"The Departed (2006) Review

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[SPEAKER_00]: Hello, movie lovers.

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[SPEAKER_00]: So what we show with me I'm very good friend Jason from it's not that podcast.

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[SPEAKER_00]: And we're going to be reviewing the party today.

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[SPEAKER_00]: So let's go ahead and review the party and let's do this guys.

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[SPEAKER_00]: Are you doing over there?

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[SPEAKER_04]: I'm doing wicked awesome.

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[SPEAKER_04]: Are you doing good?

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[SPEAKER_00]: I'm going to go around here and go around the black holes for the package and from the pocket.

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[SPEAKER_00]: I'm going to bully you and then if you're doing a microphone into a state, I do not know yet, but hey, it's going to be fun.

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[SPEAKER_04]: It starts already.

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[SPEAKER_00]: Boston accents are intact.

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[SPEAKER_00]: Right now.

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[SPEAKER_04]: The Canadian Boston accent.

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[SPEAKER_04]: I apologize to everyone in the Massachusetts area already.

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[SPEAKER_00]: Well, I'm from East Boston.

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[SPEAKER_00]: So I apologize and advanced to my East Boston, but stony ends over there.

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[SPEAKER_00]: But man, welcome back to the show.

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[SPEAKER_00]: I appreciate you coming back on to talk about the departed.

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[SPEAKER_04]: Oh, it's going to be really good.

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[SPEAKER_04]: It's going to be wicked awesome.

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[SPEAKER_04]: I'm going to talk to you with a piece, right?

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[SPEAKER_04]: With that Leo, the caprio guy.

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[SPEAKER_00]: Yeah, the capios in this.

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[SPEAKER_00]: You got Damon on his Damon thing.

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[SPEAKER_04]: We got Mark Wahlberg.

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[SPEAKER_04]: Say how do you mother from.

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[SPEAKER_00]: Yeah, we got Mark Wahlberg.

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[SPEAKER_00]: Say I let him off for me.

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[SPEAKER_00]: Yeah.

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[SPEAKER_04]: I just love the jazz to watch it.

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[SPEAKER_04]: Good movie.

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[SPEAKER_04]: Once it'll wild.

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[SPEAKER_04]: It's a nice break from what we're doing over on.

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[SPEAKER_04]: It's not that bad as we sit in the middle of a bunch of shark NATO rewatches.

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[SPEAKER_04]: You see, Rossi would love that.

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[SPEAKER_00]: My co-host, she loves shark NATO.

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[SPEAKER_04]: See, I'm on the shark data train now.

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[SPEAKER_04]: I'm not going to lie.

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[SPEAKER_04]: I was hesitant going in.

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[SPEAKER_04]: It was one of those things we started to write down going, man, I come up with bad ideas.

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[SPEAKER_04]: Then he started watching and it's like, why am I enjoying this so much?

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[SPEAKER_00]: I might have to go down that road, but I don't know if I want to go travel down that.

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[SPEAKER_00]: I know Josh Prey and Rossi and everybody, we talked about it on movies that are supposed to be so bad that they're good.

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[SPEAKER_00]: So we talked about that on that episode.

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[SPEAKER_00]: You know, it's just good to be able to talk about a good movie for a change.

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[SPEAKER_00]: And, you know, we did the heat review.

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[SPEAKER_00]: Now you're doing this one with me.

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[SPEAKER_00]: And I just was curious, like when you look at the deposit and stuff, what, where were you at when you were first seeing this movie, nostalgicly and best out of ten?

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[SPEAKER_04]: You know what's funny.

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[SPEAKER_04]: This is the first time I had actually watched this whole movie.

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[SPEAKER_04]: Friendly.

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[SPEAKER_04]: Okay, that's cool.

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[SPEAKER_04]: Yeah, no, so this is very much a very raw take for me where it's like, okay, I've never watched this film.

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[SPEAKER_04]: I'm getting rated deep dive into this and have some fun.

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[SPEAKER_04]: And the cool thing is with this is that, you know, Ken was we were talking about with heat in that

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[SPEAKER_04]: He was pretty much built upon the fact that it was the meeting of the mines.

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[SPEAKER_04]: This was that machino to narrow dream match that people had always wanted in film.

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[SPEAKER_04]: Here, this is the most ensemble cast that I think on some bowls, which they had.

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[SPEAKER_04]: Like everyone in this cast is an absolute heavy hitter.

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[SPEAKER_04]: Even the lower down the cast list actors are absolute neighbors and killing it.

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[SPEAKER_00]: I agree with you, one hundred ten percent because who would have thought that we would actually get the capio.

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[SPEAKER_00]: That nickels in Alec Baldwin.

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[SPEAKER_00]: And then of course you have Mark Wahlberg, like I mentioned before, you have Sean Daniel and then also two.

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[SPEAKER_00]: You also have Anthony Anderson in this.

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[SPEAKER_00]: And Patrick for first.

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[SPEAKER_00]: And then I think that's how you say his name, but still this is amazing.

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[SPEAKER_00]: And the ensemble cast that Marshall Saisy was able to do during this time of the early two thousands.

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[SPEAKER_00]: Yeah, be able to do something like this.

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[SPEAKER_04]: I mean, who would have thought Anthony Anderson would have such a good performance in this?

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[SPEAKER_04]: Like, you see, we have like, oh, that's going to be, no, no, you're not the communicerly.

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[SPEAKER_04]: If you are actually really ridiculously good in this.

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[SPEAKER_00]: Right, because I was actually thinking to but transformers, right, where I was thinking, he was going to be the comedic relief.

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[SPEAKER_00]: He's going to be this over the top guy that we got in every single movie.

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[SPEAKER_00]: And then he just completely does a whole entire three sixty and takes it seriously and shows, hey, look, I can be more than then just the big, chubby guy at the time to make jokes.

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[SPEAKER_00]: I can actually do something different.

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[SPEAKER_04]: Yeah, and I watched this with my wife when I was doing my, my preparation for this.

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[SPEAKER_04]: And I had a point out, like, oh, yeah, I know the doctor, that's Vera Farmer.

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[SPEAKER_04]: So that's, you know, that's Keith Bishop's mom and Hawkeye.

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[SPEAKER_04]: She's like, no way.

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[SPEAKER_04]: And that's, you know, because she's looks so different from the Hawkeye TV series.

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[SPEAKER_04]: And at first, I'm like, is that Courtney Ford?

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[SPEAKER_04]: Cause it kind of looks like her.

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[SPEAKER_04]: She looked like a couple of different actresses from that time.

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[SPEAKER_04]: But no, she was awesome.

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[SPEAKER_00]: He definitely was.

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[SPEAKER_00]: Everybody was dialed into this movie.

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[SPEAKER_00]: This movie is fantastic.

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[SPEAKER_00]: I remember actually buying this have all my one of my friends actually brought this to work.

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[SPEAKER_00]: We watched a few minutes of it because I had to do my rounds and stuff like that.

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[SPEAKER_00]: But I was induced with it.

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[SPEAKER_00]: I remember.

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[SPEAKER_00]: This just being like an Irish mobster movie with Jack Nicholson and Decafrio and this cat knows game and I just fell in love with the storytelling I fell in love with everything within the film itself and I have to get this at least a ten for me, nostalgicly just because

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[SPEAKER_00]: of the music, the direction, uh, decaprio and mad Damon on the, on the screen, the, wondering if Matt's going to end up getting arrested or when are they going to figure out that mess the rat and then when they're going to figure out the caprio is the rat.

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[SPEAKER_00]: So I really love that.

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[SPEAKER_04]: Yeah, no, I mean, if I'm ranking this right now and I'll, I'll give you this initial ranking before we even get into the deep dive here.

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[SPEAKER_04]: I'm putting this as an eight out of ten and I say that because despite how good everyone is and everyone's performance is absolutely stellar.

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[SPEAKER_04]: There are holes in the plot for me and I'm sure we're going to get to them at at some point during the show but it's it's a great movie the tension is fantastic that the chess game that is this match or this movie is great.

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[SPEAKER_04]: but there are some dangling things that should have been addressed.

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[SPEAKER_00]: I do definitely agree with you as far as that goes.

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[SPEAKER_00]: And once we strip away minus stars up, I'm raining will probably go down because of those plot holes.

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[SPEAKER_00]: But we're just going to wait and see as far as that goes.

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[SPEAKER_00]: But yeah, I do agree that there are some plot holes that we need to actually go ahead and fill in those holes.

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[SPEAKER_00]: Uh, like, yeah, let's go ahead.

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[SPEAKER_00]: Let's talk about this.

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[SPEAKER_00]: Stripping away the list.

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[SPEAKER_00]: Now we're going to strip away the nostalgia and go with it with the modern eye.

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[SPEAKER_00]: But guys, I just want to say this.

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[SPEAKER_00]: Thank you so much for voting for this for the be the film that you guys wanted me to review last month.

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[SPEAKER_00]: I just didn't get around to it.

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[SPEAKER_00]: Now we're doing it this month.

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[SPEAKER_00]: So thank you so much for your voting.

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[SPEAKER_00]: I'll actually have another vote for next month for, uh, might be a summer comedy movie.

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[SPEAKER_00]: You never know, but thank you so much for voting on our YouTube channel for that for our community post.

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[SPEAKER_00]: Thank you for that.

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[SPEAKER_00]: Uh, so here we go.

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[SPEAKER_00]: So welcome to movie lovers tonight where where wickets might about movies are least we think we are today.

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[SPEAKER_00]: We're diving deep into a movie where no one knows snitching.

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[SPEAKER_00]: Everyone's sweating and mock wallberg is somehow the most quoteable man alive.

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[SPEAKER_03]: I'm the guy who does his job.

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[SPEAKER_03]: You must be the other guy.

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[SPEAKER_00]: That's right.

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[SPEAKER_00]: We're talking about the departed.

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[SPEAKER_00]: The only movie where Atlantic happier looks more stressed out than he did on the door in the Titanic.

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[SPEAKER_03]: Maybe maybe not.

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[SPEAKER_03]: Maybe fuck yourself.

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[SPEAKER_00]: We got moles into the department rats in the mob and that Nicholson doing well.

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[SPEAKER_00]: Whatever the hell that Nick someone does.

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[SPEAKER_03]: Today what I'm saying is this when you're facing a loaded gun.

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[SPEAKER_03]: which the difference.

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[SPEAKER_00]: Don't worry, beyond packing every double cross across Boston.

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[SPEAKER_00]: And our accents on every time Matt Damon makes you want to punch drywall.

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[SPEAKER_00]: So grab your donuts, your donkey, wire taps, because we're going down on the cover with the, with the pot.

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[SPEAKER_00]: Okay, at the very young age, Paul and Sullivan is introduced to the police heist by Frank Astello, an Irish mob boss and saw Boston.

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[SPEAKER_00]: Frank Goat soon gets calling into becoming his informant within the Massachusetts day police years later, Sullivan graduates from the state police academy.

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[SPEAKER_00]: He has soon accepted into the special investigations unit, a police unit focusing on the police heist in Boston.

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[SPEAKER_00]: So what I like about this is that it sets up everything with Castella doing the monologue with jadnikus and saying, I don't want to be a product of my environment or let the environment be a product of who I am.

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[SPEAKER_00]: And then he's going into the whole entire aspect of, you know, separation segregation, segregation, and stuff, and the Irish, and then you get this scene where he walks into the diner.

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[SPEAKER_00]: And he sees a young mad Damon there calling and he's just money is on business while he's trying to collect money from this diner guy and he packs calling up with a comic book, Wolverine comic book he also goes ahead and get some groceries kind of looks like good fellas by.

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[SPEAKER_00]: Before, um, that's what it looks like to me.

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[SPEAKER_00]: What about for you?

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[SPEAKER_00]: What do you think about this?

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[SPEAKER_04]: I mean, first of all, I love the inclusion of the Congo, but because that alone right there is a very subtle yet not subtle way to kind of identify what year we're talking about.

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[SPEAKER_04]: Like that, that tells you everything you need to know.

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[SPEAKER_04]: Like that this sets up the era that this scene is happening and

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[SPEAKER_04]: knowing that we're going to get down to the future where Matt and Leo are in school learning to become cops.

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[SPEAKER_04]: So that's a great way of actually subtly dropping a date reference on there.

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[SPEAKER_04]: The whole this whole

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[SPEAKER_04]: early section, right?

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[SPEAKER_04]: The the bringing Colin into the fool, getting him to do all these errands for Frank and what does Nicholson not come across like Joker without the makeup in some of these music anytime he walks out of shadow and it's like I expect him to all of a sudden drop a give a dance with the devil in the pale moon light.

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[SPEAKER_04]: But I like this because it sets up Frank is this kind of monster that knows everything that's happening in the neighborhood and for those who are They're just doing their thing.

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[SPEAKER_04]: Yeah, okay.

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[SPEAKER_04]: He's gonna help them out even though he's taking from every single business That's in the neighborhood and basically that's their protection money.

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[SPEAKER_04]: It's kind of like that

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[SPEAKER_04]: they feel like they're the protector of the neighborhood, even though.

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[SPEAKER_04]: It's like it's his wife dumb.

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[SPEAKER_04]: And all of these people in the neighborhood are his servants, whether like it or not, Colin feels like someone he can actually kind of groom up to do.

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[SPEAKER_04]: And you see other kids that he's working with.

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[SPEAKER_04]: So it's almost like he's creating this little ground level, little mafia force.

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[SPEAKER_04]: And it just paints him in such a

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[SPEAKER_04]: positive yet negative kind of way because he's doing it through, you know, he's manipulating the thought processes of those of the neighborhood towards him, but at the same time, that's shady if you're building, you know, taking these kids and turning them into your little like, you know, little rat or ace mafia team.

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[SPEAKER_00]: Right, I got you.

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[SPEAKER_00]: I think it's also the fact, too, that these kids are minors.

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[SPEAKER_00]: So therefore, they can don't have to worry about doing any time.

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[SPEAKER_00]: So they've worked.

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[SPEAKER_00]: Still, I could just go and have bust a mile jail at any time that they want to and just use them for pawns, if you will.

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[SPEAKER_00]: And stuff like that, but I do agree with the fact that Nicholson does have this Joker kind of vibe, like later on in the movie, like at the very beginning.

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[SPEAKER_00]: Nicholson doesn't have the great here or anything.

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[SPEAKER_00]: It shows him in his prime.

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[SPEAKER_00]: And it doesn't show him as a loose cannon or anything like that.

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[SPEAKER_00]: He has a way with him where the swagger about him.

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[SPEAKER_00]: That's where it's like, I'm in control of this.

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[SPEAKER_00]: They owe me money.

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[SPEAKER_00]: I need to get the money from them.

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[SPEAKER_00]: And I'm going to collect the money myself.

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[SPEAKER_00]: I'm not going to get my guys to collect the money.

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[SPEAKER_00]: And it makes it even more threatening.

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[SPEAKER_00]: And he's not raising his voice.

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[SPEAKER_00]: He's not being over the top.

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[SPEAKER_00]: If he's just guy who's just trying to collect his money and try to and explain to them, hey, look, if you don't get my money, I'm going to come back here with repercussions.

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[SPEAKER_00]: Then my guys are going to come in here and do a number on you.

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[SPEAKER_00]: But me, I can go ahead and collect my own money.

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[SPEAKER_00]: I don't need these other guys to do it for me.

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[SPEAKER_04]: But I think it's also the part of that scene where he starts coming on to the shop owner's daughter.

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[SPEAKER_04]: Yeah, that's pretty.

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[SPEAKER_04]: It's real creepy, right?

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[SPEAKER_04]: But that allows us to be able to very easily paint Frank with this.

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[SPEAKER_04]: You are the bad guy paint brush.

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[SPEAKER_04]: So it works for the scene to set up the character, even though it makes you go.

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[SPEAKER_04]: And the weird thing is,

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[SPEAKER_04]: She kind of sort of dismisses it, but she doesn't really dismiss it.

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[SPEAKER_04]: So I wonder if it's one of those things where the daughter's like, you know, I'm going to play it cool for my father.

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[SPEAKER_04]: So he doesn't lose his ish, but it creates like an awkward tension in the scene, but yet Collin doesn't really react at all to that.

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[SPEAKER_00]: Right, because Collin's like, he probably saw a castle do this all the time though in this time of probably.

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[SPEAKER_00]: So it's probably like, well, it doesn't matter.

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[SPEAKER_04]: Yeah, you mentioned it's the swagger, right?

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[SPEAKER_04]: He feels he can come onto this girl and he feels that everything's okay because it's him.

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[SPEAKER_04]: You know, there has to be some kind of charm in that from Colin's point of view.

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[SPEAKER_00]: Right, and also, too, like you mentioned the fact that the girl in him, the actress that places girl, um, during the after they got done shooting, she said about, diagnosed and shook her hand and said, I mean, you're doing a event as a job.

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[SPEAKER_00]: That's awesome.

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[SPEAKER_00]: And he goes, any other woman would actually despise me for what I did.

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[SPEAKER_00]: And stuff.

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[SPEAKER_00]: So she actually did a, she did a pretty good job.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: But you know, it doesn't tell us, hey, you must be in your period.

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[SPEAKER_00]: Bit in stuff.

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[SPEAKER_00]: And it's just very creepy, like we mentioned, but we won't keep harping on that on this one scene.

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[SPEAKER_00]: But I just thought it sets up so much within it because remember, Damon goes calling lines up going to church because, well, what do they want you to do?

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[SPEAKER_00]: They want you to stand sit and nail, stand sit and nail.

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[SPEAKER_00]: I can't do anything for you if you believe in something like that.

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[SPEAKER_00]: Because you don't, here's the thing, you don't, nothing's given to you.

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[SPEAKER_00]: So, I like how he's trying to teach him streets, Marshall, he's trying to teach him streets, he's also got some bookmarks because he's trying to teach him his way into the academy to be a snitch for Costello.

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[SPEAKER_04]: And I think that there's the other thing to there where he's constantly dropping literary references, literary quotes, and asking him who the author of the quote is, it shows that there's

15:10.967 --> 15:18.209
[SPEAKER_04]: You know, Frank wants calling to be educated, Frank wants calling to be a smart guy, just not some dumb gun-toting goon.

15:18.609 --> 15:23.450
[SPEAKER_04]: So it's clearly he's setting call up for bigger things in the organization down the road.

15:24.471 --> 15:25.151
[SPEAKER_00]: Oh, definitely.

15:25.371 --> 15:30.292
[SPEAKER_00]: And it just paved the way for him with within his future of doing this.

15:30.912 --> 15:35.474
[SPEAKER_00]: And then I'd like how we caught into the whole entire academy thing where now Collins and a grown man.

15:37.680 --> 15:49.774
[SPEAKER_00]: And he's taking the test and we're getting this now where, you know, where he's actually part of the special unit and you see how he's training, you're seeing Anthony Anderson in this as well with the caprio.

15:51.056 --> 15:56.262
[SPEAKER_00]: And we're getting to the caprio in a few minutes, but I like the fact that we don't see a title until like, fifteen minutes into this movie.

15:57.020 --> 15:57.621
[SPEAKER_04]: Hmm, either.

15:58.261 --> 16:01.443
[SPEAKER_04]: This whole, you know, a Academy montage scene.

16:02.184 --> 16:02.764
[SPEAKER_04]: I'll be honest.

16:02.824 --> 16:07.127
[SPEAKER_04]: It threw me for a little bit because we had met Colin as a kid and that's fine.

16:07.488 --> 16:15.213
[SPEAKER_04]: But then we're kind of going back and forth between both Billy and Colin in, you know, in the Academy.

16:15.493 --> 16:20.017
[SPEAKER_04]: We didn't really see much of a change from, and it's not like the Caprio and Damon.

16:20.737 --> 16:23.221
[SPEAKER_04]: You know, are completely different looking from each other.

16:23.702 --> 16:30.272
[SPEAKER_04]: You could argue that the kid who played Colin, young Colin, could have been either of them.

16:30.292 --> 16:33.116
[SPEAKER_04]: So the fact that they're going back and forth, when we go, which one is the kid?

16:34.482 --> 17:00.038
[SPEAKER_04]: And, you know, I started a question like which one is the one that's working with, I mean, it adds a little bit to the mystery early on into it, but it's like I, I found it a little disorienting at the time, but I liked the fact that you very much had, you know, one who was the perfect, you know, the perfect pupil in the academy and the one little bit less than, but still doing just as well.

17:01.631 --> 17:06.495
[SPEAKER_00]: And what I think it is though too is like calling just doing some self reflection of where he was as a kid.

17:07.476 --> 17:18.047
[SPEAKER_00]: Probably and going into it and the academy now is an adult is like I started from point A with Castelo and now here I am being an informant for Castelo.

17:19.473 --> 17:20.593
[SPEAKER_04]: Yeah, absolutely.

17:21.034 --> 17:29.517
[SPEAKER_04]: So it's one of those things to where you would wonder because you have to think that the Academy, you know, tuition is paid for by Costello, right?

17:29.977 --> 17:37.240
[SPEAKER_04]: So the fact that Colin is there and he's, you know, very studious and doing everything by the book and all that.

17:38.801 --> 17:41.603
[SPEAKER_04]: Costigan is like, maybe not so much.

17:42.183 --> 17:44.205
[SPEAKER_04]: That's what led to a little bit of the confusion, right?

17:44.225 --> 17:53.311
[SPEAKER_04]: Because you wonder if someone would go into this academy, knowing that everything is paid for, knowing that not necessarily that they're a made man, but they're definitely covered by Frank.

17:53.371 --> 18:02.097
[SPEAKER_04]: It's like with someone like that have an attitude or was calling set up and told to make sure that like, no, no, no, you do this by the straight narrow.

18:02.157 --> 18:03.838
[SPEAKER_04]: So you don't raise any flags.

18:05.234 --> 18:17.667
[SPEAKER_04]: a little bit of maybe one scene showing calling with Frank kind of thing at that age would have eliminated any of the questions that anyone's having while they're watching this scene.

18:18.583 --> 18:33.075
[SPEAKER_00]: Right, but for me though, I think that they did a good job at casting young Colin to the point where we can actually know that's Colin as a grown adult because the math and the face structure of Damon's face and also young Colin matches to me.

18:33.135 --> 18:43.564
[SPEAKER_00]: So I'm like, okay, this is him in two thousand and six, for example, and this is how we grew up in everything before he got transferred into this whole entire thing, being his niche.

18:44.124 --> 18:46.807
[SPEAKER_00]: So that's what I got out of it when I saw it for the first time.

18:46.847 --> 18:49.830
[SPEAKER_00]: I didn't really feel that this can join it or anything like that.

18:50.971 --> 18:51.612
[SPEAKER_00]: Let's see here.

18:51.852 --> 19:00.702
[SPEAKER_00]: JW says, I like the confidence of life streaming opening yourself to remedy bonding over something you love kudos.

19:00.802 --> 19:01.102
[SPEAKER_00]: Thank you.

19:01.122 --> 19:02.103
[SPEAKER_00]: Appreciate that JW.

19:04.345 --> 19:07.868
[SPEAKER_00]: But yeah, I just think that it's perfect pacing.

19:07.988 --> 19:13.011
[SPEAKER_00]: I think that the storyline itself is really good as far as demon goes.

19:13.031 --> 19:14.392
[SPEAKER_00]: And then you get this other thing.

19:14.412 --> 19:19.176
[SPEAKER_00]: You were mentioning this though, Jason is where the straight and narrow, making sure you don't make no mistakes.

19:19.796 --> 19:23.819
[SPEAKER_00]: But he's looking at the bunker hill thing and then he gets his big ass apartment.

19:24.540 --> 19:24.780
[SPEAKER_00]: Yeah.

19:25.801 --> 19:28.543
[SPEAKER_00]: And Custella was funding that too.

19:29.503 --> 19:31.345
[SPEAKER_00]: And I'm mentioning that Custella's like, this is a

19:32.020 --> 19:34.302
[SPEAKER_00]: bullshit idea for you to do.

19:34.702 --> 19:38.225
[SPEAKER_00]: I could just imagine him as like, he's supposed to be a father figure too, calling.

19:38.565 --> 19:38.946
[SPEAKER_00]: I could see him.

19:39.026 --> 19:39.986
[SPEAKER_00]: What the hell are you doing?

19:40.667 --> 19:46.832
[SPEAKER_00]: Yeah, even the even the real estate agents like, uh, so what do you do for a living?

19:47.432 --> 19:48.873
[SPEAKER_00]: Oh, uh, I'm a lady.

19:49.274 --> 19:49.714
[SPEAKER_00]: Oh, really.

19:49.854 --> 19:50.094
[SPEAKER_00]: Okay.

19:50.234 --> 19:50.655
[SPEAKER_00]: You got family.

19:50.855 --> 19:51.696
[SPEAKER_00]: No, no family.

19:51.876 --> 19:52.216
[SPEAKER_00]: Just me.

19:52.596 --> 19:54.278
[SPEAKER_00]: Look, I'll sign the fucking paperwork right now.

19:54.878 --> 19:55.359
[SPEAKER_00]: Let me have it.

19:56.179 --> 19:56.399
[SPEAKER_00]: So.

19:57.417 --> 20:09.200
[SPEAKER_00]: Do you're already making a big mistake by getting a place that's bigger for you as a single person, not only as a single person, but someone that makes state, state, uh, pay.

20:09.880 --> 20:10.240
[SPEAKER_00]: So yeah.

20:10.480 --> 20:10.720
[SPEAKER_00]: Yeah.

20:11.060 --> 20:18.261
[SPEAKER_04]: That's the one thing that you can see that Colin kind of got some of that swagger, maybe falsely from Frank kind of growing up.

20:18.281 --> 20:24.723
[SPEAKER_04]: So you can see kind of that though, I would go back to the Academy montage though, I just want to point out one thing is that

20:25.603 --> 20:35.789
[SPEAKER_04]: The smart thing that they did was at no point do you see Colin or Billy in the same class or in the same group or cohort or whatever.

20:35.809 --> 20:40.251
[SPEAKER_04]: Because I mean, you have to think the academy, well, it's going to be big.

20:40.612 --> 20:42.753
[SPEAKER_04]: It's not going to be that big.

20:43.113 --> 20:53.479
[SPEAKER_04]: So there's the possibility of crossover, but if they weren't, if you, if we never see them together at any point during the academy, even at graduation,

20:54.571 --> 21:02.521
[SPEAKER_04]: Then it allows us the ability to realize that well, maybe they don't know the other as things are coming up.

21:04.073 --> 21:04.653
[SPEAKER_00]: I can see that.

21:05.414 --> 21:06.194
[SPEAKER_00]: I can agree with that.

21:06.734 --> 21:09.956
[SPEAKER_00]: But I also like the whole entire training montage, though, too.

21:10.096 --> 21:16.660
[SPEAKER_00]: Like the hollow point bullets, then you also have them trained on how to use their guns and stuff.

21:17.240 --> 21:24.804
[SPEAKER_00]: It has this realistic look to it that I haven't seen in film up until like maybe later on in the few, you know, I'm saying like a couple of years later.

21:25.644 --> 21:35.026
[SPEAKER_00]: Like, I just love that whole entire thing of them training and then hit them going up against the fight apartment with their tug of war, get this stuff for training and stuff.

21:35.167 --> 21:38.027
[SPEAKER_00]: I just thought it was really good and well put together for that.

21:39.288 --> 21:42.268
[SPEAKER_04]: Yeah, and you see the attitude and calling during that match.

21:42.308 --> 21:51.851
[SPEAKER_04]: Like, that you really see that, I don't want to say mafia, so kind of feel to it, but very, very dismissive, like very much, like,

21:53.073 --> 21:55.194
[SPEAKER_04]: He's better than everyone else in his own mind.

21:55.614 --> 22:00.075
[SPEAKER_04]: And that comes across as he's, you know, telling the firefighters all to f off.

22:00.916 --> 22:01.136
[SPEAKER_00]: Right.

22:01.736 --> 22:02.756
[SPEAKER_00]: That's that's pretty much it.

22:02.916 --> 22:06.437
[SPEAKER_00]: He's acting like he's this big huge big time cop already.

22:06.477 --> 22:17.041
[SPEAKER_00]: And he's not, he's just a person of the academy that he got to flunk out of the class and out of that whole entire thing if he wasn't being careful and if Frank wasn't paying for what he was paying for calling.

22:18.433 --> 22:20.094
[SPEAKER_04]: Yeah, so I mean, that's the thing.

22:20.295 --> 22:23.858
[SPEAKER_04]: He's on, he's there at the Academy on Costello's dime.

22:24.598 --> 22:35.227
[SPEAKER_04]: And you're seeing that kind of attitude and, you know, that the whole apartment scene, the, the, the rugby scene, all of that tells you exactly who calling is.

22:35.487 --> 22:38.109
[SPEAKER_04]: So there, there's no, there's no question as the, as the movie goes on.

22:38.170 --> 22:40.892
[SPEAKER_04]: We know exactly who he is and what he is and why he is.

22:41.600 --> 22:47.003
[SPEAKER_00]: And also too, it also feel like he wants to beat Frank in a sense, but he doesn't have the money to beat Frank.

22:47.683 --> 22:52.826
[SPEAKER_04]: I mean, that apartment scene alone, but getting that kind of view, getting that kind of apartment.

22:53.386 --> 22:55.487
[SPEAKER_04]: That's, that's a statement right there.

22:55.867 --> 23:01.810
[SPEAKER_04]: You know, like he sees, and he's had to see Frank basically live the big life.

23:01.850 --> 23:05.512
[SPEAKER_04]: I'm sure Frank probably has a decent size house, although we never really kind of see it.

23:05.833 --> 23:06.373
[SPEAKER_00]: No, we don't.

23:06.453 --> 23:10.275
[SPEAKER_00]: We can see judgment from the living room and stuff like that of where he comes from.

23:10.726 --> 23:29.996
[SPEAKER_04]: Yeah, but we see that that money is don't object to someone like Frank because of course he was dull no money at the at the diner and here you know, take some bread and all this and take these this this this like money isn't an issue for Castello and he even says later on the film like it was never about the money is never needed the money for a long time.

23:30.496 --> 23:39.781
[SPEAKER_04]: So money doesn't really have, you know, a value to call him because it never had a value to Castello exactly.

23:40.710 --> 23:47.553
[SPEAKER_00]: So now we're getting into the capios character Billy Cossadin, a state police academy trainee and nephew to Jackie Cossadin.

23:47.993 --> 23:57.698
[SPEAKER_00]: At the ceased and murdered mobster and former member of Castella's gang enters Captain Oliver Quitton's office to be accepted into the special investigation unit.

23:58.518 --> 24:19.948
[SPEAKER_00]: gets many rude remarks by staff Sergeant Sean Dignum, Dignum and Quenum Recruit Cossington for infiltrating Costillars Bank Library Organization, seeing him as a rival candidate because of his family ties to the police heist after being in jail for four months as a decoy for his inflation

24:21.529 --> 24:30.257
[SPEAKER_00]: And to make his identity believable, he meets Mr. French Costello's second in command after fighting with a man who insulted and made fun of him for ordering his favorite drink.

24:30.857 --> 24:33.359
[SPEAKER_00]: So let's talk about this first before we get into that.

24:34.040 --> 24:43.669
[SPEAKER_00]: But the thing that I like is this, what Billy is the fact that you have, what you are established calling, colon has everything he wants, everything he desires he has.

24:44.615 --> 24:53.022
[SPEAKER_00]: And then we have the caprio who wants to be a lady and can't be one because of the connections with the mob because of the stuff of his family history.

24:53.803 --> 24:59.807
[SPEAKER_00]: And he's having to force to be someone that he's not and to be pretend to be someone that he's not.

25:00.828 --> 25:03.049
[SPEAKER_00]: And I also like this though, too.

25:03.109 --> 25:06.371
[SPEAKER_00]: It's like, this is the Caprio before he becomes a man.

25:06.971 --> 25:10.053
[SPEAKER_00]: If you think about it, because he's in a little school boy's outfit.

25:10.093 --> 25:14.876
[SPEAKER_00]: So we kind of reminds me of catch me if you can, but that outfit that he has on trying to teach the class.

25:16.316 --> 25:17.897
[SPEAKER_04]: I love the folks.

25:17.937 --> 25:18.818
[SPEAKER_00]: I love that movie too.

25:19.518 --> 25:25.461
[SPEAKER_00]: But this is, and here's the thing, I didn't like learn other Caprio's acting ability until I'd seen this movie.

25:25.481 --> 25:28.363
[SPEAKER_00]: And then I was like, really on board with Caprio's acting.

25:29.216 --> 25:32.818
[SPEAKER_00]: Like, it just goes from boyhood to manhood really fast.

25:33.379 --> 25:37.581
[SPEAKER_00]: Like, it looks like this little innocent person, but he's also is smart.

25:37.621 --> 25:42.204
[SPEAKER_00]: He's books smart, even a dignum lines up telling him, what the fuck are you doing here?

25:42.224 --> 25:43.765
[SPEAKER_00]: You're never gonna be a stadium or anything.

25:43.966 --> 25:46.867
[SPEAKER_00]: You're just wasting, he's already pretending to be someone that you're not.

25:47.868 --> 25:49.749
[SPEAKER_00]: And he goes, you're a rocket scientist.

25:49.769 --> 25:51.090
[SPEAKER_00]: You're never gonna be a state trooper.

25:51.711 --> 25:54.713
[SPEAKER_00]: So what he does is he sells him luck.

25:55.573 --> 26:02.743
[SPEAKER_00]: We can go ahead and infiltrate you and put you in jail to make it look like that you're really someone that got arrested.

26:02.823 --> 26:07.910
[SPEAKER_00]: We'll even put you through the psychology and stuff like that too, but you will never be a state trooper.

26:07.970 --> 26:10.393
[SPEAKER_00]: You will never be a cop.

26:11.980 --> 26:15.043
[SPEAKER_04]: did this move the and that definitely this part as well.

26:15.904 --> 26:25.453
[SPEAKER_04]: Was given me vibes from the recruit from back in do thousand three without Chino and Colin Ferrell and how like Colin Ferrell basically had to flame out of the program.

26:25.874 --> 26:31.179
[SPEAKER_04]: So he could be used to to kind of sniff out the mole in the in the team.

26:31.319 --> 26:34.022
[SPEAKER_04]: So you know, we kind of get those kind of vibes as well.

26:34.903 --> 26:41.894
[SPEAKER_04]: I love the good cop-back cop-tynemic between Mark and Sheen and Mark Wahlberg in this opening scene.

26:41.914 --> 26:43.898
[SPEAKER_04]: It doesn't mean like Martin Sheen is just like

26:45.316 --> 26:47.896
[SPEAKER_04]: You know, he's like the teddy bear version of all of this, right?

26:48.136 --> 26:50.137
[SPEAKER_04]: And then you get Mark Wahlberg coming in and it's like cool.

26:50.597 --> 26:55.238
[SPEAKER_04]: I know all the efforts that I'm going to use every single thing that I can use.

26:55.518 --> 27:03.359
[SPEAKER_04]: Like Wahlberg went into this like very much like almost like with a chip on a shoulder, right?

27:04.439 --> 27:14.101
[SPEAKER_04]: He comes in, you know, having done some fun films and yeah, we are talking Mark and the funky bunch or whatever, but he comes in guns ablaze and

27:15.061 --> 27:17.204
[SPEAKER_04]: This character is an ass.

27:18.405 --> 27:19.547
[SPEAKER_04]: He's straight up.

27:19.847 --> 27:21.769
[SPEAKER_04]: He's not going to shy away from anything.

27:21.990 --> 27:23.632
[SPEAKER_04]: He's going to tell you exactly what he thinks.

27:23.992 --> 27:28.678
[SPEAKER_04]: And it's not necessarily the character you expected of Mark Wahlberg at this time, but he actually nails it.

27:30.108 --> 27:30.588
[SPEAKER_00]: He does.

27:30.668 --> 27:32.190
[SPEAKER_00]: He ends up owning the scene.

27:32.210 --> 27:46.880
[SPEAKER_00]: He takes over the scene and also to like this is the most dialed in Mark Wahlberg that we've had that he just is who he is who he is who actually believed that he's actually this good cloth back up kind dynamic.

27:47.021 --> 27:48.341
[SPEAKER_00]: He's not playing Mark.

27:48.382 --> 27:49.763
[SPEAKER_00]: He's playing another character.

27:50.843 --> 27:57.427
[SPEAKER_00]: His haircut is ridiculous though, but at the same time though, it's very fitting for someone that's like him.

27:58.188 --> 28:10.195
[SPEAKER_00]: And the way he ends up talking back to the kid, and then you have the queen who wants up, looking at him as like a father of looking at him as like a son, the son, the caprio's character.

28:10.695 --> 28:10.995
[SPEAKER_04]: Mm-hmm.

28:11.675 --> 28:12.516
[SPEAKER_04]: And that's the thing too.

28:12.856 --> 28:19.398
[SPEAKER_04]: Like Quinty feels like the kind of guy who when someone is working on his team and directly with him, he takes them under his wing.

28:19.458 --> 28:20.339
[SPEAKER_04]: He cares about them.

28:20.459 --> 28:22.520
[SPEAKER_04]: That feels like the kind of guy Quinty is.

28:22.940 --> 28:28.662
[SPEAKER_04]: So like he lets them kind of get away with what he does because he recognizes that at the end of the day.

28:29.122 --> 28:49.159
[SPEAKER_04]: Dignum is there in order to make sure that everything runs smoothly, everyone is safe and they're going to get their guy and they know that they're basically setting up Billy to go in undercover and they want to make sure that he's not going to break because this is the kind of verbal abuse that he could get if he does break.

28:49.179 --> 28:55.985
[SPEAKER_04]: So it's almost like Dignum's testing him to see his resolve and to see if he's ready to take on this

28:56.686 --> 29:03.647
[SPEAKER_04]: long-term undercover, you can't be yourself then you can't be yourself afterwards kind of gig.

29:04.645 --> 29:09.810
[SPEAKER_00]: Right, because the erasure identity, you're not even who you are until after this whole entire thing is over with.

29:10.290 --> 29:11.872
[SPEAKER_00]: And by then, you're emotionally damaged.

29:11.972 --> 29:24.584
[SPEAKER_00]: No wonder why you have to see a shrink because of this, you're emotionally damaged, not only are you emotionally damaged, but you pretty much tapped out at who you are to the point where you actually believe that you are this person that you're being undercover as well.

29:24.744 --> 29:28.568
[SPEAKER_00]: So it's like self identification of losing yourself within this.

29:29.283 --> 29:40.235
[SPEAKER_04]: Yeah, and they're telling like you're gonna have spend time in jail, you know, you're gonna get, you know, we're basically gonna throw a fake charge out there, but you're gonna have to do this just to get

29:40.873 --> 29:46.995
[SPEAKER_04]: credit to get people to believe that you are not a state of that you are not working with the cops.

29:47.015 --> 29:53.198
[SPEAKER_04]: They put a little dirt on you to make sure that, you know, when people look at you, they don't see the shine of the badge.

29:53.478 --> 29:59.100
[SPEAKER_04]: And that is that's got to be a hard conversation for any character whatsoever.

30:00.029 --> 30:03.451
[SPEAKER_04]: And the thing that Dignum does is he doesn't shy away from this.

30:03.791 --> 30:10.294
[SPEAKER_04]: He's almost prepping Billy to go in, knowing that this is exactly what he's dealing with.

30:10.554 --> 30:13.495
[SPEAKER_04]: And it's not like, you know, Cossack and it's like, wouldn't know this.

30:13.815 --> 30:18.377
[SPEAKER_04]: He has, seemingly everyone in his family is already a criminal.

30:18.577 --> 30:23.279
[SPEAKER_04]: So it makes sense that he already knows, but Dignum's almost like reaffirming this.

30:24.120 --> 30:24.380
[SPEAKER_00]: Right.

30:24.440 --> 30:26.281
[SPEAKER_00]: And then you also have these other cutscenes too.

30:26.561 --> 30:28.462
[SPEAKER_00]: While this is happening, another flashback.

30:29.163 --> 30:47.509
[SPEAKER_00]: thing, which does seem kind of misconjoined in a sense because of the fact that while they're doing this, possibly having a flashback or it seems like something happened after they had that sit down with him and when his father goes, well, this is not good for the family.

30:47.689 --> 30:54.052
[SPEAKER_00]: When you say family, do you mean the family or do you mean your sister that's over there that has cancer right now?

30:54.472 --> 30:55.192
[SPEAKER_00]: Because she's dying.

30:58.159 --> 30:59.440
[SPEAKER_04]: That's the out of place.

30:59.480 --> 31:08.051
[SPEAKER_04]: That scene felt like it almost like it should have been in the during the montage at the county because then

31:09.253 --> 31:12.374
[SPEAKER_04]: you establish Billy's character as well.

31:12.654 --> 31:18.797
[SPEAKER_04]: So here would have been Colin getting this lavish pad and all that and you know, that added to there.

31:18.837 --> 31:24.039
[SPEAKER_04]: Meanwhile, Billy's dealing with, you know, family, a family that's dying around him, right?

31:24.239 --> 31:26.379
[SPEAKER_04]: That would have set up the dynamic a little bit more.

31:26.399 --> 31:35.523
[SPEAKER_04]: I think at that point between who's the quote unquote, the made man and who's struggling through everything else at the same time during the academy.

31:36.382 --> 31:48.524
[SPEAKER_00]: But you see, I think that it does a better job once he gets into the prison life because you see the difference between Billy and you also have the difference between Colin, where Colin has is looking over Punk or Hill.

31:48.904 --> 31:59.166
[SPEAKER_00]: You also see Billy who's struggling in prison, who's going through the prison system, again, fingerprinted, and then this other person who's in prison with him goes, so, you know, your cousin?

31:59.406 --> 32:02.167
[SPEAKER_00]: Yeah, he's kind of a ballbag, huh?

32:02.467 --> 32:03.647
[SPEAKER_00]: Yeah, he's not very smart.

32:04.447 --> 32:19.576
[SPEAKER_00]: So you have the dynamic of causing ten, you know what I'm saying, going through this thing, while Damon's getting to live his best life, being a snitch, being the job that he that you have real camera characters always wanting, and he can't have.

32:20.717 --> 32:25.520
[SPEAKER_00]: And you have this other guy that I feel like is being punished because of who his family is.

32:26.693 --> 32:26.953
[SPEAKER_04]: Oh, yeah.

32:27.313 --> 32:38.960
[SPEAKER_04]: I mean, Costello basically put the shine on Colin all the way through the academy and even during the time that Billy's in jail in order to get him to be believable in the police force.

32:39.400 --> 32:43.622
[SPEAKER_04]: So he can work for Frank at the same time, Billy's being pushed down.

32:43.982 --> 32:47.624
[SPEAKER_04]: So he can get into the weeds to go after Frank for the police.

32:48.545 --> 32:48.725
[SPEAKER_00]: Right.

32:49.990 --> 32:56.334
[SPEAKER_00]: And another thing too is like, then you have to, I like to drop kick Murphy's being played in the prison cell.

32:56.434 --> 33:07.740
[SPEAKER_00]: I also like the other, where we actually have the opening title of the departed after twenty minutes in which we have this long use called opening before we get to the main titles, which I really like.

33:08.100 --> 33:10.341
[SPEAKER_00]: We just, bam, we're introduced to the characters.

33:10.381 --> 33:15.264
[SPEAKER_00]: We don't have to worry about who's the editor, who's the director, who's the actors.

33:15.304 --> 33:16.705
[SPEAKER_00]: We already know who the actors are.

33:16.725 --> 33:17.585
[SPEAKER_00]: That's why we're here.

33:17.785 --> 33:18.726
[SPEAKER_00]: This is why we're watching.

33:19.426 --> 33:24.429
[SPEAKER_00]: So just give us the movie that we're promised on and let the film do its work.

33:24.889 --> 33:26.590
[SPEAKER_00]: And that's what I feel like this film does.

33:27.130 --> 33:32.273
[SPEAKER_00]: It does us the characters were put into this world now we're having to go along this journey.

33:32.773 --> 33:39.756
[SPEAKER_04]: Yeah, it's always like a speed run to get to present day and then the title card basically says, OK, cool.

33:40.237 --> 33:42.058
[SPEAKER_04]: Now let the chess match begin.

33:42.718 --> 33:43.158
[SPEAKER_00]: Exactly.

33:43.218 --> 33:44.119
[SPEAKER_00]: And then you have

33:45.705 --> 33:49.207
[SPEAKER_00]: After he gets out after the constant gets out, he's now working with his cousin.

33:50.648 --> 33:57.691
[SPEAKER_00]: Doing coke deals and Costello's neighborhood Costello winds up finding out about it, but at the same time, I'm like, does he really know about it?

33:58.031 --> 34:03.514
[SPEAKER_00]: Because it seems like they were in the neighborhood and all of a sudden they just go visit Costello at the bar that they're in.

34:05.255 --> 34:09.117
[SPEAKER_00]: And now he's telling you not to do jazz with his work off cousin.

34:10.580 --> 34:11.080
[SPEAKER_00]: What do you think?

34:11.921 --> 34:20.664
[SPEAKER_04]: Well, I mean, we saw Frank's ability to know everyone in the neighborhood and have a really good idea because I mean, that's what he would do, right?

34:20.724 --> 34:21.345
[SPEAKER_04]: He would know

34:22.563 --> 34:27.966
[SPEAKER_04]: Everyone's weaknesses, everyone's, you know, not not niches, but needs there.

34:28.847 --> 34:30.988
[SPEAKER_04]: Their weaknesses, their frayalties.

34:31.108 --> 34:35.370
[SPEAKER_04]: So he can kind of play on them to make sure that everyone in the neighborhood goes along.

34:35.410 --> 34:36.571
[SPEAKER_04]: So everyone gets along.

34:36.871 --> 34:39.052
[SPEAKER_04]: So I mean, Costello's going to know the family.

34:39.392 --> 34:41.213
[SPEAKER_04]: He's, you know, they've been part of the neighborhood.

34:41.334 --> 34:43.815
[SPEAKER_04]: Costello knows exactly who he's dealing with.

34:44.302 --> 34:57.939
[SPEAKER_04]: You know, so he knows the Billy is, you know, I was at one point or had to know that he was, you know, in the academy, but then went to prison all that so he knows he's not working for the state troopers, at least he thinks he's not working for the state troopers, right?

34:57.959 --> 34:59.881
[SPEAKER_04]: So it's one of those things where

35:00.762 --> 35:09.724
[SPEAKER_04]: Probably very much like Colin he probably sees Billy as a way to so someone who can work for him because probably sees a lot of Colin in him as well.

35:10.184 --> 35:15.666
[SPEAKER_04]: But that means he's got to stop working with the cousin and you know and get rid of the dirt that Frank.

35:16.286 --> 35:21.567
[SPEAKER_04]: You see, you know, sees on him that was put there by his I'm present put there by Queen and in Dignum.

35:21.627 --> 35:23.808
[SPEAKER_04]: So it's one of those things where

35:25.362 --> 35:27.864
[SPEAKER_04]: He doesn't want to work with someone like Billy.

35:27.984 --> 35:33.849
[SPEAKER_04]: If Billy is working with his cousin doing cheap drug deals, because how can he rely on someone like that?

35:33.909 --> 35:39.913
[SPEAKER_04]: He's looking for someone that he can shape and mold to work under him that he can trust.

35:40.233 --> 35:43.396
[SPEAKER_04]: And that's why that scene kind of comes into play, I think.

35:44.397 --> 35:48.819
[SPEAKER_00]: Right, that's true because of the fact that he doesn't want any heat on Custella doesn't want no heat on him.

35:49.119 --> 35:55.381
[SPEAKER_00]: But him doing the coke deals and stuff like that with this cousin that allows them to actually have some heat.

35:55.461 --> 36:00.003
[SPEAKER_00]: And yes, they don't want to be able to be part of that or anything like that either.

36:00.063 --> 36:11.227
[SPEAKER_00]: So Billy needs to go ahead and basically walk a straight edge just as Colin had to watch walk a straight edge with Custella, but Billy's a lot more in in there with him than calling his.

36:12.022 --> 36:17.124
[SPEAKER_04]: Yeah, the other thing too, as we learn eventually, is that costiles also doing drug deals as well.

36:17.604 --> 36:22.025
[SPEAKER_04]: So it makes sense where he's like, okay, I can work with you, but you gotta stop working with him.

36:22.525 --> 36:25.366
[SPEAKER_04]: And he's gonna stop working because it's cutting in a mine.

36:25.646 --> 36:34.389
[SPEAKER_04]: And I think that's why he kind of goes easy on the cousin where it's like, if I want Billy to work for me, then I can't go too hard on the cousin and that's just gonna push him away.

36:34.469 --> 36:36.810
[SPEAKER_04]: So it's an interesting dynamic at that point.

36:37.550 --> 36:37.750
[SPEAKER_00]: Right.

36:38.478 --> 36:43.119
[SPEAKER_00]: And then it's like, and then, you know, we wound up seeing that scene where it's like, well, what can I use you for type of thing?

36:43.139 --> 36:44.800
[SPEAKER_00]: We're getting the minute in a minute.

36:45.560 --> 36:55.162
[SPEAKER_00]: But then you have where Billy sitting at the bar and these orders a cranberry juice, the guy wants up saying to him, what are you in your period?

36:55.362 --> 36:59.483
[SPEAKER_00]: There's a no ability winds up punching him.

37:00.424 --> 37:03.904
[SPEAKER_00]: And then French goes, that's a guy that you can almost hit, but you can hit.

37:05.205 --> 37:05.545
[SPEAKER_00]: And then

37:06.761 --> 37:17.228
[SPEAKER_00]: He winds up saying so what so you mean to tell me I can't him because that's guy you can hit but almost can hit and then Frenchy winds up hitting the guy.

37:18.569 --> 37:25.935
[SPEAKER_00]: Because of the fact he told them who Billy was because hot shit because why you know if Frenchy winds up.

37:27.102 --> 37:31.868
[SPEAKER_00]: punching punching him though, but it's like it's okay for me to do it because I'm part of this world right now.

37:32.389 --> 37:36.634
[SPEAKER_00]: You're not able to do that because you don't have that connection right now to do it.

37:37.174 --> 37:38.736
[SPEAKER_00]: This guy's probably a made guy.

37:38.756 --> 37:42.380
[SPEAKER_00]: Therefore, he's in front, she's basically the muscle.

37:42.621 --> 37:46.946
[SPEAKER_00]: So he's allowed to, because constantly basically gave him the freedom to do that.

37:47.588 --> 37:49.470
[SPEAKER_04]: Yeah, and that's the thing too.

37:49.530 --> 37:52.533
[SPEAKER_04]: That that's very much a here is your lane.

37:52.654 --> 38:00.642
[SPEAKER_04]: You're going to drive in your lane very much, but it also shows, you know, Billy's ability to stay in that for himself and defend himself and

38:02.660 --> 38:07.603
[SPEAKER_04]: shows the kind of character that that Frank may need in him eventually, like he's not afraid to throw down.

38:07.643 --> 38:19.290
[SPEAKER_04]: He's not afraid to put someone down, you know, even over the smallest thing, Fred, you coming in, you know, and kind of setting the ground rules for all of that, we get still making sure the Billy got his is cranberry juice right after.

38:19.790 --> 38:21.191
[SPEAKER_04]: That's that works.

38:21.351 --> 38:27.955
[SPEAKER_04]: Well, because it also shows, I think this scene, not necessarily so much to determine Billy and his ability to

38:28.475 --> 38:29.356
[SPEAKER_04]: do what needs to be done.

38:29.756 --> 38:32.498
[SPEAKER_04]: This is setting up French you very, very well, right?

38:32.538 --> 38:38.702
[SPEAKER_04]: This is saying in French he is that number two, the guy who keeps everyone else in line.

38:38.762 --> 38:43.705
[SPEAKER_04]: So Frank could focus more on the bigger things when it comes to the organization.

38:44.437 --> 38:46.839
[SPEAKER_00]: Right, and then we also remember this though, too.

38:46.879 --> 38:49.842
[SPEAKER_00]: We also have this other scene that I forgot to mention here.

38:50.002 --> 38:53.806
[SPEAKER_00]: Frank, it has this girlfriend and boyfriend tied up.

38:54.506 --> 38:55.947
[SPEAKER_00]: And this is not in his prime anymore.

38:55.967 --> 38:57.269
[SPEAKER_00]: This is him with the gray here.

38:57.309 --> 38:59.371
[SPEAKER_00]: He's a little over the top over eccentric.

38:59.911 --> 39:07.418
[SPEAKER_00]: And French is like, and because remember this, when he winds up shooting the boyfriend and also the girlfriend, and just, huh, she fell funny.

39:08.959 --> 39:10.721
[SPEAKER_00]: And French is like, what the hell is wrong with you?

39:12.247 --> 39:18.070
[SPEAKER_04]: Yeah, and that's the thing French French he's not a he's not a maniac he's not a you know.

39:19.711 --> 39:33.159
[SPEAKER_04]: He doesn't look at it like that and that also shows to how far Frank has gone a little bit at this point because, you know, as we eventually find out, Frank, of course, is you know, an informed for the FBI, so you have to think that.

39:34.218 --> 39:39.680
[SPEAKER_04]: the heat on him is so much because he that this is the one thing he can't let anyone else know.

39:40.000 --> 39:47.804
[SPEAKER_04]: So you have to think that that's kind of eating away at him at the same time as he's trying to run his own organization and getting into these drug deals and maybe he's getting into the drugs.

39:47.824 --> 39:52.966
[SPEAKER_04]: You know, French, he is all business and that's all business.

39:53.386 --> 39:54.786
[SPEAKER_04]: Yeah, but that's the thing.

39:55.507 --> 39:56.587
[SPEAKER_04]: He's even started to look a friend.

39:56.687 --> 39:58.228
[SPEAKER_00]: Oh, that was wrong with you, dude.

40:00.013 --> 40:08.838
[SPEAKER_00]: It's like, this is a little bit too dark even for me for you to do this nice talk with you through everything and here you are doing this off the wall stuff right now.

40:10.179 --> 40:16.483
[SPEAKER_00]: It shows a little humanization with Frenchy a little bit is like, look, I don't sign up to be this dark.

40:16.723 --> 40:24.288
[SPEAKER_00]: Yeah, we do some dark shit, but at the same time, though, you know, I don't think I can go as dark as you can.

40:24.809 --> 40:28.712
[SPEAKER_04]: Yeah, I do this, but I don't enjoy it like you're enjoying it right now.

40:29.573 --> 40:32.455
[SPEAKER_04]: There's enjoying your job in order to be able to enjoy your life.

40:32.475 --> 40:38.639
[SPEAKER_04]: But then there's enjoying the grotesqueness of it.

40:39.179 --> 40:41.221
[SPEAKER_04]: That's your Joker kind of vibe right there.

40:41.601 --> 40:41.861
[SPEAKER_00]: Right.

40:43.062 --> 40:48.566
[SPEAKER_00]: So yeah, it does have a little bit of a Joker vibe once you get into past his prime and going into great hit of Frank.

40:48.746 --> 40:49.747
[SPEAKER_00]: That's how I'm going to name him.

40:49.787 --> 40:50.468
[SPEAKER_00]: Great hit of Frank.

40:51.597 --> 41:02.442
[SPEAKER_00]: That is great and it freaks like completely lost it, even with him holding a dead person's hand, and that whole time meeting with constant and as well.

41:02.842 --> 41:10.206
[SPEAKER_00]: But we get it that minute, but you know, then he further tries to steal his identity by selling cocaine with this cousin we mentioned.

41:10.986 --> 41:17.592
[SPEAKER_00]: and early attacking two mobsters and Providence, both beating both both of them within an inch of their lives.

41:17.972 --> 41:26.139
[SPEAKER_00]: And resulting in an injury to Cossington's hand, upon learning that Cossington has a hit-out on him from Providence mob, Custella confronts Cossington.

41:26.439 --> 41:36.688
[SPEAKER_00]: Custella tries to determine if Custon so worse for the police by hitting his injured hand with a boot in which he gains trust and is accepted into the Custella gang.

41:38.817 --> 41:43.439
[SPEAKER_00]: Just to stuff that, you know, these two guys from Providence goes over the, to the same diner, right?

41:43.459 --> 41:45.659
[SPEAKER_00]: This looks like the same diner that Castella goes to.

41:45.679 --> 41:46.560
[SPEAKER_02]: Mm-hmm.

41:46.900 --> 41:50.221
[SPEAKER_00]: But in, then again, embossed and every diner looks close to the same.

41:51.581 --> 41:53.762
[SPEAKER_00]: Like that, like the diner that Castella went to.

41:54.402 --> 41:58.864
[SPEAKER_00]: But, you know, then he's like, well, he knocks these two guys out.

41:58.924 --> 42:02.205
[SPEAKER_00]: He takes a coat rack, hits one guy in the face with the coat rack.

42:02.525 --> 42:03.946
[SPEAKER_00]: He knocks one guy into the ice.

42:05.507 --> 42:10.351
[SPEAKER_00]: machine, and then you have the attendant basically saying, hey, look, you need to get out of here.

42:10.732 --> 42:18.979
[SPEAKER_00]: Go as far as ways you can and you know, and then because I was like, look, one of these two guys from Providence to go away, I can make that happen.

42:18.999 --> 42:20.901
[SPEAKER_00]: He goes, are you sure that I can't do this myself?

42:22.743 --> 42:24.304
[SPEAKER_00]: And yeah, it's like, come with me.

42:24.625 --> 42:25.606
[SPEAKER_00]: I'm not telling, I'm not the cops.

42:27.552 --> 42:30.113
[SPEAKER_00]: You need to come with me, comes into the back.

42:30.973 --> 42:34.293
[SPEAKER_00]: He winds up saying, it's whole French search him.

42:35.094 --> 42:41.355
[SPEAKER_00]: He winds up searching him takes off his boots, takes up, make some searches, clothes and everything.

42:41.455 --> 42:43.875
[SPEAKER_00]: He's clean just the cast.

42:45.356 --> 42:50.877
[SPEAKER_00]: The when they did to to Constantin with the cast, oh my gosh, I fell bad for the guy.

42:52.479 --> 43:01.029
[SPEAKER_04]: Yeah, and I think this kind of plays into the sadism that we saw earlier with Frank shooting the two people in combat in on how she felt kind of funny.

43:01.470 --> 43:06.515
[SPEAKER_04]: Like this is, you know, it's, it's, it's a test.

43:06.676 --> 43:10.100
[SPEAKER_04]: This is very much a test because it's, it's torture, right?

43:10.120 --> 43:12.502
[SPEAKER_04]: If he was working with the cops, he would have broken.

43:13.553 --> 43:15.435
[SPEAKER_04]: You know, stop hurting my broken ass hand.

43:15.936 --> 43:17.758
[SPEAKER_04]: Um, you know, I'll tell you anything.

43:17.778 --> 43:19.079
[SPEAKER_04]: You need to know, he holds.

43:19.420 --> 43:27.209
[SPEAKER_04]: He absolutely holds, you know, long enough for him to be able to pass whatever tests the Frank is putting on to him.

43:27.749 --> 43:29.652
[SPEAKER_04]: And the key thing here is this.

43:31.353 --> 43:35.895
[SPEAKER_04]: Billy didn't take down Frank's many took down these two guys for Providence.

43:36.235 --> 43:41.457
[SPEAKER_04]: So this is almost like, okay, so Billy just took care of a problem that was happening in our neighborhood.

43:41.777 --> 43:46.979
[SPEAKER_04]: So we can't really hold that against them, but we want to make sure of who we're dealing with and this wasn't a setup.

43:47.119 --> 43:55.822
[SPEAKER_04]: So it's very much setting up Billy and graining himself into the Costella world and a reasonable pace too.

43:55.882 --> 43:56.623
[SPEAKER_04]: It's not like he just

43:57.626 --> 44:01.447
[SPEAKER_04]: got on a present, went up to Frank said, Hey, you got a job opening there.

44:01.507 --> 44:02.487
[SPEAKER_04]: I could work for you.

44:02.847 --> 44:05.067
[SPEAKER_00]: No, I see a help wanted sign for gangsters.

44:05.407 --> 44:06.468
[SPEAKER_00]: So let me come and join you.

44:06.828 --> 44:07.148
[SPEAKER_04]: Right.

44:07.288 --> 44:13.009
[SPEAKER_04]: You know, where do I line up over the Goon for hire kind of job market?

44:13.749 --> 44:14.469
[SPEAKER_04]: But that's the thing.

44:14.549 --> 44:22.070
[SPEAKER_04]: He expertly got his way under into Frank's microscope by doing the side deal.

44:22.090 --> 44:25.751
[SPEAKER_04]: So it doesn't feel like a direct attempt to work with Frank.

44:26.291 --> 44:27.592
[SPEAKER_04]: Frank came to him.

44:27.612 --> 44:34.797
[SPEAKER_04]: He didn't go to Frank, which is why it's a little bit more believable for Frank to realize that, okay, Billy's not work.

44:34.837 --> 44:35.578
[SPEAKER_04]: He's not a statey.

44:35.618 --> 44:37.019
[SPEAKER_04]: He's not working for the cops.

44:37.059 --> 44:39.681
[SPEAKER_04]: He's not, he's, he got shun away.

44:39.741 --> 44:43.864
[SPEAKER_04]: He tried and he flunked out and he flamed out and he spent prison time.

44:44.364 --> 44:54.432
[SPEAKER_04]: So he's on the level in Frank's eye, but it takes a lot to get to that level for Billy, including re-ingering that hand.

44:55.484 --> 44:55.724
[SPEAKER_00]: Right.

44:56.465 --> 44:58.507
[SPEAKER_00]: And you're right, though, I like the pacing of it.

44:58.527 --> 45:01.229
[SPEAKER_00]: I've setting it up because you have these slow moving pieces.

45:01.249 --> 45:02.810
[SPEAKER_00]: You had to cook there with the cousin.

45:02.830 --> 45:06.814
[SPEAKER_00]: And then after that, you have this whole entire confrontation with the Providence people.

45:07.814 --> 45:10.176
[SPEAKER_00]: And then you have another confrontation with Frank.

45:10.917 --> 45:16.139
[SPEAKER_00]: And then your face to face with the monster that you're supposed to investigate.

45:16.759 --> 45:18.020
[SPEAKER_00]: And it's just terrifying.

45:18.540 --> 45:24.102
[SPEAKER_00]: And, you know, I would actually wet my pants because of the fact that I have to investigate this guy in this guy's very dangerous.

45:24.122 --> 45:25.163
[SPEAKER_00]: And here he is with a boot.

45:26.043 --> 45:32.846
[SPEAKER_00]: And I'll hitting me with my own boot and everything and taking off my cast, you know, and just injuring him.

45:33.266 --> 45:35.607
[SPEAKER_00]: And I just felt bad for Billy at this moment.

45:36.522 --> 45:38.123
[SPEAKER_00]: And I like the pacing.

45:38.143 --> 45:39.084
[SPEAKER_00]: I like the pacing of it.

45:39.104 --> 45:40.064
[SPEAKER_00]: I think it still works.

45:40.324 --> 45:49.309
[SPEAKER_00]: I still like the fact that it's not rushed because any other movie would probably like, okay, cut and then next thing I know it because I was like, you know what, I like you.

45:49.749 --> 45:53.111
[SPEAKER_00]: I'm going to put you on my mom and be a mob, mobster with me.

45:54.492 --> 45:56.633
[SPEAKER_00]: But the slow build to it, I think is actually needed.

45:57.905 --> 46:01.748
[SPEAKER_04]: Yeah, and then that's the key thing to you see him only going for the hand.

46:02.048 --> 46:04.971
[SPEAKER_04]: So he knows like this is what he would do he goes for the weekend.

46:04.991 --> 46:08.594
[SPEAKER_04]: So he dealt he did it with everyone in the neighborhood, what's their weakness.

46:08.674 --> 46:09.835
[SPEAKER_04]: I do they do drugs.

46:09.875 --> 46:11.196
[SPEAKER_04]: I'm going to lean into that.

46:11.576 --> 46:13.458
[SPEAKER_04]: Are they down on their locker and lean into that.

46:14.300 --> 46:17.524
[SPEAKER_04]: as their mother kind of looking for work and they don't have the money to pay for bread.

46:17.824 --> 46:21.188
[SPEAKER_04]: I'm going to lean into that to get someone to do what I need them to do.

46:21.308 --> 46:28.236
[SPEAKER_04]: So clearly from a, this is from more physical standpoint than a psychological standpoint, but it's still Frank's MO.

46:29.277 --> 46:29.717
[SPEAKER_00]: Exactly.

46:31.040 --> 46:44.937
[SPEAKER_00]: So Sergeant Denham informs the SIU, other murder of the miles kind of kind of thick employee of the mass processor company, who has been ordered by a Stella to steal twenty micro processors to deliver and sell them to the Chinese mob.

46:45.398 --> 46:48.621
[SPEAKER_00]: Kind of thick was killed after he attempted to flee to Florida.

46:49.182 --> 47:01.384
[SPEAKER_00]: The illegal distribution of microprocessors becomes a focal point in the investigation of Custello, but in constant demands that no wires ever be used in his infotainment of the Custello gang.

47:01.844 --> 47:08.166
[SPEAKER_00]: Quentin accepts and only tells him to keep a close ear if my I go processes are being discussed.

47:08.766 --> 47:14.127
[SPEAKER_00]: So I like the fact that now we're getting into a even deeper territory of what Frank is trying to do.

47:15.249 --> 47:29.650
[SPEAKER_00]: and trying to sell stuff through a black market to be able to get more money versus it being it could be any other kind of mobster where he was like, well, I'm going to go ahead sell drugs or I'm going to go and do counterfeit money or.

47:30.950 --> 47:42.817
[SPEAKER_00]: You know, the the stacks are just different in the mob and he decides I'm going to do micro processors and try to sell this like market and go through a Chinese dealer and try to do it that way.

47:43.337 --> 47:52.643
[SPEAKER_00]: So it's a very smart and different way of actually doing stuff that I've didn't see in certain movies up until this point of a mobster trying to do micro processors.

47:53.580 --> 47:58.044
[SPEAKER_04]: See, I don't think this was Frank's want of a job to do.

47:58.064 --> 48:02.568
[SPEAKER_04]: Because keep in mind, Frank is secretly in an apartment for the FBI.

48:03.889 --> 48:04.890
[SPEAKER_04]: Frank deals in drugs.

48:05.030 --> 48:08.033
[SPEAKER_04]: Frank deals in neighborhood intimidation.

48:08.453 --> 48:09.834
[SPEAKER_04]: Frank is very much a

48:10.815 --> 48:13.216
[SPEAKER_04]: for a high competitive term, he's a street level mafia.

48:13.276 --> 48:20.080
[SPEAKER_04]: So right street level mafia wouldn't be dealing in high end micro chip processors kind of thing.

48:20.461 --> 48:21.621
[SPEAKER_04]: That's at a federal level.

48:21.641 --> 48:25.764
[SPEAKER_04]: In fact, you know, you have Chinese dealers coming in to buy these processors.

48:26.244 --> 48:32.567
[SPEAKER_04]: This is a fed setup and Costello is based Costello is cost again for the feds, right?

48:32.668 --> 48:38.471
[SPEAKER_04]: So he's doing the dirty work that the feds need to do, but in a believable

48:39.274 --> 48:40.916
[SPEAKER_04]: personality to be able to do it.

48:41.276 --> 48:45.560
[SPEAKER_04]: So Frank can then pass that information on, but that's never really conveyed.

48:45.600 --> 48:51.947
[SPEAKER_04]: I think smartly so because then it would have solid the reveal of what Frank is that happens later on.

48:51.967 --> 48:52.007
[SPEAKER_04]: So

48:53.512 --> 48:54.934
[SPEAKER_00]: The, I definitely agree.

48:55.054 --> 49:01.662
[SPEAKER_00]: I mean, he's a street-level mobster who just wants to get by doing what is normal every day, gangster stuff that he normally does.

49:02.382 --> 49:07.769
[SPEAKER_00]: But this is above his pay grade pun intended because this is actually an FBI investigation.

49:07.809 --> 49:10.692
[SPEAKER_00]: And then even when Quinn asked him because what about those Michael processes?

49:10.832 --> 49:12.874
[SPEAKER_00]: He goes, what about what Michael processors?

49:13.575 --> 49:21.624
[SPEAKER_00]: So he's playing dumb with them, even though they know that he stole them, but at the same time, he also knows that he doesn't know that he didn't steal him.

49:21.824 --> 49:23.126
[SPEAKER_00]: I don't think that Frank stole them.

49:23.566 --> 49:30.414
[SPEAKER_00]: I think they have BI stolen and then gave it over to Frank to do this whole entire counterfeit thing and just pinned the whole entire thing on Frank.

49:31.103 --> 49:46.134
[SPEAKER_04]: Yeah, or quote unquote stole them, release a story that they were stolen, gave Frank the fake ones, because that's, you know, that was revealed later on, that they were fake Mike, Michael processors that were given over to the Chinese buyers.

49:46.735 --> 49:56.662
[SPEAKER_04]: So it's very much, I don't think that's, this is why this deal kind of goes as self as it does to a point, because this isn't something that he's used to.

49:56.722 --> 49:59.124
[SPEAKER_04]: This isn't his, this isn't his world.

49:59.164 --> 50:00.585
[SPEAKER_04]: This isn't the way he operates,

50:01.085 --> 50:06.548
[SPEAKER_04]: He deals, or really he only deals with things that directly benefit him.

50:06.568 --> 50:10.510
[SPEAKER_04]: You know, Michael processes is something that he's not dealing with.

50:10.970 --> 50:24.217
[SPEAKER_04]: So it's it's an odd setup, but it's also explains a little bit why he's almost not quite a hundred percent sure, you know, of everything around him at the time, even though he knows where the cameras are and all that.

50:25.042 --> 50:25.302
[SPEAKER_00]: Right.

50:26.083 --> 50:33.588
[SPEAKER_00]: So then we have this the same way or like I've mentioned in before where we have closet and that's actually sitting across from Frank.

50:33.628 --> 50:42.214
[SPEAKER_00]: Frenchy that's in there and it looks like a constant Frank does and you know he has somebody's bloody hand.

50:43.375 --> 50:47.238
[SPEAKER_00]: That's in this plastic bag and he's also taking off the guy's wedding ring.

50:47.518 --> 50:51.081
[SPEAKER_00]: You see the girl that looked like that's from the diner from back when she was little.

50:51.641 --> 50:55.124
[SPEAKER_00]: She might be bang it right might be bang in her which is really creepy.

50:56.185 --> 50:59.067
[SPEAKER_00]: But you know, then he's like

51:00.079 --> 51:02.701
[SPEAKER_00]: You know, John Lennon once said, what can I use you for?

51:02.721 --> 51:14.170
[SPEAKER_00]: I liked that back and forth between them was like, Lennon wants to go and the costume wants to go on ahead and prove a point to Castelo, like, I'm in this one hundred and percent, but I want money, I need money, that's a vibe on.

51:15.371 --> 51:27.180
[SPEAKER_00]: And, you know, then he's has the, he has the wire on him and he's realized that I can't do this with the wire on because they already think that I was a snitch the first time when makes you think that they're not going to try and search me again.

51:29.204 --> 51:35.709
[SPEAKER_00]: So even dig them in also Mark Wahlberg, that thing in the, oh, something must have happened.

51:35.729 --> 51:38.290
[SPEAKER_00]: And then when you're saying, look, I need to do this without a wire.

51:38.531 --> 51:40.272
[SPEAKER_00]: Do not try enforcement do a wire.

51:40.572 --> 51:41.673
[SPEAKER_00]: Or else I'm not going to do it at all.

51:42.880 --> 52:02.251
[SPEAKER_04]: Yeah, this really shows well, the stress that Billy's dealing with and doing in this undercover assignment, but at the same time as well, this is a perfect scene to really reestablish the queen and is the one in charge, because digdams go and toe to toe with Billy, but queen is the one that says, OK, OK.

52:03.445 --> 52:26.216
[SPEAKER_04]: Don't wear a wire, but just keep your eyes, you know, eyes opening your ears open and make sure you make note of everything that's going on, putting dignity when it's placed because he realizes that if dignity pushes too hard at this point, then the fact that we're in a wire, then you run the risk of losing your asset in the field because of the wire in question.

52:27.183 --> 52:27.463
[SPEAKER_00]: Right.

52:27.563 --> 52:30.965
[SPEAKER_00]: And then, like I said, what Queen and he's like, well, what's the Michael process?

52:30.985 --> 52:43.332
[SPEAKER_00]: There's just make sure you make a note if he's been to, you know, if you hear anything about the Michael processors, but you're right though, if he if denim kept on pressing on billing, it wouldn't game over.

52:43.712 --> 52:50.456
[SPEAKER_00]: Billing would have been dead or he would actually been deeper in Castella's crew because he has no identity.

52:50.716 --> 52:52.578
[SPEAKER_04]: There's no way Billy could could walk.

52:53.594 --> 52:55.735
[SPEAKER_04]: at least not walk safely, right?

52:56.355 --> 53:03.058
[SPEAKER_04]: And if Billy disappeared all of a sudden around this time, then Frank would be on to the cops, right?

53:03.078 --> 53:05.019
[SPEAKER_04]: They know that something was going on, right?

53:05.720 --> 53:13.643
[SPEAKER_04]: If Billy wore a wired heat and he got found out, then he'd be dead, and the cops would be nowhere closer, but Frank would know that he's being surveilled.

53:15.564 --> 53:18.766
[SPEAKER_04]: This one thing that bothers me a little bit about this whole thing.

53:19.286 --> 53:20.687
[SPEAKER_04]: And it's nothing to do with the

53:21.802 --> 53:22.623
[SPEAKER_04]: with the actors again.

53:23.183 --> 53:32.090
[SPEAKER_04]: It's, if he's working, if Custell is working for the feds and the feds have to have access to to local and state level files.

53:33.271 --> 53:39.717
[SPEAKER_04]: Why does no one come in and say, yeah, you might want to back off on this guy because here's what here's what you don't know.

53:42.278 --> 53:47.339
[SPEAKER_00]: I think this is the fact, too, like, do you have an informant and they're not even informed on anything that's going on?

53:47.679 --> 53:50.380
[SPEAKER_00]: Because, Delo, they're out of the dark with everything, too.

53:50.960 --> 53:51.240
[SPEAKER_04]: Yeah.

53:51.480 --> 53:53.401
[SPEAKER_04]: You know, that was the other thing, too.

53:53.461 --> 54:01.203
[SPEAKER_04]: And it only really just kind of hit me a little bit as we were talking about is that at no point did we see Costello pass anything to the FBI?

54:01.243 --> 54:06.824
[SPEAKER_04]: We're just going on the words of one person later on that he is an informant for the FBI.

54:07.404 --> 54:10.747
[SPEAKER_04]: But this micro processor deal kind of puts everything into place.

54:10.787 --> 54:13.309
[SPEAKER_04]: Who is why would he be dealing with micro processors?

54:13.729 --> 54:15.471
[SPEAKER_04]: That's not the kind of guy Frank is.

54:16.011 --> 54:19.174
[SPEAKER_00]: Which makes it one hundred ten percent true that this one guy that told.

54:19.914 --> 54:24.138
[SPEAKER_00]: Positive and later on that he like, you know, Costello is a snatch.

54:24.158 --> 54:24.978
[SPEAKER_00]: She's an informant.

54:25.359 --> 54:31.443
[SPEAKER_00]: So it doesn't make sense because this is too deep for for just a low, well, mafia, mafia, so kind of guy.

54:32.324 --> 54:40.369
[SPEAKER_00]: So, so now we have meanwhile Colin Sullivan is investigating the murder of two Providence mobsters who cost him beat up in a convenience store.

54:40.730 --> 54:48.655
[SPEAKER_00]: He calls Frank the the high scene in Frank tells him to arrest a mobster Jimmy Peppers to fit in the highest.

54:49.295 --> 54:59.861
[SPEAKER_00]: Sometime later, one of Frank's men fits is an interrogation room and Colin poses as a lawyer with the recording of the interrogation turned off.

54:59.981 --> 55:08.566
[SPEAKER_00]: Colin, let's first call his mother, which is a warning sign to Costello's crew declare the evidence and abandon their bank activities.

55:09.286 --> 55:11.628
[SPEAKER_00]: So when I look about this is like,

55:12.684 --> 55:19.850
[SPEAKER_00]: You know, he's investigating this thing and he's going over this person's door saying, well, what about your son?

55:19.870 --> 55:21.971
[SPEAKER_00]: He goes, oh, he's a piece of shit.

55:22.071 --> 55:30.798
[SPEAKER_00]: He was a murderer and then she tells him to go at himself and then just as Frank is over there in the car roll and pass them.

55:31.719 --> 55:41.747
[SPEAKER_00]: And then you also have the whole entire thing where Colin is over there looking in examining the bodies and Frank tells them, oh, those two guys are from Providence.

55:45.384 --> 55:48.467
[SPEAKER_04]: this is a really good scene for for Matt Damon, right?

55:48.507 --> 55:59.296
[SPEAKER_04]: Because at the same time as he's, you know, helping out Frank and, you know, giving him the heads up of things that are coming on, he's also got to cover his own ass for what he's doing.

55:59.737 --> 56:08.524
[SPEAKER_04]: So here's one of Frank's guys and he's got to go in and believably and not set off any triggers, you know, or any warning signs for anybody.

56:09.285 --> 56:21.574
[SPEAKER_04]: still be able to get the information across right to Frank because this is something's going down and Frank needs to know, but Colin's got to make sure that no one is on to him to the fact that he's working for Frank.

56:21.594 --> 56:34.043
[SPEAKER_04]: So at the same time as we're seeing the stress get to Billy and the fact that he's refusing to wear a wire, he's getting in and he needs to make sure that he's not in any risk of being found out and killed.

56:35.223 --> 56:53.284
[SPEAKER_04]: Colin also means is feeling the heat by the fact that things are starting to come across his desk a little bit more quote unquote and he needs to cover it up at the same time as he's got a still help Frank so you're seeing the stress hit both of our main characters at this point and it's almost

56:54.264 --> 57:08.992
[SPEAKER_04]: The Billy column parallel continues and that's something this movie does very well is that you see them walking down their own path at the same time, even though it's different paths, but they're still dealing with the same thing as they're starting to converge.

57:09.918 --> 57:10.198
[SPEAKER_00]: Right.

57:10.318 --> 57:11.519
[SPEAKER_00]: And then here's thing.

57:11.659 --> 57:13.539
[SPEAKER_00]: Colin has a girlfriend now at this point.

57:13.699 --> 57:17.300
[SPEAKER_00]: That's another thing we forgot to mention that at this point, he has a girlfriend.

57:17.320 --> 57:20.181
[SPEAKER_00]: He's got the light that Billy doesn't have.

57:20.201 --> 57:20.921
[SPEAKER_00]: He doesn't have a girlfriend.

57:20.941 --> 57:22.402
[SPEAKER_00]: He doesn't have anything going for himself.

57:22.902 --> 57:26.683
[SPEAKER_00]: He's alone while Colin has everything that he could dream of.

57:27.744 --> 57:31.745
[SPEAKER_00]: And the way he meets the psychiatrist, I thought was kind of funny.

57:33.050 --> 57:36.254
[SPEAKER_00]: where he's like, so, what do you do?

57:36.274 --> 57:37.275
[SPEAKER_00]: He goes on my doctor.

57:37.695 --> 57:38.076
[SPEAKER_00]: Okay.

57:38.877 --> 57:40.959
[SPEAKER_00]: And I like the back and forth between them.

57:40.999 --> 57:43.021
[SPEAKER_00]: I thought it was actually pretty funny inside the elevator.

57:43.041 --> 57:44.443
[SPEAKER_00]: Because do you need my number?

57:44.683 --> 57:45.424
[SPEAKER_00]: No, I'm a detective.

57:45.464 --> 57:46.285
[SPEAKER_00]: I'll be able to find you.

57:46.866 --> 57:47.066
[SPEAKER_00]: Good.

57:47.887 --> 57:48.988
[SPEAKER_00]: There's no, I'm just fucking with you.

57:49.008 --> 57:49.589
[SPEAKER_00]: I need to get caught.

57:52.362 --> 57:53.763
[SPEAKER_00]: I just thought the setup was good.

57:54.484 --> 57:56.445
[SPEAKER_04]: It's it's fun cocky, right?

57:56.485 --> 58:02.890
[SPEAKER_04]: It's it's not like he's being, you know, lecturers or whatever to to Dr. Madden.

58:03.431 --> 58:05.272
[SPEAKER_04]: It's that he's been playful, right?

58:05.312 --> 58:06.193
[SPEAKER_04]: And that works.

58:06.253 --> 58:07.213
[SPEAKER_04]: That's that's working for.

58:08.394 --> 58:23.725
[SPEAKER_04]: The reason why, I mean, obviously because Madeline is attracted woman and I get that right, but it's one of those things where it comes into the blue why he decides to bring in a girlfriend because, you know, he was very, I was like, no, no wife, no wife, just me kind of thing.

58:24.905 --> 58:35.648
[SPEAKER_04]: Maybe is one of the things where he's looking for something first, they've lies in like, Madland, I think to him is more of an anchor as the stress is starting to bill with all of the things that are now coming across as death.

58:35.688 --> 58:37.268
[SPEAKER_04]: So it kind of makes sense a little bit.

58:38.929 --> 58:41.209
[SPEAKER_04]: But it adds an interesting dynamic later on.

58:41.909 --> 58:42.810
[SPEAKER_00]: Right, because even.

58:44.890 --> 58:46.270
[SPEAKER_00]: Stella was even telling him this.

58:46.370 --> 58:48.011
[SPEAKER_00]: He's like, you're being distracted right now.

58:48.151 --> 58:53.351
[SPEAKER_00]: So she's basically a distraction that Colin doesn't even see either.

58:53.972 --> 59:00.553
[SPEAKER_00]: So you have that too, where, because Stella's pissed off because of the fact that she's moved into his apartment to later on.

59:02.153 --> 59:13.335
[SPEAKER_00]: And there's what you like little Freud's second on your, you know, and you know, and you can definitely tell because Stella was just pissed off at Colin because he's so distracted.

59:13.935 --> 59:16.709
[SPEAKER_00]: to the point where he's not paying attention to anything around him.

59:17.715 --> 59:24.477
[SPEAKER_04]: Yeah, I mean, anything that takes away from anything that helps out Frank is a distraction, no matter what, right?

59:24.617 --> 59:40.863
[SPEAKER_04]: So, of course, it's almost a reminder to the Colin O's Frank, everything, you know, like any, any money or position that he's got right now, his time in the academy, everything is because Frank gave it to him.

59:41.263 --> 59:46.545
[SPEAKER_04]: So that's very much a put Colin back in his place and just remind him

59:47.345 --> 59:52.969
[SPEAKER_04]: who the boss is doesn't matter what promotion he gets at the, you know, with the state droopers.

59:53.770 --> 59:57.353
[SPEAKER_04]: He works for Frank and this is a great reminder moment for that.

59:58.877 --> 59:59.317
[SPEAKER_00]: Exactly.

59:59.357 --> 01:00:00.678
[SPEAKER_00]: And then there's also that other part.

01:00:00.738 --> 01:00:10.680
[SPEAKER_00]: I know we mentioned when they're when they roll by the woman's house and stuff, and then she tells them to go have himself because Frank is nearby, but also like how he tells Frank, I looked at it.

01:00:10.700 --> 01:00:12.081
[SPEAKER_00]: I didn't know about the tail until now.

01:00:13.501 --> 01:00:19.283
[SPEAKER_00]: Yeah, one is like gravy in with a graffiti on it, and then you have this other car.

01:00:19.423 --> 01:00:20.183
[SPEAKER_00]: Okay, not wrong.

01:00:20.203 --> 01:00:20.703
[SPEAKER_00]: Thank you, son.

01:00:20.803 --> 01:00:26.385
[SPEAKER_00]: And then he runs a red light and then, you know, in that intersection, and then they won't both wind up losing him.

01:00:27.561 --> 01:00:34.368
[SPEAKER_00]: So I like those little moments of and talking in code, which we'll get into now where, you know,

01:00:35.581 --> 01:00:40.184
[SPEAKER_00]: where now you have bits is in the interrogation room and calling the poses as lawyer.

01:00:40.644 --> 01:00:42.985
[SPEAKER_00]: And then even Anthony Anderson's like, what the hell are you doing?

01:00:43.385 --> 01:00:44.086
[SPEAKER_00]: You're not his lawyer.

01:00:44.166 --> 01:00:44.666
[SPEAKER_00]: You can't do that.

01:00:44.926 --> 01:00:51.450
[SPEAKER_00]: And then I like how the other state group was like, who's actually now a detective, because actually he just did.

01:00:52.251 --> 01:00:55.192
[SPEAKER_00]: So he wants to tell him, call you a mother.

01:00:55.593 --> 01:01:00.715
[SPEAKER_00]: So he calls him, I just want to let you know that I'm not going to be becoming a dinner.

01:01:01.816 --> 01:01:04.521
[SPEAKER_00]: Yeah, I have some friends and stuff.

01:01:05.122 --> 01:01:10.692
[SPEAKER_00]: So they wanted to take in the whole entire apartment and then letting it on fire.

01:01:10.832 --> 01:01:11.653
[SPEAKER_00]: Custella and his crew.

01:01:16.480 --> 01:01:25.627
[SPEAKER_04]: No point is a cop going to let anyone doesn't matter vis a superior turn off the camera and turn off the recorder and turn off the microphone.

01:01:25.888 --> 01:01:27.189
[SPEAKER_04]: That's not going to happen.

01:01:27.229 --> 01:01:37.758
[SPEAKER_04]: So it put it allows us to be able to see Colin starting to slip in what it is that he's doing despite the fact that it works and still works for Frank, but

01:01:38.898 --> 01:01:46.406
[SPEAKER_04]: This is the pressure, this is the pressure building on Colin, as much as it's building on Billy, you know, in his situation.

01:01:46.927 --> 01:01:54.515
[SPEAKER_04]: So I think this is, it's a good slow tension builder to the eventual convergence of their storylines.

01:01:55.628 --> 01:01:56.068
[SPEAKER_00]: I agree.

01:01:56.088 --> 01:01:57.449
[SPEAKER_00]: I definitely like it.

01:01:58.069 --> 01:02:09.154
[SPEAKER_00]: And there is a definitely some stressful moments for Colin and stuff too, especially with the whole entire deal of, well, if him talking to the other mob boss, he goes, so who would be called?

01:02:09.334 --> 01:02:10.054
[SPEAKER_00]: Because I called you.

01:02:10.074 --> 01:02:17.658
[SPEAKER_00]: And so, you know, and then he goes back over to the interrogation thing, because he doesn't know anything.

01:02:18.938 --> 01:02:22.960
[SPEAKER_00]: So he had to let him go on a technical holiday of the fact that he couldn't get anything on him.

01:02:24.178 --> 01:02:30.082
[SPEAKER_00]: But like you said, it's not very believable as far as a cop thing goes.

01:02:30.142 --> 01:02:33.925
[SPEAKER_00]: He's actually very, I'm trying to think of the word.

01:02:33.945 --> 01:02:39.529
[SPEAKER_00]: Let's conjoin it in a sense of not knowing what to do it right now because he's so stressed out with things.

01:02:40.650 --> 01:02:41.350
[SPEAKER_00]: Like you mentioned.

01:02:41.731 --> 01:02:48.816
[SPEAKER_04]: So he just added a suspect his own phone.

01:02:50.435 --> 01:02:52.837
[SPEAKER_04]: Had him call somebody, right?

01:02:53.077 --> 01:02:55.439
[SPEAKER_04]: And they handed back, great.

01:02:55.499 --> 01:02:56.680
[SPEAKER_04]: Let's see the phone number.

01:02:56.720 --> 01:02:58.662
[SPEAKER_04]: Let's double check this, right?

01:02:59.382 --> 01:03:01.924
[SPEAKER_04]: Let's leave the evidence on your little flip phone there.

01:03:01.964 --> 01:03:02.485
[SPEAKER_04]: Why don't we?

01:03:03.385 --> 01:03:04.486
[SPEAKER_00]: Right, exactly.

01:03:05.007 --> 01:03:11.332
[SPEAKER_00]: And then he was telling him, hey, look, this will be this is going to be okay because it'll be linked to wherever building that we can trace it to.

01:03:11.672 --> 01:03:12.493
[SPEAKER_00]: And that's where they are.

01:03:12.953 --> 01:03:14.254
[SPEAKER_00]: And I'll just be up on down building.

01:03:14.274 --> 01:03:18.778
[SPEAKER_00]: That's basically what he was telling the other people.

01:03:19.709 --> 01:03:21.210
[SPEAKER_04]: worst detective ever.

01:03:21.790 --> 01:03:22.090
[SPEAKER_00]: Yes.

01:03:23.871 --> 01:03:25.833
[SPEAKER_00]: Then, uh, then, uh, let's see here.

01:03:27.113 --> 01:03:47.125
[SPEAKER_00]: After receiving a tip of another deal of a microprocessor occurring with the Chinese mob and the Castella crew, the SIU attempts to set up a sting operation, civilian, solving calls for ink about the deal and warns him to use any, uh, not to use any cell phones while costing us secretly takes is the unit a message.

01:03:48.125 --> 01:04:08.688
[SPEAKER_00]: As Frank deals with the Chinese leader with Frank having Robert, a Chinese American act as a translator, yes, you, I discovered they are have a blind spot on the deal as one of the camera professionals forgets to add an extra camera in the back of the warehouse for which Captain Gregory, Elbury, selfishly attacks the cameraman.

01:04:09.851 --> 01:04:21.841
[SPEAKER_00]: or for his later discovered that this allowed the Chinese to leave the warehouse by boat with Microsoft processors, while those who were detained leaving by cars were without contraband.

01:04:22.621 --> 01:04:26.465
[SPEAKER_00]: So I'd like the whole entire setup of this whole entire thing.

01:04:26.525 --> 01:04:36.293
[SPEAKER_00]: It actually shows us what cops have to go through to set up a single operation and how big this single operation can be and how stressful and everything's on the line for them.

01:04:36.893 --> 01:04:38.274
[SPEAKER_00]: to be able to do what they do.

01:04:38.935 --> 01:04:52.304
[SPEAKER_00]: So I'd like the full heart of it, and also to distressfulness of it, because you can definitely tell the stressfulness of everybody in that department inside that room, because even Alec Baldwin's characters are stressed out with it.

01:04:53.305 --> 01:04:59.690
[SPEAKER_00]: And then you know, Collins also stressed out because he's afraid that Frank's going to get caught this time.

01:05:00.591 --> 01:05:03.253
[SPEAKER_00]: But he has to be the one telling, hey, look, there's actually a blind spot.

01:05:04.532 --> 01:05:09.004
[SPEAKER_00]: in this area and where to go to be able to not be on camera.

01:05:10.167 --> 01:05:12.413
[SPEAKER_00]: And you have only one cell phone with this.

01:05:13.423 --> 01:05:18.187
[SPEAKER_04]: Yeah, we're posted before there were smart phones sitting in people's back pockets.

01:05:18.247 --> 01:05:19.748
[SPEAKER_04]: This is what pocket dialing meant.

01:05:20.168 --> 01:05:37.462
[SPEAKER_04]: So this is one of those really great tense scenes, this course, AC set up so well, as far as the director goes, you know, all these short codes that everyone is sending each other and they have to do it in their pockets, so they're not necessarily seeing, but clearly they've practiced this enough, but

01:05:38.383 --> 01:05:44.425
[SPEAKER_04]: Everything is so slow and sparse and tense and just the suspense is built up.

01:05:44.505 --> 01:05:48.987
[SPEAKER_04]: So, especially in the fact that there's no music at all during this scene.

01:05:49.087 --> 01:05:53.028
[SPEAKER_04]: It's very much people watching monitors.

01:05:53.388 --> 01:05:55.229
[SPEAKER_04]: Meanwhile, you've got the deal going on.

01:05:56.650 --> 01:05:58.370
[SPEAKER_04]: It's so well done.

01:05:58.390 --> 01:06:01.771
[SPEAKER_04]: And you almost breathe.

01:06:02.432 --> 01:06:03.132
[SPEAKER_04]: You take a breath.

01:06:03.973 --> 01:06:17.678
[SPEAKER_04]: After everything's done after the entire scenes done and it's like, you did realize you were holding it at all because everything is is so methodical and you know that there's all these different little, you know,

01:06:18.914 --> 01:06:19.475
[SPEAKER_04]: different.

01:06:19.515 --> 01:06:33.125
[SPEAKER_04]: The fact that Colin is trying to warn Frank at the same time as Billy is trying to feed information to Queen in and also wire Queen in and L. B. working the same thing at the same time.

01:06:33.165 --> 01:06:40.571
[SPEAKER_04]: Like at some point someone's got to talk to each other at some at this, but it's one of those things where there's so much

01:06:42.480 --> 01:06:42.920
[SPEAKER_04]: pressure.

01:06:43.260 --> 01:06:44.621
[SPEAKER_04]: Put on this one tension.

01:06:44.721 --> 01:06:45.701
[SPEAKER_00]: Don't up into this.

01:06:46.002 --> 01:06:46.162
[SPEAKER_04]: Right.

01:06:46.402 --> 01:06:50.844
[SPEAKER_04]: So the fact that the camera guy forgot to put like one or two cameras here, they're kind of things.

01:06:50.864 --> 01:06:52.384
[SPEAKER_04]: So there are blind spots.

01:06:53.545 --> 01:07:02.509
[SPEAKER_04]: It's everything makes sense at this point, but everything is also ridiculously set to like, you know, intensity level ten.

01:07:03.550 --> 01:07:04.170
[SPEAKER_04]: But without

01:07:06.328 --> 01:07:20.813
[SPEAKER_04]: the typical like action or the gun shots or this is very almost Michael Mann asked you know going back to when we were talking about heat this is these are these moments these lingering moments where you as the viewer

01:07:21.922 --> 01:07:29.329
[SPEAKER_04]: And anyone at home has been actually who's actually watched this film, I would be curious for you to watch it again, you get to this point.

01:07:29.790 --> 01:07:37.017
[SPEAKER_04]: And if you find yourself leaning towards the television, right, your back leaves the couch, that's what this scene does.

01:07:37.137 --> 01:07:39.099
[SPEAKER_04]: It drags you right in.

01:07:40.340 --> 01:07:43.121
[SPEAKER_04]: Close-ups of people's faces is just staring at the monitors.

01:07:43.481 --> 01:07:44.622
[SPEAKER_04]: Close-ups of the phone.

01:07:44.722 --> 01:07:48.143
[SPEAKER_04]: Close-ups of, you know, everyone in the deal kind of thing.

01:07:48.203 --> 01:07:54.406
[SPEAKER_04]: Like, everything is designed to drag your back off of the back of the couch and pull you towards the TV.

01:07:54.866 --> 01:07:57.547
[SPEAKER_04]: And then when the scene is done, you breathe.

01:07:58.472 --> 01:08:01.513
[SPEAKER_00]: That's how I feel though, too, like there's no build up to this.

01:08:01.593 --> 01:08:02.793
[SPEAKER_00]: There's no music to this.

01:08:03.273 --> 01:08:08.174
[SPEAKER_00]: It does have a Michael Mann kind of flavor to it because it has a slow, slow, slow tension to it.

01:08:09.074 --> 01:08:26.198
[SPEAKER_00]: And also too, you're also seeing the phones come out where, you know, you have constant is actually trying to text somebody a little money simple, which I thought is hilarious because when my like I'll probably screw that up, trying to text somebody.

01:08:28.374 --> 01:08:34.055
[SPEAKER_04]: It was like, thank God, this is that when it's sick, is otherwise really, why are you sending me like an eggplant emoji?

01:08:34.375 --> 01:08:35.876
[SPEAKER_04]: That makes no sense whatsoever.

01:08:37.256 --> 01:08:40.057
[SPEAKER_00]: My back cap, I thought I meant to send you the other one.

01:08:40.097 --> 01:08:41.517
[SPEAKER_00]: Let me give you, let me go on ahead.

01:08:41.537 --> 01:08:46.278
[SPEAKER_00]: But my, like, I'll probably do like a flipping, flipping him off emoji instead.

01:08:47.398 --> 01:08:48.819
[SPEAKER_04]: You're no longer telling what's going on.

01:08:48.839 --> 01:08:52.239
[SPEAKER_04]: You're just basically sending yourself a situation where you need to go visit HR.

01:08:53.059 --> 01:08:53.480
[SPEAKER_00]: Exactly.

01:08:53.500 --> 01:08:53.960
[SPEAKER_00]: You're done.

01:08:54.120 --> 01:08:55.280
[SPEAKER_00]: You might as well just work for Castella.

01:08:56.920 --> 01:09:05.743
[SPEAKER_00]: But just that the slow bill, and then with the camera and then they're not knowing if they're going to be able to catch this guy.

01:09:05.803 --> 01:09:13.345
[SPEAKER_00]: And I was actually one of those people when I first seen this movie where I was like, on the edge of my seat, I was all way up to where the TV screen was.

01:09:13.365 --> 01:09:15.926
[SPEAKER_00]: I'm like, is this the moment that they catch Costello?

01:09:17.126 --> 01:09:22.428
[SPEAKER_00]: And then you realized, oh crap, it wasn't for that stupid cameraman, they would have had them.

01:09:23.753 --> 01:09:31.596
[SPEAKER_00]: And also, too, it wasn't also for Colin tipping off Frank at them, they would have actually got caught as well.

01:09:32.196 --> 01:09:39.119
[SPEAKER_00]: So, you know, it's basically custom made the cameraman take the fall for everything basically.

01:09:40.079 --> 01:09:40.780
[SPEAKER_04]: Oh, absolutely.

01:09:41.400 --> 01:09:42.661
[SPEAKER_04]: This scene is mastery.

01:09:42.701 --> 01:09:46.462
[SPEAKER_04]: This scene alone is the reason to watch this film.

01:09:48.523 --> 01:09:48.803
[SPEAKER_00]: I agree.

01:09:50.663 --> 01:09:54.244
[SPEAKER_00]: So is there anything else that you wanted to talk about as far as this thing goes?

01:09:54.784 --> 01:09:58.545
[SPEAKER_00]: Because I also like back and forth with the Chinese dealer though, too.

01:09:58.925 --> 01:10:05.426
[SPEAKER_00]: But he's talking in Chinese and then you have a cello goes tell them in this country, no ticky, no land laundry.

01:10:06.006 --> 01:10:11.928
[SPEAKER_00]: So I like the, I like that little back and forth with Castello and stuff a little dark humor within it.

01:10:13.903 --> 01:10:34.583
[SPEAKER_04]: Yeah, that that that line felt odd to me because it mean like it's maybe it is a frank thing maybe is you know as as he's starting to go a little bit on the crazier side because it's felt like the kind of line that was going to do rail the deal or could do rail the deal as opposed to the deal, right?

01:10:34.923 --> 01:10:38.407
[SPEAKER_04]: But I think that but the other thing too is that you know

01:10:39.637 --> 01:10:51.247
[SPEAKER_04]: Again, he's not used to dealing with these high level, you know, top level business style kind of criminal, right?

01:10:51.548 --> 01:10:52.989
[SPEAKER_04]: He's used to the street level villain.

01:10:53.009 --> 01:10:58.194
[SPEAKER_04]: So that's probably the reaction or at least the, you know, the level of disdain.

01:10:58.214 --> 01:11:05.100
[SPEAKER_04]: This is the same disdain that Colin gave to the firefighters in the rugby match, just a little bit more racist.

01:11:06.496 --> 01:11:22.927
[SPEAKER_00]: A lot more racist, but it also makes me wonder though, too, if Colin is actually gay because he's having all those problems in bed with his girlfriend or if it's just him being so stressed out to the point where, you know, I'm saying where he's not to being able to perform in bed.

01:11:24.137 --> 01:11:25.639
[SPEAKER_04]: I think it's more of the stress thing.

01:11:25.659 --> 01:11:32.768
[SPEAKER_04]: I think this is very much one of those things where his mind is nowhere near Madeline.

01:11:33.029 --> 01:11:40.118
[SPEAKER_04]: Madlands almost like a like a shield, right, or not necessarily a shield, but almost like an anchor that he needs.

01:11:40.558 --> 01:11:46.081
[SPEAKER_04]: But he can't commit to that anchor because Frank is putting the pressure on him in order to be able to make who keep doing his job, right?

01:11:46.561 --> 01:11:49.722
[SPEAKER_04]: So all of a sudden, she becomes a liability to him.

01:11:49.742 --> 01:11:52.724
[SPEAKER_04]: And he can't allow that to happen.

01:11:52.764 --> 01:11:55.345
[SPEAKER_04]: It's not like he doesn't love Matt alone.

01:11:55.405 --> 01:11:56.825
[SPEAKER_04]: They can't ever really love Matt.

01:11:56.845 --> 01:11:58.806
[SPEAKER_04]: But it's not like she didn't like her.

01:11:59.867 --> 01:12:09.151
[SPEAKER_04]: But he can't be there for her knowing that at any moment, Frank could come in and blow the whole thing wide open, right?

01:12:10.227 --> 01:12:18.713
[SPEAKER_00]: So the next day, Dignum has a conversation with Constantine about his concerns of the naked, more at the S.U.

01:12:18.993 --> 01:12:22.576
[SPEAKER_00]: As he meets with Marilyn, he talks about columns relationship with her.

01:12:23.316 --> 01:12:28.660
[SPEAKER_00]: Sometime later, she moves in with colon, Frank, in calls calling about the S.U.

01:12:28.800 --> 01:12:31.002
[SPEAKER_00]: finding out about the naked mole rad.

01:12:31.602 --> 01:12:39.670
[SPEAKER_00]: And he agrees to help Frank by the investigation of the gang's personal information through a police database with LBRI's advice.

01:12:39.730 --> 01:12:45.676
[SPEAKER_00]: Colin meets with Frank at a hardcore pornography therapy to exchange the envelope of his gang's personal information.

01:12:45.696 --> 01:12:49.099
[SPEAKER_00]: President Teele Sullivan and is ordered to make an arrest.

01:12:49.820 --> 01:12:57.865
[SPEAKER_00]: So let's talk about the fact that, you know, I like this whole entire thing with costume tin talking to, um, Queen in.

01:12:57.885 --> 01:13:00.727
[SPEAKER_00]: It has like that father and son dynamic that we talked about.

01:13:01.707 --> 01:13:05.850
[SPEAKER_00]: We are realized that Queen lost a son who's a police officer.

01:13:07.908 --> 01:13:12.172
[SPEAKER_00]: And he's looking at Constantin as a son.

01:13:12.192 --> 01:13:14.995
[SPEAKER_00]: And he's like, hey, son, are you hungry?

01:13:15.015 --> 01:13:16.036
[SPEAKER_00]: You want anything?

01:13:16.056 --> 01:13:22.382
[SPEAKER_00]: I really love the care that he has for him, the respect that he has for him.

01:13:23.414 --> 01:13:28.136
[SPEAKER_04]: It just makes what eventually happens to Queen and that much more of a gut punch.

01:13:28.716 --> 01:13:41.161
[SPEAKER_04]: And I think you needed to set that up because Dignum is very much, you know, riding Billy through the whole thing and, you know, giving him the gears, but with purpose, Queen and is the parental figure.

01:13:41.321 --> 01:13:47.643
[SPEAKER_04]: Queen and is the one that's meant to anchor Billy because Dignum can't anchor Billy at all.

01:13:48.143 --> 01:13:48.923
[SPEAKER_04]: Queen and has to.

01:13:51.530 --> 01:13:52.971
[SPEAKER_04]: You know, it does.

01:13:53.051 --> 01:13:54.872
[SPEAKER_04]: It sets it up so well.

01:13:54.932 --> 01:13:57.613
[SPEAKER_04]: So when it does happen, you know, we'll get to it later.

01:13:57.853 --> 01:14:01.595
[SPEAKER_04]: But when it does happen, you sit and go, not him.

01:14:02.396 --> 01:14:05.177
[SPEAKER_00]: Right, because I had that so emotional attachment to that character.

01:14:05.197 --> 01:14:07.198
[SPEAKER_00]: I never, he does die.

01:14:08.159 --> 01:14:13.481
[SPEAKER_00]: I was shocked because I'm like, you have this guy who's willing to do anything for Billy.

01:14:14.002 --> 01:14:15.522
[SPEAKER_00]: And then that character is now gone.

01:14:15.582 --> 01:14:18.044
[SPEAKER_00]: The person that the one person that Billy interested

01:14:19.185 --> 01:14:21.206
[SPEAKER_00]: But then anything is now gone.

01:14:21.286 --> 01:14:22.626
[SPEAKER_00]: He has no one to go to.

01:14:22.646 --> 01:14:31.368
[SPEAKER_00]: I felt bad for him at that scene, but we'll together then a few minutes by, you know, I just love this scene so much because it sets up a lot for later on.

01:14:31.868 --> 01:14:35.329
[SPEAKER_00]: And, you know, it just makes us feel even more like you mentioned.

01:14:35.369 --> 01:14:39.210
[SPEAKER_00]: It makes us feel that more emotional attachment that character once he's gone.

01:14:40.120 --> 01:14:45.285
[SPEAKER_04]: And the other thing too is, Queenin is Billy's attachment to the life he wants hack.

01:14:45.345 --> 01:14:46.046
[SPEAKER_04]: It's think about it, right?

01:14:46.546 --> 01:14:59.939
[SPEAKER_04]: If you are no longer tethered to your original life and the life you want, you know, you want to get back to when you're done this job, when you're done this, this undercover mission, there's no way of Queenin's gone.

01:14:59.959 --> 01:15:02.402
[SPEAKER_04]: You know, that's the lifeline.

01:15:02.462 --> 01:15:04.724
[SPEAKER_04]: The lifeline will eventually get cut.

01:15:06.175 --> 01:15:06.696
[SPEAKER_00]: Exactly.

01:15:07.597 --> 01:15:20.993
[SPEAKER_00]: But the thing that I was actually surprised though, too, was like, there's also this other humor that happens before we get into this thing with the naked man is the fact that, you know, whenever I tell you to bury the fucking guy in the mosh, you're preparing him in the mosh.

01:15:21.433 --> 01:15:22.315
[SPEAKER_00]: What are you laughing about?

01:15:22.355 --> 01:15:23.536
[SPEAKER_00]: This ain't reality TV.

01:15:24.877 --> 01:15:27.239
[SPEAKER_00]: I really thought that was actually pretty cool.

01:15:27.279 --> 01:15:29.720
[SPEAKER_00]: I just liked the dark humor within it.

01:15:30.721 --> 01:15:36.244
[SPEAKER_00]: And here's the thing, I would think that he would actually kill the guy for allowing that screw up.

01:15:38.185 --> 01:15:38.685
[SPEAKER_00]: That happened.

01:15:39.267 --> 01:15:39.467
[SPEAKER_04]: Yeah.

01:15:40.148 --> 01:15:45.393
[SPEAKER_04]: And again, it's also showing the manicness that Castelo is starting to go through as well.

01:15:45.713 --> 01:15:54.181
[SPEAKER_04]: Like really you have all these people that are dealing with the frame edges of everything that they're balancing.

01:15:54.261 --> 01:16:00.227
[SPEAKER_04]: So it's no wonder the Castelo, of course, is going a little bit over the edge a little.

01:16:00.847 --> 01:16:01.008
[SPEAKER_00]: Yeah.

01:16:02.269 --> 01:16:04.050
[SPEAKER_00]: Then, you know, then you have

01:16:05.594 --> 01:16:18.061
[SPEAKER_00]: Uh, the other thing where how do you feel about the whole thing with the, uh, Madeleine moving into columns apartment and then Custello answer it winds up being on the phone with her.

01:16:19.041 --> 01:16:23.344
[SPEAKER_00]: And he is talking that there has to be voice like he's, uh, a smoker.

01:16:23.424 --> 01:16:23.964
[SPEAKER_00]: You know what I mean?

01:16:24.024 --> 01:16:25.245
[SPEAKER_00]: Like he had cancer or something.

01:16:26.843 --> 01:16:28.866
[SPEAKER_04]: Yeah, that that was interesting, right?

01:16:28.886 --> 01:16:31.289
[SPEAKER_04]: I mean, obviously, Costello's trying to disguise his voice.

01:16:31.329 --> 01:16:44.786
[SPEAKER_04]: So not the madlem would have ever heard what Frank Costello would have sounded like, but that's more a self defense mechanism, but it's that whole scene and the, of course, he does this one moment where

01:16:46.347 --> 01:17:00.841
[SPEAKER_04]: shortly after Colin hangs up the phone, you see Madeline in the background and you could tell it's like it's an overlay that he's done because both of them are perfectly and focused yet the depth of the field would have to be so insane.

01:17:00.881 --> 01:17:03.924
[SPEAKER_04]: So clearly there's a split at that point, but

01:17:05.205 --> 01:17:12.668
[SPEAKER_04]: just the dynamic between what you know what Collins dealing with during that phone call on the balcony.

01:17:13.008 --> 01:17:21.811
[SPEAKER_04]: Meanwhile, Madeline sitting there and this of course was a bit of a moment between the two of them kind of thing where all of a sudden now he's on the

01:17:22.511 --> 01:17:30.174
[SPEAKER_04]: It was on the balcony and he's being put back into his place with Costello knowing that Madeleine is now and he realizes this at this point.

01:17:30.674 --> 01:17:36.376
[SPEAKER_04]: This is the weakness that Costello's going to use against him.

01:17:37.317 --> 01:17:44.919
[SPEAKER_00]: Right, because now he's got leverage on someone that is he has a lot to lose now versus being for where he had nothing really to lose.

01:17:44.999 --> 01:17:48.421
[SPEAKER_00]: Therefore, Frank couldn't really threaten him with anything.

01:17:49.528 --> 01:17:53.390
[SPEAKER_00]: So he winds up saying, well, do you like her second year, you know, and then?

01:17:55.151 --> 01:18:02.174
[SPEAKER_00]: But yeah, now he's able to just put him back in his place and make him wake up and say, hey, look, if you don't have to do this, I'm just going to wind up happening to it.

01:18:02.194 --> 01:18:03.135
[SPEAKER_00]: If you don't have that fine of this.

01:18:03.915 --> 01:18:14.821
[SPEAKER_00]: So I like that home-tired dynamic of Frank actually trying to put Colin back to where he was so that way they can get going back to the way things work.

01:18:16.474 --> 01:18:17.515
[SPEAKER_04]: Yeah, that's the thing.

01:18:17.615 --> 01:18:20.556
[SPEAKER_04]: Colin is way into deeper.

01:18:20.676 --> 01:18:22.817
[SPEAKER_04]: It's not even like Colin is a bad guy.

01:18:22.857 --> 01:18:29.560
[SPEAKER_04]: He's just doing what Frank has told him to do all along and, you know, paying Frank back for everything that he's done for him.

01:18:30.100 --> 01:18:34.282
[SPEAKER_04]: But now we get to see that, no, no, this isn't just you to be under wing.

01:18:34.603 --> 01:18:38.504
[SPEAKER_04]: You basically made me a slave to you and this isn't price.

01:18:39.125 --> 01:18:45.548
[SPEAKER_04]: And he realizes that in trying to have a life, he has endangered someone that he may have had feelings for.

01:18:46.292 --> 01:18:46.793
[SPEAKER_00]: Exactly.

01:18:48.255 --> 01:18:54.304
[SPEAKER_00]: Because now he has to try to be the one who has to protect her, even though he didn't realize that, oh, I screwed up.

01:18:54.424 --> 01:18:56.106
[SPEAKER_00]: I now I'm in danger in her life.

01:18:56.147 --> 01:18:57.709
[SPEAKER_00]: This is I'm in danger in my life.

01:18:58.149 --> 01:19:00.132
[SPEAKER_00]: But now I have to be right away to help her.

01:19:01.648 --> 01:19:02.969
[SPEAKER_00]: Now, and even he lies to her.

01:19:02.989 --> 01:19:03.790
[SPEAKER_00]: He goes, well, who's that?

01:19:04.150 --> 01:19:09.915
[SPEAKER_00]: Oh, this is someone that's, you know, that that one of my colleagues is your colleagues.

01:19:10.356 --> 01:19:16.962
[SPEAKER_00]: Really, you could have said, that's just one of my informants that that I have out on the streets and he gives me tips.

01:19:18.631 --> 01:19:20.972
[SPEAKER_04]: But that just goes to show that Colin is in way overhead.

01:19:21.853 --> 01:19:23.113
[SPEAKER_04]: He's not a good liar.

01:19:23.353 --> 01:19:24.674
[SPEAKER_04]: He's not, right?

01:19:24.834 --> 01:19:38.061
[SPEAKER_04]: So that just shows that Colin, despite the fact that he was kind of helped to be put there by Frank, he is in no way capable of dealing with, he can pass along information.

01:19:38.621 --> 01:19:45.024
[SPEAKER_04]: But, and he can give enough of a lie that, you know, I just gotta call my mom kind of thing, right?

01:19:46.794 --> 01:19:55.598
[SPEAKER_04]: When faced with and put on blast basically, he's not up to the task, at least not when it comes to Madeline.

01:19:56.959 --> 01:19:57.499
[SPEAKER_00]: Exactly.

01:19:58.219 --> 01:20:04.422
[SPEAKER_00]: Then we get this whole entire thing now, too, where he's going to run everybody's social security numbers into the system.

01:20:05.703 --> 01:20:12.326
[SPEAKER_00]: And this is where Billy is like, well, if true this, you know, I'm going to go on ahead and get out of here.

01:20:12.366 --> 01:20:13.207
[SPEAKER_00]: It goes, where are you going?

01:20:13.627 --> 01:20:15.308
[SPEAKER_00]: And she's like, everybody has to stay here.

01:20:15.348 --> 01:20:16.108
[SPEAKER_00]: I'm getting out of here.

01:20:17.367 --> 01:20:19.375
[SPEAKER_00]: So he goes on his sleeves with Madeline.

01:20:22.387 --> 01:20:22.688
[SPEAKER_00]: And yeah.

01:20:24.167 --> 01:20:28.949
[SPEAKER_04]: Yeah, this is Billy's need to have some kind of grounding as well, right?

01:20:29.389 --> 01:20:34.150
[SPEAKER_04]: He can't talk to anybody, but Queen and Digno.

01:20:34.490 --> 01:20:42.513
[SPEAKER_04]: And it's not like he's telling Madeline anything, but he needs to almost have touch with someone who's outside of everything.

01:20:42.733 --> 01:20:48.195
[SPEAKER_04]: That's the biggest thing here is that you can't talk to Frank, because I'll be his reason, right?

01:20:48.215 --> 01:20:49.235
[SPEAKER_04]: He can't talk to Frenchy.

01:20:49.955 --> 01:20:51.756
[SPEAKER_04]: He can talk to Digno and Queen and

01:20:52.100 --> 01:20:57.825
[SPEAKER_04]: about the job, but he can't really connect to someone who's completely disconnected.

01:20:57.845 --> 01:20:58.886
[SPEAKER_04]: Because he doesn't know.

01:20:59.346 --> 01:21:02.009
[SPEAKER_04]: He doesn't know that Colin is in a relationship with Madeline.

01:21:02.029 --> 01:21:03.910
[SPEAKER_04]: He doesn't know that Colin is the mole.

01:21:04.611 --> 01:21:09.095
[SPEAKER_04]: So Madeline to him is for lack of a safe space.

01:21:09.835 --> 01:21:12.598
[SPEAKER_04]: And to the same token as well, you've got Madeline who is not being

01:21:13.757 --> 01:21:15.618
[SPEAKER_04]: fulfilled by calling.

01:21:15.998 --> 01:21:18.780
[SPEAKER_04]: So there's a need for her as well.

01:21:18.860 --> 01:21:31.749
[SPEAKER_04]: So it's almost like the two of them found someone outside of their very situations in order to be able to connect and feel something and yet those people are fully connected in the everything.

01:21:32.744 --> 01:21:33.024
[SPEAKER_00]: Right.

01:21:33.425 --> 01:21:38.848
[SPEAKER_00]: It's like, I need someone to connect with someone that I can that can deal with emotionally and emotionally.

01:21:38.889 --> 01:21:44.853
[SPEAKER_00]: So I mean, but also be able to just bring these barriers that I have right now because I'm going through a lot.

01:21:45.333 --> 01:21:45.954
[SPEAKER_04]: So that's right.

01:21:46.354 --> 01:21:51.898
[SPEAKER_04]: I think there's that scene where we're madly goes, you're being really vulnerable right now and I don't know what it's doing to me, right?

01:21:52.158 --> 01:21:55.581
[SPEAKER_04]: Because calling is not vulnerable at all.

01:21:56.081 --> 01:21:58.443
[SPEAKER_04]: So yeah, it's Madlin.

01:22:00.287 --> 01:22:05.048
[SPEAKER_04]: Madeline clearly needs to be able to feel like she can connect with someone.

01:22:05.329 --> 01:22:10.230
[SPEAKER_04]: You know, being a being a psychiatrist and all of that, that's gotta be tough for her, right?

01:22:10.250 --> 01:22:12.351
[SPEAKER_04]: Because you have people just dumping on her.

01:22:12.771 --> 01:22:25.454
[SPEAKER_04]: And then you have someone here who, you know, she has talked to and she feels is struggling with a lot, but it's one of the things where like the breakthrough, this was the breakthrough for her to be able to get through to him.

01:22:25.534 --> 01:22:27.035
[SPEAKER_04]: So it's that kind of moment.

01:22:27.635 --> 01:22:32.379
[SPEAKER_00]: Right, and they don't even, they're not even patient doctor confidentiality anymore.

01:22:32.659 --> 01:22:34.040
[SPEAKER_00]: That's because he's not even a patient.

01:22:34.521 --> 01:22:35.101
[SPEAKER_04]: Exactly.

01:22:35.602 --> 01:22:37.643
[SPEAKER_00]: After he got his pills and stuff, he got what he wanted.

01:22:37.743 --> 01:22:38.784
[SPEAKER_00]: He ended up after that.

01:22:38.824 --> 01:22:40.726
[SPEAKER_00]: She basically exited him out.

01:22:41.767 --> 01:22:44.869
[SPEAKER_00]: And so now he gets to do whatever he wants.

01:22:45.739 --> 01:22:47.080
[SPEAKER_00]: basically and just talk with her.

01:22:47.100 --> 01:22:50.383
[SPEAKER_00]: And then he's like, well, how do you deal with deception?

01:22:50.423 --> 01:22:51.464
[SPEAKER_00]: How do you do with lying?

01:22:51.484 --> 01:22:52.725
[SPEAKER_00]: So I'm like that.

01:22:52.765 --> 01:22:59.450
[SPEAKER_00]: He goes, well, you know, just we, you just have to go ahead and just keep everything on the even kill.

01:22:59.550 --> 01:23:03.434
[SPEAKER_00]: She would just lie if she if Colin ever caught him with a car or a billy.

01:23:06.116 --> 01:23:09.419
[SPEAKER_00]: So she would even protect Billy versus Colin.

01:23:09.479 --> 01:23:14.043
[SPEAKER_00]: I think she would give Colin up if she discovered that he was the mole.

01:23:14.953 --> 01:23:16.394
[SPEAKER_00]: and protect Billy at all costs.

01:23:17.235 --> 01:23:30.325
[SPEAKER_04]: Yeah, because even though Billy's not being completely upfront with her about, you know, who he is and what he's doing, more importantly, what he's doing, you know, he's able to connect with someone with the person that he was.

01:23:32.152 --> 01:23:32.332
[SPEAKER_00]: Right.

01:23:33.393 --> 01:23:35.274
[SPEAKER_00]: So let's see here.

01:23:35.934 --> 01:23:37.675
[SPEAKER_00]: So tell us all of them in order to make.

01:23:38.455 --> 01:23:41.117
[SPEAKER_00]: Okay, so call them me with Frank and hardcore.

01:23:41.417 --> 01:23:55.044
[SPEAKER_00]: Okay, so now we're getting this whole entire thing with calling me with Frank at a hardcore pornography theater to exchange the envelope of his gang's personal information, which says citizen on it, because the other guy didn't know how to spell citizens, so cost it and why it's up to

01:23:55.364 --> 01:23:57.465
[SPEAKER_00]: of telling him and showing him how to spell citizen.

01:23:57.985 --> 01:24:00.546
[SPEAKER_00]: So he tells Sullivan and his order to take in the rest.

01:24:00.786 --> 01:24:02.667
[SPEAKER_00]: He pursues calling around the city.

01:24:02.727 --> 01:24:05.188
[SPEAKER_00]: They notice each other, but neither gets clear.

01:24:05.268 --> 01:24:08.309
[SPEAKER_00]: Look at each other's identity as they are about to come front each other.

01:24:08.329 --> 01:24:18.573
[SPEAKER_00]: Following accidentally, intentionally stabs and kills a Chinese restaurant worker instead of constant and constant searches for calling, but he escapes.

01:24:19.598 --> 01:24:24.421
[SPEAKER_00]: Paul and then confiscates a VHS tape of the Chinatown area and sees cost attend.

01:24:24.901 --> 01:24:38.870
[SPEAKER_00]: But he is his face isn't revealed because it's pixelated as constant meets with Frank Frank becomes aware about his crew member infiltrated in conference constant about his about this thing in the old days.

01:24:39.051 --> 01:24:40.932
[SPEAKER_00]: He wouldn't just have everyone who worked

01:24:42.443 --> 01:24:45.084
[SPEAKER_00]: He would just have everyone who worked for him killed.

01:24:45.424 --> 01:24:50.164
[SPEAKER_00]: President doesn't seem to be concerned to Frank as the naked mole rat.

01:24:50.564 --> 01:24:58.906
[SPEAKER_00]: It attempts to dislude by telling him to look at an older, disoriented worker who they can do what he does.

01:25:01.106 --> 01:25:11.208
[SPEAKER_00]: So, you know, I like this whole entire thing where now, President is actually healing calling, calling goes into the air and then you have

01:25:12.355 --> 01:25:21.838
[SPEAKER_00]: It's actually a part of graphic theater and as you know it, you have a stellar website of big all huge dick with a deal though, because.

01:25:23.118 --> 01:25:28.000
[SPEAKER_00]: And I just thought that's seen this comic book, but also this is very Joker ass like you said.

01:25:29.300 --> 01:25:34.502
[SPEAKER_00]: Because I can just picture Nicholas and with a Joker makeup and having to do this in front of Colin.

01:25:36.274 --> 01:25:37.315
[SPEAKER_00]: And do it that way.

01:25:37.855 --> 01:25:41.317
[SPEAKER_00]: But at the same time though, it's just something, I don't know.

01:25:41.337 --> 01:25:42.738
[SPEAKER_00]: I just feels miss.

01:25:44.059 --> 01:25:44.419
[SPEAKER_00]: I don't know.

01:25:44.499 --> 01:25:45.420
[SPEAKER_00]: I just feels weird.

01:25:46.432 --> 01:25:51.174
[SPEAKER_04]: Yeah, this is where it's almost like they let Jack be a little too Jack kind of thing.

01:25:51.595 --> 01:26:03.000
[SPEAKER_04]: And I think part of the problem too is that we have that frame of reference of the Joker because Nicholson was a very, very good Joker, a very iconic Joker.

01:26:03.741 --> 01:26:07.583
[SPEAKER_04]: And it's hard sometimes to watch an actor

01:26:08.799 --> 01:26:16.863
[SPEAKER_04]: do things in other movies when they could so very easily be, you know, you could point to another movie and go, always just doing this.

01:26:17.463 --> 01:26:23.366
[SPEAKER_04]: Had he never played the Joker in that Batman film, we wouldn't be making these comparisons, obviously, right?

01:26:23.386 --> 01:26:37.792
[SPEAKER_04]: Because it would have been someone else in that role, but it's one of those things where they're building the Costello crazy almost a little too much and too hard and in two wrong moments, even though, you know,

01:26:38.487 --> 01:26:42.689
[SPEAKER_04]: No one's going to be looking at anyone in that kind of porno theater.

01:26:43.109 --> 01:26:50.112
[SPEAKER_04]: So someone crazy in a trench coat, you know, going, oh, like people are just going to look away and not look at him.

01:26:50.473 --> 01:26:54.955
[SPEAKER_04]: So it's almost like he knows the psychology of the people that are going to be in that kind of theater.

01:26:55.955 --> 01:26:58.296
[SPEAKER_04]: And then just doesn't care.

01:26:58.316 --> 01:27:02.158
[SPEAKER_04]: And I think he also does it too to kind of keep everyone on their toes around him.

01:27:03.210 --> 01:27:03.450
[SPEAKER_00]: Right.

01:27:03.510 --> 01:27:13.698
[SPEAKER_00]: Also, too, we've also found out that Custella owns the pornographic theater, too, because even calling goes really doesn't surprise me that you own this theater.

01:27:15.259 --> 01:27:18.522
[SPEAKER_04]: And that's, again, it's part of the neighborhood, right?

01:27:18.802 --> 01:27:22.004
[SPEAKER_04]: So of course, Custella's going to, you know, either own or have

01:27:22.905 --> 01:27:27.570
[SPEAKER_04]: B, you know, basically unwritten ownership of a lot of businesses in the area.

01:27:27.650 --> 01:27:41.706
[SPEAKER_04]: So this is the kind of place that costella would don't, but to the same token as well, this is the kind of place that costella would own, which is a very good reason why costella wouldn't be the kind of guided deal in micro processors, right?

01:27:41.846 --> 01:27:42.367
[SPEAKER_00]: Exactly.

01:27:42.727 --> 01:27:44.267
[SPEAKER_04]: running a porno theater.

01:27:44.627 --> 01:27:53.009
[SPEAKER_04]: He's not the guy to be hitting up high tech firms in order to steal these micro processes that I guarantee you he has no idea what the hell they do.

01:27:53.690 --> 01:27:58.110
[SPEAKER_00]: No, he's just there to make some money and also to just to help the FBI.

01:27:58.131 --> 01:27:59.511
[SPEAKER_00]: So the way he doesn't get arrested.

01:27:59.571 --> 01:28:00.231
[SPEAKER_00]: That's all it is.

01:28:00.571 --> 01:28:00.711
[SPEAKER_00]: Yeah.

01:28:00.731 --> 01:28:01.491
[SPEAKER_00]: He doesn't know what they do.

01:28:01.991 --> 01:28:02.652
[SPEAKER_04]: Yeah.

01:28:03.012 --> 01:28:03.532
[SPEAKER_04]: He's offense.

01:28:03.672 --> 01:28:04.352
[SPEAKER_04]: That's all he is.

01:28:05.212 --> 01:28:11.136
[SPEAKER_00]: Exactly, he's just some guy who's doing a front job for somebody else and trying and that's all it is.

01:28:11.856 --> 01:28:17.840
[SPEAKER_00]: And if I was somebody that was trying to get micro processors, I've seen this guy owns a pornographic theater.

01:28:17.880 --> 01:28:21.563
[SPEAKER_00]: I'm like, this is not the guy that we're looking for to do this deal.

01:28:21.823 --> 01:28:30.549
[SPEAKER_04]: Or maybe it is because this is the perfect kind of guy who's not going to be connected to the real people at all through and think about it on that.

01:28:31.525 --> 01:28:42.608
[SPEAKER_00]: But, you know, I just love this whole entire thing now because you have, um, what's his name, Constantine in the back, Billy, and he's watching them talk.

01:28:43.268 --> 01:28:51.090
[SPEAKER_00]: But he doesn't even, uh, he can't really make an identification on on him at all to realize who he is.

01:28:51.850 --> 01:28:57.332
[SPEAKER_00]: But I like the fact that, you know, after everything's all said and done, he's tailing Colin.

01:28:58.459 --> 01:29:06.248
[SPEAKER_00]: And then Colin's all is thinking that Billy's behind him and just as he thinks that he's behind him, he shoots the Chinese worker.

01:29:06.949 --> 01:29:08.751
[SPEAKER_04]: Yeah, this whole time has stabbed him right away.

01:29:08.771 --> 01:29:09.051
[SPEAKER_04]: Yeah.

01:29:10.413 --> 01:29:15.939
[SPEAKER_00]: And also, too, then Billy's phone rings with the text of

01:29:16.977 --> 01:29:20.778
[SPEAKER_00]: Uh, denim, not denim, but queen and to go ahead and make the rest.

01:29:21.719 --> 01:29:23.539
[SPEAKER_00]: And, you know, I'm like, oh, shit.

01:29:23.599 --> 01:29:27.281
[SPEAKER_00]: I remember seeing that for the very first time and being glued to my set.

01:29:27.301 --> 01:29:31.802
[SPEAKER_00]: Because I was also glued on this scene too because there's no background music or anything for this scene either.

01:29:31.922 --> 01:29:35.143
[SPEAKER_00]: None of these scenes really have any background noise and everything.

01:29:35.423 --> 01:29:39.945
[SPEAKER_00]: But I just remember like, okay, so is someone going to die now.

01:29:40.752 --> 01:29:42.634
[SPEAKER_00]: And so it was being, it's not neither one of them.

01:29:43.134 --> 01:29:43.334
[SPEAKER_04]: Yeah.

01:29:43.775 --> 01:29:48.018
[SPEAKER_04]: Again, it's one of those like very well-plotted tense moments.

01:29:49.379 --> 01:29:55.705
[SPEAKER_04]: This was very much a, you know, happening of plot convenience.

01:29:57.672 --> 01:30:07.322
[SPEAKER_04]: Billy's been undercover long enough at this point, and we saw in the scene, you know, the really, really tense scene at the, at the deal.

01:30:08.183 --> 01:30:12.969
[SPEAKER_04]: Everyone's got their phone on vibrator on silent mode.

01:30:13.429 --> 01:30:15.351
[SPEAKER_04]: There is no way in hell.

01:30:16.072 --> 01:30:19.315
[SPEAKER_04]: Billy is telling someone with his phone on ring.

01:30:21.800 --> 01:30:29.750
[SPEAKER_00]: It was weird for him to have that on there unless it was like, okay, I must have accidentally hit vibrate and my pants or something or something.

01:30:29.770 --> 01:30:31.872
[SPEAKER_00]: No, I'm saying if I might have actually took it off it.

01:30:32.493 --> 01:30:35.577
[SPEAKER_04]: Weird thing to say after a scene in a porno theater, but yes, go on.

01:30:40.787 --> 01:30:51.475
[SPEAKER_00]: But yeah, it is kind of weird though, like after all that time that Billy was under cover and all of a sudden now, he's making mistakes and having his phone on vibrate, not on vibrate, but off of vibrate.

01:30:53.216 --> 01:30:54.778
[SPEAKER_04]: It's a plot to be against at that point.

01:30:55.818 --> 01:30:55.999
[SPEAKER_00]: Right.

01:30:56.923 --> 01:30:58.425
[SPEAKER_00]: But then I like how they're going.

01:30:58.685 --> 01:31:11.581
[SPEAKER_00]: Billy's going across the crosswalk looking for a call and then the columns inside the security footage and he came and see it because it speaks as the security footage sucks back in two thousand six.

01:31:11.601 --> 01:31:12.583
[SPEAKER_04]: In the early eighties since.

01:31:13.063 --> 01:31:18.687
[SPEAKER_04]: So glad that they didn't pull the, you know, the movie trouble of enhanced enhanced.

01:31:18.987 --> 01:31:33.356
[SPEAKER_04]: And no, you know, if you enhanced standard death, you know, camera vis from that far away from in two thousand six camera, you're lucky if you can see anything more than a blob of color in black and white apparently.

01:31:33.837 --> 01:31:41.382
[SPEAKER_04]: So I liked the fact that they kept this very real and it's like, you're not making anything at about this guy because

01:31:43.311 --> 01:31:47.392
[SPEAKER_04]: It's such bad quality camera and resolution.

01:31:47.852 --> 01:31:48.052
[SPEAKER_00]: Right.

01:31:48.072 --> 01:31:54.254
[SPEAKER_00]: Because even Colin was trying to basically zoom in on the face and has he got closer and closer, it's still pixelated.

01:31:54.754 --> 01:31:55.034
[SPEAKER_00]: Yeah.

01:31:55.074 --> 01:31:59.815
[SPEAKER_04]: So yeah, I've reality and kind of in shadow as well and at night.

01:31:59.875 --> 01:32:01.495
[SPEAKER_04]: So you're not going to get a clear picture.

01:32:01.996 --> 01:32:04.616
[SPEAKER_04]: And it also maintains that suspense as well.

01:32:05.596 --> 01:32:07.097
[SPEAKER_00]: Right, but this whole kind of mouse thing.

01:32:07.537 --> 01:32:07.837
[SPEAKER_04]: Mm-hmm.

01:32:08.472 --> 01:32:13.573
[SPEAKER_00]: So during a holdup, Custon confronts a junkie who reveals that Frank isn't FBI informing.

01:32:13.613 --> 01:32:16.914
[SPEAKER_00]: Custon then reveals a cleaning that night later.

01:32:16.994 --> 01:32:19.394
[SPEAKER_00]: He meets Madeline and her former partner.

01:32:19.414 --> 01:32:20.474
[SPEAKER_00]: We talked about that in the two.

01:32:20.554 --> 01:32:21.515
[SPEAKER_00]: Have oral sex.

01:32:22.255 --> 01:32:28.176
[SPEAKER_00]: Two days later, Sullivan tries to talk to Queen and about the informed owner files by Queen and declines to help him.

01:32:28.216 --> 01:32:37.798
[SPEAKER_00]: Sullivan orders a tail to on Queen, herring, which SUI officers follow him to meet up with Custon on

01:32:38.518 --> 01:32:39.839
[SPEAKER_00]: Three, four, wash street.

01:32:40.059 --> 01:32:42.021
[SPEAKER_00]: Queen and meets up with Closet and on the roof.

01:32:42.581 --> 01:32:45.884
[SPEAKER_00]: Closet and on the point of Queen and the frink is aware of the naked mole rat.

01:32:46.324 --> 01:32:50.267
[SPEAKER_00]: Soon, Custella crew arrives to meet with Closet and in the attempt to escape.

01:32:51.963 --> 01:33:01.369
[SPEAKER_00]: So let's talk, since we already did talk, we talked about the whole fact that he winds up sleeping with, you know, Madeline.

01:33:01.769 --> 01:33:14.877
[SPEAKER_00]: We're just going ahead and we're talking about the fact that now, calling winds up putting a T a lot on Queen in and we have this whole entire thing now where, you know, Billy's like, look, are you sure you don't have a T a lot?

01:33:14.897 --> 01:33:16.618
[SPEAKER_00]: Just look, I'm telling you, I don't have a T a lot.

01:33:17.138 --> 01:33:18.139
[SPEAKER_00]: Those, are you sure?

01:33:18.159 --> 01:33:21.001
[SPEAKER_00]: There's, Billy, why would they have a T a lot on me?

01:33:21.994 --> 01:33:22.975
[SPEAKER_00]: You know, just do it.

01:33:23.475 --> 01:33:24.296
[SPEAKER_00]: Get on another train.

01:33:24.656 --> 01:33:32.443
[SPEAKER_00]: And then as I'm watching this for the first time, I remember I'm like, oh my gosh, he has to switch trains now.

01:33:32.463 --> 01:33:36.366
[SPEAKER_00]: He has to do everything just to try and lose the tail that colon has on him.

01:33:37.067 --> 01:33:44.573
[SPEAKER_00]: Now, colon thinks is actually making him look like he's actually a perk, which is ridiculous, even the cops are like, what the hell are you doing?

01:33:44.593 --> 01:33:49.878
[SPEAKER_00]: Because while I have to investigate everyone, even if it means, I have to investigate Queen and himself.

01:33:50.390 --> 01:33:50.650
[SPEAKER_04]: Yeah.

01:33:51.371 --> 01:33:58.758
[SPEAKER_04]: And then this is showing Colin's desperation because I mean, it also adds to the resolution a little bit later on.

01:33:59.259 --> 01:34:02.202
[SPEAKER_04]: Colin is looking for way out.

01:34:02.422 --> 01:34:09.789
[SPEAKER_04]: He's looking for a way to kind of close this whole thing and kind of get out of Frank's, you know, Frank's thumb, you know, by

01:34:10.803 --> 01:34:24.864
[SPEAKER_04]: tagging, you know, Queen and as the mole, you know, it's almost like he's almost like really to sacrifice someone for the sake of actually, you know, getting Frank office case and office back.

01:34:25.920 --> 01:34:27.401
[SPEAKER_00]: Right, because he's tired at this point.

01:34:27.441 --> 01:34:28.923
[SPEAKER_00]: He's tired of covering for Frank.

01:34:28.963 --> 01:34:32.646
[SPEAKER_00]: He's tired of doing this whole entire cat and mouse game too.

01:34:33.246 --> 01:34:35.809
[SPEAKER_04]: Yeah, but also it's it's Queen's guy, right?

01:34:35.829 --> 01:34:39.892
[SPEAKER_04]: It's always been Queen's guy who was the mall that inside Frank's operation.

01:34:40.172 --> 01:34:46.758
[SPEAKER_04]: So by tagging Queen and then all of a sudden, you have to think the Queen is going to meet up with his contact with his with his guy.

01:34:47.178 --> 01:34:49.921
[SPEAKER_04]: So this is the easiest way to figure out who the guy is.

01:34:50.655 --> 01:34:57.122
[SPEAKER_00]: And then you get to go ahead and simply get rid of Billy, you get Billy, get rid of everyone that was tied to this case.

01:34:57.142 --> 01:35:05.090
[SPEAKER_00]: And then maybe you might be able to get rid of a stellar later on if you wanted to, or you can still be his puppet in a sentence, too.

01:35:05.831 --> 01:35:10.958
[SPEAKER_04]: Yeah, I mean, this is also where things go so as well because Billy's able to kind of get out of things.

01:35:11.839 --> 01:35:18.328
[SPEAKER_04]: Queen and kind of takes the, takes the heat and then takes the fall literally for Billy.

01:35:19.650 --> 01:35:20.631
[SPEAKER_04]: That's seen though.

01:35:21.532 --> 01:35:28.661
[SPEAKER_04]: That scene is so just stark right because Billy gets back to the back to the main level of the building.

01:35:29.442 --> 01:35:33.387
[SPEAKER_04]: And turns around a corner and then boom, there's a body that falls all the way down.

01:35:33.588 --> 01:35:39.175
[SPEAKER_04]: Well, that could have gone real bad real fast, but yeah, the fact that Queen and

01:35:40.338 --> 01:35:47.305
[SPEAKER_04]: protected his, for like a bit of term surrogate son, that's kind of how we were treating belly with his life.

01:35:47.806 --> 01:35:50.749
[SPEAKER_04]: That just, this was the buildup, right?

01:35:50.769 --> 01:36:02.361
[SPEAKER_04]: This is what I was talking about with making queen and be much more sympathetic and a likable character so that when he does die, it got punches you that much more and it's such

01:36:04.176 --> 01:36:08.898
[SPEAKER_04]: It's so stark and so sudden when it happens that it hits you even harder.

01:36:08.938 --> 01:36:19.923
[SPEAKER_04]: There's no long pronounced kind of beat down kind of scene where they're trying to break down Queen and to find out who the who the the inside guy is.

01:36:21.044 --> 01:36:30.128
[SPEAKER_04]: It's just done in inference and off camera so that when you see the aftermath and Queen and falling down and hitting the ground, it's all said like, oh, oh.

01:36:32.813 --> 01:36:39.418
[SPEAKER_00]: Because you're just as shocked as Billy and the rest of the crew members from Castelo's crew whenever you see him fall.

01:36:40.218 --> 01:36:42.600
[SPEAKER_00]: And if we actually see him push.

01:36:44.035 --> 01:36:46.616
[SPEAKER_00]: You know, not the gang members, I'm sorry, it was actually the cops.

01:36:46.796 --> 01:36:53.279
[SPEAKER_00]: If we if we got that push and we seen the push, we wouldn't have been as shocked as Billy was.

01:36:53.759 --> 01:37:00.522
[SPEAKER_00]: I think that and but I like the fact that it cuts down to Billy going down the stairs and then you finally get down there and then.

01:37:00.542 --> 01:37:03.964
[SPEAKER_00]: Okay, you can take a breath because Billy's okay.

01:37:04.848 --> 01:37:07.190
[SPEAKER_00]: But at the same time, you're also worrying about queen.

01:37:08.091 --> 01:37:16.258
[SPEAKER_00]: You see the drop, you see the suddenness of that stop and it just winds up the blood splats on Billy.

01:37:16.739 --> 01:37:23.425
[SPEAKER_00]: And then the cops that are working for colon are shocked, just as we are shocked about what happened to queen.

01:37:24.477 --> 01:37:27.678
[SPEAKER_04]: Yeah, and the cops are far in a way that they can't really make it Billy at all, right?

01:37:27.698 --> 01:37:32.900
[SPEAKER_04]: So all they see is Queen and hit the ground and it's like, okay, and when I have to go act kind of thing, right?

01:37:32.940 --> 01:37:38.102
[SPEAKER_04]: So it's, it's, it's again, it's one of those tense moments.

01:37:38.122 --> 01:37:45.804
[SPEAKER_04]: This, this entire film is built on these really tense well plotted out kind of spots.

01:37:46.224 --> 01:37:47.965
[SPEAKER_04]: That's of course, Daisy pulls off very well.

01:37:49.247 --> 01:37:49.587
[SPEAKER_00]: Right.

01:37:49.747 --> 01:37:51.988
[SPEAKER_00]: And I just felt bad at this point.

01:37:52.008 --> 01:37:53.689
[SPEAKER_00]: I was like, OK, now he has no one.

01:37:53.709 --> 01:37:58.592
[SPEAKER_00]: Ding, no one's up going out running away from this whole tired thing.

01:37:59.232 --> 01:38:01.253
[SPEAKER_00]: So now it's like, what do you do?

01:38:01.433 --> 01:38:07.817
[SPEAKER_00]: And then the bad guy, well, I'll still have his crew members just like, got shot and was on the verge of dying.

01:38:07.877 --> 01:38:10.218
[SPEAKER_00]: But he gave Billy the wrong address.

01:38:10.898 --> 01:38:13.240
[SPEAKER_04]: Yeah.

01:38:13.720 --> 01:38:15.041
[SPEAKER_04]: And he died right after that.

01:38:15.081 --> 01:38:17.422
[SPEAKER_04]: That was a very reservoir of dogs kind of seen.

01:38:19.149 --> 01:38:39.904
[SPEAKER_00]: like Billy tell tell tell tell them why I didn't tell me ask me why why didn't I write you out why yeah and then it turns out he's also in the form and is well right so you know I was wondering if that was like FBI or was someone that did know him and them put in the or Queen and put in

01:38:41.727 --> 01:38:46.452
[SPEAKER_04]: I think it's definitely the the Queen and Dignum team that it put an extra guy in there.

01:38:46.813 --> 01:38:58.107
[SPEAKER_04]: And because that's thing, if you're building a case against someone like Frank Costello, then you're putting in redundancies into your plan as well to the same token as if you have a mole.

01:39:00.172 --> 01:39:01.113
[SPEAKER_04]: in Frank's team.

01:39:01.474 --> 01:39:07.860
[SPEAKER_04]: And Frank is also, you know, almost like to this year, my way, right, put two moles in.

01:39:07.920 --> 01:39:11.884
[SPEAKER_04]: So if one mole gets caught, then all of a sudden they start to breathe the sigh of relief.

01:39:12.165 --> 01:39:15.828
[SPEAKER_04]: So you know, yeah, we got the mole, but you didn't get them all, because you didn't know about them all.

01:39:16.549 --> 01:39:16.729
[SPEAKER_00]: Right.

01:39:16.990 --> 01:39:18.872
[SPEAKER_00]: And now we're getting into the climax of it all.

01:39:19.272 --> 01:39:22.135
[SPEAKER_00]: Now, too, where now you have

01:39:23.328 --> 01:39:28.212
[SPEAKER_00]: At this point, they're going to make a, make a bust on a stelo.

01:39:28.332 --> 01:39:31.415
[SPEAKER_00]: You're also going to make a bust on this whole entire thing now.

01:39:33.557 --> 01:39:37.641
[SPEAKER_00]: And I, and I like how once again, you have draft kick Murphy's in this plane.

01:39:38.381 --> 01:39:39.302
[SPEAKER_00]: This is going to happen.

01:39:40.743 --> 01:39:44.387
[SPEAKER_00]: You know, and what did you think of the whole entire setup of this?

01:39:46.160 --> 01:39:48.662
[SPEAKER_04]: Yeah, this was, this was that culmination, right?

01:39:48.682 --> 01:39:51.064
[SPEAKER_04]: Because of course, the Dignum kind of gets run out, L.A.B.

01:39:51.144 --> 01:40:01.613
[SPEAKER_04]: kind of takes over, Colin is put into a position of to really kind of go through everything and then pulling out the phone.

01:40:02.854 --> 01:40:03.575
[SPEAKER_04]: and calling.

01:40:04.235 --> 01:40:10.479
[SPEAKER_04]: And that whole phone call sequence between Colin and Billy, you know, that happens afterwards.

01:40:10.879 --> 01:40:14.161
[SPEAKER_04]: But it's one of the things where, yeah, the chess piece start to go into play.

01:40:14.181 --> 01:40:19.905
[SPEAKER_04]: And then, of course, you've got this one other big deal coming up with Frank doing one massive drug deal.

01:40:19.925 --> 01:40:25.128
[SPEAKER_04]: Like, it's so tense in the fact that you know, Dignan was run out.

01:40:25.608 --> 01:40:27.649
[SPEAKER_04]: Billy is completely losing his ish.

01:40:28.030 --> 01:40:31.352
[SPEAKER_04]: But then, you know, realizing that the one guy who died

01:40:32.538 --> 01:40:49.762
[SPEAKER_04]: was also in a form in his well, there has to be a sense of relief that that maybe the heat is off him a little bit, even though Frank is working with other guys as well, he's making sure that he's kind of putting some distance between anyone who could be leaking it all.

01:40:53.023 --> 01:40:54.004
[SPEAKER_04]: You get that breath.

01:40:54.044 --> 01:40:59.505
[SPEAKER_04]: You get that moment once Queen's dead and then it's like, okay, now we know we're into like the end game.

01:41:00.460 --> 01:41:12.193
[SPEAKER_00]: Right, because even when if you remember that one scene where Colin winds up calling Billy on the cell phone, right, is well, why are you calling me on a dead person cell phone?

01:41:13.034 --> 01:41:20.263
[SPEAKER_04]: Yeah, that you know that that entire phone call scene like just letting it ring one of the fact that there's still blood on the cell phone as well, like it's

01:41:21.837 --> 01:41:23.098
[SPEAKER_04]: This is the moment, right?

01:41:23.298 --> 01:41:28.102
[SPEAKER_04]: This is, maybe not, it's like, it's not like the diners scene, right?

01:41:28.442 --> 01:41:39.852
[SPEAKER_04]: This is almost like that scene in heat where Pacino spots to nearo at the hotel after the fire alarm has been, has been pulled.

01:41:40.572 --> 01:41:45.296
[SPEAKER_04]: And it's that moment where the nearo is looking at the girl in the car, then looking at Pacino and then starts to walk away.

01:41:45.636 --> 01:41:49.099
[SPEAKER_04]: This is that moment, that whole phone call moment where it's like, you can go or

01:41:51.532 --> 01:41:57.377
[SPEAKER_04]: You know, or you can run and Billy's looking at that phone and it's ringing.

01:41:57.417 --> 01:42:03.442
[SPEAKER_04]: It's like, I could pick it up and I could deal with this or I could not ever answer and just go away.

01:42:04.103 --> 01:42:06.525
[SPEAKER_04]: So the fact that he picks it up, that's that kind of moment.

01:42:07.468 --> 01:42:08.649
[SPEAKER_00]: Right, it's very haunting.

01:42:08.869 --> 01:42:10.270
[SPEAKER_00]: It's very horrifying.

01:42:10.770 --> 01:42:16.774
[SPEAKER_00]: See, this phone number being popped up all over again in his phone and ringing, not sure who it is on the other line.

01:42:17.274 --> 01:42:18.035
[SPEAKER_00]: Like, is it the mole?

01:42:18.115 --> 01:42:19.656
[SPEAKER_00]: Is it someone on Frank's crew?

01:42:20.056 --> 01:42:21.097
[SPEAKER_00]: It could be anybody.

01:42:21.177 --> 01:42:28.141
[SPEAKER_00]: And it just happens to be colon who is pretending to be a cop when he's not really, he's a parent to be a cop, but he's not a cop.

01:42:28.501 --> 01:42:31.083
[SPEAKER_00]: Just as Billy is a parent to be a cop and not be a cop.

01:42:31.743 --> 01:42:32.724
[SPEAKER_04]: Yeah, and that's something to it.

01:42:32.824 --> 01:42:33.745
[SPEAKER_04]: I love the fact that

01:42:34.853 --> 01:42:37.515
[SPEAKER_04]: I mean, Colin knows the Billy is on Frank's team.

01:42:37.535 --> 01:42:40.157
[SPEAKER_04]: Hey, because he knows, but be there's their surveillance, right?

01:42:40.497 --> 01:42:44.721
[SPEAKER_04]: But he doesn't necessarily know what Billy sounds like, right?

01:42:45.461 --> 01:42:49.484
[SPEAKER_04]: And Billy wouldn't know Colin at all because they never met in the academy.

01:42:49.865 --> 01:42:55.389
[SPEAKER_04]: So this phone call makes sense that they still don't know who the other person is really.

01:42:56.361 --> 01:42:56.902
[SPEAKER_00]: Exactly.

01:42:57.082 --> 01:43:09.954
[SPEAKER_00]: Other than the fact that they were in passing is so as Colom was getting out of the office of a Dignum in also with, um, this is what's his name, Dignum and, uh, you know what I'm talking about.

01:43:10.314 --> 01:43:11.275
[SPEAKER_04]: Oh, yeah, Queen and yeah.

01:43:11.716 --> 01:43:14.659
[SPEAKER_00]: And Queen and that was the only time that we actually seen these two together.

01:43:14.679 --> 01:43:19.003
[SPEAKER_00]: Other than that, it was just like, you know, co-workers passing each other in the hallway.

01:43:21.198 --> 01:43:21.478
[SPEAKER_04]: Yeah.

01:43:21.518 --> 01:43:21.778
[SPEAKER_00]: Yeah.

01:43:21.818 --> 01:43:27.621
[SPEAKER_04]: And the moment that nothing to the characters and there was no reason why these two would remember each other at all.

01:43:29.261 --> 01:43:29.761
[SPEAKER_00]: Exactly.

01:43:29.922 --> 01:43:47.989
[SPEAKER_00]: So now we have constant and then meets Manland and Hands are a number low, telling her not to open it unless something happens to him or if he calls her and tells her to do so later he sends her a CD of Frank's conversation with Colin finding the gang's naked mole rat Sullivan calls the number on the CD and reaches call.

01:43:48.849 --> 01:43:50.750
[SPEAKER_00]: cost him, but we'll get to that in a minute.

01:43:51.210 --> 01:43:52.771
[SPEAKER_00]: But yeah, it's only been two days later.

01:43:52.831 --> 01:43:56.612
[SPEAKER_00]: The news reveals that Ilhan's body was found and was undercover.

01:43:56.752 --> 01:44:03.975
[SPEAKER_00]: Boston police officer Franks crew goes to retrieve a great of cocaine and shipfield where Frank is being teiled.

01:44:04.395 --> 01:44:06.516
[SPEAKER_00]: Frank orders calling to get rid of the tail.

01:44:06.576 --> 01:44:08.436
[SPEAKER_00]: Colin does that by.

01:44:10.217 --> 01:44:25.126
[SPEAKER_00]: uses information provided by constant to infiltrate the drug deal with data tail at the deal the crew is ambushed by the state police and all Frank's crew save for constant and kills the ensuing gun by

01:44:25.846 --> 01:44:47.215
[SPEAKER_00]: Frank wounded calls for Colin revealing that he knows that Frank is an FBI informant calling for is a Frank had mentioned his name to the FBI, which Frank says he has in Frank tries to shoot Colin, but Colin is quick enough to shoot Frank in the chest first killing him at the SAU headquarters after being applauded Colin Mith.

01:44:47.635 --> 01:45:07.461
[SPEAKER_00]: Constantine for the first time as Colin searches for Constantine's file, Constantine sees that the envelope of a personal information is getting his game provided to Custella with the missbelling of citizen cross out, Constantine leaves these SIU upon realizing that Constantine knows Sullivan is the naked mole rat, Sullivan races, Constantine's file.

01:45:08.681 --> 01:45:10.742
[SPEAKER_04]: Yeah, so first of all,

01:45:12.610 --> 01:45:17.815
[SPEAKER_04]: The envelope that he gives to Madeline says, don't open this until I tell you kind of thing.

01:45:18.635 --> 01:45:20.277
[SPEAKER_04]: We never see that envelope again.

01:45:20.297 --> 01:45:25.241
[SPEAKER_04]: This is one of those dangling things that never really got resolved.

01:45:25.261 --> 01:45:33.187
[SPEAKER_04]: Maybe we didn't ever need it resolved, but it's one of those things where that part never really got resolved.

01:45:33.227 --> 01:45:33.887
[SPEAKER_04]: We never knew

01:45:34.885 --> 01:45:42.191
[SPEAKER_04]: what was in that envelope, but at the same token as well, the fact that the fact that he sent the CD to calling, because he knew who calling was.

01:45:42.551 --> 01:45:46.094
[SPEAKER_04]: And it was her because she knows William Costigan.

01:45:46.314 --> 01:45:51.017
[SPEAKER_04]: So she recognizes the return address, at least the name on the return address.

01:45:51.057 --> 01:45:53.739
[SPEAKER_04]: So that's why she opened it up to hear the CD.

01:45:54.060 --> 01:45:55.060
[SPEAKER_04]: That scene is great.

01:45:55.321 --> 01:45:56.321
[SPEAKER_04]: That is fantastic.

01:45:57.502 --> 01:45:58.723
[SPEAKER_04]: We were talking about it.

01:46:00.482 --> 01:46:03.945
[SPEAKER_00]: I really liked the fact with the whole shootout scene was really good.

01:46:04.005 --> 01:46:14.873
[SPEAKER_00]: There's no background music, but I like the fact that we're having dropkick movies, shipping out to Boston again, but it's more like a hyped up version of it, where it's like, we're get about to do this deal.

01:46:15.114 --> 01:46:26.763
[SPEAKER_00]: Just as we're about to do this deal, we're about to wrap up this whole entire movie that you guys are working your asses off on and being being glued to your TV sets or speaks screen and the pay office about to happen on both sides.

01:46:27.945 --> 01:46:31.147
[SPEAKER_00]: And I just loved how it sets up a lot.

01:46:31.247 --> 01:46:35.210
[SPEAKER_00]: And then you have the whole entire shoot out.

01:46:35.270 --> 01:46:38.092
[SPEAKER_00]: And then he winds up, you have colonel winds up shooting Frank.

01:46:39.193 --> 01:46:43.396
[SPEAKER_00]: And this is actually what gets him, what winds up happening.

01:46:43.436 --> 01:46:44.857
[SPEAKER_00]: He winds up getting the whole entire thing.

01:46:45.787 --> 01:46:48.329
[SPEAKER_00]: All the way through, you know, he wants to get rid of them.

01:46:48.710 --> 01:46:50.531
[SPEAKER_04]: Yeah, this was Colin's break.

01:46:50.551 --> 01:46:51.752
[SPEAKER_04]: This was Colin's break moment.

01:46:51.792 --> 01:46:54.935
[SPEAKER_04]: He's like, I kill Frank and I can be free.

01:46:55.155 --> 01:46:56.656
[SPEAKER_04]: I can actually live a life.

01:46:56.756 --> 01:46:58.878
[SPEAKER_04]: I don't longer have to be under his thumb.

01:46:59.319 --> 01:46:59.919
[SPEAKER_04]: This is the moment.

01:46:59.939 --> 01:47:05.504
[SPEAKER_04]: And then, of course, he's all like, oh, yeah, no, and and being held as a hero and getting promoted at work.

01:47:05.864 --> 01:47:14.927
[SPEAKER_04]: He's like, finally, I'm, I'm out of the thumb and then he realizes that he can still be made by as being Frank Small within the department.

01:47:14.947 --> 01:47:18.869
[SPEAKER_04]: You know, because he knows he knows that dignity is still out there.

01:47:18.949 --> 01:47:21.650
[SPEAKER_04]: Kind of thinking, even though dignity knows, you know, nowhere to be found at this point.

01:47:22.330 --> 01:47:26.551
[SPEAKER_04]: But in the moment where Colin feels free.

01:47:29.638 --> 01:47:35.988
[SPEAKER_04]: It's not long lasting and he realizes that he's kind of dug himself even deeper at this point.

01:47:37.310 --> 01:47:37.930
[SPEAKER_00]: Exactly.

01:47:38.091 --> 01:47:40.012
[SPEAKER_00]: Now he's like, okay, what do I do now?

01:47:40.172 --> 01:47:48.558
[SPEAKER_00]: And then he gets over to Billy went in the police station and Billy went up, saying, well, look, I had a recent identity and he gives him the password to his identity.

01:47:48.998 --> 01:47:50.039
[SPEAKER_00]: But here's my thing.

01:47:50.099 --> 01:47:51.120
[SPEAKER_00]: And I wanted to ask you this.

01:47:51.500 --> 01:47:54.502
[SPEAKER_00]: So we see the citizen on the on the desk, right?

01:47:55.563 --> 01:47:57.264
[SPEAKER_00]: So here's the thing, what I would have done.

01:47:57.304 --> 01:47:58.745
[SPEAKER_00]: I'm like, okay, he's got the envelope.

01:47:58.825 --> 01:48:00.046
[SPEAKER_00]: This is who he's the mole.

01:48:02.085 --> 01:48:07.306
[SPEAKER_00]: I would have actually taken the envelope back where I got it from, set my ass down there and let him.

01:48:08.306 --> 01:48:11.347
[SPEAKER_00]: Because at this point, he doesn't realize that realize anything.

01:48:12.307 --> 01:48:14.348
[SPEAKER_00]: Poland doesn't realize that this is who he is.

01:48:15.028 --> 01:48:17.689
[SPEAKER_00]: He just thinks he's another undercover informant and that's it.

01:48:19.269 --> 01:48:26.751
[SPEAKER_04]: Yeah, I think this is that Billy almost having that fighter flight kind of response upon seeing the envelope because he doesn't know

01:48:27.864 --> 01:48:41.776
[SPEAKER_04]: really doesn't know how many people survived that shootout at the at the at the the boss where we're calling shoots frank he doesn't know if calling is still was you know dealing with anybody else so it's the other there's still

01:48:42.883 --> 01:48:46.205
[SPEAKER_04]: proof that Billy is in that envelope.

01:48:46.305 --> 01:48:54.629
[SPEAKER_04]: So he's trying to make it in a sense that like, okay, if I just pretend like we don't see it kind of thing and just bolt, he doesn't know, right?

01:48:54.689 --> 01:48:59.232
[SPEAKER_04]: So I don't mind the fact that he just leaves and doesn't, you know, call, call him out right there.

01:48:59.252 --> 01:49:11.058
[SPEAKER_04]: Because again, who, what would Colin do if confronted with that right off the bat, I also think it's at least, at least allows us this moment for Madeline to be the one to reveal to Colin that his,

01:49:12.439 --> 01:49:17.901
[SPEAKER_04]: his his involvement in all of this is is now known.

01:49:18.321 --> 01:49:29.545
[SPEAKER_04]: The fact that Mallon just is there and pulls the the headphone jack out of the stereo and just lets that CD crank at the apartment like that's a gut punch moment right because it's like oh shit.

01:49:29.645 --> 01:49:30.625
[SPEAKER_00]: She figured me out.

01:49:30.965 --> 01:49:33.286
[SPEAKER_00]: I don't have this right edge like I did before.

01:49:33.326 --> 01:49:35.127
[SPEAKER_00]: I don't have this wagon like I had before.

01:49:35.667 --> 01:49:36.307
[SPEAKER_00]: I'm screwed.

01:49:36.747 --> 01:49:42.509
[SPEAKER_04]: Yeah, and also showing that Colin has been lying to her this entire time, right?

01:49:42.929 --> 01:49:59.375
[SPEAKER_04]: You know, for someone who said, yeah, okay, I would, I would lie for Billy kind of thing that to have Colin now have all of his truth played out for him on a CD and, you know, for her to hear directly like that's that's got to be a heart wrenching moment for her.

01:50:00.276 --> 01:50:00.796
[SPEAKER_00]: Exactly.

01:50:00.876 --> 01:50:06.038
[SPEAKER_00]: And then also to like, I think that Colin would have led Billy live.

01:50:07.080 --> 01:50:17.848
[SPEAKER_00]: If he didn't go ahead and just did that flight, you know what I'm saying, basically figuring out and just leaving, I think he would have actually let him live and then nothing gets resolved.

01:50:18.088 --> 01:50:18.629
[SPEAKER_00]: You know what I'm saying?

01:50:19.309 --> 01:50:28.596
[SPEAKER_00]: Then again, we don't get the whole entire computational way of modeling who was up covering up the who was up finding out that, hey, my boyfriend's been lying for me for seven months now.

01:50:29.961 --> 01:50:32.863
[SPEAKER_00]: So if he didn't leave, he would have lived.

01:50:32.983 --> 01:50:37.107
[SPEAKER_00]: But at the same time, he was still being lied to by Colin.

01:50:37.587 --> 01:50:48.916
[SPEAKER_04]: But also to with Billy leaving after seeing the citizens envelope, Colin got rid of Frank in order to clean up any loose ends, basically.

01:50:49.976 --> 01:50:54.540
[SPEAKER_04]: If Billy suspects that this is the case, what's to stop Colin from shooting Billy?

01:50:55.280 --> 01:50:58.063
[SPEAKER_04]: Once he realizes that Colin was working for Frank all along,

01:50:59.233 --> 01:51:02.354
[SPEAKER_04]: Billy realizes that he's no longer safe, right?

01:51:02.594 --> 01:51:03.694
[SPEAKER_04]: So don't give him a chance.

01:51:05.195 --> 01:51:08.235
[SPEAKER_00]: And then finally, we get this whole entire confirmation on the roof.

01:51:09.256 --> 01:51:09.776
[SPEAKER_00]: How do you like that?

01:51:09.816 --> 01:51:10.896
[SPEAKER_00]: You little snatched past it.

01:51:11.176 --> 01:51:11.736
[SPEAKER_00]: How about that?

01:51:13.717 --> 01:51:20.758
[SPEAKER_00]: He trusted me more than he trusted you, but still it trusted me more than you, but that's again.

01:51:21.319 --> 01:51:26.620
[SPEAKER_00]: And then next thing, it goes, well, we want to meet at on the roof where, but they've not died.

01:51:27.620 --> 01:51:28.240
[SPEAKER_04]: or Queen died.

01:51:28.501 --> 01:51:29.481
[SPEAKER_00]: We were Queen and died.

01:51:29.521 --> 01:51:29.781
[SPEAKER_00]: Sorry.

01:51:30.182 --> 01:51:30.582
[SPEAKER_00]: But yeah.

01:51:31.302 --> 01:51:34.364
[SPEAKER_00]: So he meets a month after the roof, they have this whole entire computation.

01:51:34.784 --> 01:51:37.286
[SPEAKER_00]: And then you have Anthony Anderson's new character coming up on the roof.

01:51:37.666 --> 01:51:39.307
[SPEAKER_00]: Do you?

01:51:39.347 --> 01:51:40.508
[SPEAKER_00]: I got tapes on this guy.

01:51:40.528 --> 01:51:42.009
[SPEAKER_00]: He's not who he says he is.

01:51:42.029 --> 01:51:43.369
[SPEAKER_00]: He was there all that may be.

01:51:43.810 --> 01:51:44.510
[SPEAKER_00]: But I still.

01:51:45.651 --> 01:51:47.432
[SPEAKER_00]: But we still have to bring you in.

01:51:48.345 --> 01:51:48.585
[SPEAKER_04]: Yeah.

01:51:49.066 --> 01:51:50.367
[SPEAKER_04]: And this is the moment, right?

01:51:50.567 --> 01:51:55.772
[SPEAKER_04]: Here all of a sudden, Andy Anderson is the only one who knows who both of these people really are, right?

01:51:55.792 --> 01:52:08.043
[SPEAKER_04]: So it's perfect that it is him that shows up, which allows them to be able to kind of get down, get down the elevator, only to find more guns at the bottom of the elevator as well.

01:52:08.743 --> 01:52:10.285
[SPEAKER_04]: This is where all the bullets start to fly.

01:52:11.286 --> 01:52:15.368
[SPEAKER_00]: Yeah, and then, you know, he's like, I'm going to kill you.

01:52:16.428 --> 01:52:23.131
[SPEAKER_00]: And then next thing you know it, I'm this is actually one of those things where we finally get to capital one side of the elevator.

01:52:23.151 --> 01:52:27.772
[SPEAKER_00]: I'm like, okay, finally the guy's not going to die is what I was thinking, okay, I can have a deep breath.

01:52:28.233 --> 01:52:30.374
[SPEAKER_00]: Then all of a sudden, bam, he died.

01:52:30.754 --> 01:52:31.294
[SPEAKER_00]: I'm like, whoa.

01:52:32.828 --> 01:52:33.868
[SPEAKER_04]: And shot in there.

01:52:34.288 --> 01:52:40.730
[SPEAKER_04]: Yeah, as bluntly as Queenin was killed, this was straight up, no second thought.

01:52:41.150 --> 01:52:45.031
[SPEAKER_04]: No, we don't see anyone on the other side of the door.

01:52:45.111 --> 01:52:49.353
[SPEAKER_04]: We see from, you know, their point of view door opens, gun blast hits.

01:52:49.813 --> 01:52:51.433
[SPEAKER_04]: And it's, it's a shock.

01:52:51.533 --> 01:52:53.714
[SPEAKER_04]: And it's a great jump scare at that point.

01:52:55.454 --> 01:53:01.256
[SPEAKER_00]: Exactly, because we're thinking, is it just me, I know this is your first time seeing this, but do you feel like, okay?

01:53:02.223 --> 01:53:03.085
[SPEAKER_00]: read a little bit.

01:53:03.105 --> 01:53:05.549
[SPEAKER_00]: The Caprio's got him.

01:53:05.689 --> 01:53:07.072
[SPEAKER_00]: Billy's got him in the elevator.

01:53:07.112 --> 01:53:08.033
[SPEAKER_00]: He's got his guy.

01:53:08.053 --> 01:53:10.057
[SPEAKER_00]: Everything's not working out, right?

01:53:10.117 --> 01:53:13.382
[SPEAKER_00]: Did you feel like that or did you feel like there's something that's going to happen?

01:53:14.308 --> 01:53:16.050
[SPEAKER_04]: Um, there was a moment.

01:53:16.190 --> 01:53:23.176
[SPEAKER_04]: There was a moment, but to the same token, it's, you have to ask yourself, are they going to put it a film where in essence the bad guy wins?

01:53:23.236 --> 01:53:35.287
[SPEAKER_04]: Cause had Colin actually gotten away with everything, then the bad guy would have won, which is why like the next scene when we've got Billy's funeral going on and you see Madeline just staring at Colin.

01:53:37.034 --> 01:54:04.426
[SPEAKER_04]: during the funeral, it's like calling now realizes there's a there's there's a no it almost feels like that moment we're calling this realizes another loose end to tie up and you start to worry about Madeline right and then we had that and then after he died Billy dies we had the whole entire play of CD then you know I just it's so good mm-hmm

01:54:05.665 --> 01:54:17.919
[SPEAKER_04]: But then, of course, like, you know, you get past the funeral and all that and then you get sell, you know, Colin going home opens the door to his apartment and there's dignity.

01:54:19.620 --> 01:54:20.642
[SPEAKER_00]: With the booties on.

01:54:21.402 --> 01:54:23.865
[SPEAKER_04]: Yeah, there we were this.

01:54:24.947 --> 01:54:30.074
[SPEAKER_04]: This was the best Mark Wahlberg scene in the entire frickin movie.

01:54:30.795 --> 01:54:41.168
[SPEAKER_04]: No words, no emotion, just menacing in his almost business like manner of doing this.

01:54:41.709 --> 01:54:43.031
[SPEAKER_04]: It was so well done.

01:54:44.128 --> 01:54:45.969
[SPEAKER_00]: was like there was no emotion to him.

01:54:46.009 --> 01:54:47.309
[SPEAKER_00]: He just goes over their shoots.

01:54:47.449 --> 01:54:50.511
[SPEAKER_00]: He's got the guy that he needs a shoot and then he's done with them.

01:54:50.651 --> 01:54:56.053
[SPEAKER_00]: And then after that it goes over to this whole entire thing of rats going across the thing.

01:54:56.413 --> 01:54:59.514
[SPEAKER_00]: So it makes an inception like everybody's a rat in this movie.

01:55:00.255 --> 01:55:01.895
[SPEAKER_04]: Yeah, I wasn't a fan of the rat.

01:55:02.456 --> 01:55:03.396
[SPEAKER_04]: Yeah.

01:55:03.796 --> 01:55:05.357
[SPEAKER_04]: It felt like you were

01:55:06.539 --> 01:55:08.900
[SPEAKER_04]: being a little too didactic on this thing.

01:55:09.381 --> 01:55:19.807
[SPEAKER_04]: I think you could have just let the camera pull up to the window so you could see the view of the economy that Colin had and you know kind of leave it at that.

01:55:19.827 --> 01:55:23.189
[SPEAKER_04]: I think the rats touch much.

01:55:23.809 --> 01:55:30.033
[SPEAKER_04]: I mean, it's the one part of this film was like I wish they hadn't had done that.

01:55:30.980 --> 01:55:31.200
[SPEAKER_00]: Right.

01:55:31.240 --> 01:55:33.601
[SPEAKER_00]: I just felt like it was like two on the nose for that scene.

01:55:33.621 --> 01:55:35.542
[SPEAKER_00]: I just didn't really care for that.

01:55:36.162 --> 01:55:39.263
[SPEAKER_00]: Yeah, both and then I thought of everything else for.

01:55:39.283 --> 01:55:51.548
[SPEAKER_00]: I think what else was going to say, too, because we're just like, you know, I was just like how every single sentence that every single time when someone dies, um, calling, it's like, I'm just going to go in the middle of merit.

01:55:52.308 --> 01:55:55.329
[SPEAKER_01]: Bad.

01:55:56.150 --> 01:55:57.090
[SPEAKER_04]: Yeah, you didn't die.

01:55:57.150 --> 01:55:57.690
[SPEAKER_04]: Here's a medal.

01:55:58.311 --> 01:55:58.591
[SPEAKER_04]: Right.

01:55:58.631 --> 01:55:59.031
[SPEAKER_04]: Here you go.

01:56:00.111 --> 01:56:02.955
[SPEAKER_00]: But still, okay, so now we stripped away the nostalgia from it.

01:56:03.016 --> 01:56:07.503
[SPEAKER_00]: Now that we talked about this non-esthetically, where do you, where do you, where do you stand with it?

01:56:08.312 --> 01:56:11.633
[SPEAKER_04]: You know, I think I still sit at an eight on this one.

01:56:12.673 --> 01:56:26.736
[SPEAKER_04]: Unless I'm less concerned about some of the plot holes because, you know, as we were talking about it, especially on Frank's working with the FBI, because I was like, we never see him do anything with the FBI.

01:56:26.776 --> 01:56:32.958
[SPEAKER_04]: Well, if you think about that Michael processor deal, you can almost imply that that was directly working with the FBI.

01:56:32.998 --> 01:56:34.578
[SPEAKER_04]: And that kind of makes a lot more sense.

01:56:35.178 --> 01:56:38.159
[SPEAKER_04]: I still have no idea what's in the home below.

01:56:38.799 --> 01:56:42.820
[SPEAKER_04]: that Billy gave to Madeline, because they never resolved that one.

01:56:44.041 --> 01:56:46.861
[SPEAKER_04]: And we can just get rid of the rat off the balcony.

01:56:46.901 --> 01:56:48.822
[SPEAKER_04]: But I still think it's an end of the day tonight.

01:56:48.842 --> 01:56:53.403
[SPEAKER_04]: I think it's a must watch for people if they're looking for a really good suspense film.

01:56:53.423 --> 01:56:55.084
[SPEAKER_00]: Okay, under over.

01:56:55.124 --> 01:56:56.964
[SPEAKER_00]: Do you think that that's Billy's kid?

01:56:57.064 --> 01:57:00.805
[SPEAKER_00]: Or do you think that was Collins kid?

01:57:01.626 --> 01:57:02.226
[SPEAKER_00]: This is pregnant.

01:57:03.046 --> 01:57:03.726
[SPEAKER_04]: It's Billy's kid.

01:57:04.346 --> 01:57:05.947
[SPEAKER_04]: It's absolutely Billy's kid.

01:57:07.313 --> 01:57:07.974
[SPEAKER_00]: under ten percent.

01:57:08.254 --> 01:57:08.614
[SPEAKER_00]: It's his.

01:57:09.495 --> 01:57:09.756
[SPEAKER_00]: Okay.

01:57:10.196 --> 01:57:12.899
[SPEAKER_00]: So now that we talked about this, I'm just going to mention this.

01:57:12.919 --> 01:57:14.521
[SPEAKER_00]: I love this movie still.

01:57:15.222 --> 01:57:15.842
[SPEAKER_00]: I still hold it.

01:57:16.443 --> 01:57:19.766
[SPEAKER_00]: I actually had this on DVD and then I bought it on four k for the steel book.

01:57:21.445 --> 01:57:23.186
[SPEAKER_00]: Because I need to upgrade my BVD collection.

01:57:23.686 --> 01:57:27.628
[SPEAKER_00]: But there's just something about it between the music of Pink Floyd being played.

01:57:28.088 --> 01:57:30.630
[SPEAKER_00]: And through the music, I'll have to depart it.

01:57:30.650 --> 01:57:36.412
[SPEAKER_00]: And then the acting and making me fall in love with another Caprio's acting.

01:57:36.512 --> 01:57:40.794
[SPEAKER_00]: And then seeing what Matt Damon can do with the right script with the right direction and stuff.

01:57:40.834 --> 01:57:41.935
[SPEAKER_00]: And check it out with some being in this.

01:57:43.185 --> 01:57:48.247
[SPEAKER_00]: I'm at an eight point eight on Estatically because of the pacing because of how good it is.

01:57:48.287 --> 01:57:49.647
[SPEAKER_00]: The dialogue is really good.

01:57:49.727 --> 01:57:50.748
[SPEAKER_00]: It's really strong.

01:57:51.888 --> 01:57:53.829
[SPEAKER_00]: The slow pacing is what I like.

01:57:54.349 --> 01:58:07.894
[SPEAKER_04]: I'm really glad that you brought up the music because there was that moment that the scene where Billy and Madeline have sex and implied that they're having sex.

01:58:08.334 --> 01:58:08.594
[SPEAKER_01]: Right.

01:58:09.034 --> 01:58:10.815
[SPEAKER_04]: And they're playing comfortably now.

01:58:12.328 --> 01:58:13.789
[SPEAKER_04]: Oh, choice of song, but go on.

01:58:14.229 --> 01:58:23.893
[SPEAKER_04]: But the thing is this, they lean so much into the Irish lean of the music, Pink Floyd's not an Irish band.

01:58:24.273 --> 01:58:28.275
[SPEAKER_04]: But did you recognize the version of the song that was playing at the time?

01:58:28.815 --> 01:58:32.097
[SPEAKER_04]: It's from Roger Waters, The Wall, Live and Berlin.

01:58:32.437 --> 01:58:35.558
[SPEAKER_04]: That's Van Morrison on vocals in this.

01:58:35.598 --> 01:58:39.760
[SPEAKER_04]: So they told, they pulled the live version of the song from that

01:58:42.001 --> 01:58:55.989
[SPEAKER_04]: So they could have then Morrison on vocals and I ended up going back after watching the movie and watching the entire wall live in Berlin concert again because that is one of the coolest concerts that was ever done in the nineties.

01:58:57.595 --> 01:58:58.416
[SPEAKER_00]: I love this song.

01:58:58.476 --> 01:58:59.978
[SPEAKER_00]: I love this version of this.

01:59:00.058 --> 01:59:03.722
[SPEAKER_00]: I think it's just this comfortably numb feeling between the two of them.

01:59:03.942 --> 01:59:17.237
[SPEAKER_00]: I was not the podcast when they talked about that song just doesn't fit in with it with Madeline and her sleeping, but I'm like, it has a completely numb feeling of between the two of them where they can actually be together and not have to worry about anything.

01:59:17.962 --> 01:59:21.064
[SPEAKER_04]: I think it's more the van Morrison aspect of it.

01:59:21.805 --> 01:59:23.806
[SPEAKER_04]: This is another, you know, check on the box.

01:59:24.086 --> 01:59:27.429
[SPEAKER_04]: And you know, I'm, I'm in bands and I have played a number of St.

01:59:27.489 --> 01:59:28.570
[SPEAKER_04]: Patrick's Day shows.

01:59:28.950 --> 01:59:33.853
[SPEAKER_04]: You know, so there are some artists that kind of get constantly repeated over and over and over again.

01:59:34.274 --> 01:59:35.895
[SPEAKER_04]: You go to a bar on the St.

01:59:35.935 --> 01:59:36.976
[SPEAKER_04]: Patty's Day gig.

01:59:37.316 --> 01:59:40.738
[SPEAKER_04]: You're probably going to hear Brown and I grow up as it's freaking van Morrison, right?

01:59:41.119 --> 01:59:41.359
[SPEAKER_04]: Yeah.

01:59:41.399 --> 01:59:44.121
[SPEAKER_04]: So having van Morrison doing comfortably, um,

01:59:45.955 --> 02:00:00.430
[SPEAKER_04]: It fits out well because I don't know what other Van Morrison song or what other slower kind of Irish kind of feel song that you could put in there because it's something that we're going with the traditional Irish songs.

02:00:00.690 --> 02:00:02.492
[SPEAKER_04]: You weren't going with, you know,

02:00:03.627 --> 02:00:05.791
[SPEAKER_04]: You're not putting throwing Galway girl in here.

02:00:06.151 --> 02:00:06.732
[SPEAKER_00]: No, you're not.

02:00:07.093 --> 02:00:12.922
[SPEAKER_04]: You're dealing with a very American Irish kind of feeling then more and kind of fits into that vibe because it's not.

02:00:13.343 --> 02:00:16.728
[SPEAKER_04]: It's not quite Irish, but Irish enough because of his presence on the song.

02:00:18.608 --> 02:00:21.569
[SPEAKER_00]: All right, well, that's going to be it as far as the show goes.

02:00:22.289 --> 02:00:24.989
[SPEAKER_00]: But Jason, thank you so much for joining me for this.

02:00:25.850 --> 02:00:28.030
[SPEAKER_00]: I mean, it was a pleasure to do this review with you.

02:00:29.210 --> 02:00:32.091
[SPEAKER_00]: But yeah, guys, follow Jason on it's not that bad podcast.

02:00:32.111 --> 02:00:33.691
[SPEAKER_00]: I'm telling you it's a great podcast.

02:00:34.011 --> 02:00:37.872
[SPEAKER_00]: I listen to it on my right and in the work and everything, it's great.

02:00:38.372 --> 02:00:42.373
[SPEAKER_00]: He's got other, tell me about some of the shows that you do on the, it's not that bad.

02:00:43.368 --> 02:00:46.469
[SPEAKER_04]: Oh, John's about to find out about some of the other shows.

02:00:46.589 --> 02:00:58.532
[SPEAKER_04]: It's going to be honest, because not only do we do it's not that bad, but we take a look at movies that have a less than sixty percent critic score on Rotten Tomatoes and try to find the good things to say about them.

02:00:59.372 --> 02:01:01.053
[SPEAKER_04]: Those shows come out on Wednesdays.

02:01:01.553 --> 02:01:07.334
[SPEAKER_04]: On Mondays, we do a show called Keep Watch Pass, where it's basically the Mary F. Kill of movies.

02:01:07.374 --> 02:01:10.095
[SPEAKER_04]: We have a topic and you have to come up with three films.

02:01:10.616 --> 02:01:13.507
[SPEAKER_04]: one that you would keep, one that we would watch, and one that you would pass.

02:01:14.863 --> 02:01:40.247
[SPEAKER_04]: But what's coming up a couple of weeks actually is are three times annual grading on a curve special where it's around people discussion everyone watches the same five films and they rank them in amongst themselves to find out which is the best of the worst would which turned is the sweetest smelling in the ball basically how we describe it.

02:01:40.887 --> 02:01:45.709
[SPEAKER_04]: The first time we did this kind of special, we did it on superhero movies.

02:01:46.249 --> 02:01:50.191
[SPEAKER_04]: So if I were to ask you what your favorite superhero movie is, you would say.

02:01:50.211 --> 02:01:56.314
[SPEAKER_00]: I would probably wind up saying probably, this is like, the Superman rewatches.

02:01:56.434 --> 02:01:58.615
[SPEAKER_00]: I'm just going to go with something that I've already seen.

02:01:58.635 --> 02:02:01.056
[SPEAKER_00]: So I'm probably going to do like Superman too.

02:02:01.977 --> 02:02:02.677
[SPEAKER_04]: Oh, great.

02:02:02.777 --> 02:02:03.197
[SPEAKER_04]: Classic.

02:02:03.397 --> 02:02:04.538
[SPEAKER_04]: Can't go wrong at all.

02:02:05.532 --> 02:02:16.876
[SPEAKER_04]: Most people would say, maybe with the dark night, maybe they would say Avengers Infinity War, no one in the history of ever is saying Catwoman is the greatest superhero film of all time.

02:02:17.396 --> 02:02:24.139
[SPEAKER_04]: Nor would they say that about Green Lantern, but you take five films that are horrible in the topic.

02:02:25.499 --> 02:02:31.542
[SPEAKER_04]: And the five movies we picked in this, you mentioned Superman, Quest for Peace was on that list.

02:02:32.593 --> 02:02:36.175
[SPEAKER_04]: Catwoman, Electra, Green Lantern, and Jonah Hacks.

02:02:37.096 --> 02:02:39.578
[SPEAKER_04]: Catwoman might be the best out of those files.

02:02:39.598 --> 02:02:39.938
[SPEAKER_04]: Oh snap.

02:02:41.299 --> 02:02:49.983
[SPEAKER_04]: Oh yeah, so when I say to all the guests who come on the show that I'm sorry in advance for the movies you're about to watch, I fully mean it.

02:02:50.583 --> 02:02:53.844
[SPEAKER_00]: Well, I can't wait to actually take a look and listen to that episode.

02:02:54.505 --> 02:02:57.306
[SPEAKER_00]: And always until next time, guys, have a great day and we'll catch you guys on the next one.

02:02:57.326 --> 02:02:58.326
[SPEAKER_00]: Thank you so much for watching.

02:02:58.346 --> 02:03:01.228
[SPEAKER_00]: Thank you Jason again for coming on here again to talk about this movie.

02:03:01.248 --> 02:03:01.988
[SPEAKER_00]: I do appreciate it.

02:03:02.548 --> 02:03:03.008
[SPEAKER_04]: My pleasure.

02:03:03.068 --> 02:03:03.669
[SPEAKER_04]: Anytime.

02:03:04.189 --> 02:03:04.509
[SPEAKER_00]: Anytime.

02:03:05.049 --> 02:03:05.530
[SPEAKER_00]: All right, guys.

02:03:06.010 --> 02:03:06.210
[SPEAKER_00]: Later.

02:03:15.975 --> 02:03:16.576
[UNKNOWN]: Thank you.