker 2: Thelma and Louise was, as the New York Times Janet Maslin called it, unfamiliar in the best possible way, and that the movie sees something other movies have not seen, because the men in this story don't really matter.

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Speaker 2: Men found the film to be empowering, whereas some men criticized the movie for glamorizing the killing of men.

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Speaker 2: Screenwriter Callie Curry later told the Observer that "bad guys get killed in every goddamn movie that ever gets made.

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Speaker 2: That guy was a bad guy and he got killed.

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Speaker 2: It was only because a woman did it that there was any controversy at all".

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Speaker 2: When it came time for Oscar season, Thelma and Louise received six Oscar nominations, including Best Director for Ridley Scott, best Cinematography, best Editing, a Best Actress nomination for both Gina Davis and Susan Sarandon and a Best Screenplay nomination for Callie Curry.

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Speaker 2: Filmmakers felt the fact that both Davis and Sarandon were nominated worked against the film, as they may have split their votes And the winner that year turned out to be Jodie Foster for her performance in The Silence of the Lambs.

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Speaker 2: However, callie Curry won an Oscar for her very first screenplay.

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Speaker 2: The movie led to academics writing articles examining its place in the history of cinema, pairing it to Easy Rider, butch Cassidy and the Sundance Kid and Bonnie and Clyde.

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Speaker 2: The movie-inspired singer-songwriter Tori Amos to write and record Me and a Gun, a song about her survival of rape years earlier, jessica Inneville's essay, the Daughters of Thelma and Louise, argues that the film attacks controversial patterns of chauvinist male behavior, while exposing the stereotypes of male-female relationships and flipping the script on gender roles of the road-tripped genre of film.

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Speaker 2: And in 2011, rihanna Lipsitz called it the last great film about women, noting that women-themed movies have been losing ground.

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Speaker 2: As for screenwriter Callie Curry, well, she went on to write the romantic comedy Something to Talk About, which received mixed reviews.

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Speaker 2: She directed the film Divine Secrets of the Yahya Sisterhood, which was incredibly well-received, and later in her career she developed the ABC country music series Nashville Very well done.

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Speaker 2: The Bechtel Test is named after cartoonist Allison Bechtel.

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Speaker 2: It's a measure of how women are represented in film and other fiction.

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Speaker 2: Passing the test requires a movie to meet three criteria.

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Speaker 2: The first is that there must be at least two women in it.

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Speaker 2: The second is that the women must talk to each other.

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Speaker 2: And third, they must talk about something other than a man or a man, and you get bonus points given if the women in the movie have names.

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Speaker 2: It seems like a low bar, but a study from 2022 published in the Psychology of Popular Media, the Bechtel test results of the 1,200 most popular movies worldwide from 1980 to 2019 were presented.

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Speaker 2: 49.6% passed the Bechtel test, but the 2010 share of movies passing were somewhat higher, at 63%, compared to previous decades.

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Speaker 2: So some progress is being made.

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Speaker 2: Some, you know what?

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Speaker 2: Let's say, we get Mr Bo Ransdell in here, another middle-aged white guy, to talk about a movie we have no real justification to share our thoughts on, to see if this movie is any good, because it is very, very good.

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Speaker 2: What are we doing here?

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Speaker 2: Something's changed on Pick Six Movies.

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Speaker 2: You know what?

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Speaker 2: Let's get this show on the road.

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Speaker 2: Ladies and gentlemen, pam's and Callie's Pick Six Movies proudly presents the 1991 groundbreaking film Thelma and Louise.

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Speaker 2: And welcome to Pick Six Movies.

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Speaker 2: I'm Chad Cooper and I'm joined by the man who always drives me crazy, mr Will Ranslow Bo.

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Speaker 2: How are you doing?

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Speaker 1: today I almost started singing that fine young cannibal song and then I realized I can't sing.

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Speaker 2: This is going to be a very different discussion, because I think that this may be the best movie we've ever reviewed on Pick Six Movies.

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Speaker 1: I think that's easily true.

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Speaker 1: I would argue we've done a handful of fun movies that we really got behind, like Invasion USA has been sort of the high watermark for me because that's just a great time in watching a movie.

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Speaker 1: This is the first movie that we've done that feels like well, all right, now we've got a movie.

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Speaker 2: Yeah, we had had a steady diet of just pure garbage and this was a pick for me and I was like you know what?

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Speaker 2: I'm going to order a salad for once.

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Speaker 2: I'm going to do something nutritious.

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Speaker 1: It's an interesting movie to do.

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Speaker 1: Like you said in the introduction, having two middle-aged white guys discuss one of the more prominent feminist films of the 20th century is probably slightly inappropriate.

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Speaker 1: But it's also a very good movie.

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Speaker 1: That's not to say that just because it's a feminist movie that somehow drains how good a movie it is.

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Speaker 1: You know that the ideology of the movie sits very nicely alongside the movie.

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Speaker 1: I mean, it's sort of that perfect symmetry of the movie has something to say and it says it in a way that is really entertaining and compelling and emotional.

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Speaker 2: It's a terrific movie.

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Speaker 1: You know it was nominated for a bunch of Oscars.

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Speaker 1: It deserved to be nominated for a bunch of Oscars.

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Speaker 1: It's beautiful to look at It's.

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Speaker 1: yeah, I had such a good time watching this.

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Speaker 1: It was such a different note experience of going through this movie a couple of times and really seeping myself in it in a way that I'm used to doing with, like your masters of the universe.

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Speaker 2: Most of your notes didn't begin with the words why, how what the right?

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Speaker 1: Yeah, I mean, I really only have one problem with this movie.

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Speaker 1: There's one scene in this movie that I'm like.

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Speaker 1: I don't like this at all.

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Speaker 2: I have one, and it may be the same one.

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Speaker 2: We'll see if we align on that, because we have not discussed this movie at all.

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Speaker 1: No.

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Speaker 2: And this is the first time that Bo and I have ever met.

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Speaker 2: So it is a pleasure meeting you, sir.

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Speaker 1: It is nice to meet you as well.

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Speaker 1: I have heard good things.

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Speaker 2: Let's start this movie off with some opening credits.

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Speaker 2: We see that Susan Sarandon and Gina Davis get top billing above the movie's title, as they should.

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Speaker 2: Then a parade of supporting actors male actors Harvey Keitel, Michael Madsen, Christopher McDonald, Steven Tobolowski Tobol, Yeah, I didn't mention him in the intro.

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Speaker 2: The intro was pretty long.

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Speaker 1: I was like we can talk about it as we get through the film and Brad Pitt, after Tobol, by the way, which is the only time that has probably ever happened where Stephen Tobolowski is name above Brad Pitt in the credits And also right off the bat, Chad, I know you're not a big fan of credit sequences like this, where it's just names and some scenery, but thematically it's on point because you start off with a black and white look at the landscape that slowly fades into color.

333
0:33:29,502 --> 0:33:34,181
Speaker 2: Yes, And I like that these opening credits, they don't stick around too terribly long.

334
0:33:34,430 --> 0:33:38,014
Speaker 2: Lead actresses title the supporting actors in the film.

335
0:33:38,234 --> 0:33:46,622
Speaker 2: You get a handful of people who did music and editing and then they go on like you don't get a whole bunch of this bullshit of executive, executive producer and this other person and blah, blah, blah.

336
0:33:46,642 --> 0:33:50,086
Speaker 2: Like you know that their contract said that they had to have their names before the movie actually starts.

337
0:33:50,246 --> 0:33:50,987
Speaker 2: So yeah, i agree.

338
0:33:51,110 --> 0:33:53,879
Speaker 2: This feels like a wonderful opening to this movie.

339
0:33:54,030 --> 0:33:58,141
Speaker 2: The movie kicks off proper and we see Louise working as a waitress in a diner.

340
0:33:58,290 --> 0:33:59,215
Speaker 2: It's all very busy.

341
0:33:59,450 --> 0:34:04,282
Speaker 2: She's wearing a traditional like diner waitress uniform with the apron and the tiny white hat.

342
0:34:04,390 --> 0:34:05,432
Speaker 2: It's all very put together.

343
0:34:05,593 --> 0:34:10,243
Speaker 2: And Louise walks over to two younger women who are both smoking cigarettes, as you did in movies in the early 90s.

344
0:34:10,450 --> 0:34:13,861
Speaker 2: And she feels like coffee cups and Louise says you two are too young to be smoking.

345
0:34:13,930 --> 0:34:14,935
Speaker 2: It'll ruin your sex life.

346
0:34:15,070 --> 0:34:19,801
Speaker 2: Immediate cut to Louise in the back of this diner smoking a cigarette in the kitchen.

347
0:34:19,942 --> 0:34:20,343
Speaker 1: That's right.

348
0:34:20,490 --> 0:34:23,900
Speaker 2: It is a wonderful visual joke to kick things off.

349
0:34:23,990 --> 0:34:25,817
Speaker 2: It's the whole do as I say, not as I do.

350
0:34:26,030 --> 0:34:32,123
Speaker 2: And I also love the fact she's the kind of waitress who go in the back of a diner and openly smoking the kitchen.

351
0:34:32,330 --> 0:34:35,781
Speaker 1: It gives her a little bit of saltiness right off the bat.

352
0:34:36,070 --> 0:34:44,244
Speaker 1: Like you said, that she's the kind of person who is going to be somewhat maternal and sort of warrant these young women that they shouldn't be smoking.

353
0:34:44,410 --> 0:34:52,323
Speaker 1: But, like you said, it's a do as I say, not as I do, but it gives her that little bit of protectiveness that will pay off later in the movie.

354
0:34:52,550 --> 0:35:00,364
Speaker 2: Can you imagine audiences who went in to see this film thinking it was going to be a traditional buddy comedy, but with two female leads?

355
0:35:00,430 --> 0:35:05,462
Speaker 2: I mean, right here it's lulling you into a false sense of we're all going to have a good time.

356
0:35:05,590 --> 0:35:17,252
Speaker 1: The next thing Louise does is call film of, as played by Gina Davis, and we establish the premise which is, hey, we're going on a road trip And Louise is asking like well, what, dare I say, thelma is like?

357
0:35:17,272 --> 0:35:18,638
Speaker 1: well, you know, haven't talked to Darrell yet.

358
0:35:18,790 --> 0:35:19,712
Speaker 2: When it cuts to Thelma.

359
0:35:19,872 --> 0:35:28,725
Speaker 2: This movie is so good at showing and not telling because in her house, like in the first 10 seconds of seeing Thelma, you know everything about her.

360
0:35:28,850 --> 0:35:31,097
Speaker 2: Her home is chaotic and disorganized.

361
0:35:31,118 --> 0:35:38,661
Speaker 2: She's in the kitchen, the counters are covered with everything imaginable, there are multiple pages of store coupons tacked up to cork boards.

362
0:35:38,830 --> 0:35:44,740
Speaker 2: She's like fresh out of bed, wearing a bedrobe, and when she runs to answer the phone, she gives it the old school I got it.

363
0:35:45,041 --> 0:35:51,021
Speaker 2: I got it Like that scream that you did when you didn't want anyone else in the house to pick up the phone.

364
0:35:52,750 --> 0:35:55,419
Speaker 2: It was completely suspect when you did that.

365
0:35:55,610 --> 0:36:01,943
Speaker 2: Here, when Thelma says she has not asked her husband Darrell if she can go on this trip, it's Louise who says you haven't asked him.

366
0:36:02,110 --> 0:36:03,335
Speaker 2: Is he your husband or your father?

367
0:36:03,710 --> 0:36:05,558
Speaker 2: It's two days, for Christ's sake, right.

368
0:36:05,650 --> 0:36:07,257
Speaker 2: The script is so tight.

369
0:36:07,390 --> 0:36:12,743
Speaker 2: There is not a line of dialogue or a tiny detail that is unnecessary.

370
0:36:12,830 --> 0:36:17,242
Speaker 2: It is all on point and it helps to either grow the characters or move the plot forward.

371
0:36:17,671 --> 0:36:24,862
Speaker 2: Aspiring screenwriters, take note Those are the two things your script should be doing, not dicking around having a montage of wacky nonsense.

372
0:36:25,150 --> 0:36:32,447
Speaker 1: Louise has to go back to work, thelma hangs up and in walks, as you pointed out, shooter McGavin, her husband Darrell, she shouts out for him.

373
0:36:32,490 --> 0:36:38,257
Speaker 2: She's like Darrell And when he comes in he is easily the goofiest man in this movie.

374
0:36:38,278 --> 0:36:47,442
Speaker 2: When he marches into the scene in their house, which is under construction, you see on the counter a proudly displayed bowling trophy and Darrell says God damn it, Thelma.

375
0:36:48,613 --> 0:36:59,701
Speaker 2: I can't stand you when you holler like that And all the while, thelma is helping him to fasten what you can assume is fake gold jewelry around his wrist, like this oversized watch and this big gaudy bracelet.

376
0:37:00,311 --> 0:37:04,722
Speaker 1: Well, interestingly, it's not as if he is her father.

377
0:37:04,950 --> 0:37:09,582
Speaker 1: It's more like she is the mother that she is just constantly taking care of this guy.

378
0:37:09,910 --> 0:37:10,772
Speaker 2: I love in the scene.

379
0:37:10,892 --> 0:37:17,224
Speaker 2: there are two moments that Thelma tries to muster up the courage to ask Darrell if she can go on this trip.

380
0:37:17,310 --> 0:37:24,801
Speaker 2: I mean, you see her wind up and then backs off, and winds up and backs off, And the second time she just pivots and she's like Han, is there anything special you want for dinner?

381
0:37:25,130 --> 0:37:28,560
Speaker 2: And Darrell says No, I don't care what we have for dinner.

382
0:37:28,930 --> 0:37:29,934
Speaker 2: I may not be home for dinner.

383
0:37:30,295 --> 0:37:31,198
Speaker 2: You know how Friday nights are.

384
0:37:31,490 --> 0:37:32,674
Speaker 1: And she makes the point of.

385
0:37:32,755 --> 0:37:36,369
Speaker 1: Like you know, it sure is weird that people want to buy carpets on a Friday night.

386
0:37:36,450 --> 0:37:38,277
Speaker 1: Usually, that's something they won't worry about in the weekend.

387
0:37:38,470 --> 0:37:40,597
Speaker 1: Well, that's why I'm the regional manager.

388
0:37:41,370 --> 0:37:47,575
Speaker 2: And he spins his keys that are attached to his hip on one of those little zip lines Like he's a gunslinger.

389
0:37:47,675 --> 0:37:50,109
Speaker 2: He's so proud of it It's so good.

390
0:37:50,250 --> 0:37:57,498
Speaker 2: Darrell is a character that everyone has met in real life, and if you've never met Darrell before, you're probably Darrell.

391
0:38:00,272 --> 0:38:01,990
Speaker 1: He is completely full of himself.

392
0:38:02,411 --> 0:38:06,021
Speaker 1: He's the typical Southern big fish in a small pond.

393
0:38:06,290 --> 0:38:11,262
Speaker 2: He wears a gold chain around his neck with the guy number sign and a one like he's number one.

394
0:38:11,390 --> 0:38:20,192
Speaker 2: When he walks out of his house he gets in his red Corvette that has like an open tea top and his Arkansas license plate says the and then number one.

395
0:38:20,212 --> 0:38:26,164
Speaker 2: So it's the one, and on his way out Darrell slips and just falls ass, first on some loose construction board.

396
0:38:26,350 --> 0:38:36,258
Speaker 2: And he recovers enough to tell the two workers like I want you all out of here by five no three And you know he gets in his car and he speeds off And because I read that book on the making of this film, this was.

397
0:38:36,459 --> 0:38:46,665
Speaker 2: It was an accident that he fell And for Christopher McDonald, he does such a good job of taking his real life slip and just spinning it into comedic gold.

398
0:38:46,810 --> 0:38:48,337
Speaker 2: It's so wonderfully done.

399
0:38:48,410 --> 0:38:49,355
Speaker 2: He's such a buffoon.

400
0:38:49,850 --> 0:39:02,539
Speaker 1: Once he's out of the picture, at least temporarily, thelma calls Louise back and, by the way, we're not missing it in the scene She never asks him for permission or anything, she just calls Louise back and says we're going to the mountains.

401
0:39:02,750 --> 0:39:05,794
Speaker 2: I'll be right about two thirds, as she's talking to Louise here.

402
0:39:05,914 --> 0:39:18,398
Speaker 2: I don't know if this was just great direction or if this was an acting choice by Gina Davis, but as they're having this conversation, thelma is eating a candy bar, one bite at a time, but every time she takes a bite she puts it back into the freezer.

403
0:39:18,658 --> 0:39:20,202
Speaker 1: I don't know if I noticed that That's wonderful.

404
0:39:20,691 --> 0:39:29,345
Speaker 2: It just adds to her being this quirky, unorthodox, superficially scatterbrained person that would do something this unusual.

405
0:39:29,450 --> 0:39:31,598
Speaker 2: Thelma asks Louise, what should I bring?

406
0:39:31,750 --> 0:39:33,316
Speaker 2: And Louise says bring warm stuff.

407
0:39:33,396 --> 0:39:34,159
Speaker 2: It's the mountains.

408
0:39:34,390 --> 0:39:36,799
Speaker 2: And then she says steal Daryl's fishing stuff.

409
0:39:36,950 --> 0:39:38,394
Speaker 2: And Thelma says but I don't know how to fish.

410
0:39:38,614 --> 0:39:41,160
Speaker 2: To which Louise responds I don't either, but Daryl does it.

411
0:39:41,301 --> 0:39:42,062
Speaker 2: How hard can it be?

412
0:39:42,352 --> 0:39:42,898
Speaker 2: And I want?

413
0:39:42,918 --> 0:39:43,869
Speaker 2: it's a great joke, uh-huh.

414
0:39:44,050 --> 0:39:51,864
Speaker 2: But, I also like that Louise says steal his fishing stuff, not grab his fishing stuff or take or pack or borrow or any other word.

415
0:39:51,990 --> 0:39:53,858
Speaker 2: She says steal his fishing stuff.

416
0:39:54,050 --> 0:39:56,536
Speaker 2: It's again one of those little details.

417
0:39:56,797 --> 0:40:00,978
Speaker 2: when looked at it as part of a whole It's like oh, this all makes sense.

418
0:40:01,270 --> 0:40:06,062
Speaker 2: And it also shows that she thinks that Thelma's Opa of a husband is just a complete Claude which he is.

419
0:40:06,411 --> 0:40:10,501
Speaker 1: Louise has very definite opinions about Daryl, and none of them are good.

420
0:40:10,770 --> 0:40:16,790
Speaker 1: There's a scene we'll get to later where they're talking to Brad Pitt, and her description of Daryl is fantastic.

421
0:40:16,890 --> 0:40:26,384
Speaker 2: Louise leaves her job at the diner and she hops into this sea foam green 1966 T-bird convertible Not a car that is easy to forget.

422
0:40:26,531 --> 0:40:30,770
Speaker 2: We see each of our film's protagonists start to pack for this trip.

423
0:40:30,870 --> 0:40:44,325
Speaker 2: Thelma is literally just dumping things into her suitcase from her chest of drawers, whereas Louise is literally putting pairs of shoes inside plastic bags, almost alphabetizing her clothes as she packs.

424
0:40:44,490 --> 0:40:49,903
Speaker 1: This is the montage of them packing that I really like, where it tells you everything about their personalities.

425
0:40:50,110 --> 0:40:56,183
Speaker 2: Yeah, louise is also wearing this black short waisted coat and it has this bold white stitching on the lapels.

426
0:40:56,270 --> 0:41:11,150
Speaker 2: This is important because, as these two women go through let's call it like a metamorphosis or just the change over the next few days, there's a moment where this jacket is worn by Thelma and not Louise, and it's one of those small details that this movie is filled with.

427
0:41:11,410 --> 0:41:17,923
Speaker 1: One other significant moment in this is that Thelma takes a gun from a drawer and puts it in her purse.

428
0:41:18,103 --> 0:41:18,764
Speaker 2: You say takes.

429
0:41:18,930 --> 0:41:32,170
Speaker 2: She uses her index finger and her thumb and pinches it like a claw machine, you know, and then drops it in her bag Again, showing that her decisions may not be the best or her being overly naive.

430
0:41:32,310 --> 0:41:38,543
Speaker 2: We also do see Louise calling someone named Jimmy and she gets his answering machine, which is how we know his name's Jimmy.

431
0:41:38,850 --> 0:41:49,541
Speaker 2: But we also see her very subtly turn over a photo of a man that we are assuming is Jimmy as she gets the answering machine message Again, building up to so much more that's coming throughout the rest of the film.

432
0:41:49,710 --> 0:41:56,490
Speaker 2: Louise eventually pulls up to Thelma's house and Thelma comes out and loads multiple pieces of luggage and all kinds of fishing equipment.

433
0:41:56,611 --> 0:41:59,050
Speaker 2: I mean, it's real scatterbrained what she's bringing out.

434
0:41:59,331 --> 0:42:14,312
Speaker 2: And before the two hit the road they snap a Polaroid of themselves smiling and happy Yes, which is now a very iconic moment in this film's history because of how it ends, and you know the two of them, where they start and where they ultimately end up When they get in the car.

435
0:42:14,633 --> 0:42:20,824
Speaker 1: once they're taking off on the trip, thelma hands over the gun to Louise, who's like what the fuck do you want me to do with this thing?

436
0:42:21,070 --> 0:42:24,781
Speaker 2: She says come on, louise, there might be psycho killers or bears or snakes.

437
0:42:25,111 --> 0:42:30,403
Speaker 2: Another thing I love about this moment when she tells Louise hey, I brought this gun to protect us from these crazy things.

438
0:42:30,590 --> 0:42:32,257
Speaker 2: Louise says just put it in my purse.

439
0:42:32,330 --> 0:42:38,787
Speaker 2: So now we, the audience, know that Louise is aware of a gun and has easy access to the gun.

440
0:42:38,870 --> 0:42:43,662
Speaker 1: We know that they're headed to some fishing cabin that's owned by Louise's boss, who's going through a divorce.

441
0:42:44,050 --> 0:42:45,013
Speaker 2: I like that.

442
0:42:45,234 --> 0:43:00,439
Speaker 2: her boss, a man, is going through a divorce But to screw over his soon to be ex-wife, he's letting everyone who works at the diner just go up to this place in hopes that they will burn it down, no doubt or just whatever before he has to turn the keys over.

443
0:43:00,459 --> 0:43:01,282
Speaker 2: I think it's how she says it.

444
0:43:01,411 --> 0:43:03,690
Speaker 2: It's another like not even a background character.

445
0:43:03,770 --> 0:43:09,363
Speaker 2: It's a character that's being talked about of just being a shitheaded guy doing shitheaded guy things.

446
0:43:09,570 --> 0:43:12,279
Speaker 1: There's two good guys in this movie.

447
0:43:12,590 --> 0:43:16,281
Speaker 2: There are two men who display honorable behavior.

448
0:43:16,531 --> 0:43:24,441
Speaker 1: I don't know, Yes And the rest are shitheads to one degree or another, and I don't think that is reverse sexism or whatever you want to say.

449
0:43:24,731 --> 0:43:28,281
Speaker 1: Most of the guys in this movie behave like most guys.

450
0:43:28,550 --> 0:43:32,016
Speaker 1: They're genuinely idiots, yeah, but I think that counts.

451
0:43:32,190 --> 0:43:44,896
Speaker 1: I think most guys are kind of idiots and you have two of 10 in this movie, two of 10 that at least operate with honorable intentions, even if that doesn't necessarily always go well, but to that point.

452
0:43:44,936 --> 0:43:52,361
Speaker 1: This is where we get Thelma's reveal of like oh, i never asked, i left him a note and you know his dinner in the microwave.

453
0:43:52,670 --> 0:43:57,170
Speaker 2: She also says I ain't never been out of town without Darrell, and Louise asked her like how'd you get him to let you go?

454
0:43:57,270 --> 0:43:58,094
Speaker 2: Well, i didn't ask you.

455
0:43:58,690 --> 0:44:03,622
Speaker 2: At least here Thelma is breaking free from this role of being a dutiful housewife.

456
0:44:03,910 --> 0:44:14,098
Speaker 2: Louise laughs with approval and says well, you get what you settle for, which was a line that in the introduction that the film screenwriter Cali Curry used.

457
0:44:14,178 --> 0:44:18,340
Speaker 2: you know regularly, and I don't know that I can necessarily disagree with that.

458
0:44:18,490 --> 0:44:23,941
Speaker 1: I think that's absolutely true And Thelma of the two characters has the bigger arc through the film.

459
0:44:24,110 --> 0:44:37,783
Speaker 1: Louise definitely does have an arc, but hers is sort of down and then up again, whereas Thelma is very much the character that's the more dynamic metamorphosis through the movie and says some really interesting stuff that we'll talk about later on.

460
0:44:37,870 --> 0:44:40,620
Speaker 2: But I think that just how their relationship changes.

461
0:44:40,850 --> 0:44:45,963
Speaker 2: But it doesn't feel forced or heavy handed for as much that happens in this movie.

462
0:44:46,190 --> 0:44:51,703
Speaker 2: I don't know that allegorical is the right word or that it's, you know being presented in a unrealistic way.

463
0:44:51,850 --> 0:44:56,342
Speaker 1: There's a very symbolic quality to this and we'll get deeper into that.

464
0:44:56,430 --> 0:45:05,423
Speaker 1: But there's a really funny moment here, i think again to illustrate Louise's character where Gina Davis just throws her feet up on the dash and Louise is like what do you do?

465
0:45:05,503 --> 0:45:06,264
Speaker 1: Put your feet down.

466
0:45:06,470 --> 0:45:09,975
Speaker 2: I think it's that she puts her feet up, but she also she's wearing this long white dress.

467
0:45:10,215 --> 0:45:30,745
Speaker 2: Thelma is, and she raises up her dress a little bit because they're in this convertible Like, let's the breeze go up her dress as well, and it's not in a sexual way, i'm just more of letting loose and you see this, i don't know if it's mother, daughter, dynamic, or bigger sister, little sister or just someone who has a little more experience and maturity with someone who lacks that.

468
0:45:30,890 --> 0:45:33,639
Speaker 1: Thelma is very naive in a lot of ways.

469
0:45:34,111 --> 0:45:45,157
Speaker 1: Again, getting to a conversation later, you know she talks about how, like not only has she never been out of town without her husband before she hasn't really been with anybody but her husband, it's like she's, she's very sheltered.

470
0:45:45,250 --> 0:45:54,081
Speaker 1: I like that she pretends to smoke, like Louise, which again later in the movie changes Like at first it's just her, almost like a child, mimicking the actions.

471
0:45:54,210 --> 0:45:55,716
Speaker 2: The cigarette she pulls out.

472
0:45:55,756 --> 0:46:04,756
Speaker 2: She doesn't light it, she just puts it in her lips and looks at herself in the side mirror and, imitating Louise, she's like look, i'm Louise Smoking a cigarette and.

473
0:46:04,936 --> 0:46:07,282
Speaker 2: Louise just laughs at her as they drive along.

474
0:46:07,410 --> 0:46:27,521
Speaker 2: Thelma begs for Louise to stop off so that they can have some fun at this roadside bar in Arkansas, and Louise objects but gives in because Thelma never gets to do anything like this And they pulled off at this place called the Silver Bullet as the sun is going down, and this is not the last time that Louise gives into Thelma's seemingly innocent request for fun during their trip.

475
0:46:27,561 --> 0:46:29,144
Speaker 2: That ends at inside the bar.

476
0:46:29,310 --> 0:46:32,560
Speaker 2: Thelma and Louise take a seat at a table in the waitress Her name is Lena.

477
0:46:32,710 --> 0:46:38,480
Speaker 2: She asks if they want a drink and Louise says no, thank you, but Thelma says I'll have a wild turkey straight up with a Coke back.

478
0:46:39,112 --> 0:46:45,843
Speaker 1: Yeah, And Louise, who's kind of shocked by this, like I've never seen you drink or you know it's been so long.

479
0:46:46,170 --> 0:46:50,262
Speaker 1: And Louise then goes along within, orders a margarita with a shot of Cuervo on the side.

480
0:46:50,310 --> 0:46:51,395
Speaker 2: That's how she one ups her.

481
0:46:51,530 --> 0:46:59,220
Speaker 2: But then Thelma immediately raises the stakes because when they bring over that first shot she throws it back and orders another wild turkey shot.

482
0:46:59,430 --> 0:47:00,616
Speaker 2: We've all had those friends.

483
0:47:00,790 --> 0:47:07,429
Speaker 2: You know those people that don't get out very often And when they do, they go from zero to 60 immediately.

484
0:47:07,529 --> 0:47:08,353
Speaker 1: Yeah, I mean again.

485
0:47:08,413 --> 0:47:09,076
Speaker 1: She's sheltered.

486
0:47:09,110 --> 0:47:13,799
Speaker 1: She hasn't been able to do any of this, Like she went from high school to marriage.

487
0:47:13,890 --> 0:47:17,781
Speaker 2: I think she went from middle school to high school, to marriage, as they break it all out.

488
0:47:17,910 --> 0:47:19,915
Speaker 1: I mean her, like you said, being that friend.

489
0:47:19,935 --> 0:47:20,517
Speaker 1: That's just like.

490
0:47:20,938 --> 0:47:22,662
Speaker 1: All right, everybody bent down the hatches.

491
0:47:22,790 --> 0:47:23,652
Speaker 1: This doesn't.

492
0:47:23,732 --> 0:47:30,650
Speaker 1: It's like the husband that goes to the conference and gets loaded and everybody's like can you believe that Terry fell asleep in the lobby?

493
0:47:31,112 --> 0:47:34,890
Speaker 1: He woke up while somebody was checking in the next morning.

494
0:47:35,092 --> 0:47:36,550
Speaker 1: That's the only thing that stirred him.

495
0:47:37,274 --> 0:47:40,190
Speaker 1: And it's that kind of thing of just like we're all going to party tonight.

496
0:47:40,432 --> 0:47:41,903
Speaker 1: You know who's with me?

497
0:47:41,963 --> 0:47:42,890
Speaker 2: Yeah, Who's with me?

498
0:47:43,752 --> 0:47:53,870
Speaker 2: So into our movie, harlan, who is this tall, arguably good looking guy that you would find in a place like this, hitting on any woman and every woman.

499
0:47:54,091 --> 0:47:58,650
Speaker 2: Harlan comes over and he says what are a couple of Cupid dolls like you doing in a place like this?

500
0:47:58,810 --> 0:48:02,581
Speaker 2: And Thelma immediately spills the details of their trip.

501
0:48:02,690 --> 0:48:05,640
Speaker 2: And Louise just shuts this down with a cross look.

502
0:48:05,770 --> 0:48:06,091
Speaker 2: And again.

503
0:48:06,171 --> 0:48:11,883
Speaker 2: This will not be the last time Thelma spills the details of their plans to a handsome man.

504
0:48:12,130 --> 0:48:17,062
Speaker 1: He's very redneck, charming, because Thelma is like oh, i got a uncle named Harlan.

505
0:48:17,410 --> 0:48:20,337
Speaker 1: Harlan says, oh, is he funny If he does, and we got something in common.

506
0:48:20,410 --> 0:48:22,598
Speaker 1: And you're like, this guy's just gross.

507
0:48:22,910 --> 0:48:25,058
Speaker 2: Louise eyes this immediately.

508
0:48:25,391 --> 0:48:44,115
Speaker 2: One he's sitting backward on a chair Like he's about to have a real heart to heart with some youth, but the dangers of doing drugs or something I like that Louise you know, having seen this particular routine multiple times in her life just blows two full lungs of cigarette smoke into Harlan's face As this act of defying.

509
0:48:44,155 --> 0:48:48,612
Speaker 2: She's like I think you need to leave because I need to talk about something real important with my friend Harlan.

510
0:48:48,652 --> 0:48:53,083
Speaker 2: Before exiting, he says to Thelma you better dance with me before you leave or I'm never going to forgive you.

511
0:48:53,150 --> 0:48:56,461
Speaker 2: And, like you said, he's charming, but you get bad vibes from this dude.

512
0:48:56,550 --> 0:49:04,523
Speaker 1: Thelma, again being the innocent here, is trying to convince Louise like I just want to have some fun, i want to do some dancing.

513
0:49:04,725 --> 0:49:05,390
Speaker 1: This is vacation.

514
0:49:05,470 --> 0:49:06,696
Speaker 1: I never get to go on vacation.

515
0:49:06,890 --> 0:49:08,076
Speaker 1: Let me have a good time.

516
0:49:08,250 --> 0:49:10,899
Speaker 1: Harlan is sending drinks over to the table.

517
0:49:11,190 --> 0:49:13,379
Speaker 1: Finally, they decide to do some dancing.

518
0:49:13,430 --> 0:49:22,778
Speaker 1: So Harlan and Thelma pair off and Louise dances with some other dude who seems really bugged out when she leaves the dance later, which I really enjoyed, whereas like oh shucks.

519
0:49:22,950 --> 0:49:26,057
Speaker 2: There's more dancing and drinking, and dancing and drinking.

520
0:49:26,237 --> 0:49:31,805
Speaker 2: And finally Louise comes over to Thelma and Harlan, who are still dancing, and she says, hey, i'm going to go to little girl's room.

521
0:49:31,885 --> 0:49:35,179
Speaker 2: Then we're leaving And Thelma says, ok, she's, you know, ready to go.

522
0:49:35,330 --> 0:49:41,904
Speaker 2: But Harlan is just spinning her around and around and around, to the point to where she says stop.

523
0:49:42,070 --> 0:49:46,382
Speaker 2: And Harlan says, well, let's get you some fresh air, little lady, because you know she's sweaty.

524
0:49:46,530 --> 0:49:48,918
Speaker 2: We've all well, i can't say we've all been in bars like this.

525
0:49:48,938 --> 0:49:56,481
Speaker 2: But even a place where it's loud and it's hot and it's filled with cigarettes, it's smoking, it's just like you're drunk and it's like I got to get out of this.

526
0:49:56,710 --> 0:49:59,279
Speaker 2: So when Louise returns, she sees that Thelma is gone.

527
0:49:59,350 --> 0:50:06,142
Speaker 2: She pays the bar tab with Lena, the waitress, and then outside in the parking lot is where we see Thelma, who was just thrown up.

528
0:50:06,230 --> 0:50:11,418
Speaker 2: She has a handkerchief and she's wiping off her nose and her mouth and her eyes And she says I'm starting to feel a little bit better now.

529
0:50:11,690 --> 0:50:14,458
Speaker 2: And Harlan says you're starting to look a little better, to me too.

530
0:50:15,059 --> 0:50:15,861
Speaker 2: This is off.

531
0:50:15,982 --> 0:50:19,801
Speaker 1: Right, this is where things start to head south, because he's getting handsy with her.

532
0:50:19,990 --> 0:50:22,238
Speaker 1: Thelma is like I was just sick, you let me go.

533
0:50:22,530 --> 0:50:24,537
Speaker 1: He's very like, don't be that way.

534
0:50:24,697 --> 0:50:25,560
Speaker 1: Yeah, kind of shed.

535
0:50:25,770 --> 0:50:27,357
Speaker 1: Thelma pushes him off.

536
0:50:27,590 --> 0:50:29,758
Speaker 2: He sits her down on the trunk of a car.

537
0:50:29,911 --> 0:50:31,953
Speaker 2: He was like I'm not going to hurt you, i just want to kiss you.

538
0:50:31,993 --> 0:50:36,718
Speaker 2: And he leans in and he kisses her neck and she tells him that she's married and he's like well, i'm married too.

539
0:50:37,790 --> 0:50:44,276
Speaker 2: This is when she hits him and then he slaps her across the face and threatens Look, i'm not going to hurt you.

540
0:50:44,470 --> 0:50:57,607
Speaker 2: This is where the movie takes its darkest turn from what started out as just this fun road trip into something that is way more violent and terrifying because he's spinning her around, pushing her over the hood, pulling her underwear down.

541
0:50:57,770 --> 0:51:02,322
Speaker 2: He spreads her legs with his feet and she's just begging and saying you're hurting me.

542
0:51:02,490 --> 0:51:05,380
Speaker 1: This is where Louie shows up to save the day.

543
0:51:05,732 --> 0:51:10,439
Speaker 1: She puts the gun that was in her purse Again, great screenplay, because we knew this gun was in the car.

544
0:51:10,814 --> 0:51:11,690
Speaker 1: We knew it was in her purse.

545
0:51:11,791 --> 0:51:13,529
Speaker 1: Suddenly, louise is there with that gun.

546
0:51:13,750 --> 0:51:15,496
Speaker 2: Well, at first she says, let her go.

547
0:51:15,737 --> 0:51:17,735
Speaker 2: And Harlan responds Get the fuck out of here.

548
0:51:17,870 --> 0:51:20,618
Speaker 2: Then she puts the gun up to his neck and says let her go.

549
0:51:20,658 --> 0:51:25,200
Speaker 2: You fucking asshole, i'm going to splatter your ugly face all over this nice car which.

550
0:51:25,380 --> 0:51:35,042
Speaker 2: I love this dialogue because she's dressing down this monster and also showing her appreciation for finer automobiles, which we know she has because of the car she drives.

551
0:51:36,132 --> 0:51:40,379
Speaker 1: It's so good Phelma gets free because Harlan stops with the gun in his face.

552
0:51:40,560 --> 0:51:43,057
Speaker 2: He says calm down, we were just having a little fun right.

553
0:51:43,110 --> 0:51:46,160
Speaker 2: To which Louise says looks like you got a real fucked up idea of fun.

554
0:51:46,290 --> 0:51:50,011
Speaker 2: And she says in the future, when a woman is crying like that, she isn't having any fun.

555
0:51:50,132 --> 0:51:58,681
Speaker 2: and Susan Sarandon's delivery of this line is so powerful, you immediately know this isn't just about Thelma being attacked by Harlan.

556
0:51:58,861 --> 0:51:59,383
Speaker 1: Absolutely.

557
0:51:59,771 --> 0:52:05,203
Speaker 1: I mean Susan Sarandon, because we haven't said so yet a remarkable actress.

558
0:52:05,243 --> 0:52:05,483
Speaker 2: Yes.

559
0:52:05,793 --> 0:52:07,149
Speaker 1: I love Gina Davis in this.

560
0:52:07,371 --> 0:52:09,679
Speaker 1: I have had a longstanding crush on Gina Davis.

561
0:52:09,910 --> 0:52:16,198
Speaker 1: It is in full effect in this movie as well, because I think she's like fun and vulnerable and sexy and all those things.

562
0:52:16,490 --> 0:52:23,638
Speaker 1: But, susan Sarandon, like you said, this delivery of this line of when a woman is crying like that she didn't have any fun.

563
0:52:23,950 --> 0:52:26,778
Speaker 1: It's like you say it, just it speaks volumes.

564
0:52:27,019 --> 0:52:38,334
Speaker 2: Like you almost don't need all the other backstory about the text stuff to know exactly what's going on here, thelma and Louise start to walk away and Harlan says bitch, i should have gone ahead and fucked her.

565
0:52:38,751 --> 0:52:40,578
Speaker 2: And Louise says what did you say?

566
0:52:40,730 --> 0:52:43,116
Speaker 2: And Harlan responds I said suck my cock.

567
0:52:43,390 --> 0:52:47,882
Speaker 2: And Louise pulls the trigger and shoots Harlan in his chest, in his heart.

568
0:52:48,090 --> 0:52:57,722
Speaker 2: We are 21 minutes into this movie that runs just a few minutes north of two hours, And for those audiences expecting a good time, female buddy road trip, buckle up.

569
0:52:57,870 --> 0:53:00,659
Speaker 2: We took a totally different turn than you were anticipating.

570
0:53:00,759 --> 0:53:02,175
Speaker 1: Yeah, I mean shoots him dead.

571
0:53:02,571 --> 0:53:03,816
Speaker 1: He slumps against the car.

572
0:53:04,150 --> 0:53:05,173
Speaker 2: After she shoots him.

573
0:53:05,393 --> 0:53:09,303
Speaker 2: One important detail is that, yes, Louise says go get the car.

574
0:53:09,430 --> 0:53:17,270
Speaker 2: So Thelma runs to get their car and comes back And Louise is staring at Harlan's body, sitting arguably lifeless on the ground.

575
0:53:17,531 --> 0:53:20,740
Speaker 2: And Louise says to him you watch your mouth, buddy.

576
0:53:21,031 --> 0:53:31,483
Speaker 2: I only bring this up because Susan Sarandon was the one who chose to add this line, because she did not want this to be a movie about violent revenge or vengeance.

577
0:53:31,931 --> 0:53:37,915
Speaker 2: And the decision to have her say this line to Harlan as you know, he lays lifeless on the ground You watch your mouth, buddy.

578
0:53:38,210 --> 0:53:45,207
Speaker 2: In her performance as Louise, it implies that Louise may not 100% be fully aware that he's dead.

579
0:53:45,368 --> 0:53:55,736
Speaker 2: Right, Yes, she shot him, but she did not intend to kill him And by still talking to him, there could be some inference that she thinks he may still be alive.

580
0:53:55,951 --> 0:53:59,497
Speaker 1: Or if not, that's not what it was about, like she had no intention of killing him.

581
0:53:59,810 --> 0:54:07,023
Speaker 1: It's just that this circumstance led her to a place where the rage and anger took over.

582
0:54:07,183 --> 0:54:07,784
Speaker 2: Thelma and Louise.

583
0:54:07,950 --> 0:54:13,037
Speaker 2: They hop in their car and they drive off quite dangerously, weaving in and out traffic because Thelma was driving.

584
0:54:13,210 --> 0:54:17,341
Speaker 2: Thelma has blood on her face from Harlan repeatedly hitting her.

585
0:54:17,550 --> 0:54:19,317
Speaker 2: She's panicked and she says, Louise, where are we going?

586
0:54:19,430 --> 0:54:23,713
Speaker 2: And Louise just quietly stares at the gun in her hands and she says I don't know, just shut up.

587
0:54:23,753 --> 0:54:24,316
Speaker 2: So I can think.

588
0:54:24,510 --> 0:54:36,741
Speaker 2: Thelma suggests that they call the cops, but Louise shuts that down immediately because she says the cops won't believe him because you spent all night dancing with Harlan at the club And particularly says that we don't live in that kind of a world.

589
0:54:37,251 --> 0:54:55,222
Speaker 1: Again, one of the larger themes of the movie is that just because Gina Davis was dancing with this guy and drinking with this guy, it was somehow implicit permission for him to assault her, or that she was asking for it or whatever Like, however you want to phrase that, but that she would be seen as culpable, not Harlan.

590
0:54:55,330 --> 0:55:02,582
Speaker 2: They pull the car over and, panicked, it is now Louise who is outside of the car vomiting for very different reasons.

591
0:55:03,110 --> 0:55:04,998
Speaker 2: Thelma moves back into the passenger seat.

592
0:55:05,130 --> 0:55:06,536
Speaker 2: Louise is now driving again.

593
0:55:07,051 --> 0:55:18,023
Speaker 2: It's such a tight script but because she's kind of got her wits about her, as much as they can be gotten, thelma starts to brush her hair, doing something to bring normalcy to this chaos.

594
0:55:18,370 --> 0:55:18,852
Speaker 2: You know, it's just.

595
0:55:18,892 --> 0:55:20,699
Speaker 2: You can just see her like what are we going to do?

596
0:55:21,090 --> 0:55:26,303
Speaker 2: And Louise says Thelma, i'm going to stop for a cup of coffee and get it together and figure out what to do.

597
0:55:26,470 --> 0:55:27,455
Speaker 2: Everything's going to be all right.

598
0:55:27,630 --> 0:55:37,803
Speaker 2: And just Thelma looks on, believing Louise who reaches over and takes a scarf and just wipes the blood off of Thelma's face the way a parent would clean the face of a child.

599
0:55:38,672 --> 0:55:44,960
Speaker 2: And I know that I'm pointing out the obvious and hearing us describe this and give descriptions to actions.

600
0:55:45,150 --> 0:55:56,853
Speaker 2: It doesn't communicate the same way, but it's so wonderfully done and it can easily go unnoticed, i think, if you're not really paying attention to what's going on Yes And this movie.

601
0:55:56,873 --> 0:56:05,182
Speaker 1: It has a number of these nice subtle moments where the movie is not drawing attention to it's the communication of its themes.

602
0:56:05,350 --> 0:56:14,382
Speaker 1: Again, it's that perfect weaving of this movie is always saying something, but it does it in a number of different ways that aren't didactic.

603
0:56:14,570 --> 0:56:16,217
Speaker 1: That's a problem with movies like this.

604
0:56:16,290 --> 0:56:30,420
Speaker 1: Like, another Susan Sarandon movie that I dearly love, mostly because of her performance, is a movie like Deadman Walking, which definitely crosses the line into being didactic at times, yeah, but it's a beautiful performance and a beautiful movie, i think.

605
0:56:30,610 --> 0:56:40,578
Speaker 1: But this movie the reason that people talk about Thelma and Louise still and less so Deadman Walking is because Thelma and Louise never forgets that it's a movie that's supposed to be entertaining you too.

606
0:56:40,750 --> 0:57:00,981
Speaker 2: And I think that Ridley Scott really got that that if you come in and you really have a message movie, you may not be as effective as if you can put that into a narrative or, you know, a package that is, to use your word, entertaining or funny as much as it can be and still make a very serious point.

607
0:57:01,350 --> 0:57:03,538
Speaker 2: It's the anti-soul man, is what I'm saying.

608
0:57:04,513 --> 0:57:05,356
Speaker 1: Right.

609
0:57:05,396 --> 0:57:05,577
Speaker 2: Yeah.

610
0:57:06,170 --> 0:57:17,961
Speaker 1: Like, you can be a message movie or you can be a movie with a message, and this is the latter where it is a movie first and foremost, but the message that it has is so powerful that it just speaks volumes.

611
0:57:18,170 --> 0:57:24,574
Speaker 1: So they go to this diner and Louise is kind of going through this and say like well, no one saw it, we're going to figure out what to do.

612
0:57:24,930 --> 0:57:33,963
Speaker 2: They kind of blame each other here at the coffee shop, because Thelma is like this sure is some vacation, It's a lot of fun, you know, because Louise was the one who invited Thelma.

613
0:57:34,043 --> 0:57:38,221
Speaker 2: And Louise says you know, if you weren't concerned with having so much fun, none of this would have happened.

614
0:57:38,442 --> 0:57:39,987
Speaker 2: And Thelma's like this is my fault.

615
0:57:40,208 --> 0:57:50,623
Speaker 2: Yeah, The conversation stops because they're both aware of what each other is saying, The circumstances creating this heightened sense of response to the situation in which they find themselves.

616
0:57:50,703 --> 0:58:00,643
Speaker 2: And Thelma goes to the restroom and on her exit from the coffee shop booth, like her departure, the napkin pulls a coffee cup off the table and it falls and shatters on the ground.

617
0:58:00,863 --> 0:58:04,125
Speaker 2: And Thelma's again, just in a hasty she's like I have to go to the bathroom, I'm sorry.

618
0:58:04,326 --> 0:58:07,968
Speaker 2: And it's so powerful because it's something else that has gone wrong.

619
0:58:08,169 --> 0:58:17,906
Speaker 1: It captures that sense of like chaos and destruction and the sound of it crashing and reflects sort of what their relationship is in the moment, which is fractured.

620
0:58:18,066 --> 0:58:36,889
Speaker 1: They're not connecting at this point And to that point Thelma calls home, she goes to the phone, calls home to call Darryl who, by the way, has not been there on this Friday night, and as evidence, because we get a shot of the phone ringing in her house and there's the open microwave with a note still, like on a beer.

621
0:58:36,909 --> 0:58:43,770
Speaker 2: Yeah, and there's a small stuffed teddy bear sitting on top of the Miller genuine draft and food in the microwave for him to eat up.

622
0:58:44,120 --> 0:58:49,041
Speaker 1: Yeah, And so then we go to our one of two decent guys in this movie.

623
0:58:49,081 --> 0:58:50,748
Speaker 1: Harvey Kytel makes an appearance in the movie.

624
0:58:50,768 --> 0:58:53,167
Speaker 2: First we see Harlan being zipped up in a body bag.

625
0:58:53,348 --> 0:58:53,990
Speaker 2: So we know he's.

626
0:58:54,180 --> 0:58:56,467
Speaker 2: he's dead, dead, sure, and it's yeah.

627
0:58:56,487 --> 0:59:00,207
Speaker 2: Detective Slokum has played by Harvey Kytel and not his penis.

628
0:59:00,347 --> 0:59:03,988
Speaker 2: I'm so glad to not see Harvey Kytel's penis in a Harvey Kytel movie.

629
0:59:04,168 --> 0:59:10,688
Speaker 1: Much like me, though, i feel pretty confident that his penis is dressed up like a detective, as he is working on the detectives.

630
0:59:11,240 --> 0:59:17,461
Speaker 2: Penis is like his quatto, you know he consults it for saying goodbye.

631
0:59:17,502 --> 0:59:19,721
Speaker 2: For sure It's got a little face like Hey, what are you?

632
0:59:19,782 --> 0:59:22,423
Speaker 1: I'm thinking about doing this movie, Thelma and Louise, there Penis.

633
0:59:22,463 --> 0:59:22,884
Speaker 1: what do you think?

634
0:59:23,185 --> 0:59:24,369
Speaker 2: I think that's a great idea.

635
0:59:24,780 --> 0:59:25,965
Speaker 1: You think it's playing against type.

636
0:59:26,206 --> 0:59:28,164
Speaker 1: I do, but I think it's gonna be very successful.

637
0:59:28,284 --> 0:59:30,622
Speaker 1: All right, no arguing with you, little P.

638
0:59:30,862 --> 0:59:31,825
Speaker 2: Detective Slokum.

639
0:59:31,985 --> 0:59:38,744
Speaker 2: He is talking with Lena, the waitress, and she says I could identify him, but neither of them were capable of this.

640
0:59:38,984 --> 0:59:42,787
Speaker 2: I could have told you Harlan Puckett would buy it in a parking lot.

641
0:59:42,847 --> 0:59:44,483
Speaker 2: I'm just surprised it didn't happen sooner.

642
0:59:44,644 --> 0:59:49,863
Speaker 2: And Detective Slokum asked Lena if she had any idea who might have killed Harlan and she says have you asked his wife?

643
0:59:50,004 --> 0:59:51,269
Speaker 2: I hope she's the one who did it.

644
0:59:51,360 --> 0:59:53,507
Speaker 2: Like again, this guy's a piece of shit.

645
0:59:53,527 --> 0:59:57,469
Speaker 1: Yeah, she actually says it was either some old gal or some old gal's husband.

646
0:59:57,529 --> 1:00:14,882
Speaker 1: This character of Lena the waitress has so much more depth than a character like this in any other movie, any other character in almost any movie we've ever done And she's in it for two and a half seconds And it's just like kind of hitting on Kytel like well, you gonna take me for a cup of coffee when you talk about this more.

647
1:00:14,922 --> 1:00:16,944
Speaker 1: you just gotta keep me up all night and ask me questions.

648
1:00:17,126 --> 1:00:19,581
Speaker 2: Lena says that, the shorter one, louise, with the tight hair.

649
1:00:19,662 --> 1:00:22,510
Speaker 2: You know she paid the bill and she left a huge tip.

650
1:00:22,801 --> 1:00:23,526
Speaker 2: Of course she would.

651
1:00:23,687 --> 1:00:24,472
Speaker 2: She's a waitress.

652
1:00:24,834 --> 1:00:26,503
Speaker 2: And then Lena and Detective Slokum.

653
1:00:26,583 --> 1:00:30,225
Speaker 2: they have this playful goodbye, as you say, like like it's in the middle of the night.

654
1:00:30,285 --> 1:00:36,508
Speaker 2: a guy's been killed in the parking lot And Lena says neither of these two were the murder in type how and she's defending them.

655
1:00:36,628 --> 1:00:42,064
Speaker 2: But there's almost an element of they might have done it And I also like the fact that she calls him how.

656
1:00:42,345 --> 1:00:43,087
Speaker 2: she knows him.

657
1:00:43,167 --> 1:00:44,551
Speaker 2: This is a small town.

658
1:00:44,761 --> 1:00:45,102
Speaker 1: Mm, hmm.

659
1:00:45,322 --> 1:00:48,111
Speaker 2: Louise is calling Jimmy and gets the answering machine.

660
1:00:48,220 --> 1:00:53,124
Speaker 1: So she goes to the bathroom and it's just her in there and Gina Davis is into stall.

661
1:00:53,285 --> 1:00:57,677
Speaker 2: And we know this because we see her purse sitting up on top of it's a cement block wall.

662
1:00:57,718 --> 1:01:01,590
Speaker 2: It's not like a stall you would see in a restaurant, like a thin divider.

663
1:01:01,880 --> 1:01:04,187
Speaker 2: These are cinder blocks stacked in pan.

664
1:01:04,207 --> 1:01:06,062
Speaker 2: This is that kind of an establishment.

665
1:01:06,363 --> 1:01:07,306
Speaker 2: But I like that.

666
1:01:07,366 --> 1:01:11,386
Speaker 2: when Louise walks in she knows Thelma's there because she sees her purse.

667
1:01:11,526 --> 1:01:17,442
Speaker 2: But then out loud she says, thelma, you in there, so that now Thelma knows Louise is in there.

668
1:01:17,563 --> 1:01:19,114
Speaker 2: Right, those little details.

669
1:01:19,174 --> 1:01:20,040
Speaker 2: I was just in awe.

670
1:01:20,200 --> 1:01:22,470
Speaker 1: Yeah, and Louise is cleaning herself in the mirror.

671
1:01:22,550 --> 1:01:23,984
Speaker 1: Another great moment of like.

672
1:01:24,024 --> 1:01:27,507
Speaker 1: They're both trying to compose themselves and establish some kind of normalcy.

673
1:01:27,748 --> 1:01:39,566
Speaker 1: And while Louise is straightening herself in the mirror, there's a little spot of blood on her face that she finds, yeah, and she kind of wipes it away and freaks out a little about, a little bit quietly She's not losing her mind.

674
1:01:39,626 --> 1:01:44,669
Speaker 1: But clearly is the reality of this kind of comes crashing down again And they just they hit the road.

675
1:01:44,800 --> 1:01:54,128
Speaker 2: The sun's coming up and Thelma is letting the breeze of the open windows brush up her legs again, with her feet on the dash, and she's just in shock.

676
1:01:54,229 --> 1:01:55,436
Speaker 2: Louise says we need money.

677
1:01:55,537 --> 1:01:56,342
Speaker 2: How much do you have?

678
1:01:56,483 --> 1:01:59,362
Speaker 2: She says we can stop at a hotel room and I'll figure out what to do next.

679
1:01:59,402 --> 1:02:08,808
Speaker 2: And Thelma fishes around in the pockets of her dress and she pulls out some crumpled up bills and she counts them out And she's like we have $61.

680
1:02:09,048 --> 1:02:10,452
Speaker 2: Shit, $41.

681
1:02:10,772 --> 1:02:15,572
Speaker 2: Because the wind snatches a 20 and blows it out the window It is so funny.

682
1:02:15,700 --> 1:02:19,491
Speaker 2: It's just one of those what else could possibly go wrong moments?

683
1:02:19,700 --> 1:02:25,907
Speaker 1: And it also foreshadows what happens later that Thelma can't keep money, so they go to a motel.

684
1:02:26,148 --> 1:02:29,184
Speaker 1: Louise is in a towel, like coming out of the shower.

685
1:02:29,465 --> 1:02:30,528
Speaker 2: Of course she would bow.

686
1:02:30,689 --> 1:02:33,588
Speaker 2: She just found a tiny speck of this guy's blood on her face.

687
1:02:33,949 --> 1:02:35,483
Speaker 2: I've got to get clean.

688
1:02:35,684 --> 1:02:40,267
Speaker 1: Thelma is having a good old fashioned meltdown because she's like I want to go to the cops.

689
1:02:40,327 --> 1:02:41,522
Speaker 1: We don't have any plan.

690
1:02:41,702 --> 1:02:42,806
Speaker 1: What are we going to do, Louise?

691
1:02:42,967 --> 1:02:45,585
Speaker 1: And Louise is like I don't want to go to jail, And that's.

692
1:02:45,806 --> 1:02:47,302
Speaker 1: that's what's in front of us right now.

693
1:02:47,723 --> 1:02:49,529
Speaker 1: Why don't you go down to the pool?

694
1:02:49,890 --> 1:02:51,344
Speaker 1: I'm going to try to figure something out.

695
1:02:51,665 --> 1:02:52,609
Speaker 1: And so that's what Thelma does.

696
1:02:52,700 --> 1:02:56,942
Speaker 1: Should Thelma goes to the pool, louise calls Jimmy, as played by Michael Madsen.

697
1:02:57,303 --> 1:02:58,687
Speaker 2: How good is he in this.

698
1:02:59,048 --> 1:03:00,921
Speaker 1: It's shocking how good he is.

699
1:03:01,021 --> 1:03:09,966
Speaker 2: He's been good in other roles, But there's something about this role and the chemistry that he has with Susan Sarandon that is just tragically beautiful.

700
1:03:10,147 --> 1:03:16,164
Speaker 1: Yes there's something I think you use the word vulnerable in the introduction with him and that's kind of that character.

701
1:03:16,264 --> 1:03:21,307
Speaker 1: We don't know a lot about him, but we kind of know everything we need to know and and there's a lot of depth there.

702
1:03:21,729 --> 1:03:25,505
Speaker 1: You know, she basically says like hey, i've got $6,700 in the bank.

703
1:03:25,685 --> 1:03:26,848
Speaker 1: I can't get to that.

704
1:03:26,989 --> 1:03:28,661
Speaker 1: Can you wire that to me?

705
1:03:28,902 --> 1:03:30,306
Speaker 1: And I can't tell you why.

706
1:03:30,627 --> 1:03:31,148
Speaker 2: He asked her.

707
1:03:31,189 --> 1:03:32,502
Speaker 2: He's like what's going on?

708
1:03:32,562 --> 1:03:35,222
Speaker 2: You know, she says I'm in deep shit, I'm in deep shit, Arkansas.

709
1:03:35,503 --> 1:03:41,002
Speaker 2: And he, you know, he kind of escalates his questions as to what's going on and she just says look, something happened.

710
1:03:41,102 --> 1:03:43,169
Speaker 2: I can't tell you what, just that I did it.

711
1:03:43,340 --> 1:03:45,969
Speaker 1: And I can undo it Yeah we help me please?

712
1:03:46,109 --> 1:03:47,824
Speaker 2: and her performance on the phone.

713
1:03:48,084 --> 1:04:02,009
Speaker 2: This is Oscar nomination just right here, because she is fighting back so many emotions, fear and sadness and, you know, like everything that comes with her relationship with this boyfriend, slash ex boyfriend.

714
1:04:02,150 --> 1:04:03,369
Speaker 1: He greased to send her the money.

715
1:04:03,591 --> 1:04:05,302
Speaker 1: He doesn't demand to know anything else.

716
1:04:05,342 --> 1:04:06,667
Speaker 1: He says, okay, I'll take care of this.

717
1:04:06,868 --> 1:04:11,732
Speaker 2: When you see Jimmy in this scene, he's wearing one of those sleeveless undershirts and he's in this apartment.

718
1:04:11,752 --> 1:04:16,843
Speaker 2: That's pretty run down, but in the background there is a speed bag that boxers use, mounted on the wall.

719
1:04:16,963 --> 1:04:22,285
Speaker 2: There's a guitar sitting on the floor, leaning up on the other side of the wall during this conversation.

720
1:04:22,366 --> 1:04:34,350
Speaker 2: As you said, you don't know a whole lot about this character, but the movie is so masterful in giving these brushstrokes of either their history with one another, these physical representations of who this character is.

721
1:04:34,490 --> 1:04:38,309
Speaker 1: We learn a little bit about him later, but not again, not a ton.

722
1:04:38,691 --> 1:04:41,087
Speaker 1: And Louise just asked him, like, do you love me?

723
1:04:41,348 --> 1:04:44,408
Speaker 1: And he kind of bulks for a second and then he says yeah.

724
1:04:44,588 --> 1:04:46,590
Speaker 2: And she says, never mind, just wire me the money.

725
1:04:46,933 --> 1:04:49,772
Speaker 2: Yeah, she needs help, she needs someone, she needs Jimmy.

726
1:04:49,913 --> 1:04:52,366
Speaker 2: And then she just immediately shuts his nose like just give me the money.

727
1:04:52,466 --> 1:04:53,321
Speaker 1: But he comes through.

728
1:04:53,381 --> 1:04:53,863
Speaker 1: You know that's.

729
1:04:53,883 --> 1:05:00,231
Speaker 1: The thing is that most of the men in this movie disappoint the women around them to no end.

730
1:05:00,460 --> 1:05:04,782
Speaker 1: Jimmy is the one guy that at least comes through and wants to help.

731
1:05:04,903 --> 1:05:06,999
Speaker 2: I like when Thelma goes down to the swimming pool.

732
1:05:07,019 --> 1:05:11,788
Speaker 2: You see her walking down there and she's pulling her suitcase behind her by the strap.

733
1:05:12,009 --> 1:05:12,291
Speaker 1: Uh-huh.

734
1:05:12,431 --> 1:05:26,585
Speaker 2: And by the time Louise goes to pick her up, Thelma is full on sunbathing by the pool with headphones on Let me also say that this swimming pool has about a 10 foot chain link fence around it and in the background you can see 18 wheelers barreling down the interstate.

735
1:05:26,828 --> 1:05:33,424
Speaker 1: One of the things that's really fun about this movie is every motel, every gas station is just some run down place along the side of the road.

736
1:05:33,705 --> 1:05:37,847
Speaker 1: It like it is southwestern kind of white trash living.

737
1:05:38,067 --> 1:05:42,361
Speaker 2: Louise jumps out of the car, runs over, removes Thelma's headphones and she's like we gotta go.

738
1:05:42,442 --> 1:05:49,041
Speaker 2: So Thelma just jumps up in her bikini, grabs her heavily overpacked suitcase, chunks it in the back seat of the car.

739
1:05:49,221 --> 1:05:49,903
Speaker 2: Boom, they're all.

740
1:05:49,963 --> 1:05:54,364
Speaker 1: Which apparently this was sort of not unscripted.

741
1:05:54,504 --> 1:06:04,683
Speaker 1: But Gina Davis was not prepared for Susan Serendit who come rip those headphones off of her in the scene, and so her reaction of like being startled is is genuine.

742
1:06:04,804 --> 1:06:11,183
Speaker 2: Cut to Detective Slocum talking with one of his superiors who says even if they didn't commit the murder, they may have seen something.

743
1:06:11,204 --> 1:06:13,966
Speaker 2: Put it on an ABP for their car, see what we can get back.

744
1:06:14,003 --> 1:06:16,893
Speaker 2: They left a state we may need to bring in the bureau on this.

745
1:06:17,134 --> 1:06:18,120
Speaker 2: We cut to Thelma and Louise.

746
1:06:18,220 --> 1:06:30,912
Speaker 2: They're driving and Louise tells Thelma that they're going to Oklahoma City to get money from Jimmy and Thelma tells Louise that she tried to call Daryl at 4 AM the night before and quote that asshole wasn't even at home.

747
1:06:31,053 --> 1:06:32,582
Speaker 2: He has no reason to be mad at me.

748
1:06:32,983 --> 1:06:34,167
Speaker 2: I should be the one who's mad.

749
1:06:34,367 --> 1:06:51,242
Speaker 2: and, as you mentioned earlier, this is where you begin to see this blossoming of her, once she has been removed from the only world in which she has ever known, despite the fact that the world she is now entering into is rife with temptation and danger and now consequence.

750
1:06:51,443 --> 1:06:55,102
Speaker 1: When Louise says I'm going to Mexico, what are you going to do?

751
1:06:55,363 --> 1:07:02,752
Speaker 1: And Thelma doesn't answer, like she is unwilling to commit to any course of action right now, which is understandable, right?

752
1:07:02,792 --> 1:07:05,968
Speaker 1: Like if you just showed up on my doorstep and we're like look, some shit went down.

753
1:07:06,189 --> 1:07:07,689
Speaker 1: I got to go to Mexico, are you in?

754
1:07:07,729 --> 1:07:11,398
Speaker 2: Well, what she says in this state of confusion is I don't know what you're asking of me.

755
1:07:11,419 --> 1:07:13,456
Speaker 2: And Louise says God damn it, thelma, don't do this.

756
1:07:13,597 --> 1:07:18,385
Speaker 2: Every time we get in trouble you go blank or you plead insanity or some such shit.

757
1:07:18,486 --> 1:07:19,231
Speaker 2: Not this time.

758
1:07:19,311 --> 1:07:20,076
Speaker 2: Things have changed.

759
1:07:20,137 --> 1:07:27,902
Speaker 2: But I'm going to Mexico and what I loved about this dialogue was every time we get in trouble, you go blank or plead insanity or some such shit.

760
1:07:28,263 --> 1:07:34,590
Speaker 2: Again, giving the backstory of these two characters conceptually that they have history together.

761
1:07:35,001 --> 1:07:40,925
Speaker 1: Because they've known each other all their lives or, you know, since they were teenagers for sure, like she knew Daryl back in the day.

762
1:07:41,326 --> 1:07:48,142
Speaker 2: Again, i don't know if the the script explicitly says this, that she's, however, many years older than her, but I do like that.

763
1:07:48,182 --> 1:08:01,630
Speaker 2: They have history and you know that she pulls over at a hotel and she calls Yeah, and he says that the money will be at this other hotel and the password to pick up the money is the word peaches.

764
1:08:01,992 --> 1:08:05,071
Speaker 1: And she kind of laughs at that and he says I miss you peaches.

765
1:08:05,413 --> 1:08:08,006
Speaker 1: And she kind of gives him a great like he seems like an alright guy.

766
1:08:08,206 --> 1:08:09,009
Speaker 2: He ultimately is.

767
1:08:09,100 --> 1:08:10,164
Speaker 2: He doesn't do anything.

768
1:08:10,204 --> 1:08:11,106
Speaker 2: That's well.

769
1:08:11,347 --> 1:08:12,350
Speaker 2: He's a little bit violent.

770
1:08:12,561 --> 1:08:16,360
Speaker 2: Excuse me, He's violent, but not towards her, not towards her.

771
1:08:16,380 --> 1:08:19,790
Speaker 2: He just can't control himself in certain circumstances.

772
1:08:20,031 --> 1:08:22,126
Speaker 1: He's really frustrated by some of the stuff she says.

773
1:08:22,146 --> 1:08:23,906
Speaker 1: But anyway, so so we've got money.

774
1:08:23,947 --> 1:08:24,410
Speaker 1: on the way.

775
1:08:24,491 --> 1:08:29,826
Speaker 1: He kind of tells her like hey, it was kind of difficult to get the money, but I got it for you, it's, it's going to be at this place.

776
1:08:29,966 --> 1:08:30,809
Speaker 1: Go, go pick it up.

777
1:08:30,900 --> 1:08:47,043
Speaker 2: Thelma's inside this roadside store buying multiple tiny bottles of some smugglers, yeah, and the store owner's like Ma'am, wouldn't you rather have you know the economy size, referring to a normal bottle of booze, and Thelma's like no, that's alright, money's tight.

778
1:08:47,244 --> 1:08:54,722
Speaker 2: Thelma, Again, she is not good with money and she just continues to make decisions that are just thoroughly not thought out.

779
1:08:54,883 --> 1:09:04,422
Speaker 2: So Louise walks back and she passes this shirtless man wearing this red, white and blue like handkerchief around his neck who's staring at her, and Louise asks what are you looking at?

780
1:09:04,643 --> 1:09:12,242
Speaker 2: There is a real defiance in this moment that is more proactive than reactive toward men behaving badly in this movie.

781
1:09:12,282 --> 1:09:13,707
Speaker 2: It's the first time you really see that.

782
1:09:13,887 --> 1:09:23,385
Speaker 1: Yeah, so Louise has Thelma called Daryl, while Louise is going to go inside to get a newspaper because she wants to see if there's any reports.

783
1:09:23,485 --> 1:09:26,523
Speaker 1: And she says, just tell them you won't be home tomorrow night.

784
1:09:27,046 --> 1:09:29,637
Speaker 1: And Thelma says, well, will I be?

785
1:09:29,878 --> 1:09:34,284
Speaker 2: And Louise says, well, i don't know She says I won't Right, You still got to make that decision.

786
1:09:34,505 --> 1:09:44,830
Speaker 2: So she calls Daryl, who is watching a football game surrounded by multiple sports trophies that are proudly on display in their home and a bunch of empty beer bottles.

787
1:09:45,141 --> 1:09:57,002
Speaker 2: The phone rings and the operator says collect call from Thelma, while you accept and there is a pause and he says well, yes, i will accept operator Thelma where in the Sam?

788
1:09:57,042 --> 1:09:57,705
Speaker 1: Hill, are you?

789
1:09:58,167 --> 1:10:02,390
Speaker 1: And she starts explaining what's going on, not the shooting.

790
1:10:02,490 --> 1:10:07,908
Speaker 2: We're at a fishing trip and we're going up here just for a couple of days and then dude, he can't focus even this long.

791
1:10:08,069 --> 1:10:10,703
Speaker 1: The attention drifts away from whatever she's saying.

792
1:10:10,803 --> 1:10:11,666
Speaker 1: Back to the game.

793
1:10:11,746 --> 1:10:22,698
Speaker 2: He covers the mouthpiece on the phone to scream his displeasure of a call in the football game, rather than listen to his wife.

794
1:10:22,799 --> 1:10:26,205
Speaker 2: He finally gets back and he's like Thelma, you get your butt back here now, god damn it.

795
1:10:26,627 --> 1:10:32,399
Speaker 2: He says, daryl, you are my husband and not my father Again echoing Louise's comment earlier.

796
1:10:32,419 --> 1:10:36,547
Speaker 2: And Daryl says that Louise is a bad influence on you If you're not back here by tonight.

797
1:10:36,909 --> 1:10:37,975
Speaker 2: Again, another pause.

798
1:10:38,498 --> 1:10:39,101
Speaker 2: Then I just don't.

799
1:10:39,322 --> 1:10:41,453
Speaker 2: I don't want to say Right.

800
1:10:41,474 --> 1:10:45,481
Speaker 1: I don't know what's going to be any, because he's just full of shit right Like he has.

801
1:10:45,682 --> 1:10:47,567
Speaker 1: He's just completely impotent in every way.

802
1:10:48,189 --> 1:10:51,145
Speaker 2: And well that Thelma says go fuck yourself, daryl.

803
1:10:51,217 --> 1:10:52,510
Speaker 2: He's just left holding the receiver.

804
1:10:52,711 --> 1:10:53,673
Speaker 2: He's like that's just great.

805
1:10:53,900 --> 1:11:01,832
Speaker 1: Coming out of this phone booth she runs into the fucking Adonis that is a young Brad Pitt literally trips over.

806
1:11:01,952 --> 1:11:05,885
Speaker 2: I mean, he's really like something, a sculpture, you would see in a museum.

807
1:11:06,086 --> 1:11:07,232
Speaker 1: It's crazy.

808
1:11:07,714 --> 1:11:11,701
Speaker 1: We'll get to the seat later where he's got his shirt off, but you know what else is great about this?

809
1:11:11,902 --> 1:11:17,869
Speaker 2: You can see those trademark Brad Pitt effects in this early performance.

810
1:11:18,151 --> 1:11:19,862
Speaker 2: Just that easy go and charm where he's like.

811
1:11:19,902 --> 1:11:22,363
Speaker 2: I'm sorry, darling, He's like did I cause that, Are you okay?

812
1:11:22,604 --> 1:11:24,976
Speaker 2: He's charming white trash in this.

813
1:11:25,398 --> 1:11:35,469
Speaker 1: It's a very quick encounter at first, but then Thelma gets in the car and is kind of doing her makeup in the rear view mirror and she is totally checking Brad Pitt out as he's trying to hit your ride behind her.

814
1:11:35,530 --> 1:11:36,779
Speaker 2: Yeah, well, he's wearing like a.

815
1:11:36,981 --> 1:11:41,123
Speaker 2: Canadian tuxedo blue jeans a blue jeans jacket, a white t-shirt.

816
1:11:41,183 --> 1:11:43,209
Speaker 2: Canadian tuxedo and a cowboy hat.

817
1:11:43,430 --> 1:11:52,150
Speaker 2: He's dressed like Rosdauer from MST 3000 episode, but it's a pretty all American Midwestern look, and is she just her mirror?

818
1:11:52,270 --> 1:11:59,503
Speaker 2: to look back at Brad Pitt, he walks over to her sitting in the car and he's like excuse me, ma'am, i was wondering which way you were headed.

819
1:11:59,523 --> 1:12:06,351
Speaker 2: See, i'm headed back to school and my ride fell through, and if you're going my way, or if I'm going your way, maybe I could get a ride with you.

820
1:12:06,572 --> 1:12:08,967
Speaker 2: It's a hundred percent, grade A bullshit.

821
1:12:09,148 --> 1:12:10,838
Speaker 2: Absolutely Naive Thelma.

822
1:12:10,858 --> 1:12:12,511
Speaker 2: She's like I think we're going to Oklahoma City.

823
1:12:12,561 --> 1:12:14,674
Speaker 2: It's like well, wouldn't you know if that's where Brad Pitt's headed?

824
1:12:14,994 --> 1:12:15,882
Speaker 1: Of course it is.

825
1:12:16,063 --> 1:12:16,929
Speaker 1: She's totally bought it.

826
1:12:16,969 --> 1:12:19,844
Speaker 1: Louise rolls up and is like I don't think this is a good idea.

827
1:12:20,666 --> 1:12:24,531
Speaker 2: She's seen this shit before with Thelma just the day before.

828
1:12:24,591 --> 1:12:26,199
Speaker 1: Like Thelma is just like.

829
1:12:26,279 --> 1:12:28,185
Speaker 1: All it takes is a pretty face and she's.

830
1:12:28,506 --> 1:12:29,208
Speaker 1: God bless her.

831
1:12:29,449 --> 1:12:33,758
Speaker 1: Thelma is just kindhearted and naive and also a little horn.

832
1:12:33,859 --> 1:12:38,634
Speaker 2: I think that those are all true, but again, kind of the way that I said you know we've all known Adarel.

833
1:12:38,795 --> 1:12:44,828
Speaker 2: I think we've all known people like Thelma, men and women alike just people that expect the best in other people.

834
1:12:44,889 --> 1:13:00,784
Speaker 2: You know that they always default that this person has good intentions, which I don't think that there's anything wrong with that, except for the fact that there are people that do not have good intentions and will take advantage of you, but she has not been outside of her very small world to be able to have a good bullshit detector.

835
1:13:00,924 --> 1:13:01,405
Speaker 1: That's right.

836
1:13:01,626 --> 1:13:27,028
Speaker 1: And so Louise gets in the driver's seat, hits the pedal to hit reverse on this goes backward, drives like a stunt woman backwards to the gas station, tells someone to fill up the tank at this run down wide dress gas station and then asks Thelma about the conversation she had with Darryl, while Thelma is sipping on one of the smugglers that she bought.

837
1:13:27,108 --> 1:13:30,908
Speaker 2: She says that she called Darryl and that Darryl said hey, how are you?

838
1:13:31,169 --> 1:13:31,982
Speaker 2: Are you having fun?

839
1:13:32,204 --> 1:13:33,755
Speaker 2: You sure deserve this vacation.

840
1:13:33,855 --> 1:13:39,231
Speaker 2: and she's yeah, she's just pouring down this, so they drive on.

841
1:13:39,391 --> 1:13:49,825
Speaker 2: Thelma starts commenting on Brad Pitt's cute butt which I think everybody has done that a time or two and how Darryl has a butt so big you could park a car in its shadow.

842
1:13:51,109 --> 1:13:51,630
Speaker 1: Are you right?

843
1:13:51,871 --> 1:13:59,585
Speaker 2: Louise asks Thelma to find all the secondary roads from Oklahoma City to Mexico on a large map and Thelma says hey, we can take 81 down through Texas.

844
1:13:59,726 --> 1:14:03,055
Speaker 2: And Louise immediately says no, i'm not going through Texas, find another route.

845
1:14:03,256 --> 1:14:13,077
Speaker 2: In a tight script like this You know this has a greater meeting and Thelma points out the border between Texas and Mexico is huge and Louise just demands she find another way.

846
1:14:13,218 --> 1:14:14,724
Speaker 2: She's not going to go through Texas.

847
1:14:15,065 --> 1:14:26,767
Speaker 2: And this whole exchange happens as a train rumbles by adding noise and motion and at the same time kind of representing the large obstacles that present themselves in their final destination.

848
1:14:26,827 --> 1:14:29,705
Speaker 1: Thelma is also asking like what happened in Texas?

849
1:14:29,766 --> 1:14:38,184
Speaker 1: I know something happened there and Louise kind of deflects by saying shooting a guy with his pants down and getting caught for it in Texas is not the place to do it.

850
1:14:38,425 --> 1:14:46,712
Speaker 1: There are a couple of other little things here are actually one of them, not so little, but part of this is when they first get in the car.

851
1:14:47,094 --> 1:14:57,271
Speaker 1: After Thelma gets the smugglers and has run into Brad Pitt, that's the first time where she says how long before we're in Mexico, to sort of suggest that she's bought in now.

852
1:14:57,532 --> 1:15:03,704
Speaker 1: And there's also a very quick cutaway where we see Harvey Keitel going through registered car owners.

853
1:15:03,804 --> 1:15:08,476
Speaker 1: So you know that he is still on the hunt, but it's a scene that lasts for like three seconds.

854
1:15:08,738 --> 1:15:14,981
Speaker 2: We've had this happen on other episodes, where you just forget a character's in the movie because this is such a well made film.

855
1:15:15,242 --> 1:15:28,344
Speaker 2: even having just a six to twelve second clip of him going through those cars, it reminds you where he is in his place in in this sort of parallel investigation that's going on, as opposed to just having him show up and and sort of advancing.

856
1:15:28,364 --> 1:15:31,101
Speaker 1: The idea, too, that he's looking for the pursuit is on.

857
1:15:31,221 --> 1:15:34,322
Speaker 1: We also see him breaking into Louise's place with a credit card.

858
1:15:34,342 --> 1:15:36,368
Speaker 2: Well, Slocum shows up, Harvey Keitel.

859
1:15:36,629 --> 1:15:45,807
Speaker 2: He shows up, He kind of peeks in the window and sees that the apartment is empty and then he does that Hollywood trademark you know slide the credit card in and in you go.

860
1:15:46,008 --> 1:15:57,432
Speaker 2: He looks over and he's examining the photos and one of the things that he says that I almost felt a little out of place or I thought it was going to maybe come up later is he looks at a photo of Louise and he says happy birthday, lady.

861
1:15:57,693 --> 1:16:05,478
Speaker 2: I initially took that as an implication that is today her birthday, or was it just that the photo was of her as a child at a birthday party?

862
1:16:05,679 --> 1:16:06,585
Speaker 1: I think that's the case.

863
1:16:06,786 --> 1:16:12,642
Speaker 2: Thelma and Louise are driving along and they're singing at the top of their lungs the way you do the things you do.

864
1:16:12,963 --> 1:16:31,130
Speaker 2: This is really the first moment in the film where we went from kind of this drab dust covered beginning of the film, you know it was like grapes of wrath or something and here you start to see the lush greens, start to appear as part of the foreground and background of the the landscape that they're traversing.

865
1:16:31,191 --> 1:16:33,885
Speaker 1: Keitel's talks to the manager of Louise's diner.

866
1:16:33,905 --> 1:16:39,641
Speaker 1: It's just another of those quick scenes of letting you know he's on the trail of Thelma and Louise.

867
1:16:39,742 --> 1:16:42,490
Speaker 2: I like when the detective is in this diner.

868
1:16:42,650 --> 1:16:46,507
Speaker 2: He says that he's looking for Louise and the assistant manager turns around and screams out.

869
1:16:46,708 --> 1:16:53,019
Speaker 2: Marion there's police officer here and everyone in this place stares at the detective.

870
1:16:53,160 --> 1:16:59,725
Speaker 2: It's a funny scene which, again, is necessary to balance out the heavy themes in this movie.

871
1:16:59,945 --> 1:17:06,011
Speaker 1: Speaking of, one of the funnier moments for via this movie is Thelma and Louise on the road.

872
1:17:06,460 --> 1:17:10,986
Speaker 1: Somehow or another, brad Pitt has gotten ahead of them in his hitching rides.

873
1:17:11,107 --> 1:17:12,535
Speaker 2: Well, they're taking back roads.

874
1:17:12,877 --> 1:17:13,158
Speaker 1: Yes.

875
1:17:13,339 --> 1:17:17,322
Speaker 2: And he's traversing the main highways and byways of these United States.

876
1:17:17,643 --> 1:17:18,706
Speaker 1: As they see him.

877
1:17:18,847 --> 1:17:24,732
Speaker 1: Thelma gives this like puppy whimper, Yeah, And Louise gives in again and says all right.

878
1:17:24,941 --> 1:17:31,431
Speaker 1: And then when she does, Thelma pants like said dog, like oh, I'm about to give me some love.

879
1:17:31,512 --> 1:17:32,860
Speaker 2: And sure enough they pull over.

880
1:17:32,980 --> 1:17:35,628
Speaker 1: Brad Pitt gets in and they, they take off.

881
1:17:35,729 --> 1:17:41,362
Speaker 2: We cut back to Detective Slocum and he is now talking to Darrell at Darrell's house.

882
1:17:41,624 --> 1:17:44,983
Speaker 2: And Slocum says a man was shot at the silver bullet last night.

883
1:17:45,023 --> 1:17:49,767
Speaker 2: Two men left in a 1966 Teebur convertible from the scene of the crime.

884
1:17:49,827 --> 1:17:55,924
Speaker 2: That car is registered to one, louise Sawyer, and we believe that your wife Thelma was the passenger in the vehicle.

885
1:17:56,225 --> 1:18:00,343
Speaker 2: And Darrell's response is what, what?

886
1:18:03,248 --> 1:18:03,770
Speaker 1: It's very good.

887
1:18:04,000 --> 1:18:08,431
Speaker 1: Christopher McDonald has good comic chops and he's really hamming it up in this movie.

888
1:18:08,740 --> 1:18:14,112
Speaker 2: It's crazy because I only know him from this and Happy Gilmore.

889
1:18:14,400 --> 1:18:16,508
Speaker 2: I'm sure he's been in many other things.

890
1:18:16,820 --> 1:18:19,528
Speaker 2: I mentioned in the intro that he and Gina Davis were dating.

891
1:18:19,588 --> 1:18:20,170
Speaker 2: They were a couple.

892
1:18:20,660 --> 1:18:39,113
Speaker 2: Then she left to go have a relationship with Jeff Goldblum and when she recommended him for this part, when the scene occurs where he crosses paths with Brad Pitt, that it was almost cathartic for him screaming at Brad Pitt being the guy who had sex with Gina Davis in this movie.

893
1:18:39,153 --> 1:18:41,807
Speaker 2: You can see it, man, He's about to explode in that scene.

894
1:18:41,980 --> 1:18:51,644
Speaker 2: We'll get to it in a minute, but it's just tying together preexisting relationship with what's happening on the camera and you can see I don't know glimmers of it here and there, if you know what to look for.

895
1:18:52,620 --> 1:18:55,950
Speaker 1: Also, Kytel ends the scene by laughing at him rightfully.

896
1:18:56,260 --> 1:19:02,653
Speaker 2: And he also says you're standing on your pizza box standing in your pizza, which is exactly what's going on.

897
1:19:02,860 --> 1:19:13,552
Speaker 2: I think there are a lot of scenes in this movie where Harvey Kytel and Chris McDonald, and later Stephen Tobolowski, they're laughing at each other because they're genuinely making each other laugh.

898
1:19:13,732 --> 1:19:14,454
Speaker 1: I think that's true.

899
1:19:14,720 --> 1:19:22,532
Speaker 2: I think he is what What You're definitely seeing Harvey Kytel laugh at him, then delivering the line You're standing in your pizza.

900
1:19:23,665 --> 1:19:29,388
Speaker 2: I remember correctly there's like multiple pizza boxes that he's just been ordering out, while his wife isn't there, completely helpless.

901
1:19:29,980 --> 1:19:32,949
Speaker 1: Like he cannot cook his own food or clean the house or anything like that.

902
1:19:33,260 --> 1:19:35,085
Speaker 1: There are beer bottles all over the place.

903
1:19:36,108 --> 1:19:40,830
Speaker 1: It's right, it's like you leave me alone for a weekend with no supervision.

904
1:19:41,660 --> 1:19:47,053
Speaker 2: So we come back to Thalma and Louise and Brad Pitt, and he is playing Thalma like a violin.

905
1:19:47,280 --> 1:19:50,524
Speaker 2: He says to her tell me, Miss Thalma, how is it You don't have any kids?

906
1:19:50,900 --> 1:19:51,905
Speaker 2: I can give you something special.

907
1:19:52,140 --> 1:19:53,063
Speaker 2: You should pass it on.

908
1:19:54,480 --> 1:19:57,510
Speaker 1: Thalma, of course, is like well, you know, darryl didn't want any.

909
1:19:57,640 --> 1:20:00,268
Speaker 1: He said he kind of prides himself on being a little childish.

910
1:20:00,388 --> 1:20:04,470
Speaker 1: Anyway, Louise is like, oh yeah, yes, That guy is terrible.

911
1:20:04,660 --> 1:20:08,131
Speaker 1: And Thalma says well, i think it's because Louise thinks he's a little bit of a pig.

912
1:20:08,340 --> 1:20:10,568
Speaker 1: Louise says oh, i know he's a pig.

913
1:20:12,866 --> 1:20:18,827
Speaker 2: Thalma does say that they were married at 18 and then it comes out that she was dating him four years prior to that marriage.

914
1:20:18,867 --> 1:20:19,148
Speaker 1: Right.

915
1:20:19,800 --> 1:20:23,731
Speaker 2: And so I said earlier, it's middle school to high school, to where her life is now.

916
1:20:24,060 --> 1:20:28,992
Speaker 2: And then JD, who, he and Louise they've got a lot more worldly wisdom than Thalma does.

917
1:20:29,080 --> 1:20:31,007
Speaker 2: Jd says you better slow down, miss Louise.

918
1:20:31,320 --> 1:20:45,830
Speaker 2: There's a cop up ahead and Louise not only slows down but she pulls off onto a side road to avoid being seen by the cops all together And as they drive by, louise kind of comes around and gets back on the main road and Brad Pitt looks at her and he says maybe you got a few too many parking tickets.

919
1:20:45,990 --> 1:20:48,366
Speaker 1: Uh, huh, and it's like he totally knows.

920
1:20:49,060 --> 1:20:49,763
Speaker 1: Louise responds.

921
1:20:49,884 --> 1:20:53,088
Speaker 1: You know what, When we get to Oklahoma city, you should probably be on your way.

922
1:20:55,362 --> 1:21:01,674
Speaker 1: You know, it's sort of like game knows game kind of recognition which I ideally love.

923
1:21:01,960 --> 1:21:04,929
Speaker 1: Meanwhile Kitell calls up Tobo our FBI.

924
1:21:05,260 --> 1:21:08,109
Speaker 2: We have one detective and one FBI agent, right.

925
1:21:08,700 --> 1:21:11,970
Speaker 1: And Stephen Tobolowski, aka Tobo, is our FBI agent.

926
1:21:12,180 --> 1:21:16,512
Speaker 1: Kitell says well, the prints on the back of that car match Thalmas.

927
1:21:17,202 --> 1:21:23,409
Speaker 1: Darryl, the husband, has said that a gun is missing too, and Darryl doesn't believe that Thelma would ever touch that gun.

928
1:21:23,660 --> 1:21:30,309
Speaker 1: She never wanted to take any lessons or go to the shooting range, but they never showed up at the cabin they were supposed to go to either.

929
1:21:30,540 --> 1:21:35,711
Speaker 1: So things are looking pretty criminal when it comes to the actions of Thelma and Louise.

930
1:21:35,891 --> 1:21:46,152
Speaker 2: Yes, we cut to Louise entering the motel to pick up the money that Jimmy wired to her at this Western Union location and she gives the code name Peaches, but there's no money there.

931
1:21:46,420 --> 1:21:49,500
Speaker 2: But surprise, surprise, jimmy is there, hiding behind a newspaper.

932
1:21:49,540 --> 1:21:52,305
Speaker 2: That's how you hide in a movie, bo, you get a newspaper and you hide behind it.

933
1:21:53,260 --> 1:21:57,111
Speaker 2: Louise is happy, dismayed, surprised that he's there.

934
1:21:57,500 --> 1:21:59,789
Speaker 2: And then Jimmy immediately asks for a second room.

935
1:21:59,820 --> 1:22:00,885
Speaker 2: He says put it on my credit card.

936
1:22:01,500 --> 1:22:09,566
Speaker 2: So Louise and Jimmy go outside to Louise's car and Thelma and Brad Pitt are in the backseat of this car just talking.

937
1:22:10,000 --> 1:22:16,079
Speaker 2: And Thelma looks up and sees Jimmy and she goes oh shit, it's Jimmy, what are you doing here?

938
1:22:17,744 --> 1:22:20,552
Speaker 2: Because Jimmy says ask me no questions and I'll tell you no lies.

939
1:22:20,800 --> 1:22:22,286
Speaker 2: And Thelma's response is good answer.

940
1:22:22,660 --> 1:22:23,442
Speaker 2: Same goes, double, for me.

941
1:22:26,261 --> 1:22:31,672
Speaker 1: And Brad Pitt said to me like I should probably get while the getting's good decides to take off.

942
1:22:32,240 --> 1:22:36,049
Speaker 2: Well, i think that Jimmy is the jealous type, because he's immediately like who's the cowboy?

943
1:22:36,169 --> 1:22:37,091
Speaker 2: and Louise jumps in.

944
1:22:37,111 --> 1:22:37,893
Speaker 2: He's like he's gone.

945
1:22:38,160 --> 1:22:40,127
Speaker 2: And that's where JD is like yeah, i'm out of here.

946
1:22:40,680 --> 1:22:50,499
Speaker 1: But as they're driving through the parking lot to the room and Brad Pitt's walking away, thelma looks back at him through the back window of this convertible, just like pressed against the glass.

947
1:22:50,961 --> 1:22:52,848
Speaker 2: Yeah, she says I love to watch him leave.

948
1:22:53,180 --> 1:22:54,506
Speaker 1: She's got it bad for Brad Pitt.

949
1:22:54,760 --> 1:22:55,723
Speaker 2: And understandably so.

950
1:22:56,024 --> 1:22:56,787
Speaker 2: It's Brad Pitt.

951
1:22:56,967 --> 1:22:59,299
Speaker 2: Yeah, brad Pitt, jeans walking away in the rain.

952
1:22:59,380 --> 1:23:02,450
Speaker 2: I mean, it looks like an early 90s Levi's commercial.

953
1:23:02,780 --> 1:23:09,787
Speaker 2: So in the hotel room, louise gives Thelma the envelope containing the $6,700 and she says it's our future.

954
1:23:10,180 --> 1:23:16,084
Speaker 2: And Thelma and Louise have this back and forth about what Louise is or isn't going to tell Jimmy.

955
1:23:16,365 --> 1:23:31,719
Speaker 2: As Louise changes clothes And she puts on this white tank top, somewhat similar to what Jimmy was wearing earlier, but she is very stripped down from the waitress uniform that she was wearing And Louise tells Thelma guard this money, if anything happens, call me in room 211.

956
1:23:31,820 --> 1:23:36,148
Speaker 2: So Louise heads over to room 211 and Jimmy answers the door and he's holding a single red rose.

957
1:23:36,308 --> 1:23:38,813
Speaker 2: She comes in, he offers her a drink, she declines.

958
1:23:39,400 --> 1:23:43,869
Speaker 2: Jimmy asks what's going on And she just says I'll tell you someday, but not now.

959
1:23:44,460 --> 1:23:47,490
Speaker 2: And then Jimmy leaps to the question does this have to do with another man?

960
1:23:48,041 --> 1:23:56,209
Speaker 2: And in his frustration as she is holding back, he just knocks over some items on the table and he says what you're going to leave for fucking ever?

961
1:23:56,540 --> 1:23:57,565
Speaker 2: What did you kill somebody?

962
1:23:57,900 --> 1:23:59,587
Speaker 2: And she says you start this shit and I'm out of here.

963
1:23:59,700 --> 1:24:14,850
Speaker 2: And then, jimmy, he just puts his hand on the door and he tells her that he's sorry And Jimmy is a character that is not unfamiliar with violent behavior And you really see that he cares about her, but there's nothing that he's going to be able to do or say to not, you know, to prevent her from leaving.

964
1:24:14,950 --> 1:24:22,408
Speaker 1: Yes, he just feels frustrated at this point, like you can see it in his actions and on his face, and he just says hey, can you at least sit down?

965
1:24:22,580 --> 1:24:23,685
Speaker 1: I just want to give you something.

966
1:24:24,540 --> 1:24:25,786
Speaker 1: And Louise is like no, i'm going to stand.

967
1:24:25,920 --> 1:24:33,326
Speaker 1: He's like, okay, i mean whatever, whatever you want to do, and hands over an engagement ring And she says well, why now?

968
1:24:33,800 --> 1:24:37,671
Speaker 1: He says because I was afraid I was going to lose you and I thought it's what you wanted.

969
1:24:37,980 --> 1:24:41,731
Speaker 1: At this point, she does sit down with him and she says this is what I want.

970
1:24:41,780 --> 1:24:43,787
Speaker 1: I do want this, but not like this.

971
1:24:44,260 --> 1:24:48,972
Speaker 1: While this is going on, this kind of human drama is happening between Jimmy and Louise.

972
1:24:49,280 --> 1:24:55,093
Speaker 1: Thelma gets a knock at her door because Brad Pitt has shown up to come sniffing around again.

973
1:24:55,360 --> 1:24:56,724
Speaker 2: He's like you know, miss Thelma.

974
1:24:56,905 --> 1:24:58,911
Speaker 1: I'm just not having luck getting a ride in that rain.

975
1:24:59,140 --> 1:25:00,466
Speaker 1: And she's like well, you better come in.

976
1:25:00,540 --> 1:25:03,610
Speaker 1: And he's like well, if you don't mind, i don't want to interrupt you or anything.

977
1:25:03,760 --> 1:25:14,287
Speaker 2: They start playing that hand slap game where you put both of your hands out and someone puts their hands under yours, face up, and you try to whip it around, slap them as they pull away Again, being like children.

978
1:25:15,082 --> 1:25:21,307
Speaker 2: And at one point Brad Pitt says you know, you got an unfair advantage, you got too much weight on this hand.

979
1:25:21,460 --> 1:25:28,685
Speaker 2: And he just slowly pulls her wedding ring off and he drops it in a plastic cup half full of booze And he says ain't that better?

980
1:25:28,880 --> 1:25:29,543
Speaker 2: And I was like man.

981
1:25:29,703 --> 1:25:37,789
Speaker 2: I haven't seen something like this smooth since Nicholas Cage had his wedding ring removed by that prostitutes teeth and leaving Las Vegas.

982
1:25:38,261 --> 1:25:40,769
Speaker 2: Right He ends up hopping in bed with her.

983
1:25:41,060 --> 1:25:44,871
Speaker 2: Literally jumping up and down on the bed like a couple of 10 year olds.

984
1:25:45,241 --> 1:25:52,588
Speaker 1: This is where Thelma kind of sniffs out, like the one moment where she's at least a little bit savvy, where she says, like you're not a student, are you?

985
1:25:52,680 --> 1:25:58,171
Speaker 1: And he's like, well, ma'am, not exactly, and it comes out that he's a rob.

986
1:25:58,501 --> 1:26:02,732
Speaker 2: He says I'm probably just some guy whose parole officer is having a shit fit right now.

987
1:26:02,980 --> 1:26:06,391
Speaker 2: I robbed a gas station and a liquor store and some convenient stores.

988
1:26:06,641 --> 1:26:08,127
Speaker 2: And she says how did you do it?

989
1:26:08,300 --> 1:26:11,670
Speaker 2: And he, reluctantly, stands up wearing nothing but jeans.

990
1:26:12,121 --> 1:26:13,045
Speaker 1: Holy shit dude.

991
1:26:13,300 --> 1:26:13,641
Speaker 2: I know.

992
1:26:13,842 --> 1:26:21,529
Speaker 2: And he puts a hairdryer in his waistband, kind of like a gun, and Brad Pitt just stands up and he gives this speech where he's a.

993
1:26:21,669 --> 1:26:25,642
Speaker 2: Ladies and gentlemen, let's see who wins the prize or keeping their cool, simon says.

994
1:26:25,722 --> 1:26:27,850
Speaker 2: Everybody down on the floor, nobody loses their head.

995
1:26:28,061 --> 1:26:29,085
Speaker 2: Nobody loses their head.

996
1:26:29,440 --> 1:26:31,609
Speaker 2: You, sir, you do the honors of putting that money in the bag.

997
1:26:31,660 --> 1:26:35,651
Speaker 2: You'll have an amazing story to tell your friends or a tag on your toe, you decide.

998
1:26:35,960 --> 1:26:41,513
Speaker 2: And it's this very playful carnival barker type of entertaining robbery.

999
1:26:42,140 --> 1:26:49,969
Speaker 2: And Thelma is just sitting on the bed grinning ear to ear, spellbound by his performance, and just drinking it all in.

1000
1:26:50,303 --> 1:26:51,460
Speaker 1: And it's a romantic way to put it.

1001
1:26:51,500 --> 1:26:56,869
Speaker 1: I've been recently rereading still life with Woodpecker, so the word is sort of fresh on my mind.

1002
1:26:57,060 --> 1:26:59,349
Speaker 1: But she says oh, you're an outlaw, aren't you?

1003
1:26:59,460 --> 1:27:03,220
Speaker 1: Which is a romantic way to describe someone who knocks over gas stations.

1004
1:27:03,300 --> 1:27:08,669
Speaker 1: But he jumps back in a bed with her and says I may be an outlaw, but you're the one stealing my heart right now, miss Thelma.

1005
1:27:08,920 --> 1:27:10,385
Speaker 1: And you're like God damn dude.

1006
1:27:10,626 --> 1:27:12,010
Speaker 1: I like I want to fuck you now.

1007
1:27:12,460 --> 1:27:13,667
Speaker 2: Better yet, just looking at him.

1008
1:27:13,707 --> 1:27:16,240
Speaker 2: Like you don't need to say anything, right?

1009
1:27:16,320 --> 1:27:19,590
Speaker 2: Like you don't need to be this charming to seal the deal.

1010
1:27:19,710 --> 1:27:27,128
Speaker 1: Yes, And she kind of teases him about it and they kind of laugh about how much of a line it is, but she's still totally charmed by it.

1011
1:27:27,240 --> 1:27:30,491
Speaker 1: But meanwhile the other room we'll get back to them in just a second.

1012
1:27:30,640 --> 1:27:40,529
Speaker 1: But Louise and Jimmy are kind of having this heart to heart where Louise tells Jimmy like I love you, but we got to start letting go of old mistakes.

1013
1:27:40,740 --> 1:27:45,660
Speaker 2: There's a juxtaposition of a relationship coming to a close and one that's beginning.

1014
1:27:45,781 --> 1:28:05,531
Speaker 1: Yes, And there's this wonderful moment Man, i love this moment so much because it's the two kinds of love, it's that urgent, like we're just horny for each other kind of relationship going on in the next room And there's this very mature, human, adult relationship happening between Louise and Jimmy And she says do you remember what you said to me the first time we met?

1015
1:28:05,701 --> 1:28:06,726
Speaker 1: And he says I do.

1016
1:28:06,961 --> 1:28:09,469
Speaker 1: I said you have a great pair of eyes.

1017
1:28:10,182 --> 1:28:12,369
Speaker 1: And she says you remember what happened after that?

1018
1:28:12,560 --> 1:28:15,871
Speaker 1: And he says, yeah, you close them and ask me what color they were.

1019
1:28:16,345 --> 1:28:17,376
Speaker 1: And I didn't know.

1020
1:28:17,538 --> 1:28:22,612
Speaker 1: Yeah, and so she puts her hand over his eyes and says what color are my eyes?

1021
1:28:22,961 --> 1:28:28,646
Speaker 2: And he pauses Yeah, and in the audience you're like he doesn't know, but he does.

1022
1:28:28,940 --> 1:28:31,729
Speaker 2: Yeah, he says he says brown, and then she kisses him.

1023
1:28:31,949 --> 1:28:32,451
Speaker 1: Yeah, yeah.

1024
1:28:32,700 --> 1:28:39,089
Speaker 2: Susan Sarandon's delivery, when she just gently puts her hand over his eyes and she says Jimmy, what color are my eyes?

1025
1:28:40,321 --> 1:28:41,666
Speaker 2: She's asking everything.

1026
1:28:41,840 --> 1:28:43,046
Speaker 2: Yes, with this one question.

1027
1:28:43,301 --> 1:28:45,228
Speaker 1: And he knows he does, He cares about her.

1028
1:28:45,541 --> 1:28:52,168
Speaker 1: And meanwhile in the other room, Chad, there is some good old fashion urgent hotel fucking happening.

1029
1:28:52,341 --> 1:28:57,925
Speaker 2: Well, JD is seducing her in every way possible, And Thelma is completely into it.

1030
1:28:58,100 --> 1:29:12,322
Speaker 1: And it does proceed into some bouncing off the wall sex which is fantastic, again, as someone who has a deep crush on Gina Davis that moment where he's pulling her down the bed, which is, you know, pushing up her shirt and everything.

1031
1:29:12,362 --> 1:29:12,643
Speaker 1: It's like.

1032
1:29:12,704 --> 1:29:13,808
Speaker 1: This is sexy.

1033
1:29:13,940 --> 1:29:15,607
Speaker 1: This movie got sexy all of a sudden.

1034
1:29:15,720 --> 1:29:16,443
Speaker 2: But I'll tell you what.

1035
1:29:16,644 --> 1:29:21,787
Speaker 2: It does not veer into the gratuitous scenes of movies of this era.

1036
1:29:22,021 --> 1:29:29,571
Speaker 2: I think about the sex scene in Top Gun, where you know you're just playing the love theme from that movie and it's a bunch of silhouetted tongues and mouths.

1037
1:29:29,681 --> 1:29:34,668
Speaker 2: Or you know you're seeing people topless for no reason other than just to see a naked woman or something like that.

1038
1:29:34,961 --> 1:29:37,920
Speaker 2: This is much more purposefully done.

1039
1:29:38,060 --> 1:29:40,349
Speaker 1: Daryl has never done this in his life.

1040
1:29:40,600 --> 1:29:46,573
Speaker 1: This is Thelma getting seduced properly by a man for the first time ever.

1041
1:29:47,021 --> 1:29:48,065
Speaker 2: And it's Brad Pitt.

1042
1:29:48,520 --> 1:29:48,781
Speaker 1: And it's.

1043
1:29:49,041 --> 1:29:54,393
Speaker 1: It's a young, chiseled Brad Pitt made out of marble and charm.

1044
1:29:54,701 --> 1:29:55,423
Speaker 1: Right, it's.

1045
1:29:55,824 --> 1:29:59,376
Speaker 1: It's just like how on earth would you resist this?

1046
1:29:59,777 --> 1:30:05,748
Speaker 1: as you know, again, a woman who has spent her whole life being unfulfilled and trying to take care of a guy, that's kind of an asshole to her.

1047
1:30:05,980 --> 1:30:09,189
Speaker 1: Yeah, and sure enough, the next morning, louise wakes up.

1048
1:30:09,249 --> 1:30:12,127
Speaker 1: Jimmy still asleep, louise is kind of staring out the window.

1049
1:30:12,561 --> 1:30:13,872
Speaker 2: She's about to leave for good.

1050
1:30:13,993 --> 1:30:14,799
Speaker 1: Yeah, this is it.

1051
1:30:15,000 --> 1:30:20,045
Speaker 1: And there's just looking at like a dude across the way skimming the pool of this shitty motel.

1052
1:30:20,441 --> 1:30:22,207
Speaker 1: She and Jimmy go down to breakfast.

1053
1:30:22,247 --> 1:30:26,651
Speaker 1: Finally He says look, i don't know what you did, but I'm not going to tell anybody.

1054
1:30:26,920 --> 1:30:29,289
Speaker 1: Why don't you hold on to that ring for a little while for me?

1055
1:30:29,660 --> 1:30:34,612
Speaker 1: You can tell that she wants to tell him but also is kind of trying to protect him.

1056
1:30:34,941 --> 1:30:35,804
Speaker 1: Yeah, from this.

1057
1:30:36,086 --> 1:30:40,808
Speaker 1: Yeah, this taxi shows up to take him away And he says how about you give all Jimmy a kiss?

1058
1:30:41,321 --> 1:30:44,289
Speaker 1: She leans across the table and lays one on him.

1059
1:30:45,060 --> 1:30:50,153
Speaker 1: It is not the crazy passion of what was going on with the Gina Davis and Brad Pitt.

1060
1:30:50,321 --> 1:30:51,386
Speaker 2: It's a kiss goodbye.

1061
1:30:51,620 --> 1:30:54,830
Speaker 1: But it's a kiss that lets you know like she loves this guy.

1062
1:30:55,082 --> 1:30:56,019
Speaker 1: Yeah, he leaves.

1063
1:30:56,160 --> 1:31:00,250
Speaker 1: She is very emotional, like she doesn't cry, but you can see the emotion on her face.

1064
1:31:00,501 --> 1:31:01,485
Speaker 2: She's got a lot on her plate.

1065
1:31:02,060 --> 1:31:04,947
Speaker 1: Yeah, and to say the least.

1066
1:31:05,328 --> 1:31:09,450
Speaker 1: and a waitress comes over, drops off the bill and says it's good thing he left when he did.

1067
1:31:09,510 --> 1:31:11,160
Speaker 1: We were about to have to call the fire department.

1068
1:31:11,400 --> 1:31:16,665
Speaker 2: Given the same kind of sassy remark that you could have heard coming from Louise at the start of this movie.

1069
1:31:16,826 --> 1:31:17,408
Speaker 1: Absolutely.

1070
1:31:17,601 --> 1:31:18,653
Speaker 1: Thelma shows up.

1071
1:31:18,875 --> 1:31:19,320
Speaker 2: Oh, my God.

1072
1:31:19,461 --> 1:31:22,627
Speaker 1: Her hair is messed up She is walking on air.

1073
1:31:22,900 --> 1:31:26,170
Speaker 1: The afterglow that surrounds her.

1074
1:31:26,780 --> 1:31:28,969
Speaker 2: Gina Davis is so great in this moment.

1075
1:31:29,180 --> 1:31:32,771
Speaker 1: Yeah, I mean just ear to ear, and she's like do I look like something happened?

1076
1:31:32,860 --> 1:31:34,788
Speaker 2: She's like ask me, ask me what happened.

1077
1:31:35,001 --> 1:31:44,341
Speaker 1: I've got to tell somebody, yeah, and Louise is of course very pleased that her friend and tells her, says like I'm glad that somebody finally got you laid right, yeah.

1078
1:31:45,225 --> 1:31:47,846
Speaker 1: She says, wait a second, where is he right now?

1079
1:31:48,261 --> 1:31:50,369
Speaker 1: And Thelma is like oh, i left him alone take a shower.

1080
1:31:50,520 --> 1:31:52,147
Speaker 1: And then Louise is like you did what.

1081
1:31:52,440 --> 1:31:55,530
Speaker 2: You left him with the money in our room and they go there.

1082
1:31:55,801 --> 1:31:57,560
Speaker 2: Brad Pitt's gone, as is the money.

1083
1:31:57,720 --> 1:32:04,069
Speaker 1: And this is the point where the roles really start to reverse in this film because Louise breaks down.

1084
1:32:04,261 --> 1:32:05,727
Speaker 2: She's lost everything, man.

1085
1:32:05,920 --> 1:32:07,126
Speaker 2: I mean, she has nothing.

1086
1:32:07,381 --> 1:32:09,465
Speaker 1: Not just the money She's lost, jimmy.

1087
1:32:09,800 --> 1:32:12,129
Speaker 1: She's not sure what they're going to do now.

1088
1:32:12,520 --> 1:32:16,872
Speaker 1: Thelma kind of recognizes in this moment like I have to be the strong one now.

1089
1:32:17,140 --> 1:32:20,090
Speaker 2: Well, at first she says I'm sorry, Louise, it's OK, It's going to be OK.

1090
1:32:20,340 --> 1:32:24,325
Speaker 2: And Louise is like no, Thelma, it's not OK, None of this is OK.

1091
1:32:25,101 --> 1:32:28,831
Speaker 2: And Louise is like on the verge of crying and laughing.

1092
1:32:29,020 --> 1:32:30,747
Speaker 2: I mean, she's just having a breakdown.

1093
1:32:30,900 --> 1:32:34,030
Speaker 1: Thelma just gets her up and drags her to the car.

1094
1:32:34,282 --> 1:32:35,340
Speaker 2: Yeah, it's a real drill sergeant.

1095
1:32:35,360 --> 1:32:37,322
Speaker 2: She's like get up, it's going to be OK, let's go.

1096
1:32:37,524 --> 1:32:41,142
Speaker 2: And yeah, that's the first time you see her proactive control of the situation.

1097
1:32:41,203 --> 1:32:42,167
Speaker 2: It will not be the last.

1098
1:32:42,440 --> 1:32:44,640
Speaker 2: We come back to Daryl's house and it's raining outside.

1099
1:32:44,700 --> 1:32:47,129
Speaker 2: They use rain machines a lot in this movie.

1100
1:32:47,260 --> 1:32:54,251
Speaker 2: I really didn't put a whole lot of thought as to why they use rain machines, other than it makes movies look a little bit better, but they use them quite a bit.

1101
1:32:54,520 --> 1:32:56,794
Speaker 2: They show up at Daryl's house and it's a detective.

1102
1:32:56,900 --> 1:33:08,308
Speaker 1: So I think it might be just the contrast between here is the world of these men and their machinations and then the world of Thelma and Louise, which is bright and sunny and vibrant.

1103
1:33:08,641 --> 1:33:09,445
Speaker 2: It certainly could be.

1104
1:33:09,601 --> 1:33:21,148
Speaker 2: They get to Daryl's house and detective Slocum's there and FBI agent Tobolowski and a few other men, and as they're going up to Daryl's house, slocum and Tobolowski, they are racing each other like little boys.

1105
1:33:21,509 --> 1:33:22,111
Speaker 2: Yes, they are.

1106
1:33:22,340 --> 1:33:30,428
Speaker 1: As they're talking to, Daryl, Tobol is like look, we've tapped your phone, We're going to have someone at your house And Daryl's like what You're going to do what?

1107
1:33:30,901 --> 1:33:31,966
Speaker 2: Is that going to cost me extra?

1108
1:33:32,180 --> 1:33:42,840
Speaker 1: You know and I tell us like, listen, when Thelma calls you got to let on like you don't know anything And Tobol was like, yeah, you're going to want to be gentle and act like you care.

1109
1:33:42,960 --> 1:33:45,369
Speaker 1: when your wife calls Women, love that shit.

1110
1:33:45,821 --> 1:33:51,383
Speaker 1: And then they all kind of have a laugh about women love that shit, to let you know that these, like.

1111
1:33:51,503 --> 1:33:54,291
Speaker 1: as good as Kitell is, he's also still kind of a dirtbag.

1112
1:33:54,420 --> 1:34:03,370
Speaker 2: The movie cuts to Thelma driving the Thunderbird and she is now smoking a lit cigarette, taking on many of the characteristics that we saw earlier with Louise.

1113
1:34:03,480 --> 1:34:04,887
Speaker 2: Louise is now in the passenger seat.

1114
1:34:05,021 --> 1:34:06,447
Speaker 2: She's all but comatose.

1115
1:34:06,560 --> 1:34:09,750
Speaker 2: Thelma pulls over in front of this roadside country store.

1116
1:34:09,900 --> 1:34:18,011
Speaker 2: She puts on Louise's sunglasses and hands her cigarette over to Louise as Thelma runs inside this you know rural convenience store.

1117
1:34:18,220 --> 1:34:20,005
Speaker 2: Outside it simply just says market.

1118
1:34:20,226 --> 1:34:33,130
Speaker 2: Louise tosses the cigarette out So she's no longer smoking, and she looks over and sees these two elderly women staring back at her from a nearby building And one of them just smiles at Louise.

1119
1:34:33,560 --> 1:34:52,152
Speaker 2: I think this is a moment that can be interpreted countless ways And the way I interpreted it, the way you interpreted, i think the way women interpret this is is all going to be very different of having these older women looking at these younger women in this convertible on the road and what Louise makes of them and what they make of her.

1120
1:34:52,382 --> 1:34:53,680
Speaker 2: And it's a very quiet moment.

1121
1:34:53,820 --> 1:35:03,330
Speaker 2: And then Louise pivots and she reaches into a purse to put on her lipstick and she leans up into the rearview mirror and then she just stops And, just like the cigarette, she tosses the lipstick away.

1122
1:35:03,521 --> 1:35:05,094
Speaker 1: Not hard to read that metaphor.

1123
1:35:05,235 --> 1:35:05,780
Speaker 2: No, not at all.

1124
1:35:05,820 --> 1:35:34,012
Speaker 2: But what I also really like about this scene is that you see the progression of her character, but it is also spanning enough time to what is going on in the background that we do not have visibility into, because this incredibly intimate moment of Louise continuing to grow and evolve as a person is interrupted by Thelma running from this general store screaming drive, louise, drive, start the car.

1125
1:35:34,420 --> 1:35:45,591
Speaker 1: It sounds like Indiana Jones yelling at Jock you know, to get the plane moving with all the natives behind him, and it's clear that what's happened here is that Thelma has robbed this store.

1126
1:35:45,800 --> 1:35:49,831
Speaker 1: Yes, and as they're pulling away, louise is like what did you even say?

1127
1:35:49,960 --> 1:36:03,348
Speaker 2: Thelma says I just waltzed in there and said cut to the security camera footage where Thelma is repeating word for word the speech that Brad Pitt gave earlier when he detailed his armed robberies.

1128
1:36:03,540 --> 1:36:16,034
Speaker 2: And again, i love the way the security footage bridges Thelma telling Louise the story And then the fact that we see our FBI agent, our detective and Darryl watching this security footage.

1129
1:36:16,201 --> 1:36:22,470
Speaker 1: I like at the end of it too, like after giving this speech and getting the money, thelma says, oh, and throw in some of those wild turkey bottles too.

1130
1:36:22,820 --> 1:36:40,327
Speaker 2: And as they watch this, all the guys react with one blasphemy or after another where one of them says Jesus Christ, and another says good God, and the other one says my Lord we got the Thelma and Louise in their car right down the highway and they are just screaming in exoneration, They've got some money, They still may be able to make it to Mexico.

1131
1:36:40,640 --> 1:36:55,840
Speaker 2: Then they get behind this 18 wheeler that is pulling like a long chrome gas tanker And as they pass it's got the naked lady mud flaps on them And as they go past the driver, he like sticks out his tongue and flicks it at them.

1132
1:36:55,920 --> 1:37:02,050
Speaker 2: He also has a naked lady air freshener on his rear view mirror And Thelma and Louise are rightfully disgusted by his actions.

1133
1:37:02,581 --> 1:37:12,880
Speaker 1: One thing about the scene I love just before they get to the trucker and his vile behavior, louise is really laying down the pedal And Thelma is like why are you driving so fast?

1134
1:37:13,000 --> 1:37:17,506
Speaker 1: And Louise says, well, we got to put some distance between us in the scene of our last goddamn crime.

1135
1:37:18,840 --> 1:37:20,085
Speaker 2: It's such a great line.

1136
1:37:21,320 --> 1:37:23,649
Speaker 1: So they're blow past this vile trucker.

1137
1:37:23,880 --> 1:37:30,049
Speaker 1: We see that Jimmy is getting home in the rain as well, and Arkansas State Police are waiting for him outside.

1138
1:37:30,281 --> 1:37:38,467
Speaker 2: Thelma and Louise end up at a gas station, kind of off the beaten path, And Louise walks over and sees this very old man It's like he's like 108.

1139
1:37:38,701 --> 1:37:47,323
Speaker 2: And she exchanges her jewelry, including her earrings, for this weathered cowboy hat that this old man was wearing At this point.

1140
1:37:47,444 --> 1:37:58,879
Speaker 2: Thelma is now wearing blue jeans and a blue shirt that she has kind of tied up around her mid-drift And Louise is wearing the white tank top she had on earlier And she's not wearing anything underneath it.

1141
1:37:59,081 --> 1:38:09,789
Speaker 2: And they have both really undergone this I don't know physical metamorphosis, but like their costumes have changed so dramatically from where they started to where they are in so many visible ways.

1142
1:38:09,980 --> 1:38:10,241
Speaker 1: Yes.

1143
1:38:10,582 --> 1:38:18,213
Speaker 2: And here they're also parked next to train tracks again, which I took as an important visual cue because they bring up the subject of Texas.

1144
1:38:18,240 --> 1:38:29,860
Speaker 2: Because Louise says I want you to call Darrell And if he sounds suspicious his phone is tapped And she says we're wanted for murder and robbery And Thelma says we'll just tell him that Harlan was going to rape me And that's why you shot him in.

1145
1:38:30,001 --> 1:38:37,260
Speaker 2: Louise explains the impossibility of this without evidence and cites how the law is not working in their favor.

1146
1:38:37,420 --> 1:38:40,370
Speaker 2: And Thelma asks how do you know so much about all of this?

1147
1:38:40,580 --> 1:38:48,520
Speaker 2: Again, you know we have the train tracks and this visual about Texas and her bringing up this past that she has in Texas that she does not want to talk about.

1148
1:38:48,621 --> 1:38:51,180
Speaker 2: And then Thelma asked Louise, where did you get that cowboy hat?

1149
1:38:51,401 --> 1:38:54,041
Speaker 2: And Louise says I stole it, yeah.

1150
1:38:55,727 --> 1:39:02,309
Speaker 1: So this is a big man scene coming up where we have Brad Pitt being holed in by the cops.

1151
1:39:02,600 --> 1:39:10,800
Speaker 2: They haul him past Darrell, so at least Darrell knows who he is, kitell and Tobbo sit him down in a questioning room.

1152
1:39:11,000 --> 1:39:13,529
Speaker 1: Kitell is like where'd you get the $6,600?

1153
1:39:13,580 --> 1:39:18,810
Speaker 1: Brad Pitt is like oh, i just got from a friend you know, which means also it was originally $6,700.

1154
1:39:19,022 --> 1:39:20,500
Speaker 1: Yeah, so a hundred is already gone.

1155
1:39:20,640 --> 1:39:25,232
Speaker 1: But anyway, it turns out Jimmy has already filled in the cops on the money that he gave them.

1156
1:39:25,441 --> 1:39:28,780
Speaker 1: Finally, he asked Tobolowski And he's like can you give us the room a second?

1157
1:39:29,022 --> 1:39:31,439
Speaker 1: And so Tobbo is like sure, i'll be right outside.

1158
1:39:31,661 --> 1:39:41,292
Speaker 1: Kitell gets up close on Brad Pitt and is like so I just want to ask you one question Do you think that Thelma would have robbed that gas station if you hadn't stolen all their money?

1159
1:39:41,462 --> 1:39:42,800
Speaker 1: And he's like well, wait a second now.

1160
1:39:42,982 --> 1:39:44,320
Speaker 1: I didn't do anything like that.

1161
1:39:44,541 --> 1:39:46,949
Speaker 1: And Kitell is like shut up, shut up, yeah.

1162
1:39:47,201 --> 1:39:51,100
Speaker 1: And he grabs Brad Pitt's hat and just starts beating him with his own hat.

1163
1:39:51,421 --> 1:39:58,260
Speaker 1: And he says look, i will make your misery my mission in life if you don't give me something that might do those girls some good Yeah.

1164
1:39:58,481 --> 1:40:08,960
Speaker 1: It's a really nice moment where you know it's Kitell, like look, they're in trouble Everywhere they've turned, somebody has done something fucked up to disappoint them, and I'm not going to be one of those people.

1165
1:40:09,282 --> 1:40:12,160
Speaker 2: Afterwards Kitell says like I want a word with Thelma's husband.

1166
1:40:12,481 --> 1:40:14,968
Speaker 1: And when Brad Pitt passes by, he goes.

1167
1:40:15,148 --> 1:40:16,782
Speaker 1: I like your wife, This is where.

1168
1:40:16,822 --> 1:40:25,630
Speaker 2: Daryl loses his shit wanting to kill Brad Pitt, who is at the bottom of like a half flight of stairs, And he just like pumps his hips in the air like he's fucking her.

1169
1:40:25,880 --> 1:40:31,022
Speaker 1: Daryl is straining to get away from these cops to have at this guy Harvey.

1170
1:40:31,042 --> 1:40:36,860
Speaker 2: Kitell said during the filming of this scene that it was like four dudes could barely hold Christopher McDonald back in this.

1171
1:40:37,162 --> 1:40:38,757
Speaker 2: I think he was working out some shit here.

1172
1:40:38,919 --> 1:40:43,700
Speaker 1: Yeah, so Thelma and Louise stopped for some gas at night.

1173
1:40:43,921 --> 1:40:47,780
Speaker 2: Well, at a place that literally has two horses tied up out in front of it.

1174
1:40:48,003 --> 1:40:49,540
Speaker 2: We are way off the beaten path.

1175
1:40:49,722 --> 1:40:51,360
Speaker 2: They are not taking the main roads at all.

1176
1:40:51,560 --> 1:40:57,673
Speaker 2: Thelma goes to call Daryl and Louise reminds her hang up if you think anything suspicious is going off.

1177
1:40:57,813 --> 1:41:08,519
Speaker 2: Thelma's like OK, and so she dials and Daryl picks up the phone and he goes hello, and Thelma says hey, daryl, to which he says hello, thelma Click, he knows Right.

1178
1:41:08,941 --> 1:41:09,061
Speaker 1: It's.

1179
1:41:10,325 --> 1:41:11,670
Speaker 1: It is a terrific gag.

1180
1:41:11,921 --> 1:41:17,700
Speaker 1: Louise calls back and Daryl answers and she's like I want to talk to the police And he's like what, What do you mean?

1181
1:41:18,207 --> 1:41:20,573
Speaker 1: And she's like, Daryl, cut the shit, Just put the police on the phone.

1182
1:41:20,673 --> 1:41:25,220
Speaker 2: There's no police, just me and my trophies here and all the detectives around.

1183
1:41:25,383 --> 1:41:26,259
Speaker 2: They can hear all of this.

1184
1:41:26,942 --> 1:41:29,590
Speaker 1: Right, cytel finally just takes away, like he and Louise have this.

1185
1:41:30,382 --> 1:41:39,617
Speaker 1: You know, it's like these two characters that you've kind of been wanting to connect in some way, or at least for me, watching It was like I'm looking forward to the two of them because she needs help.

1186
1:41:39,697 --> 1:41:40,340
Speaker 1: He wants to help.

1187
1:41:40,522 --> 1:41:41,611
Speaker 1: Let's see what this is.

1188
1:41:41,772 --> 1:41:42,660
Speaker 1: Yeah, that's what he says.

1189
1:41:42,760 --> 1:41:44,347
Speaker 1: He's like look, i want to help you.

1190
1:41:44,661 --> 1:41:47,229
Speaker 1: She's like I don't know that you can help me at this point.

1191
1:41:47,521 --> 1:41:50,797
Speaker 1: And he says I'm not, i don't think you're going to get to Mexico.

1192
1:41:50,959 --> 1:41:56,384
Speaker 1: Yeah, she hangs up and Louise storms out and starts yelling at Thelma about like how did?

1193
1:41:56,686 --> 1:41:56,868
Speaker 1: how?

1194
1:41:56,888 --> 1:41:58,420
Speaker 1: did he know about us going to Mexico?

1195
1:41:58,581 --> 1:42:00,608
Speaker 1: Did you tell the honky bread pit about that?

1196
1:42:01,121 --> 1:42:05,811
Speaker 1: And she's like well, i did say that you know, if he was ever in Mexico he could look it up.

1197
1:42:05,851 --> 1:42:07,133
Speaker 1: And she's like God damn it, thelma.

1198
1:42:07,401 --> 1:42:10,420
Speaker 1: And they get in the car and she says you know, thelma, we're fugitives now.

1199
1:42:10,581 --> 1:42:12,027
Speaker 1: It's about time we start acting like it.

1200
1:42:12,260 --> 1:42:18,819
Speaker 1: It's kind of that change in the movie where there is the idea that there is no going back from this.

1201
1:42:19,120 --> 1:42:19,200
Speaker 2: Yeah.

1202
1:42:19,320 --> 1:42:29,551
Speaker 1: You know that there is never going to be a solution to this that involves them going to the authorities or depending on Harvey Keitel, or depending on Jimmy or Daryl or anything.

1203
1:42:29,760 --> 1:42:31,989
Speaker 1: The only people they can count on is each other.

1204
1:42:32,180 --> 1:42:43,613
Speaker 2: This is also the scene where Thelma is wearing Louise's black jacket from earlier, yeah, and you kind of see them becoming more equals, even though they're still maintaining their core characteristics and principles.

1205
1:42:43,920 --> 1:42:46,129
Speaker 2: But you see that growth that's happening as well.

1206
1:42:46,280 --> 1:42:54,031
Speaker 2: Thelma and Louise, they are now in Utah And Thelma says that she always wanted to travel but she never got the opportunity.

1207
1:42:54,700 --> 1:43:12,510
Speaker 2: And the camera then shifts back and forth between Thelma driving and Louise driving, again to show the passage of time, and then ultimately it's night and Louise stops the car and she gets out and she just stares out into the expanse of the West, and then Thelma joins her and she says what's going on?

1208
1:43:12,801 --> 1:43:14,006
Speaker 2: And Louise says nothing.

1209
1:43:14,380 --> 1:43:17,509
Speaker 2: To me it harken back to her watching the guy skim the pool.

1210
1:43:18,100 --> 1:43:20,629
Speaker 2: Just, you know those moments where you're dealing with a lot.

1211
1:43:20,780 --> 1:43:23,790
Speaker 2: You know you're kind of looking at everything and nothing all at the same time.

1212
1:43:23,920 --> 1:43:41,366
Speaker 1: There's a nice moment during the course of this where they cut back to Daryl's house, where all the men are sitting around watching a movie And Daryl is stuck in the back of his own living room without a seat, yeah, and he tries to turn it to like a football game or something And all of the men just kind of look back at him.

1213
1:43:41,387 --> 1:43:44,689
Speaker 1: He's like oh sorry, and turns it back to this movie that they're all watching.

1214
1:43:44,900 --> 1:43:56,732
Speaker 1: Daryl has been sidelined even in his own home, yeah, but back on the road during the day they pass by this filthy trucker again who honks and waggles his tongue again and just generally acts like an ass.

1215
1:43:56,980 --> 1:43:59,629
Speaker 2: He says I'm your captain muff diver Classy.

1216
1:43:59,900 --> 1:44:03,131
Speaker 1: While the sun is coming up, though, thelma starts kind of cry, laughing.

1217
1:44:04,122 --> 1:44:07,011
Speaker 2: She's drinking more wild turkey in the AM.

1218
1:44:07,980 --> 1:44:09,567
Speaker 1: Like you do, on vacation.

1219
1:44:10,561 --> 1:44:12,067
Speaker 2: And committed multiple crimes.

1220
1:44:12,087 --> 1:44:12,308
Speaker 2: Sure.

1221
1:44:12,600 --> 1:44:16,311
Speaker 1: Louise asked what she's laughing about or what she's reacting to.

1222
1:44:16,400 --> 1:44:18,646
Speaker 1: And she says that look on Harlan's face.

1223
1:44:18,947 --> 1:44:22,547
Speaker 1: when he said suck my dick, he sure wasn't expecting that.

1224
1:44:23,043 --> 1:44:26,367
Speaker 1: And Louise is like it's not funny, we don't need to think about this.

1225
1:44:26,640 --> 1:44:29,991
Speaker 1: And that's where she says again like what happened to you in Texas.

1226
1:44:30,260 --> 1:44:34,532
Speaker 1: And Louise pulls the car over, stops the car and is like you need to drop this.

1227
1:44:34,901 --> 1:44:36,800
Speaker 1: Whatever happened back then is whatever happened back then.

1228
1:44:36,900 --> 1:44:38,126
Speaker 1: We are not talking about this.

1229
1:44:38,500 --> 1:44:42,420
Speaker 1: So then she finally drives on after once again shutting it down.

1230
1:44:42,540 --> 1:44:46,089
Speaker 2: Thelma says to her she says that's what happened to you back in Texas, isn't it?

1231
1:44:46,129 --> 1:44:52,306
Speaker 2: You was raped, Yeah, And that's the first time she really confronts Louise With what happened in Texas.

1232
1:44:52,662 --> 1:44:56,123
Speaker 2: When Louise says you know, drop it, I'm not talking about it, You know.

1233
1:44:56,143 --> 1:44:56,828
Speaker 2: Do you understand?

1234
1:44:57,001 --> 1:44:59,486
Speaker 2: And Thelma backs off And she says it's OK.

1235
1:45:00,282 --> 1:45:01,224
Speaker 1: And I think it's OK.

1236
1:45:01,264 --> 1:45:02,027
Speaker 1: There isn't just.

1237
1:45:02,107 --> 1:45:08,448
Speaker 1: It's OK that you don't want to talk about it, it's like I understand you Yeah it's OK if you're angry about this.

1238
1:45:08,540 --> 1:45:15,991
Speaker 1: Yeah, it's because because, again, i mean like, the bond that they have at this point is unshakable, like from the rest of the movie.

1239
1:45:16,220 --> 1:45:19,751
Speaker 1: This is truly them acting as a partnership.

1240
1:45:19,960 --> 1:45:25,628
Speaker 1: Yeah, up to and including this moment where there's a cop that pulls up behind her and flashes the blues.

1241
1:45:26,701 --> 1:45:27,083
Speaker 2: Is this young?

1242
1:45:27,143 --> 1:45:28,007
Speaker 2: good looking dude.

1243
1:45:28,220 --> 1:45:34,808
Speaker 2: Yeah he takes Louise, the driver and asked for, like her driver's license, and then he escorts her back to the patrol car.

1244
1:45:35,140 --> 1:45:47,769
Speaker 2: He puts Louise in the front seat passenger seat while he's in the front seat calling in her license, which again is really good, because I don't think a cop would ever really do that, but he does it, showing that he does not see her as a threat.

1245
1:45:47,920 --> 1:45:52,092
Speaker 2: You would not put a potential dangerous criminal riding shotgun in your patrol car.

1246
1:45:52,282 --> 1:45:53,920
Speaker 1: And he's not a terrible guy or anything.

1247
1:45:54,020 --> 1:45:59,760
Speaker 1: He's like you know they were doing 110 miles an hour, right, and he is not acting inappropriately or anything.

1248
1:45:59,941 --> 1:46:04,702
Speaker 1: But Phelma shows up at the driver's side window with the gun And it's like.

1249
1:46:04,862 --> 1:46:10,829
Speaker 1: I'm so sorry about this, but I need you to get out of the car because if you run that driver's license, you're going to find out.

1250
1:46:10,869 --> 1:46:12,192
Speaker 1: We're wanted in two states.

1251
1:46:12,481 --> 1:46:15,310
Speaker 2: She commands Louise to take his gun.

1252
1:46:16,842 --> 1:46:21,427
Speaker 1: Right And then shoots two holes in his tires And even Louise is like what are you doing?

1253
1:46:21,447 --> 1:46:22,310
Speaker 1: And she's like tires.

1254
1:46:22,501 --> 1:46:24,288
Speaker 2: And then she tells her she says shoot the radio.

1255
1:46:24,480 --> 1:46:33,089
Speaker 2: And then Louise shoots the car radio And she's like, no, louise, shoot the police radio And she, you know, shoots the police radio.

1256
1:46:33,240 --> 1:46:45,240
Speaker 2: And this is really the first time in the movie where Louise's behavior is less focused, like she's doing something that isn't clearly thought out and veers into the you know, are you a dummy kind of category?

1257
1:46:45,381 --> 1:46:47,680
Speaker 2: Why would I have you shoot the radio that plays music?

1258
1:46:47,821 --> 1:46:49,920
Speaker 2: Shoot the police radio so he can't communicate.

1259
1:46:50,121 --> 1:46:56,207
Speaker 1: Yeah, i think there was a part of Louise that was like, ok, we're, this is over now, because soon as he runs this I'm done.

1260
1:46:56,528 --> 1:47:00,130
Speaker 2: I could see that She's in a different state of shock of like what's coming next.

1261
1:47:01,082 --> 1:47:06,829
Speaker 1: Right, like her mind is on, i'm going to, because when, when they go to the car, she asks him do you want me to get in the back or the front?

1262
1:47:07,040 --> 1:47:12,568
Speaker 2: They shoot out the radio and then Thelma walks into the back and shoots a couple of holes in the trunk of the police car.

1263
1:47:12,640 --> 1:47:22,790
Speaker 2: They open the trunk of the police car and this officer is begging them to like don't do this, because I'm sure he's thinking he's going to be executed or at least roasted alive in the trunk of his car in the middle of the desert.

1264
1:47:23,001 --> 1:47:31,605
Speaker 2: As they put him in the trunk of this car, one detail that I like is that Louise reaches in there and there is a six pack of Miller beer in the truck of this officer's car.

1265
1:47:31,886 --> 1:47:32,990
Speaker 2: They put him in the truck.

1266
1:47:33,181 --> 1:47:35,071
Speaker 2: The officer says I've got a wife and kids.

1267
1:47:35,272 --> 1:47:37,102
Speaker 2: and Thelma says will you be sweet to your wife?

1268
1:47:37,323 --> 1:47:38,367
Speaker 2: My husband wouldn't sweet to me.

1269
1:47:38,561 --> 1:47:40,262
Speaker 2: Look how I turned out Right.

1270
1:47:40,643 --> 1:47:46,446
Speaker 1: Louise has the presence of mind to get his belt, So she's like extra ammo And I was like, oh yeah, good idea.

1271
1:47:47,065 --> 1:47:48,479
Speaker 2: Yeah, and she takes his sunglasses.

1272
1:47:48,600 --> 1:47:51,570
Speaker 2: She trades her sunglasses for his because I guess his looked better.

1273
1:47:51,741 --> 1:47:55,866
Speaker 1: But they're really polite about like I'm real sorry about this And they put him in the trunk.

1274
1:47:56,121 --> 1:48:01,147
Speaker 1: There's a moment that happens later where Thelma is like you know, i think I'm really getting the hang of this.

1275
1:48:02,161 --> 1:48:04,089
Speaker 1: Louise is like you are good at this.

1276
1:48:05,081 --> 1:48:13,160
Speaker 2: And this is really the scene that solidifies Thelma as being more aggressive and taking command of situations earlier with robbing the market.

1277
1:48:13,361 --> 1:48:16,700
Speaker 2: That could have been a one off here to your point of referencing her dialogue.

1278
1:48:16,901 --> 1:48:17,865
Speaker 2: She's pretty good at this.

1279
1:48:18,181 --> 1:48:27,166
Speaker 1: Not only has a knack, for it enjoys it like, enjoys living this life where she's outside the bounds of society, you know, like they both are.

1280
1:48:27,601 --> 1:48:33,086
Speaker 1: And we get a moment where Tobolowski and Kytel are talking about them going on this crime spree.

1281
1:48:33,400 --> 1:48:36,691
Speaker 1: Tobol is like I can't figure out if they're real smarter, real lucky.

1282
1:48:36,901 --> 1:48:41,448
Speaker 1: And Kytel says it doesn't matter, smart only gets you so far and luck always runs out.

1283
1:48:41,789 --> 1:48:42,311
Speaker 1: Good line.

1284
1:48:42,765 --> 1:48:43,720
Speaker 1: It's terrific.

1285
1:48:43,881 --> 1:48:51,657
Speaker 1: And it also starts because we're coming to the end of this movie now, yeah, and it's starting to build to that point of like, how do they get out of this?

1286
1:48:51,798 --> 1:48:52,320
Speaker 1: You know what I mean.

1287
1:48:52,601 --> 1:48:58,610
Speaker 1: To that point, as we cut back to Thelma and Louise, they're driving along, they get stuck behind this cattle drive in the middle of the road.

1288
1:48:58,901 --> 1:49:04,067
Speaker 1: Louise says look, i got us into something that's going to get us killed And I'm sorry about that.

1289
1:49:04,300 --> 1:49:05,183
Speaker 2: She even owns up to.

1290
1:49:05,203 --> 1:49:08,191
Speaker 2: She says I don't know why I didn't go to the police in the first place.

1291
1:49:08,362 --> 1:49:10,766
Speaker 2: And Thelma says you already said it, nobody would have believed us.

1292
1:49:11,461 --> 1:49:20,668
Speaker 2: She says that guy was hurting me And if you hadn't come out he would have hurt me a lot worse and nothing would have happened, because everybody saw me dancing with him that night and they would have made out like I was asking for.

1293
1:49:20,841 --> 1:49:25,850
Speaker 2: And then she takes it one step further and she says you know, my life would have been a whole lot worse than it is now.

1294
1:49:26,080 --> 1:49:32,188
Speaker 2: At least now I'm having some fun And I'm not sorry that that son of a bitch is dead, i'm just sorry it was you that killed him and not me.

1295
1:49:32,389 --> 1:49:34,860
Speaker 1: Yeah, they get through this cattle drive.

1296
1:49:35,000 --> 1:49:45,092
Speaker 1: They get to another gas station and Louise calls Daryl's house to talk to Kytel, who again is like Louise, i want to help you, but you got to stop running.

1297
1:49:45,220 --> 1:49:47,749
Speaker 1: This is where he says like I know what's making you run.

1298
1:49:47,981 --> 1:49:49,407
Speaker 1: I know what happened to you in Texas.

1299
1:49:49,680 --> 1:50:02,052
Speaker 2: Well, she says to him she's like I keep thinking about words like life imprisonment and execution and death by electrocution And they have this drawn out conversation And in the background, as she's saying all this, thelma's there hearing these words from Louise.

1300
1:50:02,320 --> 1:50:10,650
Speaker 2: The conversation between she and Harvey Kytel continues long enough that they can trace the call And now the feds know where they are and they can go after.

1301
1:50:10,760 --> 1:50:18,166
Speaker 1: Kytel is the one who demands, like you have to take me with you so nothing happens to them because this could get out of hand.

1302
1:50:18,360 --> 1:50:26,659
Speaker 2: It's also important to note the way the call ends is right after Kytel says to Louise look, i know what's making you run.

1303
1:50:26,862 --> 1:50:28,099
Speaker 2: I know what happened to you in Texas.

1304
1:50:28,281 --> 1:50:29,506
Speaker 2: Louise kind of goes cold.

1305
1:50:30,141 --> 1:50:36,498
Speaker 2: This really hits her hard And it's Thelma who takes the phone receiver from her hand at this payphone and hangs up the phone.

1306
1:50:36,618 --> 1:50:37,060
Speaker 1: Absolutely.

1307
1:50:37,262 --> 1:50:38,377
Speaker 2: Louise does not do that.

1308
1:50:38,438 --> 1:50:38,559
Speaker 1: Yeah.

1309
1:50:38,781 --> 1:50:39,302
Speaker 2: Thelma and Louise.

1310
1:50:39,322 --> 1:50:46,540
Speaker 2: They go outside and Thelma talks to Louise about how Louise may be making a deal with the feds to get out of trouble.

1311
1:50:46,681 --> 1:50:55,180
Speaker 2: But Thelma, she says I've kind of crossed over something like she's different and she cannot go back to the life she had before with Daryl as a housewife.

1312
1:50:55,361 --> 1:50:56,746
Speaker 2: She's like I, just I couldn't live.

1313
1:50:57,140 --> 1:51:00,951
Speaker 1: I mean, the exact line is that something's crossed over in me and I can't go back.

1314
1:51:01,422 --> 1:51:10,700
Speaker 1: And I mean that's her whole character, right Is that she has tasted freedom and liberation and being able to be her authentic self, And there is no way she can ever compromise again.

1315
1:51:10,860 --> 1:51:12,946
Speaker 1: It's the whole idea of you get what you settle for.

1316
1:51:13,066 --> 1:51:17,708
Speaker 1: and she is now unwilling to settle for anything other than her own authentic life.

1317
1:51:17,909 --> 1:51:18,149
Speaker 2: Yeah.

1318
1:51:18,401 --> 1:51:18,863
Speaker 1: It's so good.

1319
1:51:19,701 --> 1:51:21,247
Speaker 2: Can you believe this was her first screenplay?

1320
1:51:21,441 --> 1:51:25,080
Speaker 2: I mean, awe is how good and tight this movie became.

1321
1:51:25,220 --> 1:51:27,068
Speaker 2: So Thelma and Louise continue their journey in their car.

1322
1:51:27,180 --> 1:51:32,770
Speaker 2: The sky is now this beautiful, bright blue, The landscape is flush with green.

1323
1:51:33,000 --> 1:51:35,329
Speaker 2: And Thelma says to Louise are you awake?

1324
1:51:35,541 --> 1:51:36,385
Speaker 2: Because I feel awake.

1325
1:51:36,621 --> 1:51:39,866
Speaker 2: I don't ever remember feeling this awake, Like everything looks different.

1326
1:51:40,121 --> 1:51:42,349
Speaker 2: I feel like we have something to look forward to.

1327
1:51:42,520 --> 1:51:43,765
Speaker 2: And she says I want to get a job.

1328
1:51:44,487 --> 1:51:45,189
Speaker 2: It's so good.

1329
1:51:45,461 --> 1:51:49,558
Speaker 1: There's a look on Louise's face when she's like, oh yeah, you're going to work for Club Med.

1330
1:51:49,698 --> 1:51:51,466
Speaker 1: You know, get her, We'll get ourselves a Hacienda.

1331
1:51:51,861 --> 1:51:58,868
Speaker 1: But there's something in Louise that feels because earlier in that conversation, when they were talking about, like, what did Harvey Kytel say?

1332
1:51:59,101 --> 1:52:05,070
Speaker 1: Louise tells Thelma like oh, we're going to be charged with murder And we have to decide whether we're going to come in dead or alive.

1333
1:52:05,582 --> 1:52:07,388
Speaker 1: And Thelma says, well, didn't he have anything good to say?

1334
1:52:07,661 --> 1:52:08,700
Speaker 1: You know, which is a good joke.

1335
1:52:08,820 --> 1:52:23,875
Speaker 1: But it's also again this sense that at least, like where Thelma is now blossoming and feeling herself, Louise is the one who's starting to realize like this probably isn't going to have a good ending, Like us getting to Mexico probably isn't going to happen.

1336
1:52:23,980 --> 1:52:30,380
Speaker 2: I think it mirrors the two scenes in the hotel room, with the start of a relationship and the end of a relationship.

1337
1:52:30,481 --> 1:52:38,669
Speaker 2: You know that she's seeing the beginning of a life that she could have, thelma's seeing the beginning of a life that she could have, whereas Louise is seeing the end of the life she does have.

1338
1:52:38,780 --> 1:52:39,926
Speaker 1: Yeah, I think that's true.

1339
1:52:40,100 --> 1:52:46,358
Speaker 1: Before we get to the big finale, there is one more moment where we run across this truck driver again.

1340
1:52:46,559 --> 1:52:47,020
Speaker 2: He asks him.

1341
1:52:47,160 --> 1:52:48,826
Speaker 2: He says hey, baby, you ready for a big?

1342
1:52:48,866 --> 1:52:49,970
Speaker 1: dick, that's right.

1343
1:52:50,301 --> 1:52:51,466
Speaker 1: And they're like you know what?

1344
1:52:51,580 --> 1:52:52,926
Speaker 1: How about you come with us?

1345
1:52:53,181 --> 1:52:54,978
Speaker 2: He's like yo yeah, let's do this.

1346
1:52:55,300 --> 1:53:09,331
Speaker 1: This is the most clueless individual of the movie because he follows them often to just some random part of the desert, gets out of his truck, come strolling over to them, who, thelma and Louise, are sort of sitting up in the seats in the convertible.

1347
1:53:09,640 --> 1:53:13,772
Speaker 1: He's like all right, i'm so glad you pre-lays decided to come on over.

1348
1:53:14,020 --> 1:53:17,286
Speaker 1: They say you need to apologize to us And he's like what?

1349
1:53:17,601 --> 1:53:21,020
Speaker 1: And they're like, yeah, making all those blue gestures point to your lap.

1350
1:53:21,161 --> 1:53:23,300
Speaker 1: What exactly do you think was going to happen there?

1351
1:53:23,521 --> 1:53:24,065
Speaker 1: What if somebody?

1352
1:53:24,085 --> 1:53:26,380
Speaker 2: behaved like that to your mom or your sister or your wife.

1353
1:53:26,501 --> 1:53:28,138
Speaker 2: They just like dressed down this dummy.

1354
1:53:28,158 --> 1:53:30,925
Speaker 1: Right, And he's just like what, What are you talking about?

1355
1:53:31,040 --> 1:53:33,408
Speaker 1: Thelma says did you call us beavers on the CB?

1356
1:53:33,688 --> 1:53:34,290
Speaker 1: I hate that.

1357
1:53:34,580 --> 1:53:38,091
Speaker 1: He just seems confused by everything that's going on here.

1358
1:53:38,360 --> 1:53:40,849
Speaker 1: Finally, they pull guns on him.

1359
1:53:41,040 --> 1:53:49,525
Speaker 1: And they want an apology And he's like fuck you, but instead of shooting him because you know what he did is vile, but it's not a murderous offense And they're not murderers.

1360
1:53:49,720 --> 1:53:53,652
Speaker 1: This is not a movie about two women going on a crime spree that involves murder.

1361
1:53:54,041 --> 1:53:55,688
Speaker 2: It's not natural born, kill Right.

1362
1:53:55,940 --> 1:54:01,390
Speaker 1: So they shoot the tires of his truck And when they ask him to apologize again and he gets, fuck you.

1363
1:54:01,640 --> 1:54:03,726
Speaker 1: They just shoot the truck which explodes.

1364
1:54:04,087 --> 1:54:09,871
Speaker 1: As this thing explodes, they kind of do donuts around him in the desert.

1365
1:54:10,000 --> 1:54:19,000
Speaker 1: Thelma leans out and snags his dirty baseball cap off the ground as they pull away And as they're leaving, thelma says where'd you learn to shoot like that, louise?

1366
1:54:19,101 --> 1:54:20,440
Speaker 1: And she's like I learned in Texas.

1367
1:54:20,602 --> 1:54:21,660
Speaker 1: Where'd you learn to shoot like that?

1368
1:54:21,700 --> 1:54:22,825
Speaker 1: And she's like oh, just off TV.

1369
1:54:23,100 --> 1:54:24,223
Speaker 2: A couple of things about this.

1370
1:54:24,524 --> 1:54:26,027
Speaker 2: You know the moron truck driver.

1371
1:54:26,348 --> 1:54:36,510
Speaker 2: It's such a nineties moment from a film to see a tanker truck explode for really no good reason And I think this was something that was pushed by the studio.

1372
1:54:36,941 --> 1:54:43,660
Speaker 2: I know that this scene did not play out the way the original script you know was written, but I'm not going to get into that.

1373
1:54:43,720 --> 1:54:46,460
Speaker 2: You can go read the book that I recommended if you want to get more details on that.

1374
1:54:46,701 --> 1:54:50,732
Speaker 2: But I felt like, just as a film, this scene feels a little out of place.

1375
1:54:50,901 --> 1:54:54,040
Speaker 2: This was the scene that didn't seem to fit quite right.

1376
1:54:54,200 --> 1:54:56,809
Speaker 2: He refers to them as bitches from hell.

1377
1:54:57,001 --> 1:54:57,663
Speaker 1: Like.

1378
1:54:57,704 --> 1:55:00,299
Speaker 2: Richard Lewis, and it feels very gratuitous.

1379
1:55:00,580 --> 1:55:03,567
Speaker 2: I will say that as I thought back on watching this movie.

1380
1:55:03,728 --> 1:55:07,667
Speaker 2: It does serve purpose in that it escalates their crimes.

1381
1:55:07,921 --> 1:55:24,913
Speaker 2: I mean, on top of armed robbery, and then you've got the murder, and then you've also got now, whatever, this is going to be a willful destruction of you know big oil or something like that, but also the net is the next scene where we get the guy in the desert with the police car.

1382
1:55:25,465 --> 1:55:26,860
Speaker 2: It is right We can just talk about it.

1383
1:55:27,081 --> 1:55:33,589
Speaker 2: So we cut back to the desert where the police car is with the officer in the trunk And this guy rides up on the bike.

1384
1:55:33,901 --> 1:55:48,053
Speaker 2: He looks like a Rastafarian And he comes up on the cop in the trunk and he hears him inside and he walks over, you know, with this big joint and just blows marijuana smoke into the bullet hole that they shot into the trunk.

1385
1:55:48,323 --> 1:55:49,420
Speaker 2: I mean, it's like a weed joke.

1386
1:55:49,560 --> 1:55:52,109
Speaker 2: It feels woefully out of place in this movie.

1387
1:55:52,280 --> 1:56:09,748
Speaker 1: It's like there's this weird thing where, both with the trucker scene and this biker scene, it feels like we're trying to lighten the movie up between these heavy moments of Louise and Thelma talking about their ultimate fates and where they are in life, to the ending of this movie, which is coming right up, yes.

1388
1:56:10,080 --> 1:56:15,142
Speaker 1: So it's like, oh well, let's lighten the mood before we get to something that's even heavier, and I think it's.

1389
1:56:15,523 --> 1:56:25,887
Speaker 1: I have one real complaint with this movie, and this isn't it, Although I do think this feels we're kind of wedging in a little bit of levity so that it's not just a total downer of an ending.

1390
1:56:26,122 --> 1:56:27,340
Speaker 2: I go back and forth on it.

1391
1:56:27,521 --> 1:56:36,172
Speaker 2: I think that the movie would be better served by not having this scene the way this, but I think that the scene also serves purpose in showing that the cop didn't die in the trunk of the car.

1392
1:56:36,800 --> 1:56:37,845
Speaker 1: That they're not murderers.

1393
1:56:38,141 --> 1:56:41,120
Speaker 2: You and I've certainly had this, as we've discussed countless films on this podcast.

1394
1:56:41,300 --> 1:56:42,706
Speaker 2: We're like what happened to this character?

1395
1:56:42,766 --> 1:56:42,987
Speaker 2: How?

1396
1:56:43,007 --> 1:56:43,629
Speaker 2: did this tie up.

1397
1:56:43,700 --> 1:56:46,409
Speaker 2: They've tied up every loose end in this film.

1398
1:56:46,560 --> 1:56:48,067
Speaker 2: If you take it out, that's not the case.

1399
1:56:48,500 --> 1:56:54,500
Speaker 1: And speaking of wrapping up characters, like, we get a shot of like a police shopper circling this burning truck.

1400
1:56:54,660 --> 1:56:57,349
Speaker 1: There's a shot of Daryl looking miserable at home.

1401
1:56:57,681 --> 1:57:01,100
Speaker 1: There's Tobo and Kytel loading up for the last ride.

1402
1:57:01,220 --> 1:57:04,550
Speaker 1: Like all these characters are, we get kind of glimpses of them.

1403
1:57:04,820 --> 1:57:15,640
Speaker 2: I think that last shot of Daryl is actually more sympathetic to his character, because as much as he took his wife for granted, like at this point, he's kind of lost everything.

1404
1:57:15,861 --> 1:57:17,166
Speaker 2: Oh for sure, yeah, yeah.

1405
1:57:17,541 --> 1:57:20,230
Speaker 2: It feels like there's a moment of realization.

1406
1:57:20,501 --> 1:57:23,791
Speaker 2: Everything I know is been turned upside down.

1407
1:57:23,981 --> 1:57:26,228
Speaker 1: And I'm largely responsible for this.

1408
1:57:26,268 --> 1:57:27,705
Speaker 1: Yes, I think that's true.

1409
1:57:28,021 --> 1:57:31,461
Speaker 1: And then we get to kind of I mean, this is really it It's.

1410
1:57:31,702 --> 1:57:33,549
Speaker 1: We're back on the road with Elman Louise.

1411
1:57:33,660 --> 1:57:35,548
Speaker 1: They see some cops pass by.

1412
1:57:35,820 --> 1:57:37,106
Speaker 2: They arrive at the Grand Canyon.

1413
1:57:37,126 --> 1:57:37,347
Speaker 1: Yeah.

1414
1:57:37,660 --> 1:57:40,348
Speaker 2: They seem a little surprised, or I guess, because they've never seen it.

1415
1:57:40,730 --> 1:57:46,988
Speaker 2: Right, You know just how big it is and you know just in all of its magistrate, And this movie is so beautifully shot.

1416
1:57:47,321 --> 1:57:55,765
Speaker 2: If you've never seen it, even having heard the entire plot, it does not do this film justice one bit of just how gorgeous it is When some cops pass by him.

1417
1:57:55,966 --> 1:57:57,871
Speaker 1: you know it doesn't look like they're pursuing them.

1418
1:57:58,000 --> 1:58:09,931
Speaker 1: And, thelma and Louise, you know, Louise, driving of course, says, like you know, we're not going to take a chance on them turning around, so we're going to kind of cut through the desert, but the cops do in fact spin around and start to pursue them.

1419
1:58:10,180 --> 1:58:23,071
Speaker 1: Then we see more cops headed their way And they essentially are playing chicken with these cops who are driving at them And they win because they just don't swerve Right And the cops do as they're driving through the desert, not on desert roads.

1420
1:58:23,160 --> 1:58:33,272
Speaker 1: Through the desert there are these like crazy cannonball run, as crashes in their wake, as police cars are flipping over and they're being pursued across this desert flat.

1421
1:58:33,600 --> 1:58:45,150
Speaker 1: They go under this little bridge and it looks like they're going to get away for a second because one of the cops tries to follow them through the bridge and gets stuck because the car is too big, which bottlenecks all the other cops.

1422
1:58:45,460 --> 1:58:50,904
Speaker 1: There's this great moment where in a different movie, that would be the moment of like, oh, we showed them.

1423
1:58:51,185 --> 1:58:57,050
Speaker 1: But it's like Louise's hands are shaking, she's trying to smoke a cigarette but she's barely holding it together.

1424
1:58:57,320 --> 1:59:08,525
Speaker 1: It's this really sweet moment where Thelma kind of says you know, you're my best friend, and Louise says the same, kind of reiterating at this point no matter what happens, they're in it together.

1425
1:59:08,705 --> 1:59:09,682
Speaker 2: Yeah, louise says to her.

1426
1:59:09,702 --> 1:59:14,666
Speaker 2: she says, louise, i know this is all my fault, but I'm glad I came with you on this fishing trip.

1427
1:59:14,861 --> 1:59:18,780
Speaker 2: And Louise says this isn't your fault, you know that they're having this conversation And you're right.

1428
1:59:18,900 --> 1:59:21,409
Speaker 2: You know just that they acknowledge their friendship.

1429
1:59:21,540 --> 1:59:27,050
Speaker 2: And I also love the fact that when Louise, when she says to her, you know, after Thelma, says you know you're a good friend.

1430
1:59:27,090 --> 1:59:28,120
Speaker 2: Louise says you're the best.

1431
1:59:28,240 --> 1:59:30,227
Speaker 2: And she says how do you like the vacation so far?

1432
1:59:30,649 --> 1:59:37,820
Speaker 2: Yeah, and they're still cracking jokes, even though, like, the intensity of this finale is unmistakable.

1433
1:59:37,880 --> 1:59:46,140
Speaker 1: They almost drive off a cliff and there's a great shot of the car on this cliff And you see Tobos chopper swinging around in the same shot.

1434
1:59:46,221 --> 1:59:48,380
Speaker 1: It's really well composed, Yeah.

1435
1:59:48,561 --> 1:59:51,676
Speaker 1: And they almost go over the side and that's where Thelma is like.

1436
1:59:51,716 --> 1:59:52,400
Speaker 1: What is this?

1437
1:59:53,022 --> 1:59:54,888
Speaker 1: I guess it's the goddamn Grand Canyon.

1438
1:59:54,989 --> 2:00:01,213
Speaker 1: Yeah, And as they're looking over the edge like, the chopper rises over the lip of the canyon facing them.

1439
2:00:01,460 --> 2:00:04,390
Speaker 2: And you see a lot of snipers loading their guns.

1440
2:00:04,540 --> 2:00:18,473
Speaker 1: They turn around to go back and there's a whole line of police cars there with cops, like you said, sniper rifle scopes ready to shoot them And Kytel, like bus, ass out of this helicopter when it lands and is telling everybody not to shoot.

1441
2:00:18,780 --> 2:00:20,386
Speaker 2: He says don't shoot those girls.

1442
2:00:20,847 --> 2:00:21,510
Speaker 2: Yeah, Is what he calls.

1443
2:00:21,760 --> 2:00:23,507
Speaker 1: So Thelma and Louise are in their car.

1444
2:00:23,840 --> 2:00:25,507
Speaker 1: There's a cliff in front of them.

1445
2:00:25,660 --> 2:00:26,926
Speaker 1: They're the cops behind them.

1446
2:00:27,040 --> 2:00:29,349
Speaker 2: The officer shout out for them to raise their hands.

1447
2:00:29,580 --> 2:00:34,993
Speaker 1: Anything that they do that is not in compliance with the direct order will be considered a threat.

1448
2:00:35,260 --> 2:00:36,765
Speaker 2: A direct order from all of these men.

1449
2:00:36,985 --> 2:00:37,226
Speaker 1: Yes.

1450
2:00:37,587 --> 2:00:38,690
Speaker 2: They're all men, yes.

1451
2:00:39,421 --> 2:00:43,692
Speaker 1: And Thelma says Louise, let's not get caught, let's keep going, yeah.

1452
2:00:43,921 --> 2:00:44,865
Speaker 2: And she says just go.

1453
2:00:45,183 --> 2:00:46,179
Speaker 2: And Louise says are you sure?

1454
2:00:46,320 --> 2:00:52,228
Speaker 2: And Thelma says yeah, and then they laugh slightly And at the same time they're holding back tears.

1455
2:00:52,560 --> 2:00:54,504
Speaker 1: They kiss, which you know.

1456
2:00:54,765 --> 2:00:58,733
Speaker 1: Like there is an argument to be made that there are some lesbian undertone to this movie.

1457
2:00:58,940 --> 2:01:00,166
Speaker 1: That's not how I read it.

1458
2:01:00,260 --> 2:01:01,385
Speaker 1: Yeah, i don't get that at all.

1459
2:01:01,781 --> 2:01:04,268
Speaker 1: I think it's a very platonic like we're sisters.

1460
2:01:04,609 --> 2:01:04,810
Speaker 2: Yeah.

1461
2:01:05,601 --> 2:01:08,846
Speaker 1: And, but they kiss, louise hits the pedal.

1462
2:01:09,200 --> 2:01:14,593
Speaker 1: The photograph they took, that Polaroid, spins up out of the car to kind of flutter away.

1463
2:01:14,700 --> 2:01:24,451
Speaker 1: Kytel is chasing after them, which kind of gets in the way of a direct shot of either of them, right, so in a way there is an argument to be made that he protects them, kind of.

1464
2:01:24,660 --> 2:01:45,231
Speaker 1: I mean, obviously that's not what it's about, and this is the part of the movie that I like the least, which is the car goes over the edge of the canyon, it fades to white, and then we just get this montage of them like having fun, like what a great adventure this was, and that always feels like a bizarre way to end this movie.

1465
2:01:45,440 --> 2:01:50,043
Speaker 1: The car going over the edge of the cliff and the fade to white, i totally get The montage.

1466
2:01:50,083 --> 2:01:51,448
Speaker 1: I'm like totally out of place to me.

1467
2:01:51,780 --> 2:01:56,440
Speaker 2: I think what they struggle with was how do you end a movie like this in the year 1991?

1468
2:01:56,580 --> 2:01:58,809
Speaker 2: Without it just being a total downer?

1469
2:01:59,622 --> 2:02:01,780
Speaker 2: You know, you fade to white and then roll credits.

1470
2:02:01,941 --> 2:02:03,819
Speaker 2: The audience is going to be like what was that?

1471
2:02:04,041 --> 2:02:08,620
Speaker 2: It's an ending that runs counter to almost every single movie that's released in there.

1472
2:02:08,781 --> 2:02:10,292
Speaker 1: It's an indie movie kind of ending.

1473
2:02:10,312 --> 2:02:19,274
Speaker 2: Yeah, and it works for an indie, but as a major studio release with legit big stars and an incredibly talented director and crew and everything else.

1474
2:02:19,601 --> 2:02:28,833
Speaker 2: One version of the ending that they talked about was they wanted to take the Polaroid and have it fade from the color photo back into its original state.

1475
2:02:29,041 --> 2:02:30,407
Speaker 2: That seemed a little bit too confusing.

1476
2:02:30,681 --> 2:02:36,485
Speaker 2: And then there's the other ending that I mentioned in the intro, where for a brief moment the car lands and it keeps going.

1477
2:02:36,822 --> 2:02:37,752
Speaker 2: That was never the original.

1478
2:02:37,772 --> 2:02:40,259
Speaker 2: They were going to die, like Cali Curry knew that from the beginning.

1479
2:02:40,420 --> 2:02:47,380
Speaker 2: I don't disagree with your critique of the ending with the montages of seeing them in a happier state.

1480
2:02:47,601 --> 2:03:02,472
Speaker 2: But I just don't know how unless this is an indie film and you fade to white and they are dead and then roll credits and you're dealing with something that's like Butch Cassidy and the Sundance Kid or Invasion of the Body Statues, like this is a very down movie and they just didn't want to end that.

1481
2:03:02,552 --> 2:03:09,756
Speaker 2: I think that by having those images of them it shows you kind of see that journey and the love and the friendship that these two women had.

1482
2:03:10,260 --> 2:03:19,070
Speaker 2: I just I don't know that they could find that perfect way to align with audience expectations and yet not undermine the intent of the film.

1483
2:03:19,222 --> 2:03:20,280
Speaker 1: I mean, it's definitely tricky.

1484
2:03:20,421 --> 2:03:27,400
Speaker 1: And I'm not saying that for me, the ending is just the fate to white, yeah, and have you ever seen the ending with them driving off?

1485
2:03:28,104 --> 2:03:30,780
Speaker 1: No, dude, I knew of it and I never want to see that.

1486
2:03:30,923 --> 2:03:31,779
Speaker 1: That seems terrible.

1487
2:03:31,900 --> 2:03:33,748
Speaker 2: Go find it on YouTube.

1488
2:03:33,980 --> 2:03:37,371
Speaker 2: If you'd seen this in the theater, you would have taken off your shoe and thrown it at the screen.

1489
2:03:37,722 --> 2:03:40,540
Speaker 2: I mean it's because it's got BB King singing.

1490
2:03:40,721 --> 2:03:44,196
Speaker 2: It's some song like you know, you're gonna land on your feet.

1491
2:03:44,340 --> 2:03:45,624
Speaker 2: You're gonna land, you know.

1492
2:03:45,644 --> 2:03:46,747
Speaker 2: So it's insulting.

1493
2:03:46,928 --> 2:03:48,231
Speaker 2: How bad it is.

1494
2:03:48,480 --> 2:03:53,232
Speaker 1: The only way that could be OK is if the implication was that they had died and they were driving in heaven.

1495
2:03:53,461 --> 2:03:55,310
Speaker 2: Like the end of Greece, like that's right.

1496
2:03:55,561 --> 2:03:58,810
Speaker 2: The car flew off into the sky, and it's you're the one that I love.

1497
2:03:58,930 --> 2:03:59,572
Speaker 2: You are the one.

1498
2:04:01,483 --> 2:04:02,213
Speaker 1: Another ending.

1499
2:04:02,273 --> 2:04:04,787
Speaker 1: I detest, yes, that is like 20.

1500
2:04:05,444 --> 2:04:06,300
Speaker 1: However many seconds.

1501
2:04:06,340 --> 2:04:09,019
Speaker 1: I don't even know if it's that montage at the end, 20 seconds on.

1502
2:04:09,260 --> 2:04:11,765
Speaker 1: I mean it is that minor a complaint?

1503
2:04:11,946 --> 2:04:18,157
Speaker 1: a couple of like atonal moments with the truck and the guy blowing pot smoke into the trunk.

1504
2:04:18,318 --> 2:04:18,500
Speaker 2: Right.

1505
2:04:18,640 --> 2:04:41,770
Speaker 1: Those are the biggest complaints that I can find with a movie that is over two hours long, And there is probably I don't know one total minute of the movie that I'm not totally wild about, But it is so chock full of just good performances and tight dialogue, incredible cinematography and just the set decoration and the way that it's framed.

1506
2:04:41,961 --> 2:04:44,189
Speaker 2: It's just man, it really holds up.

1507
2:04:44,341 --> 2:04:48,340
Speaker 1: I mean it still feels like relevant and important, Right?

1508
2:04:48,380 --> 2:04:48,721
Speaker 1: Because?

1509
2:04:48,801 --> 2:04:50,828
Speaker 2: men are awful.

1510
2:04:51,069 --> 2:04:51,290
Speaker 1: Yeah.

1511
2:04:51,600 --> 2:04:52,565
Speaker 2: None of this has changed.

1512
2:04:53,081 --> 2:05:11,606
Speaker 2: I think some of the discussion around this movie, like when it came out that the fact that they didn't have the marketing budget that they needed, that there was controversy around the movie, got people to go see it I think that there was some thought that this may herald in an era of women themed films, which did not happen, i mean if only Yeah.

1513
2:05:12,000 --> 2:05:17,100
Speaker 2: You've certainly seen just growth in cinema and the types of stories that are being shown.

1514
2:05:17,200 --> 2:05:24,227
Speaker 2: But I mean, if you look at what goes to theaters now, even post COVID, it's superheroes and animated films and horror movies.

1515
2:05:24,501 --> 2:05:29,599
Speaker 2: I don't know where a movie like this finds a home in present day cinema, if it would even get made Right.

1516
2:05:29,861 --> 2:05:33,800
Speaker 1: It's a streaming movie that 14 people saw Right, and yeah.

1517
2:05:33,980 --> 2:05:34,702
Speaker 1: And then it's.

1518
2:05:35,103 --> 2:05:46,280
Speaker 1: One of the unfortunate things about the loss of the monoculture is that we don't really have a way for this to become a thing that engages popular discussion in a big, broad way.

1519
2:05:46,461 --> 2:05:48,328
Speaker 1: It's just not the world we live in anymore.

1520
2:05:48,641 --> 2:05:51,792
Speaker 2: Or you have movies like everything everywhere all at once.

1521
2:05:52,073 --> 2:05:58,260
Speaker 2: that gets a huge amount of attention, but you don't have situations where there are movies like this in any given year.

1522
2:05:58,480 --> 2:06:08,908
Speaker 2: There would have been you know six to 15 indie films with varying degrees of production value and star power that could have been made And now you, just you don't see that.

1523
2:06:08,988 --> 2:06:11,340
Speaker 2: Yeah, You know, we talked about Harvey Keitel and his penis.

1524
2:06:11,441 --> 2:06:16,100
Speaker 2: I mean, like the piano is a movie, Like, how would would that get made today?

1525
2:06:16,261 --> 2:06:17,406
Speaker 2: Would it find an audience?

1526
2:06:17,642 --> 2:06:18,535
Speaker 1: Would it get made today?

1527
2:06:18,657 --> 2:06:19,984
Speaker 1: Maybe Would it find an audience?

1528
2:06:20,204 --> 2:06:21,468
Speaker 1: almost assuredly not.

1529
2:06:21,689 --> 2:06:21,930
Speaker 2: Right.

1530
2:06:22,121 --> 2:06:23,085
Speaker 1: It's really rare.

1531
2:06:23,401 --> 2:06:31,699
Speaker 1: I think the everything everywhere all at once is a good example of a movie that sort of despite itself is incredibly popular.

1532
2:06:31,779 --> 2:06:42,529
Speaker 1: Yeah, there was a world in which that movie came out and disappeared pretty quickly, even though I mean it got a lot of awards, attention and so forth, and you know, and I love that movie, but there are other movies that come out.

1533
2:06:42,810 --> 2:06:55,574
Speaker 1: You know, to use another sort of female centric film as an example, Last year that movie, Women Talking, came out And that would be a movie like a Thelma and Louise.

1534
2:06:55,835 --> 2:07:12,940
Speaker 1: That is like oh, this is actually this really interesting, well-directed, well-performed movie that is just chock full of good script, good performances, really well shot, a really interesting director with Sarah Pauley behind it And, yeah, it got some award recognition.

1535
2:07:13,101 --> 2:07:14,571
Speaker 1: But how many people have seen that movie?

1536
2:07:14,631 --> 2:07:17,411
Speaker 1: Yeah, Thelma and Louise wasn't a box office hit.

1537
2:07:17,432 --> 2:07:21,067
Speaker 1: The way that they could go two and a half was, but whatever, you know it's.

1538
2:07:21,421 --> 2:07:26,067
Speaker 2: One other thing that again, i didn't touch on because there's so much richness behind the history of this particular film.

1539
2:07:26,341 --> 2:07:35,241
Speaker 2: It did not make as much money at the box office as a lot of the big action films of that era did, but what really helped it was the at home market, you know.

1540
2:07:35,281 --> 2:07:47,452
Speaker 2: So movies used to have the theatrical release, then you would have the release in Blockbuster and Hollywood Video or Knockoff Joint you had in your town And then you had its run on HBO or other pay TV services.

1541
2:07:47,621 --> 2:07:49,099
Speaker 2: So there were those three waves.

1542
2:07:49,321 --> 2:07:55,368
Speaker 2: And for people looking for something to watch, you know, on a Friday night when Thelma and Louise was released, it was incredibly popular.

1543
2:07:55,520 --> 2:07:56,826
Speaker 2: It sold very well.

1544
2:07:56,940 --> 2:08:00,751
Speaker 2: The audience found the movie and was able to share that with others.

1545
2:08:00,860 --> 2:08:02,185
Speaker 2: So again, that's something else.

1546
2:08:02,225 --> 2:08:16,212
Speaker 2: As far as reaching that broader audience, yeah, you can pipe it into your house, but you're competing with this insurmountable wave of other media that is vying for your attention And sadly, what I think a lot of people do is, in the face of here's something new and different.

1547
2:08:16,380 --> 2:08:20,100
Speaker 2: Yeah, or I could just watch something that I've seen before that I'm comfortable with.

1548
2:08:20,281 --> 2:08:31,340
Speaker 2: I'll watch reruns of friends or the office, or, you know, the Simpsons or whatever else, rather than spending two hours trying something that isn't going to bring me comfort in a time where it seems like everything around us is falling.

1549
2:08:31,460 --> 2:08:33,188
Speaker 2: But that's a conversation for another day.

1550
2:08:33,402 --> 2:08:34,440
Speaker 1: Like you said, terrific movie.

1551
2:08:34,580 --> 2:08:39,212
Speaker 1: It's probably the best, most successful movie we've ever discussed on this show.

1552
2:08:39,501 --> 2:08:42,940
Speaker 1: It's nice to deep dive on a movie like this every now and again.

1553
2:08:43,060 --> 2:09:00,797
Speaker 1: Don't I mean don't worry, folks, we're getting back to crap, but it is nice every now and again on the show to deep dive on a movie that we're not necessarily just like getting the knives out for, but just to appreciate, like this is such a well made, well crafted, exciting movie.

1554
2:09:00,817 --> 2:09:01,179
Speaker 1: I don't know.

1555
2:09:01,401 --> 2:09:04,717
Speaker 1: I'm curious to hear what listeners think of an episode like this.

1556
2:09:04,757 --> 2:09:08,870
Speaker 1: That isn't just hey, we're going to do goofy voices and talk about how shitty a movie is.

1557
2:09:09,360 --> 2:09:24,370
Speaker 1: And instead go through a movie that's like this movie is really good and kind of hears why and hears the things that you may not have noticed about this movie and the way that it moves and the parallels in it and things like that, like it feels like we were doing honest to goodness, like movie discussion.

1558
2:09:24,601 --> 2:09:25,565
Speaker 1: Yeah, i'll be curious.

1559
2:09:25,943 --> 2:09:30,310
Speaker 1: So, listeners, drop us a line, let us know what you think And if you would like to see more of this.

1560
2:09:30,591 --> 2:09:33,647
Speaker 1: Spoilers you were going to see more of this, although the other one.

1561
2:09:33,667 --> 2:09:34,751
Speaker 2: We're going to do this season.

1562
2:09:34,772 --> 2:09:36,519
Speaker 1: That is arguably a good movie.

1563
2:09:36,539 --> 2:09:38,928
Speaker 1: Quote unquote a good movie is fucking bananas.

1564
2:09:39,143 --> 2:09:39,731
Speaker 2: I'll tell you what's that?

1565
2:09:39,751 --> 2:09:40,339
Speaker 2: fucking bananas.

1566
2:09:40,561 --> 2:09:43,960
Speaker 2: Our next episode which we're going back into the trash heap for this one.

1567
2:09:44,441 --> 2:09:47,451
Speaker 2: No, you can't introduce what's coming up in two weeks time.

1568
2:09:47,662 --> 2:09:48,551
Speaker 1: Hitchhiking Chad.

1569
2:09:48,773 --> 2:09:49,400
Speaker 1: Everybody's doing it.

1570
2:09:49,581 --> 2:09:51,067
Speaker 1: Brad Pitt was doing it in this movie.

1571
2:09:51,360 --> 2:09:56,231
Speaker 2: No one has done it in a more frightening way than perhaps even cowgirls get the blues.

1572
2:09:58,680 --> 2:10:00,427
Speaker 1: That movie, speaking of Tom Robbins.

1573
2:10:00,801 --> 2:10:06,899
Speaker 1: Yes, Rucker Hauer was in a really tense, well crafted thriller in the 80s called The Hitcher.

1574
2:10:06,980 --> 2:10:12,713
Speaker 2: Yes, See, thomas Howe was in that, not wearing blackface, not pretending to be a black man.

1575
2:10:12,920 --> 2:10:15,008
Speaker 1: Jennifer Jason Lee was in that movie.

1576
2:10:15,181 --> 2:10:16,446
Speaker 1: Was she naked in that movie?

1577
2:10:16,721 --> 2:10:19,169
Speaker 1: I don't recall her being naked.

1578
2:10:19,561 --> 2:10:25,084
Speaker 1: I recall her being pulled apart by a semi, which is unpleasant Her biological father.

1579
2:10:25,124 --> 2:10:35,719
Speaker 1: Was that guy who died in the Twilight Zone movies which also had a very famous hitchhiker episode, and you know I can't go into any more of this without absolutely spoiling the introduction for the next episode.

1580
2:10:35,920 --> 2:10:42,409
Speaker 1: But I don't want listeners to think like oh, that sounds like a good movie too, because it kind of is the Hitcher kind of rocks.

1581
2:10:42,920 --> 2:10:49,651
Speaker 1: But they did a much shittier remake of the movie, and that's the one we're going to talk about with Sean Bean and a bunch of people you never heard of.

1582
2:10:49,900 --> 2:10:51,346
Speaker 2: Well, that sounds like a delightfully bad time.

1583
2:10:51,741 --> 2:10:53,547
Speaker 1: It's going to be difficult to watch.

1584
2:10:53,828 --> 2:10:58,612
Speaker 1: All right, unlike this movie, which is an absolute fucking treat from the opening to the end.

1585
2:10:58,781 --> 2:10:59,845
Speaker 2: We finished our salad.

1586
2:10:59,885 --> 2:11:04,197
Speaker 2: for the next course We're going to have an entire can of frosting.

1587
2:11:04,478 --> 2:11:05,361
Speaker 1: Yeah, if they.

1588
2:11:05,381 --> 2:11:11,208
Speaker 1: Yes, it is very much like peel back the foil on the duck and hines buttercream frosting.

1589
2:11:11,328 --> 2:11:12,394
Speaker 1: Get out your spoon.

1590
2:11:12,636 --> 2:11:16,169
Speaker 1: Turn out the lights because no one needs to see you like that Spoon.

1591
2:11:16,309 --> 2:11:16,750
Speaker 2: Fingers.

1592
2:11:17,101 --> 2:11:18,566
Speaker 1: Oh, they call that the DeSantis.

1593
2:11:19,881 --> 2:11:20,564
Speaker 2: Drop us a line.

1594
2:11:20,820 --> 2:11:23,208
Speaker 2: You can email us at picksixmovies at gmail.com

1595
2:11:23,681 --> 2:11:29,380
Speaker 2: We're around here there in social diss and whatever that So, but any final thoughts that you have on Thelma and Louise.

1596
2:11:29,561 --> 2:11:31,560
Speaker 1: Let me just check with Harvey Keitel's penis.

1597
2:11:31,680 --> 2:11:33,427
Speaker 1: Was this the best movie we've ever done?

1598
2:11:33,721 --> 2:11:34,487
Speaker 2: You got that right.

1599
2:11:34,749 --> 2:11:36,120
Speaker 1: OK, best movie we ever did.

1600
2:11:36,301 --> 2:11:37,264
Speaker 2: Thanks Harvey Keitel's penis.

1601
2:11:37,742 --> 2:11:38,899
Speaker 2: We'll see everyone in two weeks time.

1602
2:11:39,081 --> 2:11:39,748
Speaker 2: Thanks for everybody.