What Makes a Great Director?

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Hey everybody.
Welcome into the film and

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whiskey podcast.
I'm Bob book, I'm Brad G and we

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are back with another special
bonus.

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Episode and bonus episode Brad.
How you doing, man?

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Dude, I'm killer, bro.
I'm just, I'm just doing so

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good.
We are recording this on a

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Sunday evening and it is the day
before.

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My oldest goes to kindergarten
for the first time and I am,

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like, I am in a very tenuous
emotional state right now.

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I still remember sitting outside
the where we lived for five

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years ago in Kentucky, at man
plan on the ground, right?

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My brand new puppy.
Yeah, just like go on being

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around man, that feels like
forever ago, doesn't it?

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Yeah, it really does.
And yet like two days ago Dude.

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How good is it to be a parrot?
It's the best really enjoying

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this like thoroughly.
It is an absolute glass today.

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A, my daughter has been in the
big like wants to be a mama type

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of type of mode.
And so she was taking this

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massive stuffed moose.
That's like pretty heavy and

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she's running around the house
with it.

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Like turning on her her sound
machine, trying to put it in a

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sleep sack and like, trying to
burp, it and do all of the

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things to get it ready to go to
bed, but while she's doing it,

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she just keeps yelling the word
mousse.

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She's just like patting it on
the back going moose.

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Moose It's the best thing in the
world cheerleader, man.

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I get it.
Yeah, she loves it man.

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Yeah, so this this episode is
not going to come out for a few

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weeks so we will be well into
the school year but I'm I'm in

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that like almost first day of
school mode, man with my

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youngest today.
We were I've been trying to get

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him to eat more things and he's
just refusing lately and he

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loves tater tots but he wouldn't
need as tots today.

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So I had to do that thing what
you do with babies and he's not

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a baby anymore.
But like I was I wasn't taking a

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tater tot and pretending it was
an airplane.

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Trying to fly it into his mouth.
Hmm and we got to the point

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where it got so elaborate that
we were calling what we were

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doing.
I was like I was calling it Top

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Gun and then we developed Top
Gun and it was and it got to the

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point where I was flying the
tater tot to his mouth and I was

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singing highway to the taters
own.

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Yep.
Yes obviously I am.

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I am fully embracing dad mode at
this point.

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Call it call, you Bob Cruz?
Yeah, that's right, man.

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Well, hey, we are not here to
just wax poetic about

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fatherhood, although it is
wonderful.

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We're here to drink some whiskey
and to talk movies today and

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Brad.
You had a really great idea for

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how to frame today's episode,
why don't you break it down for

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us?
Yeah, so for our patrons this

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season, we are going to be doing
a bonus Series where we rate the

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directors that we've been
watching.

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So if you've been listening to
the podcast this season, you

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know, That we are going directed
by director doing three to four

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movies from each director, just
as a bunch of little mini

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series.
And as we conclude those series,

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we're going to be releasing
bonus content for our patrons,

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which you can become one.
If you'd like, patreon.com slash

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film whiskey, where we rank the
directors on out of 50, just

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like we do our whiskey, there's
going to be five.

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Categories will give them scores
out of 10.

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And then at the end of the
season, we're Going to have a

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final big bonus episode, where
we draft the directors and try

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to decide who has the better
team of directors.

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I love out.
I'm like really excited for it

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man.
So today's episode is going to

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be us, breaking down the
categories talking about why?

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We think they represent what it
means to be a great director and

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drink some whiskey while we're
doing it.

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Yeah, and we're going to be
trying three whiskeys today.

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One is from the Coors company
that has gotten Two whiskey.

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Now they're making it was he
called five Trail blended

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whiskey.
We're also revisiting a brand

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we've done before Lucky 7 with
their six year version of the

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proprietor expression.
And we're trying one from

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Nelson's Greenbrier down in
Tennessee and it's their new

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Nelson Brothers, classic
bourbon.

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I'm excited to try all three of
these Brad I think before we

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jump into this director thing,
why don't we just get one of

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these?
Whiskey's out of the way now,

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because they're sitting here in
front of me and I really want to

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drink.
So, Let's look at this.

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This five trail from korres.
What do you say?

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I'm excited for it.
Man, this is unique.

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I remember a few years back.
Hearing that Pabst.

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Blue Ribbon was going to make a
whiskey.

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Yeah.
I think they made like a white

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whiskey.
Like an unaged.

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Whiskey.
Oh yeah.

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So it's not good.
I would assume.

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I've only had one white dog
where I was like, oh, that's

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like really, really good.
And other than that, it's never

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good.
Bobby I agree.

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But it's interesting to see the
the bigger names in the Brewing

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World.
Beginning to take notice of this

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this little fad that that is
whiskey and thinking that they

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might be able to cut out for
themselves, a little bit of the

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pie, so they're doing something
really interesting.

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They're blending for different
whiskeys together to make a new

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whiskey.
So the mash bill is broken down

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online pretty in a pretty
detailed way, 15% of this is a

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single malt.
So lots of barley in this 35% is

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a for grain bourbon. 45% of this
is a weeded Bourbon and then the

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last five percent is a 13
year-old Kentucky bourbon.

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I have not had a chance
mathematically to go through and

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figure out what percentage of
the final match bill is like

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corn, Rye barley but I'm really
intrigued Brad by this. 15%

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barley like single malt in here
and I I'm interested to see what

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comes of it.
So let's try this together.

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There, Brad.
What are you picking up on the

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nose of this 95 proof whiskey?
Honestly, the the single malt

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kind of comes through somewhat
quickly, I get almost like a

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little bit of an oatmeal flavor
coming through on my nose.

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It's got some vanilla and brown
sugar and finishes with a little

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hint of caramel, it's not
incredibly complex, but those

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oatmeal notes are really nice to
start with.

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Yeah, I definitely think this
has some youth.

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To it, which is surprising
because the youngest thing in

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here is 4 years old.
So, like I'm trying to figure

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out where that hint of Youth is
coming from again.

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It may just be the way that the
barley is kind of playing around

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in here, because sometimes we
get those notes on single malts,

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especially American single
malts.

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I'm, I like it but it has like
very subtle bourbon notes, plus

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malt.
Like that's it doesn't see.

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It doesn't seem like married
together.

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It just seems like Like The Malt
kind of tamper down any really

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really complex bourbon denotes,
and just made it smell like kind

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of caramely plus malt.
Yeah.

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And I think on the pallet you
get a little more of that for me

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there was some vanilla you could
definitely taste that that

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barley coming through but then
it was almost like there is like

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this cream cheese frosting.
It got a little bit rich near

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the back of my tongue and
throughout the entire Palette

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and into the finish.
It felt like there's a little

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bit of rice spice going on.
Yeah, I thought this was really

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interesting and you're right
there was like a sort of

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dramatic change towards the back
of the palette for me though it

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almost took on like a hoppy
character.

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And it may just be because I was
thinking about korres as I was

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drinking this but the way The
Malt in this was, you know,

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messing with my palette.
I think it really came out at on

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the back end of the tasting
experience here and it came out

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in a way that reminded me of
Year.

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So, it just kind of tasted like,
young malt and corn with some

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hoppiness on the end for me.
I wasn't getting a lot of that

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creaminess or the sweetness that
you were.

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In fact, I think this is kind of
like a pretty muted, Whiskey on

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the nose and on the palate.
Yeah, I think that's the, the

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biggest issue I have is that
even as I hit some of those

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creamy notes, they just all felt
like they were watered down a

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little bit.
Like there wasn't anything that

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like popped on my tongue and
really made me like sit back and

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go.
Oh man, I could sit with this.

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Yeah, and even as I got to the
finish, it was kind of more of

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the same there.
There was a little bit of Oak,

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the rice by sitting through the
vanilla was coming through

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again.
Bob, I think that this is a

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pretty decent whiskey.
It's not quite hitting that 35

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out of 50 for me though.
I probably give it like, I don't

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know. 33, maybe a 34 out of 50.
I think I'd be right around to

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the 30 Mark.
I've got my nose taste finish

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and balance at like a six to a
And a half across the board.

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And then this also retails for
$60 Brad.

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So that I mean it's not cheap.
So I think I'd be coming out

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right around a 30, it's a good
whiskey but there's just

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something about the way that
that single malt is playing with

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the other Bourbons here.
That it doesn't seem like a

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match made in heaven.
When it comes to the marrying of

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all these things.
Yeah, well I mean the good news

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is chorus.
Probably has enough money to

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keep throwing at the issues that
they might have.

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They will stay afloat despite
this.

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Yeah, Yeah, I think they'll do.
All right and I honestly I can

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see them.
They are onto something here.

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I could see this moving in a
really interesting and unique

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Direction.
It just needs a little more time

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and you know they have mastered
the art of Brewing.

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So just take a little longer
with just doing, right?

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All right man, let's get into
talking directors here.

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So what we're going to do today
is we're going to set these

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metrics, like we're going to set
the five categories by which we

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will score out all of our
directors come season's end and

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You texted me and told me that
you have five categories in

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mind.
So if you don't mind, you know,

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making yourself the guinea pig
here and we can kind of go off

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of what you're proposing and
come out with our final five

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categories.
What do you think insofar?

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Yeah I think that the first
three categories are a little

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more on how the director is
working with others and then the

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last to feel like they're much
more reliant on the director

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alone.
Do you want me to?

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List out the five or just give
you one and we'll talk about

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that.
Let's go one by one.

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Okay, let's start with
performances.

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Hmm.
Okay.

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So when you watch a movie and I
guess before we get into the

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performances part, the the
reason I chose these five

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categories was simply put.
These are the things that we see

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on the screen and we would say,
you know, as an audience, this

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is what I see, you know,
obviously, being a director is

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making every single Decision
about a movie.

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It's making costuming decisions.
And do they wear, blue, or, or

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Cerulean blue, and this, this
picture, you know, so on so

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forth, we're not here to talk
about all of that because

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there's a lot of stuff there
that goes into making great

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director.
We're talking about what we see

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on the screen.
So when you are watching a movie

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Bob and you see the
performances, we've talked to

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many times over that there are
certain directors that know what

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they're doing with actors and
seemingly can unlock a

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particular actors talents.
And then there's other

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directors, like, George Lucas
who are just known for being a

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little less great at drawing
out, great performances.

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Yeah, I'm with you, man.
I think that they're definitely

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directors and this is what makes
this hard.

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Because like, if you're going to
do, like the nerdy, push my

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glasses up the bridge of my nose
film student guy.

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Obviously, Bob, we're doing that
this whole, right, this whole

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episode People like, you know,
there are directors who never

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worked with very good actors and
they're still considered great

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directors because they get it
such big Ideas.

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This is like especially true in
a lot of like European Cinema

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00:12:15,800 --> 00:12:19,800
like after World War 2, the
Italian Cinema used a lot of

226
00:12:19,800 --> 00:12:21,600
real life.
People who weren't actors

227
00:12:21,700 --> 00:12:23,400
there's directors doing that in
America.

228
00:12:23,400 --> 00:12:27,300
Now the director Shaun Baker who
made the Florida project and a

229
00:12:27,300 --> 00:12:32,700
movie from last year that you
loved red rocket but that's what

230
00:12:32,700 --> 00:12:35,000
I'm saying like I wouldn't call
him a Add filmmaker, you know

231
00:12:35,000 --> 00:12:36,100
what I mean?
Just because he's not

232
00:12:36,100 --> 00:12:39,700
necessarily getting like
professional actors, but he's

233
00:12:39,700 --> 00:12:43,200
getting really good performances
out of the people that he uses

234
00:12:43,200 --> 00:12:47,200
and I think that's the key here
is like are you maximizing?

235
00:12:47,500 --> 00:12:49,800
What you have?
Whether it's professional.

236
00:12:49,800 --> 00:12:52,600
Actors are not.
Yeah, I mean, I think about

237
00:12:52,800 --> 00:12:55,000
let's use a basketball analogy
here.

238
00:12:55,500 --> 00:12:59,900
When you look at LeBron James,
one of the reason he would be

239
00:12:59,900 --> 00:13:03,900
considered the greatest ever is
not just the fact that he is a

240
00:13:04,100 --> 00:13:07,600
Freight train down the lane.
It's also just the fact that he

241
00:13:07,600 --> 00:13:10,700
makes everybody better around
him, right?

242
00:13:10,700 --> 00:13:13,700
Like we joke about it a lot but
go back and look at the roster

243
00:13:13,700 --> 00:13:19,100
of the 2007 Cleveland Cavaliers.
It like LeBron was barely like

244
00:13:19,100 --> 00:13:25,000
23, 24 years old and he was
dragging a garbage roster to the

245
00:13:25,000 --> 00:13:28,900
NBA finals and I think that a
good director can do similar

246
00:13:28,900 --> 00:13:31,600
things.
They can draw out really

247
00:13:31,600 --> 00:13:35,200
beautiful performances from
people who aren't necessarily,

248
00:13:35,400 --> 00:13:36,900
you know, the greatest actors in
the world.

249
00:13:36,900 --> 00:13:41,400
I think about Paul Thomas
Anderson with, I can't think of

250
00:13:41,408 --> 00:13:43,100
their names right now because
they're not really big name

251
00:13:43,100 --> 00:13:46,000
actors and licorice, pizza.
Hmm.

252
00:13:46,200 --> 00:13:51,100
You know, they're not exactly
famous A-list actors that he's

253
00:13:51,100 --> 00:13:55,200
working with here.
And yet he just gets really,

254
00:13:55,200 --> 00:13:57,200
really phenomenal performances.
Out of them.

255
00:13:57,300 --> 00:13:59,000
Totally agree.
Yeah, I like it, man.

256
00:13:59,100 --> 00:14:00,900
So there's our first category
performances.

257
00:14:01,500 --> 00:14:02,400
Yeah.
And then moving on from

258
00:14:02,400 --> 00:14:05,900
performances, we are going to
get Into cinematography.

259
00:14:06,500 --> 00:14:10,400
Now, this one, I was, I was
reading a little bit about, and

260
00:14:10,700 --> 00:14:15,200
I think the what I am going to
say here is not the technical

261
00:14:15,200 --> 00:14:19,300
definition of cinematography
because, which seems to refer

262
00:14:19,300 --> 00:14:23,400
more to, like, how a shot is
being shot.

263
00:14:24,100 --> 00:14:27,700
And I'm just going to talk more
about like the visual aesthetic

264
00:14:27,800 --> 00:14:29,300
of a movie.
Yeah, I like that.

265
00:14:29,300 --> 00:14:32,900
Like, like the assassination of
Jesse James by the coward,

266
00:14:32,900 --> 00:14:38,300
Robert Ford has, A very
different scenery Outlook,

267
00:14:38,300 --> 00:14:41,000
whatever you want to call it,
then something like Scott

268
00:14:41,000 --> 00:14:42,200
Pilgrim vs.
The World.

269
00:14:42,200 --> 00:14:45,400
And yet the cinematography I
would say in both movies is

270
00:14:45,400 --> 00:14:46,700
really well done.
Hmm.

271
00:14:47,000 --> 00:14:49,300
I guess I'd be curious about how
would you you define

272
00:14:49,300 --> 00:14:51,600
cinematography?
I think this is one of those

273
00:14:51,600 --> 00:14:54,600
areas that like over the course
of our podcast, I've been really

274
00:14:54,600 --> 00:14:59,500
interested to see your kind of
growth in how you differentiate

275
00:14:59,500 --> 00:15:01,700
these two things.
Because like I would say towards

276
00:15:01,700 --> 00:15:05,200
the beginning, there were a lot
of Things I remember times where

277
00:15:05,200 --> 00:15:07,800
you would kind of ask me, like,
what is a director's job?

278
00:15:07,800 --> 00:15:10,900
Because like, we would be
attributing, all these things to

279
00:15:10,908 --> 00:15:12,700
the director that technically
weren't there.

280
00:15:12,700 --> 00:15:14,200
Like, they weren't the editor,
they weren't the

281
00:15:14,208 --> 00:15:16,600
cinematographer, but then we
would always give the director

282
00:15:16,600 --> 00:15:19,900
credit for when a movie was,
well, edited or while shot.

283
00:15:19,900 --> 00:15:22,200
Right.
Yeah and I think like it is

284
00:15:22,200 --> 00:15:25,500
really hard sometimes to parse
those things out.

285
00:15:25,500 --> 00:15:29,100
Like when you have somebody like
a Roger deakins who is working

286
00:15:29,100 --> 00:15:32,100
on Coen brothers, movies, and
shooting, No Country for Old

287
00:15:32,100 --> 00:15:33,900
Men.
And then a few years later, he's

288
00:15:34,000 --> 00:15:35,800
Working with Sam Mendes and
doing Skyfall.

289
00:15:35,900 --> 00:15:40,000
And there's something about the
way that he shoots films that

290
00:15:40,000 --> 00:15:43,000
you can tell immediately, like,
oh, sicario, that looks like a

291
00:15:43,000 --> 00:15:45,300
Roger deakins movie.
And it is a Roger deakins movie.

292
00:15:45,800 --> 00:15:49,800
But the way the camera moves in
a Coen Brothers, movie versus a

293
00:15:49,800 --> 00:15:53,900
Sam Mendes movie versus a Denis
Villeneuve, movie is totally

294
00:15:53,900 --> 00:15:55,700
different.
And and those are the things

295
00:15:55,700 --> 00:15:58,400
where you have to look at like,
what is the director telling

296
00:15:58,400 --> 00:16:01,900
Roger deakins to do.
Why is it important that Alfonso

297
00:16:01,900 --> 00:16:03,900
cuaron?
Shoots so much.

298
00:16:04,000 --> 00:16:07,000
Children of Men In really,
really long takes.

299
00:16:07,300 --> 00:16:11,000
He don't I'm saying like there's
just there's something about the

300
00:16:11,000 --> 00:16:14,700
director's vision and I love how
you phrased it as Aesthetics.

301
00:16:15,100 --> 00:16:17,700
Like in film studies.
They call it Maison Saint.

302
00:16:17,700 --> 00:16:21,700
It's like what's in the scene
like everything in its place in

303
00:16:21,700 --> 00:16:23,700
the scene.
It's a taken from French

304
00:16:23,700 --> 00:16:26,200
culinary.
Like mise en place but like

305
00:16:26,600 --> 00:16:28,200
we're not going to we're not
going to call it that.

306
00:16:28,600 --> 00:16:32,100
Let's just be honest here.
But now no man, I think that has

307
00:16:32,100 --> 00:16:33,800
a ring to it.
The place.

308
00:16:34,000 --> 00:16:38,100
Amount of things in the frame,
everything you see on screen has

309
00:16:38,100 --> 00:16:42,300
decision-making behind it, and
the good director has accounted

310
00:16:42,300 --> 00:16:45,000
for every single thing you will
see on that screen.

311
00:16:45,400 --> 00:16:48,400
And I think it takes us back
like way back in.

312
00:16:48,400 --> 00:16:51,000
This might have been season one
or two when we had Josh Larson

313
00:16:51,000 --> 00:16:54,200
on the show and we were asking
him like what's just some of the

314
00:16:54,200 --> 00:16:56,700
basics of becoming better at
watching movies?

315
00:16:57,400 --> 00:17:00,100
And he just flat out said, like
just pause the movie at any

316
00:17:00,100 --> 00:17:03,900
random point and think about
stuff you like, on the screen.

317
00:17:03,900 --> 00:17:05,800
Talk about stuff you dislike on
the screen.

318
00:17:05,800 --> 00:17:08,099
Like, what is attractive about
the picture?

319
00:17:08,099 --> 00:17:10,400
What is something where you go?
I don't know if I really like

320
00:17:10,400 --> 00:17:12,200
that.
And like that's one of the most

321
00:17:12,200 --> 00:17:15,000
basic ways to get better,
watching movies.

322
00:17:15,000 --> 00:17:17,800
And I think that's kind of the
goal we're shooting for here,

323
00:17:17,800 --> 00:17:19,300
with with the category of
cinematography.

324
00:17:19,300 --> 00:17:22,000
All right?
You tease that, there were three

325
00:17:22,000 --> 00:17:24,599
big categories that you felt
pretty confident on.

326
00:17:24,599 --> 00:17:25,800
So why don't you hit us with
that?

327
00:17:25,800 --> 00:17:27,400
Third one?
And then we'll break for our

328
00:17:27,400 --> 00:17:30,400
second whiskey honestly.
Bob, I think it might be one of

329
00:17:30,400 --> 00:17:36,000
the most important ones, if not
just my Edit category, I we're

330
00:17:36,000 --> 00:17:40,800
talking sound design.
Now, I know that, I know that

331
00:17:40,800 --> 00:17:44,600
Spielberg is not composing music
because John Williams is

332
00:17:44,600 --> 00:17:48,800
obviously doing it.
However, I still think that when

333
00:17:48,800 --> 00:17:52,700
you, when you take into account,
all of the little decisions

334
00:17:53,000 --> 00:17:58,800
about how to draw an audience's
attention to different parts of

335
00:17:58,800 --> 00:18:02,700
the seen, it all comes down to
sound design.

336
00:18:02,700 --> 00:18:07,600
Like if you see a busy street
and then you hear the sound,

337
00:18:07,700 --> 00:18:10,300
Sound of footsteps coming really
strongly from the left side of

338
00:18:10,300 --> 00:18:12,100
the screen.
You're naturally going to be

339
00:18:12,100 --> 00:18:15,300
drawn to somebody who is walking
on the left side of the screen.

340
00:18:15,700 --> 00:18:19,400
So I think that sound design
isn't just the orchestral scores

341
00:18:19,400 --> 00:18:21,400
that were talking about.
Although, those are part of it,

342
00:18:21,800 --> 00:18:25,900
I think it's also just like how
well does this movie sound?

343
00:18:26,500 --> 00:18:29,700
It really makes me think about
how tenant came out a few years

344
00:18:29,700 --> 00:18:32,500
ago and a lot of people were
like, man.

345
00:18:32,500 --> 00:18:35,300
I had no idea what was happening
in that movie because it was

346
00:18:35,300 --> 00:18:39,000
just so loud and it felt like it
was a Of noise.

347
00:18:39,200 --> 00:18:43,400
I do remember that I do I do I
had the same experience watching

348
00:18:43,400 --> 00:18:45,000
tenant.
That's I mean, that's and that's

349
00:18:45,000 --> 00:18:47,900
kind of become like a parody of
Christopher Nolan and I feel

350
00:18:47,900 --> 00:18:49,400
like he's almost leaning into it
now.

351
00:18:49,600 --> 00:18:52,800
Like it started with the Dark
Knight Rises and how no one

352
00:18:52,800 --> 00:18:55,000
could understand Bane.
And ever since then, he's just

353
00:18:55,000 --> 00:18:56,900
like watch this, you won't hear
a thing.

354
00:18:58,400 --> 00:19:03,000
And so I think I'll push back a
little bit Brad on sound design

355
00:19:03,000 --> 00:19:05,700
as the category.
Because, you know, there may

356
00:19:05,700 --> 00:19:07,500
come a day where we watch a
movie for this.

357
00:19:07,700 --> 00:19:10,300
Podcast that's like a Charlie
Chaplin movie, or like something

358
00:19:10,300 --> 00:19:12,800
that has no sound outside of the
score.

359
00:19:12,900 --> 00:19:17,000
That is accompanying the silent
movie and I would never in a

360
00:19:17,000 --> 00:19:19,500
million years.
Call the masters of Silent

361
00:19:19,500 --> 00:19:21,800
Cinema like bad directors
because they're not using sound

362
00:19:21,800 --> 00:19:24,800
design.
You and I mean, but I think what

363
00:19:24,800 --> 00:19:28,400
we could do is we can kind of
combine the sound editing and

364
00:19:28,400 --> 00:19:31,900
the sound design with the
editing of the movie itself.

365
00:19:32,000 --> 00:19:34,500
Like, if you're Scorsese, and
you're working with Thelma

366
00:19:34,500 --> 00:19:37,600
Schoonmaker, what she's doing to
cut pictures together.

367
00:19:38,000 --> 00:19:41,400
And what your sound editors are
doing to cut sounds together the

368
00:19:41,400 --> 00:19:44,700
way that in the ring with Jake
LaMotta, the sound completely

369
00:19:44,700 --> 00:19:47,800
drains out.
The way that on the beaches of

370
00:19:47,800 --> 00:19:50,500
Normandy in Spielberg's Saving
Private Ryan.

371
00:19:50,900 --> 00:19:52,700
You get that muffled sound
effect.

372
00:19:52,700 --> 00:19:56,800
As Tom Hanks is disoriented like
sound design, totally plays into

373
00:19:56,800 --> 00:19:58,000
that.
But so does the editing of the

374
00:19:58,000 --> 00:20:00,300
pictures.
And I think maybe the way to

375
00:20:00,300 --> 00:20:04,500
talk about this is like, what is
the structure of the movie?

376
00:20:04,600 --> 00:20:07,500
I think maybe structure is a, is
a more kind of broad term.

377
00:20:07,600 --> 00:20:10,900
We could use, but, but meaning,
like how are they putting their

378
00:20:10,900 --> 00:20:13,100
movies together?
And why is it important that

379
00:20:13,100 --> 00:20:14,600
they're putting them together
that way?

380
00:20:16,000 --> 00:20:19,700
Would you say that the overall
category would be structure?

381
00:20:19,700 --> 00:20:23,500
Or would it be sound structure?
Because I think the key of what

382
00:20:23,500 --> 00:20:27,000
I'm trying to get at here, is
that the three categories I've

383
00:20:27,000 --> 00:20:31,200
suggested so far?
Our who am I watching on screen?

384
00:20:31,200 --> 00:20:35,000
What am I seeing on screen?
And what am I hearing coming out

385
00:20:35,000 --> 00:20:38,600
of the speakers?
Like and that's kind of the the

386
00:20:38,900 --> 00:20:42,900
gist of what I'm going for.
Do you feel like structure is

387
00:20:42,900 --> 00:20:47,700
accounting for plots?
Structure and and dialogue and

388
00:20:47,700 --> 00:20:49,300
everything?
Or is it focused on?

389
00:20:49,308 --> 00:20:51,800
Well then maybe I think the way
we should say it is editing and

390
00:20:51,800 --> 00:20:56,300
we can imply Visual and audio
editing in that because like

391
00:20:56,700 --> 00:20:59,600
that's what I'm trying to get at
is, is there a great directors

392
00:20:59,900 --> 00:21:02,100
who never had to deal with sound
ever?

393
00:21:02,500 --> 00:21:04,700
Dude, I mean, like, I don't know
if you can make a sound a

394
00:21:04,708 --> 00:21:08,700
criteria for what makes you
great, but like I'm with you in

395
00:21:08,700 --> 00:21:12,000
that the way that images and
sounds are cut together is what

396
00:21:12,000 --> 00:21:14,900
is part of what makes a master
director in.

397
00:21:15,100 --> 00:21:17,300
Master director.
So like yeah, would you be

398
00:21:17,300 --> 00:21:20,100
willing to just call it editing
and make it like

399
00:21:20,100 --> 00:21:23,900
all-encompassing?
I will with the caveat.

400
00:21:23,900 --> 00:21:27,600
I just want it to be known that.
I think that appealing to

401
00:21:27,600 --> 00:21:31,700
directors from the 1920s is
reaching a little bit.

402
00:21:33,100 --> 00:21:35,200
I'm going to make you watch so
many Charlie, Chaplin movies?

403
00:21:35,200 --> 00:21:38,300
No dude, I'm in man.
I would love to watch Charlie

404
00:21:38,300 --> 00:21:41,800
Chaplin but I feel like it's
reaching a little bit to be

405
00:21:41,800 --> 00:21:44,800
like, what we, we can't leave
out all those great.

406
00:21:45,000 --> 00:21:49,900
Silent film directors, your pet.
Your impression of me is getting

407
00:21:49,900 --> 00:21:52,300
better and better by the day and
it is.

408
00:21:52,300 --> 00:21:54,300
All right, I'm practicing let's
take a break.

409
00:21:54,300 --> 00:21:57,200
Let's try the second whiskey.
I say, we go for this Nelson.

410
00:21:57,200 --> 00:21:58,800
Brothers.
Classic bourbon.

411
00:21:58,800 --> 00:22:01,100
What do you say?
Yeah, I'm excited for it, man.

412
00:22:03,100 --> 00:22:06,900
All right, so this whiskey is,
this is a blend of straight

413
00:22:06,900 --> 00:22:12,000
bourbon, whiskey zit clocks in,
at 93.3 proof it is corn, Rye,

414
00:22:12,000 --> 00:22:15,700
barley Mash bill, it comes from
Nelson's, Greenbrier out of

415
00:22:15,700 --> 00:22:18,100
Tennessee.
I'm really excited to try their

416
00:22:18,100 --> 00:22:20,600
name, like their Flagship
product, one of these days.

417
00:22:20,600 --> 00:22:23,300
Brad, but this is a new
expression that they just

418
00:22:23,300 --> 00:22:26,000
launched, they've got one called
the classic bourbon, and one

419
00:22:26,000 --> 00:22:29,300
called The Reserve bourbon.
This is this one is more of an

420
00:22:29,300 --> 00:22:33,600
entry-level more affordable.
They sent us a bottle to try And

421
00:22:33,600 --> 00:22:36,500
so this is the first thing from
this Distillery that we are ever

422
00:22:36,500 --> 00:22:39,500
reviewing on this podcast.
Brad, what are you picking up on

423
00:22:39,500 --> 00:22:43,100
the nose here?
This one has a really dusty

424
00:22:43,100 --> 00:22:45,200
toffee.
Kind of feel to it.

425
00:22:46,300 --> 00:22:51,000
There's just this not it's not a
funk there.

426
00:22:51,000 --> 00:22:54,100
There's just kind of a very
unique quality to it that I'm

427
00:22:54,100 --> 00:22:58,000
going to call Dusty for now.
And on the back end of the nose

428
00:22:58,000 --> 00:23:02,600
I almost got a tiny bit of like
an earthy kind of clove feel.

429
00:23:03,400 --> 00:23:06,800
It's a pretty unique knows.
I'm really interested to hear.

430
00:23:07,200 --> 00:23:09,200
I got almost completely
different notes on the nose.

431
00:23:09,200 --> 00:23:11,800
As you did Brad.
Like I got lots of classic

432
00:23:11,800 --> 00:23:15,200
bourbon notes and then there was
this fruity thing going on that.

433
00:23:15,200 --> 00:23:18,000
I couldn't quite place and it
wasn't Apple.

434
00:23:18,200 --> 00:23:21,800
It wasn't stoned fruit.
I knew it was an orange, but it

435
00:23:21,800 --> 00:23:24,800
had kind of a citrusy thing.
Then I realized it reminded me a

436
00:23:24,808 --> 00:23:29,300
lot of like when you get a
really good like glass of lemon

437
00:23:29,300 --> 00:23:32,700
lime soda like Sprite or 7Up, or
whatever your preferred one is.

438
00:23:32,900 --> 00:23:35,400
And you get that, like, the
bubbles that come off of a

439
00:23:35,400 --> 00:23:37,900
Sprite.
And I really got that.

440
00:23:37,900 --> 00:23:40,800
Here was lemon, lime soda on top
of bourbon?

441
00:23:40,900 --> 00:23:43,900
I was really digging it man.
Like, if I had to score it out,

442
00:23:43,900 --> 00:23:46,100
I would say that's like an 8 out
of 10 on the nose for me.

443
00:23:46,400 --> 00:23:48,600
Yeah.
I like the nose a lot and I

444
00:23:48,600 --> 00:23:52,700
really liked the pallet for me.
That's where the fruitiness

445
00:23:52,700 --> 00:23:54,400
started to come out.
I got like a little bit of a

446
00:23:54,400 --> 00:23:59,300
peach, like, a vanilla Peach
feel along with a little bit of

447
00:23:59,300 --> 00:24:01,800
nuttiness.
I think that that that Dusty

448
00:24:01,800 --> 00:24:06,200
nose turned into A bit of a
peanut feel for me, it's

449
00:24:06,200 --> 00:24:09,200
definitely unique.
The the movement from fruitiness

450
00:24:09,200 --> 00:24:12,000
into a nuttiness that I really
like so far.

451
00:24:12,600 --> 00:24:16,200
Yeah, for me, this was a little
bit thin on the very front of

452
00:24:16,200 --> 00:24:20,100
the palate and kind of watery
but once it hit the mid palate

453
00:24:20,100 --> 00:24:23,100
it really opened up it's a nice
round bourbon denotes.

454
00:24:23,100 --> 00:24:26,300
This one was kind of spicy like
it had a lot of black pepper on

455
00:24:26,300 --> 00:24:29,500
it and then towards the back of
the palate, lots of cinnamon for

456
00:24:29,500 --> 00:24:32,200
me like it really developed into
baking spices.

457
00:24:32,800 --> 00:24:35,400
Totally different from the nose
but still really good.

458
00:24:35,700 --> 00:24:37,400
You know, again, if we're
scouring this, I'd say I'd give

459
00:24:37,400 --> 00:24:39,400
it about a seven on the taste.
Yeah.

460
00:24:39,400 --> 00:24:42,700
And the, The Finnish man,
there's some vanilla there was

461
00:24:42,700 --> 00:24:46,900
some Oak and I almost got like,
like a toasted a little bit too

462
00:24:46,900 --> 00:24:50,000
much marshmallow.
Mmm, like a little bit crispy.

463
00:24:50,400 --> 00:24:53,300
Honestly, man, this is like a
really impressive offering from

464
00:24:53,300 --> 00:24:55,900
the Nelson Burrows.
Yeah, I'm gonna be honest, man.

465
00:24:55,900 --> 00:24:59,100
Like of the three whiskeys, we
are trying today.

466
00:24:59,400 --> 00:25:02,500
This was probably my favorite
finish because it was really

467
00:25:02,500 --> 00:25:04,200
long.
Long-lasting and it came in

468
00:25:04,200 --> 00:25:05,800
waves.
Like you'd think that it was

469
00:25:05,800 --> 00:25:08,800
dying down, and then you'd get
another wave of flavor on the

470
00:25:08,800 --> 00:25:11,600
back of your palate.
I'm really digging this man and

471
00:25:11,600 --> 00:25:13,700
I think it's very, very well
balanced.

472
00:25:13,900 --> 00:25:16,300
Like I said, the nose is a
little bit different from the

473
00:25:16,300 --> 00:25:18,400
flavors you get on the palate
and finish.

474
00:25:18,600 --> 00:25:21,800
But other than that man I'm a
big fan of this and I'm a fan of

475
00:25:21,800 --> 00:25:23,300
the price point that it's at
Brad.

476
00:25:23,800 --> 00:25:26,400
How much does it cost Bob?
So I'm not seeing it for sale in

477
00:25:26,400 --> 00:25:28,300
the state of Ohio.
Did you look it up in Ohio?

478
00:25:29,100 --> 00:25:31,600
I did not so Brad.
Online the cheapest.

479
00:25:31,600 --> 00:25:35,600
I'm seeing this sold It looks
like $26 and the most expensive

480
00:25:35,600 --> 00:25:40,600
emceeing, it sold for is $50 but
it looks like 36 to 39.

481
00:25:40,600 --> 00:25:45,200
Seems to be the average here and
again for, you know, a company

482
00:25:45,200 --> 00:25:47,700
that has pretty substantial
distribution.

483
00:25:47,700 --> 00:25:51,300
But is still not, you know, a
major player in the world of

484
00:25:51,300 --> 00:25:54,800
Bourbons.
I actually think that like $39

485
00:25:54,800 --> 00:25:56,700
is pretty good value for this
Brad.

486
00:25:56,700 --> 00:26:01,400
Yeah, I would definitely say so,
I am really liking this lot.

487
00:26:01,400 --> 00:26:06,100
I think I'd probably come out.
To like a 37 38 out of 50 and,

488
00:26:06,100 --> 00:26:08,200
and would definitely recommend
people try.

489
00:26:08,300 --> 00:26:11,300
Yeah, this is this is like seven
and a half to eight and a half

490
00:26:11,300 --> 00:26:14,500
across the board for me, really,
really digging this one.

491
00:26:14,500 --> 00:26:17,800
Thank you so much to Nelson
Brothers for this Brad.

492
00:26:17,800 --> 00:26:20,900
Let's finish out your categories
for what, makes a great

493
00:26:20,900 --> 00:26:22,100
director.
What do you say?

494
00:26:22,700 --> 00:26:26,500
Let's get to a bob.
All right, Brad hit us with your

495
00:26:26,500 --> 00:26:29,600
remaining two categories for
what?

496
00:26:29,600 --> 00:26:32,300
Makes a great director.
Yes, of the fourth category that

497
00:26:32,300 --> 00:26:33,400
I want to go.
We're here.

498
00:26:33,800 --> 00:26:39,800
I'm gonna call cohesion and the
the thought behind that is like,

499
00:26:39,800 --> 00:26:43,900
how well does the movie work
within itself?

500
00:26:44,300 --> 00:26:47,900
Like, does the story makes
sense, does the character Arc

501
00:26:47,900 --> 00:26:50,700
makes sense?
You know, there's certain movies

502
00:26:50,700 --> 00:26:53,800
where all of a sudden you're
like 75% of the way through the

503
00:26:53,800 --> 00:26:57,500
movie and your main character
makes a very big Capital, C

504
00:26:57,500 --> 00:27:01,400
choice and you're like, that
doesn't feel like the person

505
00:27:01,400 --> 00:27:04,800
I've been watching for the last
The hour and a half you know and

506
00:27:04,800 --> 00:27:07,500
so like it's stuff like that.
I'm talking about, cohesion.

507
00:27:07,500 --> 00:27:11,100
I think it would also be like
cohesion of vision.

508
00:27:11,100 --> 00:27:15,500
Cohesion of, you know, is it
stylistically the same

509
00:27:15,500 --> 00:27:17,700
throughout?
Yeah, I don't know.

510
00:27:17,700 --> 00:27:19,200
What do you think?
Yeah, I like it, it's like

511
00:27:19,200 --> 00:27:22,300
cohesiveness.
But also consistency.

512
00:27:23,100 --> 00:27:24,800
You know what I mean?
Yes.

513
00:27:24,900 --> 00:27:27,100
Yeah.
So here's the thing in like,

514
00:27:27,100 --> 00:27:30,200
there's certain types of
directors that I've never been

515
00:27:30,200 --> 00:27:31,800
on board for it.
It's usually the ones that are

516
00:27:31,800 --> 00:27:34,900
like, way out there.
Are surrealists or people like

517
00:27:34,900 --> 00:27:39,300
David Lynch, who really does
make surrealistic movies where

518
00:27:39,300 --> 00:27:43,100
it's like, the point of the
movie is to be off the wall and

519
00:27:43,100 --> 00:27:45,700
have weird surprising things
happen that don't make sense.

520
00:27:46,000 --> 00:27:48,400
And I'm like, I don't know how
to evaluate this, like how do I

521
00:27:48,408 --> 00:27:50,700
know what is good and what is
not.

522
00:27:51,000 --> 00:27:53,400
And that's part of that's part
of what brought up our

523
00:27:53,400 --> 00:27:55,900
discussion of Stanley Kubrick
when we did 2001.

524
00:27:56,400 --> 00:27:59,100
I think sometimes people just
never entertain the idea that

525
00:27:59,100 --> 00:28:03,200
people who are certifiable
genius, has can also Just make a

526
00:28:03,200 --> 00:28:07,200
bad movie, you know what I mean?
Like, we give people past, yeah.

527
00:28:07,400 --> 00:28:11,600
When they, when their Vision
doesn't have cohesion, and I

528
00:28:11,600 --> 00:28:14,900
really like having this as a
criteria Brad, it's not to say

529
00:28:14,900 --> 00:28:18,000
that your movie is predictable.
It's not to say that that we're

530
00:28:18,000 --> 00:28:20,300
not going to hold the writer
accountable because I think you

531
00:28:20,300 --> 00:28:24,900
could give Scorsese or Spielberg
a dog turd of a script and they

532
00:28:24,900 --> 00:28:26,300
can still direct the hell out of
it.

533
00:28:26,300 --> 00:28:29,500
And you'll know that the faults
with that movie are with the

534
00:28:29,500 --> 00:28:31,000
script and not with the
director.

535
00:28:31,400 --> 00:28:35,500
So I like the idea.
Of like a uniformity or

536
00:28:35,500 --> 00:28:38,300
consistency of vision.
And I really in the end, if you

537
00:28:38,300 --> 00:28:39,800
want to call it cohesion, let's
go for it.

538
00:28:39,800 --> 00:28:42,400
I really like that.
Yeah, and I think that cohesion,

539
00:28:42,400 --> 00:28:46,800
kind of takes into account what
I mentioned earlier as far as

540
00:28:46,800 --> 00:28:51,600
like the director is the one who
has final say on everything, and

541
00:28:51,600 --> 00:28:54,800
I think that cohesion kind of
gathers up that category into

542
00:28:54,800 --> 00:28:57,400
one.
All right, so that's four and I

543
00:28:57,408 --> 00:28:58,800
think we're in pretty good
agreement.

544
00:28:58,800 --> 00:29:02,600
So far what would you say is the
fifth criteria?

545
00:29:02,700 --> 00:29:05,600
Leah.
Yeah, our final category that we

546
00:29:05,600 --> 00:29:08,300
will score directors on I think
I'd like to just call

547
00:29:08,300 --> 00:29:12,400
originality like you know
obviously the person who writes

548
00:29:12,400 --> 00:29:16,800
the script has a large piece in
this but like the vision of a

549
00:29:16,808 --> 00:29:21,500
director can just be wholly
original you know like when I

550
00:29:21,500 --> 00:29:29,400
think about Jaws that for its
time was just absolutely crazy

551
00:29:29,400 --> 00:29:32,200
different than anything you were
seeing in the summer.

552
00:29:32,800 --> 00:29:36,000
When movies were coming out.
And so, I think the originality

553
00:29:36,000 --> 00:29:39,500
there is huge and you can look
back on it and be like, oh,

554
00:29:39,500 --> 00:29:42,200
yeah, well, every horror movie
has been based off at since, and

555
00:29:42,400 --> 00:29:44,100
that doesn't take away from
originality.

556
00:29:44,100 --> 00:29:47,100
If anything, it probably knocks
the score up a few points

557
00:29:47,100 --> 00:29:51,000
because everyone has copied it.
And so I think originality is

558
00:29:51,000 --> 00:29:54,900
just basically like, will this
director take risks, will they

559
00:29:54,900 --> 00:29:59,600
take on a movie that doesn't
line up with, you know, all

560
00:29:59,600 --> 00:30:02,300
every other movie that's coming
out of the time, like I would

561
00:30:02,300 --> 00:30:07,000
call The Iron Man a more
original film because there had

562
00:30:07,000 --> 00:30:11,800
not been a ton of superhero
movies like it made before that

563
00:30:11,800 --> 00:30:16,300
other than Spider-Man.
So, you know, but as we move

564
00:30:16,300 --> 00:30:18,800
later in the MCU, becomes less
and less original.

565
00:30:19,300 --> 00:30:24,300
So yeah, I think originality is
a really huge part of being a

566
00:30:24,300 --> 00:30:26,500
great director.
Totally agree.

567
00:30:26,500 --> 00:30:30,000
And like I watched the most
recent Doctor Strange movie.

568
00:30:30,000 --> 00:30:33,700
The other day that Sam Raimi
directed like Got Sam Raimi to

569
00:30:33,700 --> 00:30:37,000
come out of superhero retirement
to make this MCU movie.

570
00:30:37,900 --> 00:30:40,100
And people did not like that
movie.

571
00:30:40,100 --> 00:30:41,900
And I'll be honest, like it
wasn't a great movie.

572
00:30:41,900 --> 00:30:45,900
But it's because the script was
awful and like it everything has

573
00:30:45,900 --> 00:30:48,500
in the MCU, has just become a
commercial for what's coming

574
00:30:48,500 --> 00:30:51,900
next but he directed the hell
out of that thing.

575
00:30:51,900 --> 00:30:55,400
It is like so much fun.
It is a throwback to those, like

576
00:30:55,800 --> 00:30:58,800
funny.
And also gory 90s horror movies

577
00:30:58,800 --> 00:31:01,400
that he used to make that he
hinted at with the Spider-Man

578
00:31:01,400 --> 00:31:03,900
films.
Like Like, you can see the

579
00:31:03,900 --> 00:31:06,400
originality there, and that's
what I love about.

580
00:31:06,400 --> 00:31:09,100
A good director is like, whether
or not they actually have a hand

581
00:31:09,100 --> 00:31:12,700
in writing the movie.
Do they have a unique visual

582
00:31:12,700 --> 00:31:14,800
style?
Do they have a unique Visual

583
00:31:14,800 --> 00:31:16,700
Voice?
You know, when we watched a

584
00:31:16,700 --> 00:31:20,100
movie, like, if Beale, Street
could talk, you had never seen a

585
00:31:20,100 --> 00:31:24,100
Barry Jenkins movie before.
But like, it's obvious that the

586
00:31:24,100 --> 00:31:27,600
person behind the camera has a
very unique style and knows

587
00:31:27,600 --> 00:31:30,200
exactly what they're doing with
how they put those images on the

588
00:31:30,200 --> 00:31:33,400
screen.
And I think it's like, You know,

589
00:31:33,400 --> 00:31:36,800
we just got done with Spielberg.
He had a hand in writing so many

590
00:31:36,800 --> 00:31:39,000
of those movies and that's why
they're so heavily.

591
00:31:39,100 --> 00:31:42,800
The the father-son dynamic are
the divorced, parents Dynamic,

592
00:31:43,300 --> 00:31:45,700
but he also finds a way to
communicate those themes of

593
00:31:45,700 --> 00:31:49,400
visually that even if those
things weren't there on the page

594
00:31:49,600 --> 00:31:52,700
there in the final film, because
Spielberg put them there, you

595
00:31:52,700 --> 00:31:55,300
know what I mean?
Yeah, and you're totally right.

596
00:31:55,300 --> 00:31:58,800
Like, a really great director
whether or not they wrote the

597
00:31:58,800 --> 00:32:02,100
movie finds a way to get their,
their own voice and their own

598
00:32:02,100 --> 00:32:04,000
experiences.
Is on to that screen.

599
00:32:04,400 --> 00:32:08,700
Ya Baba I think that kind of
wraps up our five categories

600
00:32:08,700 --> 00:32:12,400
here which means we need to jump
into this lucky, 76-year

601
00:32:13,300 --> 00:32:14,900
Proprietors blend.
Yeah man.

602
00:32:14,900 --> 00:32:18,000
So this is our second time
having Lucky Seven on the show.

603
00:32:18,300 --> 00:32:21,000
It's been probably two years
since the last time we had them

604
00:32:21,000 --> 00:32:25,600
on, this is a sourced whiskey.
That is, you know produced by

605
00:32:25,600 --> 00:32:30,600
Lucky seven spirits, it clocks
in at 120 .6 proof, it is six

606
00:32:30,600 --> 00:32:33,200
years old, it retails for 85
Dollars.

607
00:32:33,400 --> 00:32:36,100
Now again, if you listen to our
first episode about Lucky Seven,

608
00:32:36,100 --> 00:32:40,400
we go in much greater detail,
this is intended as a high-end

609
00:32:40,400 --> 00:32:43,700
whiskey, kind of in a similar
vein, as we tried blue run

610
00:32:43,700 --> 00:32:47,200
around that time as well.
I really love what Lucky 7 is

611
00:32:47,200 --> 00:32:48,800
doing.
They've got the best packaging

612
00:32:48,800 --> 00:32:50,800
in the game as far as I'm
concerned.

613
00:32:50,900 --> 00:32:52,900
Like they're really, really
killing it over there.

614
00:32:53,200 --> 00:32:56,400
They also made the coin of
Destiny.

615
00:32:56,800 --> 00:32:58,600
I'll they did.
I forgot about that.

616
00:32:58,600 --> 00:33:01,400
That is the coin that I flip
every single time partially

617
00:33:01,400 --> 00:33:07,200
because it is Whiskey company
and their logo has an old-style

618
00:33:07,700 --> 00:33:10,100
real get here on it.
Yeah.

619
00:33:10,100 --> 00:33:12,500
All their packaging.
Like the label on the front of

620
00:33:12,500 --> 00:33:14,300
the bottle is shaped, like an
old movie ticket.

621
00:33:14,300 --> 00:33:17,900
If you peel the label offers a
QR code to scan, and they have

622
00:33:17,900 --> 00:33:21,200
like a promotional movie that
they made about each expression.

623
00:33:21,500 --> 00:33:24,400
There, they're just a really
cool company and I have to say

624
00:33:24,700 --> 00:33:26,700
this is the best whiskey we've
had from them yet.

625
00:33:26,700 --> 00:33:29,900
And we had like, I think a
12-year last time, but this

626
00:33:29,900 --> 00:33:33,000
six-year dude is like, it's so
Oh, good.

627
00:33:33,000 --> 00:33:36,300
It like mind-blowingly good.
I like to pretend like I'm

628
00:33:36,300 --> 00:33:39,000
drinking it as we go but we all
know I drink in advance.

629
00:33:39,800 --> 00:33:42,700
This Lucky 7 is Bonkers.
Delicious.

630
00:33:42,700 --> 00:33:44,300
Bob hmm.
Yeah.

631
00:33:44,300 --> 00:33:47,000
Totally agree.
Man on the nose really, really

632
00:33:47,000 --> 00:33:49,100
beautiful.
I got a ton of Red Apple.

633
00:33:49,400 --> 00:33:53,100
I got a lot of cola and then
that those baking spices really

634
00:33:53,100 --> 00:33:55,500
come through.
It's just like it is a solid

635
00:33:55,500 --> 00:33:58,700
bourbon that you can tell
they've extracted.

636
00:33:58,700 --> 00:34:02,100
Like every last bit of flavor
out of that Barrel.

637
00:34:02,800 --> 00:34:05,700
It's just like, super
concentrated super potent.

638
00:34:05,700 --> 00:34:08,300
I love it.
Yeah, yeah, for me, it was

639
00:34:08,300 --> 00:34:10,500
vanilla.
And then like you said, it was

640
00:34:10,500 --> 00:34:14,500
almost like a Cherry Cola and
then a little bit of almond,

641
00:34:14,500 --> 00:34:19,400
kind of underlaying it with with
some spices that I just, I was

642
00:34:19,400 --> 00:34:23,199
like, man, this nose is amazing
when I got into the palette

643
00:34:23,400 --> 00:34:25,800
shoot, man.
It was creamy, it was almost

644
00:34:25,800 --> 00:34:27,400
like a cherry cordial.
Yeah.

645
00:34:27,800 --> 00:34:29,699
There were like candied
chestnuts.

646
00:34:29,699 --> 00:34:33,000
I dude, I can't say enough about
this with Ski.

647
00:34:33,000 --> 00:34:35,000
I'm sorry.
Was that candied chestnuts?

648
00:34:35,600 --> 00:34:36,900
Yeah dude.
All right.

649
00:34:37,199 --> 00:34:40,000
You never had a candy Chestnut.
I have never even heard of a

650
00:34:40,000 --> 00:34:42,500
candied chestnuts before.
Oh dude.

651
00:34:42,500 --> 00:34:45,800
Come on man.
Alright so for me I got lots of

652
00:34:45,800 --> 00:34:48,400
cherry like a black cherry, lots
of Oak.

653
00:34:48,400 --> 00:34:51,300
The black pepper was definitely
there on the back end for me.

654
00:34:51,300 --> 00:34:54,100
The sweetness came out and it
wasn't quite a caramel as much

655
00:34:54,100 --> 00:34:57,800
as it was almost like a like a
creme brulee like that, you have

656
00:34:57,800 --> 00:35:01,400
to tap into to break up all that
that on the top, the crust on

657
00:35:01,400 --> 00:35:04,000
top.
Super duper good, man.

658
00:35:04,000 --> 00:35:07,000
I really love that you were 100%
right calling it creamy.

659
00:35:07,000 --> 00:35:09,700
I think that's the word for it
on the finish.

660
00:35:09,700 --> 00:35:13,100
This is where if I'm going to
ding it it dropped off on the

661
00:35:13,100 --> 00:35:17,600
Finish because the more tannic
and bitter notes took over for

662
00:35:17,600 --> 00:35:21,600
me the Cherry was still there
but I actually it tasted from to

663
00:35:21,600 --> 00:35:26,600
me more like cheery Robitussin
then than a cherry cordial.

664
00:35:26,700 --> 00:35:30,400
And so like, if there was a bit
of a downer in the experience,

665
00:35:30,400 --> 00:35:33,500
it was the finished for me.
Yeah, I Yeah, I wrote it down as

666
00:35:33,500 --> 00:35:36,300
dark cherry it.
Definitely kind of came down a

667
00:35:36,300 --> 00:35:39,800
few notches from the sweetness.
I didn't mind that though.

668
00:35:39,800 --> 00:35:43,800
I enjoyed it.
It got Okie on the finish, some

669
00:35:43,800 --> 00:35:46,200
of the caramel, and vanilla
stuck around.

670
00:35:46,500 --> 00:35:49,700
But man Bob this is an
incredible whiskey and there's

671
00:35:49,700 --> 00:35:53,200
just so much to love here.
If I was scoring it out, I'd

672
00:35:53,200 --> 00:35:57,300
probably come to like a 42 43
out of 50.

673
00:35:57,800 --> 00:35:59,500
Yeah, I think I'd be right in
line with that, man.

674
00:35:59,600 --> 00:36:02,900
I can't wait to have more Lucky
Seven on the show because What

675
00:36:02,900 --> 00:36:07,500
they've sent us so far.
Has just been insanely good but

676
00:36:07,500 --> 00:36:11,700
those are our categories.
We're really excited to be doing

677
00:36:11,700 --> 00:36:14,800
this for each director, like I
said before, if you want to hear

678
00:36:14,800 --> 00:36:18,100
our breakdown of each director,
as we go throughout the season,

679
00:36:18,400 --> 00:36:21,800
good check out our patreon.
You can find it at patreon.com

680
00:36:21,800 --> 00:36:24,600
slash film whiskey.
There are three different levels

681
00:36:24,600 --> 00:36:28,000
of support that you can give us.
I don't know if we've decided,

682
00:36:28,000 --> 00:36:30,600
it'll probably be the second and
third highest tears.

683
00:36:30,600 --> 00:36:32,600
That will receive this, this
bonus content.

684
00:36:32,700 --> 00:36:34,600
Tent.
But anyways jump on there and

685
00:36:34,600 --> 00:36:37,200
check it out because I think
it's some it's some great

686
00:36:37,200 --> 00:36:40,200
content coming your way.
Yeah Brad and before we get out

687
00:36:40,200 --> 00:36:43,700
of here today, I do want to draw
our listeners attention to the

688
00:36:43,700 --> 00:36:46,900
end of this season.
We mentioned it, a few episodes

689
00:36:46,900 --> 00:36:49,600
back in our season 6 preview
that we're going to be doing a

690
00:36:49,600 --> 00:36:53,800
listener pick for our last
series of a director and we're

691
00:36:53,800 --> 00:36:56,700
giving you four options.
It could be Michael Mann, it

692
00:36:56,700 --> 00:37:01,400
could be Kathryn Bigelow,
William Wyler or Akira Kurosawa

693
00:37:01,700 --> 00:37:03,900
you know, Michael Mann.
Talking about doing heat and

694
00:37:03,900 --> 00:37:05,700
Last of the Mohicans for a while
here.

695
00:37:06,200 --> 00:37:08,400
Kathryn Bigelow, I love Zero
Dark Thirty.

696
00:37:08,700 --> 00:37:11,900
William Wyler, one of the most
famous Hollywood directors ever

697
00:37:12,200 --> 00:37:15,900
and then you got Kurosawa who
would be our first Venture into

698
00:37:16,100 --> 00:37:18,900
foreign language film.
And you know what, as of today,

699
00:37:18,900 --> 00:37:21,100
Brad, let's just go ahead and
open up the voting.

700
00:37:21,200 --> 00:37:24,800
I'll keep tabs on what people
say, but we want to hear, which

701
00:37:24,800 --> 00:37:29,100
of these directors people really
want us to review, so you can

702
00:37:29,100 --> 00:37:32,500
find us on our social medias and
let us know there which of these

703
00:37:32,600 --> 00:37:34,700
Directors, you would want to
vote for.

704
00:37:35,100 --> 00:37:36,700
Are we going to put a limit on
the voting Brad?

705
00:37:36,700 --> 00:37:40,500
I say unlimited voting.
Yeah, vote away spam every one

706
00:37:40,500 --> 00:37:44,500
of our posts just just with
William Wyler over and over.

707
00:37:45,200 --> 00:37:47,200
Yes.
That that obviously will be the

708
00:37:47,200 --> 00:37:48,200
choice.
I'm sure.

709
00:37:48,400 --> 00:37:51,000
I'm sure.
Alright, we will be back next

710
00:37:51,000 --> 00:37:54,600
Monday with another regularly
scheduled episode but until then

711
00:37:54,800 --> 00:37:58,300
I'm Bob book I'm Reggie and
we'll see you next time.