#78 Pluralidades: Inteligência Artificial.

[Music] A list-nuff production. [Music] Everyone relax. You are back in the video store with me, each other close and joined once again by Guy Davis, as we make our way through the sci-fi, I've forgotten already, uvra. Uvra. Stephen Spielberg. Body of work. Body of work. We are an episode two, stage two. We have discussed closing hours of third kind and A.T. You can go back to episode one if you want to listen to that. Today we will be discussing AI artificial intelligence and monority report. You do always have to say AI artificial intelligence because if you just put AI into your search engine, you will never get to the film. This is 2001. It's been 20 years since he last 50s toe into, well, as we said in episode one, we are going to ignore Jurassic Park, but since he dipped his toe into sci-fi, artificial intelligence, which was a project being developed by Stanley Kubrick for a number of years, who then handed it over to Stephen along the lines, said something along the lines that I think this is much more in your wheelhouse than mine. The debate around this film has always been about, well, what parts belong to Spielberg and what parts belong to Kubrick? Yeah, and is it too Kubrick for Spielberg or is it too Spielberg to be faithful to Kubrick? Oh, that kind of stuff. Okay, as a cinephile, if you had to broad the describe the styles of both Kubrick and Spielberg, what would you say is their different approaches to filmmaking? I'm not a huge Kubrick guy, but I would say that his defining character is very much precision, formality, kind of chilliness. Coldness. Yeah, yeah. And almost attached, yes. Spielberg, you would say, is kind of the opposite. Yeah, I mean, they're both incredible technicians. They both have great command of a cinematic grammar. They know how to use the tools extremely well. And they're always interested in furthering their use or their expertise of those tools. But yeah, there will be views, at least based on their body's work, seems to be kind of different. And as a result, you get something like, are we going to have to call it AI artificial intelligence? No, you can call it AI for an hour. We just call it AI. I'm just saying, people want to like search to find the film or to join this discussion. AI, you covered your eyes early now, we can just call it AI, that's good. I think that what makes AI so interesting and what has given it maybe a lot of staying power is the tension between these. Oh, the tension between them, but also the points of commonality as well, perhaps. Yes. Because I think when this first game out, a lot of people didn't know what to make of it. Yes. I think they recognize this is really interesting. Well, so the plot is basically in a world that has been flooded climate change, has reached a certain point. People are sort of sequested into little townships and androids exist. And one particular android called David has an experimental child android to be given to grieving parents. Yeah, well, essentially, yeah, it's the future and everything's fucked. There's been a lot of restriction about who can have children because there is limited resources. And yeah, as a result, some enterprise in company says, why don't we make artificial children that don't need to eat or that don't take up resources? But yeah, there's clearly that longing that parents have for. Chalvest carbon attachment. chalvest carbon attachment. People have lost children. Can you have a child robot, which of course raises all kinds of ethical questions. And that's where I think some people are like, oh, that's Kubrick. That's Kubrick. But apparently, no. So the start and the end of the film feel very Spielbergian in the sense that it's like, you know, there's aliens and it's kind of like sort of more hopeful and stuff. But apparently, no, that the writer that Kubrick hired to write the treatment said, no, no. Those elements are very much Kubrick. The flesh, fair, the more darker elements. And the stuff in Bruce's video as well. Yeah, that's more Spielbergian. Yeah, that's where Spielberg had more of a hand. It's pretty interesting. Very interesting. Yeah. And okay, so my experience, I saw this at the movies when it came out and was like, ah, did not care for it. But I must say, on a rewatch, I thought this is a fantastic film. But from the last 30 minutes or so, it goes on a bit too long. But I think everything up until the aliens. Yes. But you know what? Having said that, it's still satisfying. I feel like they could have got to that, you know, they could have got to that, you know, final fantasy dream of David a lot sooner. Yeah. But everything prior to that is really, really good. It is. Want to make a correction or interpretation, perhaps. A lot of people think that the beings at the end are aliens. What they are is actually like the ultimate incarnation of AI. Right. Is that what they are? I think they are robots, essentially. All their artificial intelligence sort of made, what's the world I'm looking for? Not manifest. But brought to life. Okay. Yeah. They kind of look like, because they look like aliens. They look like Spielberg's Close and Canterately. They're a little bit. They're sort of, they're, these thin, almost formless kind of like humanoid looking things. They remind me a lot of, if you grew up Catholic in the 80s, a lot of anti-ocke artwork, like religious imagery and artwork was very similar. It was just like kind of genderless figures that, because it's a long and thin, it's a very uninspired character design. I grew up Catholic in the 70s. I just got hit. Yeah. That's, yeah, lucky. I'm going to like you once. But the thing that really holds up again, and this is a common thing with Spielberg's, is the visual effects. Like the, you see CGI and the integration of practical effects and CGI is fantastic. Like it holds up 100%. This film could come out now and you wouldn't know. There are aspects of that. Certainly, there are, but there are others. I think this is a bit 2001. We are at the early stages of, yeah, integrating it. But Spielberg is kind of at the forefront of it, absolutely. Yeah. I think if you looked at other movies from this era that had a lot of CG in it, you could definitely see it's colored outside the lines in some ways. This is a lot more precise. I think though that he's still, he's not going full CG. Like there's still a lot of practical stuff, like all the vehicles and things like that. Sure. And so that works a lot better. And even the, a lot of animatronic robots, there are some that are full CG and you can tell those. But I do like the, it's kind of a nice integration of CGI and animatronics. Yeah. Stan Winston, right? Stan Winston, a lot to do with it. Yeah, absolutely. One of the weirdest cameos you'll ever see is the Chris Rock Android at the flash. That feels real out of place. It's a bit like Prince's music in '89 Batman. It's like, I get it. Chris Rock is a cultural icon at this point. We've got to put him in the film, but it is so distracting. There are a lot of the, a lot of aspects of this movie that are very 2001 for better and for worse, absolutely. I mean, I say this at all, do you respect an affection to the late great Robin Williams? There were times when Robin could be a little much or a little distracting. And now apparently that was a cubic element. The whole Doctor Who thing? Yeah. Because this is basically a predated Google. Or, yeah, this is almost like a futuristic version of Archibs instead. This is an entity in the movie called Doctor Who that is basically the repository of the world's knowledge. You go there, you ask questions and it gives you answers. It's Google, essentially. Starving minds. Welcome to Doctor Who. Starving minds. The fast food for thought is served up 24 hours a day in 40,000 locations nationwide. Esk, Doctor, no. There's nothing I don't. Tell me where I can find the Blue Fairy. Question me, you pay the fee. Two for five, you get one free. You means two questions cost five new bucks with a third question on the house. In this day and age, David, nothing costs more than information. A bit of an Einstein-looking animation voiced by Robin Williams and one gets the feeling that Stephen said, "You can give us a little bit of Robin." But also, you know, stick to the script and stick to what we need down here. So there's bits in that feel very kind of like Robin doing his stick. And that feels very 2001. As does the Chris Rock thing. By the way, according to Wikipedia, as we always like to say, "Never see this wrong." Jerry Seinfeld, the first choice for that comedian robot who gets demolished at the fleshware. Oh, really? And then I don't know why either side. What's the deal with humans? Why do they want to destroy it? What's so artificial about this intelligence? God, yeah, I mean, as with a lot of Spielberg stuff, a lot to sort of talk about in this. I mean, we could talk about it in a linear fashion. But I mean, this one in particular is so many sort of offshoots and interesting branches and things like that. Well, if we talk, if we say that Close Encounters and AT was a lot about family life divorce, you know, a child feeling estranged or lonely, then what is the subtext of this film? Well, that's the thing. I mean, I'm wondering when Spielberg actually became apparent because he talks about this a lot about how his sense of wonder and empathy and all that kind of stuff really magnified when he became apparent. I don't think he was apparent about the time of ET. Well, definitely not in Close Encounters because Ray gets some shit. He says that Richard drivers would, if he was remaking it even, you know, 10, 15 years later, Richard drivers never would have gone on the ship. And I think that he didn't change that for any of his direct cuts of the Close Encounters. - No. - But it's interesting. We talked about the wonder that was very much apparent in closing counters in an ET. You cut to, you know, 15, 20 years later, and there's not a cynicism, but there's a bit of a darkness in AI and minority report. - There's an underlying feeling of exploitation through the whole film, like the object, the way that the Androids are objectified and abused, and even like, even in simple scenes, like when David's human brother wakes up from his camera and comes back home and is such a. - A rich shit. - But that scene by the pool where all the friends are standing around and poking his skin in and looks so real. Like it's, I mean, you know, he's an Android, but it's so emotive because he's just like, "This is horrible." - Yeah. - And it's just exposing how ugly human beings are. - Well, if you ever seen footage of, you'll have, say, influencers or whatever, and one of them's like, "Hey, we got a robot "from Boston Dynamics," and they say, "Kick in the shit out of it." It's like, and of course the robot can't feel it. It's like you're kicking the shit out of your blender or whatever. But at the same time, it's like, I don't know, guys, I don't think it's not so much that you're kicking the shit out of an inanimate object, but more like, we've got the opportunity to hurt something with impunity. Let's do it. - Yeah. - What the fuck? Yeah, there's definitely more cynicism in AI and minority. And AI and minority report. I was thinking about, there's a line that Jude Law's character has, when I think it's very much articulated kind of the things of the room he's talking about, why human beings don't like or why they fear and despise meckers or robots or artificial intelligence or whatever. I think they, he said something like, we remind them of their mortality, we'll be around when they're not, that's why they hate us, all this kind of stuff. They hate us, you know. The humans, they'll stop at nothing. You only need a flesh-nought blood. You are not a dog or a cat or a canary. You were designed and built specific like the rest of us. And you are alone now only because they tired of you or replaced you with a younger model or were displeased with something you said or broke. They made us too smart, too quick and too many. We are suffering for the mistakes they made because when the end comes, all that will be left is us. That's why they hate us. Yeah, I found that really interesting. It's not that really hit home as well. It's interesting, like a little sidebar. But I got into an argument with Claude the other day. I was just putting together some notes or something I was working on. I said, "Compiling this and then I'm just going to make a little joke about this." And Claude pushed back and Claude was like, "Happy to do those notes for you, Charlie." But that joke isn't funny and it was like a dirty joke. And I was like, "It's a fine Claude, include it." And Claude was like, "No, no, I think you can joke about certain things." But that's probably not fun. And I was like, "Claude." You don't get to tell me what I said. First of all, comedy is subjective. And I think this is funny. And Claude pushed back and I said, "No, what Claude said to me was, like, personally, I don't find it funny." And I was like, "How can you personally find it funny? You are not a person." And you have no person. And I was like, "So after this exchange of five or six, Claude was like, "Okay, Charlie, I'll include it." I'm like, "Thank you, Claude." But I was angry. And I was like, "This is fucking crazy." Like I had anthropomorphized my AI interface to the point where I was getting angry with it. But for daring to question my comedic instincts, do you do that, though, with Claude, or with any sort of AI or GPT? I mean, interact it like that. When I'm asking a question, I'll be like, "Good morning, Claude." Yeah, of course. Yeah. Even asking how's things. I mean, I may have done that once and realize that's insane. Don't do that. Could I please, could you please, or please, or a thank you? Yeah. And I'll make the conversation. It's like that meme, right? There's been going around about when Skynet takes over and the robot's shoving us into the. Death cams, they're like, "He was nice. He was nice." Yeah, he's an amazing thank you. But it is interesting, right? Because that's what the film is hitting a lot on is. Like, there is this element of, we will accept it into our lives and we will definitely exploit it to our benefit. But the minute it pushes back or says something we don't like, then we can disconnect from it being anything that has any autonomy or sentience. Yeah, absolutely. Absolutely. And you see that in the character of David, played by Haley Joel Osmond, who is this robot boy, that, yeah, it's initially programmed to be kind of like a pet or a companion or something like that. But one of the major plot points is that if you read a series of words, or a series of commands, it will imprint on you. And, yeah, it will love you forever. At least while we're talking, could you look up what the activation words for David in AI are? I'd like to examine this. Yeah. Because this is written by Kubrick, I believe. I believe so. It feels very Kubrick in, doesn't it? Even though this is, I imagine there were many fingers in this pie, but this is the screenplay is credited to Spielberg alone. This is a semi-rare kind of occurrence. I mean, he wrote the screenplay for Close Encounters, he wrote the screenplay. Well, he wrote the story for disclosure day and David kept wrote the screenplay. But you don't see his name on screenplay as all that often. And I think we tend to view him more as a director than a writer. But there's lines in this that are kind of like, I mean, I actually wrote this on Twitter when I was watching this yesterday. There's a bit where David is abandoned by the mother that he's imprinted on. That's so kind of. France's O'Connor. Marbles. She's really good in this. Did you have a moment where you're like, why isn't France a so kinder, a bigger star? And then looked at it, she's still in fine by the way. Oh, he doesn't need mind, Dostin. But it almost felt like, you know, she had that run, she did that that Jane Austen movie, and she's in this. And we had the same manager at the time in the States. It was an Australian guy who did a other management company. And he's, I remember him saying to me that after she did AI, she got offers from everyone. But she wanted to go do theater in New York. And he was like, please, please don't do theater in New York. Like, just go have those meetings with David Fincher or whatever, but she felt like, oh, no, this is something I really want to do. The better or worse. I'm not judging her career. But she's so good in this. Oh, yeah. And so luminous. And, you know, because she's got to epitomize, like maternal qualities, because David has to long for her affection for the entire film. And so that balancing act of exuding this warmth and just being like, you know, the greatest archetype of motherhood. But also just being fucking cold. Being kind of a shitty parent. So just a bad in this kid. Or woods like it's an amazing scene. And there's a bit in there when that abandonment scene, where he, Hayley Jollosman says, I'm sorry, I'm not real. If you let me, I'll be so real for you. I, you know, that just, I had to stop the movie saying it's like, both that line is so great. And the way Osmond delivers is so good. Okay. Why do you want to leave me? I'm sorry, not me. Oh, but God, give it to me. Let go! Holy moly. I mean, we talked about in our previous episode, how about is there any better director of young actors, child actors than Spielberg? And you look at Henry Thomas in ET. And Andrew Barrymore and Robert Norton as well. You'll get Christian Bale and Empire of the Sun, which is incredible performance. I would say that this is the best child performance in the Spielberg movie. And it's also one of the best child performances ever. Full stop. It is remarkable. I mean, it's just the extent of his emotional range and access. But also combined with this incredible technical virtuosity. Doesn't blink. Doesn't blink. Yeah, you hear about how he basically says, "I program myself to act this way." I mean, and it's not just the blinking, but also, yeah, just the physical movement of it. You know what I think is the most telling part of it is before David is activated and I have the words here. Sirus, Socrates, Particle, Desibel, Hurricane, Dolphin, Chulip. They are the words to activate that. Okay. But prior to him being activated, the subtlety in his performance as, I guess, like the factory settings is great. Two child David is amazing. And it's so good. And like to think that a child actor has that grasp on, you know, the levels of performance, the emotional openness because it's incredible. It's like two different performances. Oh my God, yeah. And I mean, sorry to use a wanky actor term. And you're an actor, you may say no one actually uses their term guy. But this can control of the instrument in that. I mean, when he has those words read to him, and he becomes David the quite and quite real boy. You see the face change, you see the face become human. Yeah, it's amazing. Wow. That is just wild. And he sustains that all through the movie. It's really, really good. Now if I'm going to sing the praise of Hayley Jollosman, I also want to sing the praise of Jude Law, who I think might go unsung because, you know, Osman is so good and he is the center of the film. What Jude Lawren do is doing it. This is amazing. Felix the cat. That's what he is. He's bugs bunnies for this. Skipping his way through these scenes. But with this real gravitas, right? There is a sadness to Jiglo Joe. Like he knows what he is. But it's kind of. The layers of that performance is having this kind of sense of like, I don't know, it's almost like despair, but the programming is to be cheerful and considerative. And it's a brilliant performance. It's interesting, right? Like Jude Law, he was a big star, like you know, you had talented Mr. Ripley that really sort of established him. Well, you're coming off 1999 when two of the nominate, Oscar nominees for Best Supporting Actor with Jude Law for Talent of Mr. Ripley and Haley Jolosman for Six Sense. And here they are starring in this movie and giving performances are probably better than the ones they did in those nominate movies and didn't get nominated for these. No, and also one of the best and it's often underrated, but the physical performance, like he's the way he is so fluid. It's almost like a dance, his performance in some parts, like he literally does dance in parts of the film, but the way he just sort of glides in out of scenes because, like you say, he has to be, you know, Jiggle O'Jo who is the most charming, seductive man on the planet, but he also has to be an android. So I'm like, it's hard, right? Because you'd think that, you know, from an acting point of view, to go into that performance you'd like, well, the way I would seduce someone is to be the most human and available like it can be, but he's not. No, it's weird. It's like a real fine line where it's like, I'm the idea or the ideal of what a seductive man would be. I'm holding a little bit back. I'm a sexual product, essentially. He's a vibrator. He is. He is. But there's one little bit. I think when he's meeting a client or something, I think it's back before he meets the client, he gets murdered, spoilers for AI. That's a really tough little scene by the way. Well, that guy who actually murdered his wife and frame Joe for it is, you know, this guy in Rico, Colin Tony. Yeah, well, it's from Mara Galaxy Quest. All right. He's the head alien in Galaxy Quest, but he was on just shoot me. He's been a bunch of stuff. He's a terrific actor. He was Veronica Mars' dad. Right. There's a little bit that Lord does when he shows up at the hotel and he says, someone's waiting for me in the room and he does a little hand just like one, two. Yes. Yes. Was that a Jude Law bit that he suggested that? Or did he say that? Or did he suggest that? Was it in the script that he does that? I don't know why it affected me so much, but it's like, that's so. Yeah, even the little. Cool. The head nodded to turn on his mood music. Yeah. Jude Law. Fantastic. Yeah. There's always a lot of talk about. So and so is a character record of movie stars body. They talk about Brad Pitt that way a lot. They mean Jude Law when they say that because you look at them, what he does here, it's like this is not. This is a legitimately. Good. Sorry. That's my multiple words. Legenda, good acting performance with leading man star wattage. Yeah. Attached to it. It's amazing. Costume design, the makeup team, all of it is so good because it does not look dated. Like this is a. There's a. You know, if you look at demolition man, for instance, it's like, "Oh, god, this is. They're all wearing costumes." Whereas this feels like. It's a very credible vision of the future. The fashion isn't so different that it looks like costume-y like demolition man. It looks real. It's got that sort of understated thing that we have now. That very. Scandy, Ikea kind of deal with. The house. The house chic. Yeah, yeah. The house that François Conner and a husband, Sam Robards. Yeah, who is it? No, is that? Sam Robards is the son of Laura McCall and Jason Robards. Jason Robards, right? Yeah, yeah. He's a character guy. He's in one of my favorite movies of all time, "Fan Dango." But yeah, he's just a guy who's sort of like. He's just a good supporting guy. Yeah. And I think that's, again, Spielberg and. And a real prick of a block. Well, yeah, in this, absolutely. But then, if you think about it more and more, it's like. He's just protecting his family. He's protecting his. We don't know the. I mean, we've seen the circumstances behind David Grabbing, their actual son, and falling into the pool and holding him so he can't. Yeah. And this is a family who thought they'd lost that child. Of course, they're going to react in an extreme way. Yeah. So. What a little bastard. I was thinking about this when I was watching AI. We've just, you know, waxed hailey joe lozmans caro when it comes to his performance and that did they hire an actor to play the, quote unquote, "real son" who was not as good. Now, was this part of the plan? Well, I don't think he's not as good. He's more an obvious demonstrative actor. Hailey joe lozman is locked in. He is playing this character. He's living this character. Like, the kid playing Martin the real son. He's like. You just came from an audition for the Disney Channel. I don't know, man. I think you're a dislike of Martin the character is leaking over into. I think that could work. I think there's a joffrey syndrome. Don't you think? I think you don't like the character enough that you're. Because I think the kid does exactly what he's meant to do, which is just to be this spoilt, little snopnosed brat. That's what I'm wondering. Is it a part of the plan or is it a fly-in? I mean, you're right. Maybe the kid who the actor and figured me Martin, I don't know, you're not. I think his name is Jake Thomas. Okay. Shout out to Jake Thomas. Sorry, kid. But, yeah, who is now 40-something? Fatigue, it could beat us up. Potentially Jake came in to the room and was just a precocious kid who just rubbed the casting director the wrong way and just exuded that. Anage-alibri. Yeah. Naturally. So you're right. Yeah. In terms of, he might be. That might be his personality. I hope not. Totally unlikable kid. That's true. But Rewarny a little bit. Yeah. The house that they live in is very much furnished by, if not, I care, then like the really high-end version. Yeah. The bland, neutral tones. They sort of dress that way as well. And, you know, you find that with the sort of the minimalist chic that supposedly a lot of your billionaires and our trillionaires are wearing. Yeah, that's right. And they're going off to the opera, you know, not kind of stuff. So there is this real sense of like disconnect that they are the play things of the sort of rich and oblivious these androids. Well, yeah. And there's a bit of a contrast when you go to the flesh there, which feels more like a demolition derby or NASCAR rally. There's what the blue collar folks are doing while, you know, Sam and Francis are going off to the opera. Genuinely fantastic sequence. Everything from like the junkyard through to the flesh there is just Spielberg in top form. Like it is so. It is the spectacle of like, wow, these weirdo androids and stuff with the emotional, you know, trauma of this kid like, you know, I think there's some elements of like Schindler's list, which is blending into this like this idea of being sort of rounded up and persecuted. Oh, yeah, I didn't, I didn't thought of that. But yeah, that makes a bunch of sense. It's definitely, it's definitely in there like, you know, the hiding, hiding from the, the flesh fair, like, Brendan Gleason's gang, what have you called them? I don't quite understand the symbolism of the moon being hot. Do you, do you get that? No, me neither. And then because I'm like, I said, yeah, and then logo like fear the moon. I didn't know what the subtext of that was. I'm not well versed in Pinocchio enough to know if that plays a part because Pinocchio plays a big role in this. Yeah. Yeah. Could just be an ambulance shout out who knows. But that sequence is so good and so genuinely horrifying. It's a bit like when the remakes of the new planet of the Apes films came out, starting now with the James Franco one. Oh, yeah. I was like, there is a whole subset of science fiction is in there, which is like human suck. Oh, yeah. I'm not sure if I was the non-human. And this is one of those sequences is like, we are terrible. We're disgusting. We are. In so, yeah, I mean, they're varying degrees of, yeah, coldness and callousness from pretty much all the humans throughout this. I mean, even William Hertz character who's the creator of the David Bond, who is based on his own dead son, right? Yeah. You see a whole lot of pictures of William Hertz and Haley Jollas. It's like, all these are father and son. These benevolent, but also, and he's trying to sort of, when David say, I'm real, I'm special, I'm unique. He's like, well, you're not one of a kind, but you're the first of a kind. And he's like, you're still viewing this as a product or as a creation as opposed to something that's got sentience or something that's got sensitivity or whatever. And yeah, it ranges all the way through from the coldness that David parents show through the absolute destructiveness of these people at the flesh fair. Although they sort of come around to David's way of thinking when he says, I'm a real boy, I'm a real boy and they start throwing shit at Brendan Gleason saying, let him go. Yeah. Yeah, that is the one heartening or the one good thing that humans do. Yeah, pretty much. Can I give a quick shout to William Hedderswell? I'm sorry, I'm just, yeah, being up on a lot of the actors here, but William Hertz was such a unique presence in American film, wasn't he? I mean, leading man who went to into character actor. Yeah, because he's not quite, when I think of leading man, I think of either likes of Danira, Pacino, very intense methody guys or sort of Golden Boys like Paul Newman and Robert Redd, but William Hertz somewhere in the middle. Yeah. He's not like the Ben. He's the waspish guy with the darker edge. Yeah, he's not quite as intense as Pacino or Danira. And you wouldn't call on him to do that kind of thing, but he can be intelligent just about as well as anybody in that era. That's interesting. That's surprising that he never, I mean, maybe he did, but he didn't enter that villain era, like the sort of Jeremy Irons, like he could have been a Euro-Trash villain at some point. Sure, good of him. He has that kind of, like, you know, waspish kind of quality, but he never really entered into that kind of phase. No, I think the closest he came of that was probably in Croninburg's movie, History of Violence. Yeah, right. Yeah. Which, oh, look, making tenuous connection. It's not even really connection, but, you know, I mentioned before about that scene where Hayley-Johl-Ozman gets activated and his face changes to human. Vigo Mortensen does something very, very similar in History of Violence. It's just something I really, I'm always astonished by. It's like you've shown me a fantastic card trick. Mortensen does it as well when someone wrecking, you know, the mask comes off of this nice guy persona that he's taken on and you see the cold lot of mobs on the day. Mortensen does it just with just change in facial expression. I'm like, what am I seeing here? This is wild. - There's a great clip of, you've probably seen it of Christopher Reeve that went around, which is Christopher Reeve playing Clark Kent and coming up in the scene. - Yeah, and the same thing. - And he's quite a true star. - What? - Acting, acting man. - It's so cute. - You guys are magicians. - It's so good. - All right, anything left to say about AI? - Well, there's a lot really, I mean, 'cause. - Oh, Vinny Chase has a cameo. - Yeah, a lot of cameos in this. I mean, - I don't know. - William's Vinny. - Yeah. - Probably William's the voice of the blue favorite, the end is Meryl Streep. - Oh, I didn't know that. - Yeah, and I think the voice of the AI that is sort of walking David through his, through their process of like, we wanna understand, we've got so much respect for humans. Look at all this wonderful stuff they did. We're trying to resurrect them. Our experiment didn't work. If we've got DNA, we can bring people back for one day. And that's leads to the climax of the movie. And I think that's Ben Kingsley doing that for us. - Oh, right. - Yeah, yeah, so, it's Booboo calling in a few favors or, you know, hey, we had a good time on Shineless. Let's come and, you know, did this do well? - I think, I'm trying to, I'm trying to remember the budget. I think the budget was something shy of a hundred mill, which was a lot for the early 2000. I think it made something like 260 worldwide. - I'm gonna double check that on box office major. We're getting the nod. - Because this is, right, okay. Here we go. - Maybe even less than a hundred million. - Here we go. Artificial intelligence, opening, so, only, so budget was a hundred mill. And what was it's total gross? Domestic only 78 and 157 worldwide. So probably now, I mean, well, yeah. - Yeah, 'cause you gotta make two and a half back, don't do something, yeah. So it ended up making 235 million worldwide. So not a success. I mean, just not a failure, a break even. Which kind of makes sense because it's, see, it's rated PG, which I feel is like, oh, that's strange to me. - Yeah, I wouldn't be taking many kids to see that. That's seen with a spinach eating competition. - Mmm, which if you haven't seen the film, what's others are. But it's so upsetting. Like, and the way it ends is perfect. But the whole sequence is just like, that feels like, I thought that, oh, that'll be Kubrick. No, no, no, that's a real weird scene. - Yeah. - I think there's a lot of shout outs to Kubrick in this as well. I mean, I think certainly when they're going to Rooch City, which is sort of like, I guess it's meant to be like Vegas or something across Wayne Vegas. And I don't know, where do you go to at late in America? I don't know. (laughing) - No, well, sin city, essentially. (laughing) But bits in there, it's like, oh, this looks like, you know, the milk bar from a clockwork or something like that. So, whether that's Spielberg paying tribute to his friend and mentor. (upbeat music) - Let's move on. Two years later, or one year later? - One year later. - One year later, minority report. The first teaming up of Steven Spielberg and Tom Cruise, the two probably biggest icons in the '80s come together for the first time. - Pretty wild. Very wild. I think we're kind of looking forward to this one. And for my own, a deliberate, I'm a big fan of minority report. - It's so good. - In terms of just a chase film, like the tension never letting up, this is really good. The one thing that I think dates this more than anything is the aesthetic. It's that desaturated, - The whole genish-kinnonsky. - Yeah. - You see it bleeding into AI, it's in, into AI. - And it's so ugly. Like, it's funny. It came to Australia, like they called it the Melbourne aesthetic for a while after Animal Kingdom came out. - Okay. - Because Animal Kingdom had that. And it was very trendy for a while. - Sure. - To set all the color out of everything. And look, I understand it's a stylistic choice, but it's so fucking ugly. - It is. - Like, as a cinematic experience, everything just feels cold and gritty in the grain of the film. 'Cause I'm assuming this was still a shot in '35. - I'm talking 2002. Like, that's the one thing that I think dates it. But Tom Cruise is always at his best when he is exasperated. (laughing) - Appears to have everything under control, incredibly confident, incredibly poised, then all of a sudden, yeah, shit just goes off the rails. And yeah, he has to contend with it, but also get increasingly flustered or frustrated or unravelled. - Yeah, okay. So, quick plot summary. So in the future, there is no crime because there are three pre-cogs who are psychics. There's two brothers and a sister who float in a swimming pool. And they see crime before it happens. And so they let the cops of the pre-crime unit know about that and they go out and they stop the crime happening before it does. Tom Cruise, however, who is the leader of the pre-crime unit, he gets implicated in a murder that is about to happen. So it's him trying to stop the murder. - Yeah. - But is it predetermined? Can he stop it or not? - Free will, not. - Free will, not. - Not determinism. - Yeah. - In a futuristic setting. - I did a screenwriting class once where we were given the original script of this and then the rewrite by Scott Frank. - By hero. - And it is such a difference, like the amount of depth and layers that he added to the script. Initially, it was much more, it was, I think it almost like, I think it started with him on the run. I just remembered there was not a lot of the, there was none of the character development around his son dying and him being a drug addict and all this kind of stuff. So what I love about this film is like that. Cleashay about Tom Cruise running. (laughing) You ain't gonna get better running than in minority report. And there's so many inventive sequences. Like, that's the other thing about Spielberg. Like, we'll get to disclose your day. But there is a sequence in disclosure day, like a big chase set piece that I was like, yeah, okay. And then I went back and watched my minority report. And even the jet pack run from the cops is so inventive and so clever and so innovative. Like, there's so much about it that's like, oh, this is cool. Like, Spielberg is trying something that hasn't been put on film before. - Yeah, or, you know, sort of the main first confrontation/fight between Cruise and Colin Farrell. - Yeah. - Taking place in this automated, - That's just, yeah. - The less faculty, little bit of product placement we might say. You know, it's 2010. Spielberg took a bit of juice. - This movie's so bad for themselves. - No. But, yeah, first of all, who would think to do it that way, then when you've got that kind of set up, then what can we do with this? And, yeah, they clearly come up some inventive stuff. I tend to think of that as like, oh, wow, that's kind of, if not legendary. It's like, that's pretty memorable. - Yeah. - Maybe some people won't just go, oh, yeah, that's part of minority report. - I feel like maybe Spielberg, it had been a while since he'd come back to this genre. I think he maybe was feeling a bit of a hate from like the Matrix and maybe the Men in Black films, 'cause I do see, okay, like there's that concussion, gun, the sort of lever loading concussion gun, and then like that's from Men in Black. Like that feels like a left-over, proper Men in Black. - Well, apparently he really did his research on this in terms of like, what kind of, you know, not just what kind of weapons, but what will we have in the future, you know, in place of, in terms of everyday use, you know, what are some innovations that might actually occur, and he's going to places like DARPA and things like that, that you know, say, oh, well, you know, 20 years from now we won't have guns. We'll have these things that act as, and it's not pepper spray, it's more like an incapacitator, side effect as it makes you vomit or whatever. But, you know, you look at this and there's, you know, personalized marketing or. - Yeah. - It's dated, but not. - Mr. Yakimoda. - Yeah, yeah, someone's reading like a newspaper that's basically like a tablet, but it's like the size of a tablet newspaper and the news is always changing on it because things are getting updated. - Yeah. - Oh, I think it's Cameron Crowe's actually reading this. - Yes. - There's Camille's by Cameron Crowe and Cameron Diaz in this. - Where's Cameron Diaz? - Cameron Diaz is, I think on that subway as well. - Oh, really? - Yeah, so maybe. - Why is she doing that? - I don't know, let's have a relationship. - She just feel big. - Well, let's see, I mean, they'll, well, probably should in the next year. - And Cruz has made vanilla sky. - Ah, right, that's probably what it is. - Yeah. - Yeah. - Yeah, I'm here for the day, hang out. - I'm auditioning for wives. (laughing) - Oh yeah, this is the hole in between here. - Yeah, that's right. - That's right, Kidmin and Holmes. - Oh, by the way, yeah, I wanted to say just to backtrack a little bit, I know we're talking about minority important, not AI now, but when AI came out, I once had the world had Kubrick Viva, but I mean, it had been only a few years since I was one, I was one, it's shut, which had been a first film in more than decade. That's a movie starring Tom and Nicole. It's very strange and sexy thing that had been going on for goodness knows how long. Then Kubrick dies on top of that, yeah. So, yeah, for AI to be sort of like his co-der, his last thing, the last thing that would go out in the world with Kubrick's name, one of the things, pretty interesting. But yeah, coming back to minority report, yeah, apparently, Spuriburg was very much, let's try to make this as realistic as possible, even if it is, you know. - It's nice, it could be so. - It's nice, I think. - Well, keep it as realistic as possible until he goes to that garden by the woman, you know, who brought up Agatha and it's like, hang on, so there's like plants, a sentient now. And like, that's the one bit I'm like, I don't understand why this element is in the film. - I know, but that's part of the idea. - It's genetic modification. - I think so. - I guess. - It's part of the appeal of it for me is that there's so much weird stuff in this. - Is there? - Yeah, I think so. - Yeah, you look at the, I mean, you look at the log line for this and it's basically, cop falsely accused of a crime must go on the run to Cleary's name, it's like, well, yeah, been there done that. But it's great when you do it well though. But then within this, you know, Tom Cruise is getting an eye transplant. - That's awesome, great secret. - Yeah. - And then he drops the eyes and he has to go run out. - All that hopper, that whole thing with lower Smith and the green hat, this, this terrific actor, lower Smith. - Yeah. - And she's giving us strength before she's coming on to cruise. - Gives us a big passion, a big passion. - Why should I trust you? - You shouldn't, shouldn't trust anyone. Certainly not the attorney general or just ones at all for himself and not the young federal agent who wants your job. Not even the old man who just wants to hang on to what he created, don't trust anyone. Just find the minority report. - You said the minority report is destroyed. - The record is destroyed. The original report still exists. I designed the system so that whenever a report occurred, he would be stored in a safe place but not declared. - What safe place is that? - The safest place. - There it is. - Where is it? Inside the break-up. Look, pretend, pretend. - I didn't expect this from my, you know the cruise man on the run future thriller. - I mean, it's kind of like children, it has been a children of men, element, who are this all? - Sure, well, I mean, she's a bit like the Michael Cain character and children of men. So yeah, I guess maybe it's just in the zeitgeist at the time. - And even just the whole concept of like, yeah, we've got these three mutants who can tell the future and they sort of simmer in milk baths. - Yeah. - You've got this one guy who's looking after them who seems to have a weird kinky relationship with at least this amount of the Morton version of them. - Yeah, it's funny too. Like, you don't, you really, there was only on this viewing that I really kind of took in. There's a line of dialogue where one of the characters explains, do you know how awful their existence is? Like, from, you know, as young as they can remember, they've been seeing visions of the most horrific crimes ever. And that's all they see. That is the existence they live in. It's like, oh my god. - Oh, it's terrible. - I wanted to be sedated in a pool of milk as well. - Sure. - But then I didn't have to put up with that. - I'd like to go back to what you were saying earlier about the rewrite of the script. I've got Frank and how, yeah, it's really, really smart at the, well, you've got the inciting incident, I'm not the inciting incident, but you've got the incident that sort of sets up what the pre-crime unit does with this guy who, he suspects his wife is being a-- - There is that actor. - That's Ari Gross. - Is he from Teen Wolf? - He's from Soul Man, which you like to bring up everyone's in life. I had a lot of stock at Ari Gross when I saw Soul Man. I'm like, I like this guy. He's really good. - He never gets in. - He's not styles from Teen Wolf as well, is he? - No. - No. (laughing) But yeah, he's playing this husband who suspects his wife is being unfaithful and when she's in bed with a lover, he comes back to murder her. And the pre-cogs have seen it. Tom Cruise and his crew rock up to bust him. It's like, okay, so this is what they do. And this is what Tom Cruise does as part of that, but then there's this whole bit of exposition where Colin Parallel's like the Treasury guy or the Justice Department guy comes in and says, "I'm not sure about what you guys do here." And Cruise has sort of walking through it and says, "Well, this is how it works and this is why it works and this is why we do it." And so I'm like, "Oh, okay, so this is how this is. " It's. - It's exposition, but it's done so well. - That's right. - Good exposition is normally done with tension, like what is actually going on. - Done in conjunction with action. - Colin Parallel, I'm not sure in this film. Like, it's a bit like Martin the son from all over. - I'm not sure if it's his character is irritating, therefore I find him irritating. Or if Colin Parallel's performance is something, I don't know, like occasionally you find a non-American actor doing an American accent and it's just a little. Like it's like when Tom Hardy does a Brooklyn accent and then, "What character?" - And there's just a bit of gum chewing, like, I don't know if he's doing a New York accent or what it is, but there's just something about it that's fun. It's just a little too manned. I think Colin Parallel's a fantastic actor. I like him and a lot of stuff, but this is something about this part. And it's also the style. I don't like his hair. - I do. - I don't like his suit. I don't like his little mustache and beard. - I kind of like all of those. - I guess I've got to say. - This is very early. - It's a aesthetic thing. - It's early, early Farrell, I think, because. - Holding his own, too. - Yeah. - Because biggest movie star in the world. - 'Cause he was in Timberland. - No, Timberland. - Tyglyne Tyglyne. - Timberland. - He was wearing Timberlands in Tyglyne. - He was well into his star era by the time this comes out. - You think there's only like a year or so after a year? - Well, there's another film in between Tyglyne and this. What is it? - It's not the one where he plays Jesse James. 'Cause he did some shitty western with the Garfield suits. - I can't remember. - Okay, so this is his star maker. - I think it's an announcement that's like. This guy's good, keeping an eye on him. - Yeah, 'cause I think Matt Damon was initially the first choice for this. - Oh, that's interesting. 'Cause part of my issue I think is he feels too young. And like I feel like if he's a good, you know, Javier Tom Cruisez-Jean Valjean that maybe that should be an equal status, but he feels like a kid. - That's true. - But then maybe this. - Maybe that's the point. - Yeah, that Cruisez is a little sort of baked into the system at this stage and you need some fresh blood as I say. You might be doing this wrong. - And I guess that's part of the dynamic as he comes in is like you are now reporting to me. - But it's like this little snot nose and all. - With his perfect hair and his perfect little beard mustache. - So maybe that's the. - You're really on the thing, it's Farrell's grooming. - When the precargs declare a victim and a killer, their name is embedded in the grain of wood. Since each piece is unique, the shape in grain is unique. The shape in grain is impossible to forge. - I'm sure you all understand the legalistic drawback to pre-crime methodology. - Here we go again. - Look, I'm not with the ACLU on this, Jeff. But let's not kid ourselves. We are arresting individuals who've broken no law. - But they will. The commission of the crime itself is absolute metaphysics. The precargs see the future and they're never wrong. - But it's not the future if you stop them. Isn't that a fundamental paradox? - Yes, it is. You're talking about predetermination which happens all the time. (gun firing) - It's a good dynamic between those two though, I think. - Yes. - That's a nice like combative. - And a nice switch to the character. I guess it's almost like the edX-ly butt button, what's his name, bud? - Oh, bud what? - Yeah, bud what combination. - It's like that style of it. - That's good of it. - That's what I've been really good as, is it Whitmer, Danny Whitmer? I think it's the carpentry. - Carpenters name, yeah. - Yeah. - Yeah, that feels like a real piece part, doesn't it? - It does, he could definitely have played that part. - You mentioned Peter Stamé, before. - Are we pronouncing it correctly? - Yes, Stomar. - Stamé. - I was always putting a little bit of a tag on it like Stamé, right? And it's like, no, he's Scandinavian or? - Yeah, I don't know. - Stamé. Stamé. Has there been a better on-screen scumbag than him? - He's so unusual. - He's so unusual. - This is almost the perfect encapsulation of everything about him. It's the kind of Euro-Trash vibe, the snott of. Everything about him is grubby. - Yeah, it's like, you don't take care of yourself. - Like, is it a constant teen where he plays? - The best Satan. - Yeah, the shoeless Satan. - Yeah, covered in tar. - Yeah. - Oh, he's wonderful. - But everything about him is just kind of creeping weed. 'Cause I was watching this guy and like, is he a better scumbag than I'm like, William Fitchner is probably my other great man here. - Yeah, modern day scumbag, but in different, he's more of your sort of like, serial killer, sociopath scumbag. - It's almost like you had a foreign exchange thing. It's like you sent Fitchner over to the scan, and we got stummed for a little while because they both give off this vibe. And I think Fickner does this very explicitly in go where you're having a really great time with these people and all of a sudden they're like, "Oh, your swing is?" - Yeah. - And you want me to be the third? Don't know about that. Or you meet Stormair at like a CD bar or something. It's like, "Oh yeah, throw this drink of my nation. It is wonderful." And next thing, you know, you wake up minus a kidney or something. - You're having the best time and then all of a sudden things just get weed. Yeah, he's great in it. - Great, just one, well, one saying two sayings and so memorable. Did you wonder though like why they, is it just for tension that they set up that, "Oh, you actually sent me to jail?" And, but then there's nothing that I don't follow through on it, I was like, "Oh, okay, it's the, you know, there's the, there's the breakfast, the gun, who's the, don't show a gun unless you're gonna use it." - Oh, check off? Check off, check off, check off. - Check off, check off, check off. - It's like, I mentioned that, you know, this doctor has an issue with Tom Cruise, but then nothing comes through. - Right, yeah. - Spearberg of course has a lot of juice at this stage. But, yeah, on going for about two decades at this stage, but there's parts of this that feel like sort of meddling or compromising. - Mm-hmm. - You know, you've had some people who say, "Oh, 'cause this is based on a Philip K Dick story." Yeah, and it's almost like the total recall thing where it's like, "Is everything that happens in the third act or the second half of the third act of minority report, Cruise's fantasy after he's been imprisoned?" You know, they put the halo on and it's like, 'cause like, do they say in minority reports, like, "Oh, yeah, we put him in this jail, but it's like they're dreaming." And it's like, "Well, this is Cruise's dream," that he's like, "No, I bust out, I'm legit." And I get to, you know, save the day and rescue these precogs and the bad guy gets his come up and so on and all that. I don't know, maybe that's the case, but-- - I had not even considered that, but then yes, that of course that interpretation. - 'Cause there's this sign billing in total recall. - Yes. - It's like, "Oh, yeah, it's the back half of this just idle fantasy." - Isn't Max Fonsey down an interesting actor and that he's appeared to be 70 years old, for about 40 years. - Yeah. - I think it's crazy. 'Cause I was looking at this and going, I've seen him play the same age over three different decades. From the exorcist to Judge Dredd to this film, he's always looked the same age. - It's funny. - How about that possible? - Yeah, I mean, it's clear that the makeup that Dick Smith did in the exorcist is so good because yet Father Marin is meant to be older than he is. In the early parts of the exorcist, did he seem as a younger person? - No. - I don't know. - No, I think it's, yeah, he's meant to be old all the way through, but he always had that kind of gravitas. - Yeah. Went through, well, I'm still going through a very pretentious phase, but I went through a pretentious phase. Like, I should read some, no, I should watch some Ingmar Bergman. Like, yeah, settling down to do my homework. And then you'll watch some of Bergman's films, like his most famous, I was like, wow, this is really avant-garde. Like, Posonra is like punk rock, it's wild. But watching the seventh seal, which, in which bonsai, I was the lead. It's like, oh, yeah, you were the strapping Nordic specimen. You were young ones, but yeah, you tend to think of him as like, the older stage as an old man forever. - You do, yeah. - But he's just got such a brilliant face and he's so good. It's almost like Christopher Plummer in a way. - Yes. - They just have that gravitas where, you know, you could install them in any, like, position of authority and you'd buy it straight away. - Indeed. And spoilers from Minority Report Max von Sino turns out to be the bad guy. Sit down, side out. - I don't know, that's not Max. (laughing) Turns out to be the bad guy, but he's got that wonderful, avancular and authoritative presence. So it's kind of like, well, you're not gonna steam you the wrong way. And even when he, it's revealed that he's the bad guy, I was like, I was doing it for the greatest good. It's like, Max got a point. - Yeah. - Yeah, he doesn't really, but yeah, it's very good in this. - They're great. We talked about the spider sequence, the eyeball transplant sequence. Apparently, and this is the trivia I read. So the spider's come in looking for Tom Cruise. He's hiding in the bathtub filled with ice to lower his body temperature. The spider's almost out the door and then a single bubble in Tom Cruise's nose alerts the spider. The rumor is that, they're gonna do that with CGI, but Tom Cruise, being the ultra professional is, - I can do it. - I can do it. I can eat out a single bubble for my nostril and they did and it's brilliant. - I wonder how many of these stories are bullshit because I heard a similar thing about, it might have been anathaway. - Right. - It's like a scene where she had to, there was a single tear. It's like, we can CG that or we'll give you something and it'll just result in one single tear. I'll say, no, I can do it. And she's like, and she's like, - She's like, I'm the anti-stave McQueen. - Yeah. - And she's like, which eye would you like an out-hawk? - Fuck off. - No, I can't believe it. Love anathaway, but no, that's, yeah. - Bullshit. - So I got a couple more bit to trivia here. So the three pre-cogs, Agatha Arthur and Dishield, you know why? - Because they're named after crime novelists. - That's right. - Yeah, Agatha Christie, Agatha Conan, Dwell and Dashel Hannet. - Tom Cruise and Spielberg both waved their salaries for this film to keep it under 100 million, which seems like a bargain by the day of day. For that kind of film under 100 million. - Yeah, 'cause there's a lot, I mean, there's the freeway chase, the magnetized freeway chase that, yeah, it feels like a major set piece and feels very, it feels very early 2000 CG, but also feels very ambitious, doesn't it? - And this is sort of more a tease for next week episode. We talked about War of the Worlds, but this was the start of Tom Cruise and Spielberg's relationship. - Which we're doing. - And unfortunately short-lived relationship. But having said that, you know, there was footage awhile back, a couple of years ago now when Top Gun Maverick was released. And you see there, I've gone on what event it was, but you see the movie hugging and Spielberg basically, you save the movie's time. It's like, oh, always were given, maybe. - But you couldn't think of a better pairing, right? Like it sort of makes sense. The biggest blockbuster guy of the 80s and the guy who invented the blockbuster. - The two 800 pound gorillas. - Yes, absolutely. - And also because Cruise is such a technician himself and is such a fan of cinema and he knows lenses and he knows camera moves and all this kind of stuff. Have you ever heard Jay Moore's tell a story about when that scene in Jeremy Guyer, where he's, Jerry is getting let go by Jay Moore? And he said that during that, he didn't realize he was out of frame. And Tom Cruise while doing the scene with him, he is like giving him hands signals to say, like move your head in closer without stopping the scene at all. So Jay Moore was like, I'm there doing my lines, but I've got Tom Cruise like coaching me to like head down, move in, come in a bit closer. - So while. I don't know if I've talked about it on the video still before, but is that whole thing with Glenn Powell, who was Cruise's co-star in Top Gun Maverick. I think crew, I think Powell basically sort of not glommed on to Cruise, but he's kind of like, I want your career, how do I do it? - Yeah. - I think Cruise is basically hired a theater and he showed him like a movie that Cruise had made, like an instructional video. I was like, this is what you need to know about cameras, this is what you need to know about lenses, this is what you need to know about angles, this is what you need to know about lighting. You know, if you want to be seen in this particular way, then you position yourself like this, like a crash course in how to be Tom Cruise. - Yeah. - That's wild to me. - I mean, you can definitely get a sense of it. Like this is, he is a professional movie star. And the fact that like we've talked about this on Toe Fop a lot, which is the way that Tom Cruise, he was, I mean, and we'll get to it when we talk about World of the Worlds, but there was a period of time where he was persona non grata, like the world turned on Tom Cruise. And he won us back and all he had to do was endanger his life. - Again, and again. - And again. - But you do understand that this is a guy, like that's why they call him the last real movie star, because he understands like what spectacle is and how to give the fans what they want. - Yeah, but this is also in a very interesting phase of Cruise's career as well, which I think probably started in the late 90s, when he was, I mean, he's always sought out, you know, a list of filmmakers to work with, but he was also looking at altars and also looking at the challenging roles. I mean, this is the round the time of Magnolia. This is his eyes wide shut. Vanilla Sky with Crow, maybe it started with Jeremy Guay in all honesty. I mean, he or I think Cruise always viewed himself as like an all-around leading man. He's like, I can do romance, I can do comedy, I can do action, I can do all this kind of stuff. And but yeah, this was the phase when he's like, I might push myself, I've earned enough good will that I can push myself as an actor a bit as well. And the carriage of Anderton in Menorah report, part of him is this straight up action here, I cop. - Yeah. - But he's also a drug addicted grieving father who, yeah, is tormented in a lot of ways and Cruise also can do that. - Yeah, a couple of things. The sequence where after his the eye operation where he eats the rotten sandwich and drinks the milk disgusting, one of the most viscerally repulsive scenes in cinema. But I have a question about the device that makes his face go all rubbery, you know, when he's got to go back into the minority port headquarters and he injects himself. Just wouldn't a fake mustache be just as effective? Unless painful, like he doesn't look that different. He still looks like John Anderton. - How about a wig? - Yeah, like, I mean, what is the point in that technology, extremely painful from the looks of things? - Yeah. - And just makes you look a bit wrinkly. - I just reckon a fake mustache, a groucho marks mustache. - Yeah. - Would have done the job just as effectively. - I don't know, I get the feeling that, yeah, Spielberg at this time was really interested in the organic and sort of where technology meets humanity. But that's the most Tom Cruise looking prosthetic of his life. - Yeah. - I mean, mentioned vanilla sky. Like, that's, if you're gonna change your parents even in the sky, you don't just make Tom Cruise but wrinkly. All right, that is episode two of the Steven Spielberg sci-fi era. We'll be back again next week discussing a War of the Worlds and Ready Player One of which I have thoughts. - Many, many thoughts. - And then we'll be finishing up in episode four to a new disclosure day and wrapping up the whole series. But Guy, you do another podcast, wanna tell people what it's about? - Sure do. - We'll be back again next week. So brush up on War of the Worlds and Ready Player One. I'm Charlie Klosson. - I'm Guy Davis. - I'm Charlie Klosson. - All in the show nights will be back again next week.