Groundhog Day (1993) vs. Multiplicity (1996): Part 2

<v Speaker 1>Hey, everybody, welcome back to the show that You Can't
<v Speaker 1>Be Serious Podcast D. Today we are talking about a
<v Speaker 1>movie about clones.
<v Speaker 2>Yeah, Life finds a Way.
<v Speaker 1>No, not Jurassic Park.
<v Speaker 2>Oh, why do I get the feeling You're going to
<v Speaker 2>be the death of me?
<v Speaker 1>Good Lord? Not Attack of the Clones either.
<v Speaker 2>Oh, everybody dies, Sally the thing is.
<v Speaker 1>To die well, not oblivion either.
<v Speaker 2>Okay, what clone movie are we talking about?
<v Speaker 1>We are talking about Multiplicity versus groundhog Day. Hey, listen.
<v Speaker 1>We talked about this earlier today. Yeah, okay, so the
<v Speaker 1>funny version is Groundhog Day, where somebody's stuck in a
<v Speaker 1>time loopp versus Multiplicity about a guy who clones himself,
<v Speaker 1>and we talked about how the serious version of that
<v Speaker 1>really is the Edge of Tomorrow, where Tom Cruise is
<v Speaker 1>stuck in a time loop lived I repeat, versus oblivion. Yeah,
<v Speaker 1>where he is he encounters a clone of.
<v Speaker 2>Himself, right exactly. It's kind of crazy two sci fi
<v Speaker 2>movies that take these two harold for bramous comedies and
<v Speaker 2>do it in a whole new way with Tom Cruise.
<v Speaker 1>Hey, I'm telling you those movies are awesome. I would
<v Speaker 1>not be opposed to that matchup.
<v Speaker 2>Right there. No, absolutely not. Now. We talked about Oblivion before.
<v Speaker 2>Whenever we talked about our Top Gun Maverick episode. Fantastic
<v Speaker 2>movie that you encouraged me to watch. I finally got
<v Speaker 2>to get Caleb to watch it. When I watched Multiplicity.
<v Speaker 2>I mentioned in our last episode this was the first
<v Speaker 2>time I'd ever seen it. Although today I asked Casey,
<v Speaker 2>I'm like, have you seen the movie Multiplicity. She's like, yeah,
<v Speaker 2>we watched it together. I'm like, no, it didn't because
<v Speaker 2>I saw it like two days ago when you weren't there,
<v Speaker 2>and she's like no, like when we were dating. I'm
<v Speaker 2>like nope. She's like, I wouldn't have seen it with
<v Speaker 2>anybody else. I'm like, I'm just telling you, honey, I'm
<v Speaker 2>one hundred percent sure I've never seen this movie before.
<v Speaker 2>But then I started thinking, could I have forgotten this movie? Well, yeah,
<v Speaker 2>I think I could have.
<v Speaker 1>Yeah.
<v Speaker 2>Now there are some folks out there who love it.
<v Speaker 2>They'll go back to it again and again and again,
<v Speaker 2>and they saw it when it first came out. But
<v Speaker 2>there's something that happened in between Groundhog Day and Multiplicity
<v Speaker 2>that changed things. Whereas Groundhog Day was this amazing nuclear
<v Speaker 2>bomb success, and Multiplicity didn't even earn half of its budget.
<v Speaker 1>I still cannot put my head around what happened.
<v Speaker 2>Well, here's the thing, I'm going to propose this theory now.
<v Speaker 2>So we did an episode just a few episodes ago,
<v Speaker 2>where we interviewed the creator of The green Light Project,
<v Speaker 2>Alex Collegiate, and we started talking about our favorite eighties movies,
<v Speaker 2>and he kind of got onto this idea that eighties
<v Speaker 2>movies didn't really start until nineteen eighty four, right like
<v Speaker 2>before that, those were seventies movies, like they had a style,
<v Speaker 2>and that the style changed in eighty four. And I
<v Speaker 2>think it could be wrong, but I think he said,
<v Speaker 2>and that blasted to ninety three, and then in ninety
<v Speaker 2>four the style changed. Keep in mind ninety four, we've
<v Speaker 2>got Natural Born Killers, we've got pulp fiction, we've got
<v Speaker 2>Shawshank Redemption. I mean all of these incredible, serious, not
<v Speaker 2>remotely eighties style movies. Right now, the two movies that
<v Speaker 2>we're talking about, one came out in ninety three, and
<v Speaker 2>that's Groundhog Day, and it was a very eighties movie style,
<v Speaker 2>like you've got the intro in the clouds and it's
<v Speaker 2>the credits and it's this kind of cheesy, kind of
<v Speaker 2>bad Newman sounding song to go with it. It's his name,
<v Speaker 2>Randy Newman? Is it Randy Newman?
<v Speaker 1>Yes?
<v Speaker 2>Yeah, Harold Ramis wrote that Weatherman song, by the way,
<v Speaker 2>he was he was one of the writers on that song.
<v Speaker 2>It's so dumb, it is so bad, like and I
<v Speaker 2>just and and multiplicity starts the exact same way. It's
<v Speaker 2>the credits. We have this fun little hey, let's show
<v Speaker 2>Andy McDowell's name several times, and let's show Michael Keaton's
<v Speaker 2>name several times. Just the multiplicity idea. But it's still
<v Speaker 2>credits in the clouds. But from nineteen ninety three to
<v Speaker 2>nineteen ninety six there had been a paradigm shift, and
<v Speaker 2>Multiplicity did not get on the bus.
<v Speaker 1>Yeah, I think we talked about that. For me, I
<v Speaker 1>think there's a case to be made that Jurassic Park
<v Speaker 1>is the last of the eighties movies, and then you
<v Speaker 1>have pull fiction and all that, and there is that shift.
<v Speaker 1>That comedy seemed a little bit outdated.
<v Speaker 2>It did, it did. Harold Ramis was a master of
<v Speaker 2>a particular style, and unfortunately, around nineteen ninety four that
<v Speaker 2>style fell out of favor. Like hair metal in ninety two.
<v Speaker 1>Do you know what the next movie after Groundhog Day
<v Speaker 1>that Harold Ramis did was No, Stuart saves his family.
<v Speaker 2>I don't even know what that is.
<v Speaker 1>You remember the Stuart from Saturday Night Live, the guy
<v Speaker 1>that's I'm good enough, I'm smart enough, and.
<v Speaker 2>Oh that steaming pile of burning tired.
<v Speaker 1>You have maybe one of the greatest comedies ever and
<v Speaker 1>then you fall off the cliff. Yeah it's crazy, right,
<v Speaker 1>yeah GiMA. By the way, ninety three is known as
<v Speaker 1>year for the family movie. Did you know this? No?
<v Speaker 1>I didn't, so listen to this. You got so you
<v Speaker 1>have Jurassic Park, which can be considered a family movie, right,
<v Speaker 1>You've got Missus Doubtfire. Yeah, You've got The Nightmary Before Christmas,
<v Speaker 1>and you've got Free Willie. You've got some big, heavy
<v Speaker 1>hitting family movies.
<v Speaker 2>I can't believe you said Free Willy and all of that,
<v Speaker 2>but keep going.
<v Speaker 1>Hey, Free Willy was a box office smash.
<v Speaker 2>It was.
<v Speaker 1>It's true, no stupid movie. But so ninety three is
<v Speaker 1>known as the year of the family movie, right, not
<v Speaker 1>ninety six we talked about in our last episode. The
<v Speaker 1>movies that came out in ninety six. Ninety six is
<v Speaker 1>not a good year for movies.
<v Speaker 2>It's not a good year for movies, but it was that.
<v Speaker 2>I think Hollywood was scrambling at that moment trying to
<v Speaker 2>figure out what was the new end thing to do,
<v Speaker 2>because you had all these independent directors who had come
<v Speaker 2>out and given us a whole new idea about what
<v Speaker 2>movies could be. And this I mean someday we will
<v Speaker 2>have this debate because you maintain that the eighties is
<v Speaker 2>the best decade for movies, and I maintained that it
<v Speaker 2>was the nineties. But this would be an interesting if
<v Speaker 2>we decided to do that episode. Do we draw our
<v Speaker 2>dividing lines up on eighty and ninety or do we
<v Speaker 2>divide it up on eighty four and ninety four?
<v Speaker 1>That complicates things?
<v Speaker 2>It does, Yes, Okay, so let's jump into these movies.
<v Speaker 2>Talk a little bit about the production of Groundhog Day.
<v Speaker 1>Then put y'all in little hand in line. There in
<v Speaker 1>no ill mountains.
<v Speaker 2>We can't find. Okay, Shirley fans, rise and shine and
<v Speaker 2>don't forget your booties because it's cool.
<v Speaker 1>It's cold out there every day. What is this Miami beach?
<v Speaker 2>Jason? Do you have daja voo?
<v Speaker 1>I don't know, but I can check in the kitchen.
<v Speaker 2>Do you think Phil is gonna come out and see
<v Speaker 2>his shadow todays Donny Phil? That's right, Wood, Chuck, chuckers,
<v Speaker 2>it's ground on day now. One of the key questions
<v Speaker 2>for this movie is how long is he in the
<v Speaker 2>time loop? Right? Right now? Harold Ramis has answered this question. Okay, Okay,
<v Speaker 2>here's the problem. Yeah, he's answered it at least two
<v Speaker 2>different ways.
<v Speaker 1>Okay.
<v Speaker 2>At some point he said about ten years. Yeah, at
<v Speaker 2>some point he was like, I think it's more like
<v Speaker 2>thirty or forty years, which is a huge distinction. Right.
<v Speaker 2>When Danny Rubin first wrote the script, his idea was
<v Speaker 2>that it was ten thousand years, right, ten thousand years,
<v Speaker 2>And the question was how could he possibly keep track
<v Speaker 2>of how long it was? Right? How do you if
<v Speaker 2>you can't mark a calendar and it's going to be
<v Speaker 2>there the next day, how do you keep track? So
<v Speaker 2>here's how we answered that question. Right, there is a
<v Speaker 2>library in the bed and Breakfast that he's at a
<v Speaker 2>whole bookshelf full of books, right, And so what he
<v Speaker 2>does he goes to the top left book on the
<v Speaker 2>bookshelf and reads one page, and then the next day
<v Speaker 2>reads the next page. And so that way he can
<v Speaker 2>keep track of how many days have passed. And there's
<v Speaker 2>this very poignant moment in the script where he reaches
<v Speaker 2>the final page of the final book in the bookcase
<v Speaker 2>and he walks over, picks up the first book again,
<v Speaker 2>starts again, Wow. So I think ten thousand years is
<v Speaker 2>definitely too long. But when they were talking about it,
<v Speaker 2>the studio executives wanted to know. They're like, hey, there's
<v Speaker 2>no way we're going to let you go with ten
<v Speaker 2>thousand years. That's just absurd that nobody's going to believe that, right.
<v Speaker 2>So you know, Harold Ramis, being the psych ward let's
<v Speaker 2>see where you're coming from kind of guy, was like, well,
<v Speaker 2>what do you guys think? And they're like two weeks
<v Speaker 2>and they're like, come on, right, I mean that's nothing,
<v Speaker 2>that's meaningless.
<v Speaker 1>Commit suicide after two weeks you got problems.
<v Speaker 2>With right exactly. I mean you miss out on all
<v Speaker 2>of the stages of grief if you try to if
<v Speaker 2>you try to cram all right, right, right, right, it's
<v Speaker 2>not believable not to mention the fact that he becomes
<v Speaker 2>a proficient piano player, right, I mean, it just falls apart.
<v Speaker 2>And so Harold Ramis just kind of uses his politico
<v Speaker 2>power and just says, how about we just don't answer
<v Speaker 2>that question. How about we just let the audience gets
<v Speaker 2>at it, and that's what they end up with.
<v Speaker 1>So I've got a theory on this. So you're right.
<v Speaker 1>He does things like he goes from a complete can't
<v Speaker 1>play the piano to like jazz, you know, leading the
<v Speaker 1>charge in the in the dance hall. Right, and his
<v Speaker 1>piano teacher is like, oh, I'm so proud of him, right, yeah,
<v Speaker 1>which is funny because why would you be proud of
<v Speaker 1>your student after one day? Right? So he does things
<v Speaker 1>he knows everybody in the diner, and that takes time. Okay,
<v Speaker 1>so somewhere between ten years and ten thousand years is
<v Speaker 1>probably your answer. But on screen, you see I think
<v Speaker 1>they said it's exactly forty two.
<v Speaker 2>Days, okay on screen on screen?
<v Speaker 1>Okay, so he slapped you know a certain amount of times,
<v Speaker 1>and he does this or that, you know, and you
<v Speaker 1>see this suicide attempt and that death, and that adds
<v Speaker 1>up to on screen we see forty two different days. Yeah,
<v Speaker 1>to actually see we as the audience.
<v Speaker 2>Side note, sweet vermouth with a twist of lemon sounds
<v Speaker 2>like the worst drink I've ever heard of my life.
<v Speaker 2>Please continue.
<v Speaker 1>That is exactly six weeks. Okay, six weeks of winter.
<v Speaker 2>Well, that's interesting, but there's no way it can be
<v Speaker 2>only six weeks. So it's interesting, but we see six
<v Speaker 2>weeks worth of days. Yeah, but there's there is there
<v Speaker 2>are changes that occur and let me just let me
<v Speaker 2>jump into this with both feet. Now, we said that
<v Speaker 2>this is based on the five stages of grief, right, Okay, Now,
<v Speaker 2>the first stage of grief is denial. So if you
<v Speaker 2>think about the movie, there's Bill Murray and he's in
<v Speaker 2>his first repeat day and he's like he's confused. He's like, yesterday, yeaheah, yeah,
<v Speaker 2>what day is it? It's Groundhog Day? Will you be
<v Speaker 2>checking out today, mister Connors, I'd say the chance of
<v Speaker 2>departure is eighty percent. Only do that once a year, right,
<v Speaker 2>And when she asks him, you know, are you going
<v Speaker 2>to be checking out the day? Chances are eighty percent,
<v Speaker 2>which has gone down twenty Like he's yeah, he's identified
<v Speaker 2>that there's a problem because it was one hundred percent
<v Speaker 2>the first day, right, And so he's in denial. Then
<v Speaker 2>that night he breaks the pencil to test it yes,
<v Speaker 2>wakes up the next day, the pencil is back in
<v Speaker 2>the drawer and full, and he's he's jumping for joy, right, yeah,
<v Speaker 2>he because he's like, hey, I'm in a magical world.
<v Speaker 2>But it takes very little time in that magical world
<v Speaker 2>before he is off drinking with the guy, saying I'm
<v Speaker 2>mad about the way that life has treated me and
<v Speaker 2>I'm not going to play by their rules anymore. And
<v Speaker 2>so that is stage two anger.
<v Speaker 1>Phil, Phil, Hey Phil Connor?
<v Speaker 2>Ned right?
<v Speaker 1>Right?
<v Speaker 2>How is it going to be? Right?
<v Speaker 1>So then the next stage is bargaining.
<v Speaker 2>Right, So this one, this one kind of is bookended
<v Speaker 2>with punching ned right, Like, if there are no consequences,
<v Speaker 2>is what you do? Why wouldn't you punch the d
<v Speaker 2>bag that keeps bothering you every day?
<v Speaker 1>Right?
<v Speaker 2>Why not? Why not go to jail? Why not steal
<v Speaker 2>a bag of money or whatever?
<v Speaker 1>I love that scene. I love that that's such a
<v Speaker 1>fantasy because he's sitting there one car, yep, dog bark, two,
<v Speaker 1>drop the coins bag and they turn around and he's
<v Speaker 1>got money. You know, It's it's kind of fun.
<v Speaker 2>And so the third stage is the bargaining stage, and
<v Speaker 2>that's where he starts trying to manipulate things. Right, He's
<v Speaker 2>after Rita. He realizes he's you know, he gets involved
<v Speaker 2>with this woman who he knows won't know who he
<v Speaker 2>is tomorrow. But then is there in their makeout session,
<v Speaker 2>he's calling a Rita because hey, I realize that I've
<v Speaker 2>got the houtse reata. So he just decides, I'm going
<v Speaker 2>to try to manipulate her. Right, He's got a goal.
<v Speaker 2>He's going to use this repeat day thing to figure
<v Speaker 2>her out, figure out what her favorite drink is, figure
<v Speaker 2>out that she likes French poetry, figure out and it's
<v Speaker 2>all manipulation. And on that final you know, he goes
<v Speaker 2>through and finally has the perfect day with her, and
<v Speaker 2>then at the end you see him making notes to
<v Speaker 2>himself and she's like, what are you doing it? It ends
<v Speaker 2>up with a slap. Yeah. It's after that that he
<v Speaker 2>realizes he can't do it. He can't seduce her with
<v Speaker 2>these tricks, and that's when he falls into the fourth stage,
<v Speaker 2>which is depressional, right, and you get the infamous kidnapping
<v Speaker 2>of Punksatani.
<v Speaker 1>Film Don't Drive Angry.
<v Speaker 2>This is a classic moment. Is a classic moment where
<v Speaker 2>they're driving in this old red Ford pickup. I don't
<v Speaker 2>know why they picked that truck of all trucks, but
<v Speaker 2>is the perfect truck for this scene. And they get
<v Speaker 2>to the strip minds or whatever it is where Yeah, yeah,
<v Speaker 2>this is a real groundhog that Bill Murray is working with. Yeah, now,
<v Speaker 2>he's got gloves. It bit him through the gloves, bit
<v Speaker 2>him three times and the third time it punctured the
<v Speaker 2>glove and they had to take a few days off.
<v Speaker 2>Bill Murray is always getting hurt by these little woodland creatures.
<v Speaker 2>He's got the groundhog, He's got Carol Caine.
<v Speaker 1>Carol Kane, ripping his lip off, scrooged.
<v Speaker 2>Yeah.
<v Speaker 1>So the depression stage is where certain funny things happen. Yeah,
<v Speaker 1>there is a commercial that came out a couple of
<v Speaker 1>years ago. Did you see that commercial? He steals a
<v Speaker 1>jeep right right, and so it's a jeep commercial. His
<v Speaker 1>day in the commercial is every day he steals his
<v Speaker 1>jeep just to go crazy with his jeep.
<v Speaker 2>So he's full in depression. You see multiple suicide attempts
<v Speaker 2>for a movie that is the comedy like this. Watching
<v Speaker 2>him jump off of the top of a building was
<v Speaker 2>pretty intense.
<v Speaker 1>The worst one for me is him putting the toaster
<v Speaker 1>in the bathtub.
<v Speaker 2>See, I thought that was funny. That part, it was
<v Speaker 2>funny to me. The leaping to his death, that was
<v Speaker 2>the one. Yeah, that was rough.
<v Speaker 1>Here's the other thing I wanted to bring up in
<v Speaker 1>the depression stage, Yeah, because this is where he sinks
<v Speaker 1>to his lowest, like the lowest of low. Okay, there
<v Speaker 1>is never anything really really depraved that we see, Okay,
<v Speaker 1>like why not go on a killing spree? Or you know,
<v Speaker 1>who knows what depraved things that a person like that
<v Speaker 1>could think of.
<v Speaker 2>Sure, the most depraved that he gets is pretending to
<v Speaker 2>be Clint Eastwood with what I can only guess is
<v Speaker 2>the local hooker I get, I don't. She's in that
<v Speaker 2>one scene and doesn't explain.
<v Speaker 1>Any more than that, call me Bronco. But the conclusion
<v Speaker 1>that I reach from that is that he's not a
<v Speaker 1>bad guy. Right, He's he's grumpy, and he's arrogant, and
<v Speaker 1>he's got some issues.
<v Speaker 2>He's got some limitations, like he's got some self limitations
<v Speaker 2>that he's not going to go murder people even though
<v Speaker 2>he could, right he could, and these in that there's
<v Speaker 2>still hope because probably if you are not murdering somebody.
<v Speaker 2>It means that you think there may still be a tomorrow.
<v Speaker 2>Sure may still be a tomorrow.
<v Speaker 1>I mean, the worst thing that he's trying to do
<v Speaker 1>is bed rita right.
<v Speaker 2>And once he's given up on that and he's in
<v Speaker 2>this depression state. It's at that stage much later on
<v Speaker 2>when he's talking to her, and it's again another scene
<v Speaker 2>in the diner. We've moved from he's eating all of
<v Speaker 2>this horrible food to he's in the diner and he's
<v Speaker 2>talking to her about how he is a god. You're
<v Speaker 2>a god. I'm not the god. I'm a god.
<v Speaker 1>I think that's what he says, right.
<v Speaker 2>And so it's at that moment where he opens himself
<v Speaker 2>up and he makes himself vulnerable. He's no longer the
<v Speaker 2>prima Donna. He is bearing his soul. And if you
<v Speaker 2>think about the hero's journey here, this is where he
<v Speaker 2>faces his biggest fear of being completely honest with this
<v Speaker 2>girl that he loves, and this love is changing. It's
<v Speaker 2>not just I'm looking to better, I'm looking to tricker
<v Speaker 2>and manipulate her. This is I'm reaching out to you
<v Speaker 2>as a fellow intelligent human being and telling you the
<v Speaker 2>circumstance that I'm in and she spends the whole day
<v Speaker 2>with him as he talks about all of this stuff,
<v Speaker 2>and it's at that moment that night where she goes,
<v Speaker 2>you know, I don't know, Phil. I mean, some people
<v Speaker 2>would love to have to be able to repeat the
<v Speaker 2>same day over and over again to finally get it right.
<v Speaker 2>You know, some people would look at it us as
<v Speaker 2>something great. And he says, gosh, you're a beat. But
<v Speaker 2>that is the pivotal moment where we move into act
<v Speaker 2>three and he switches from depression to acceptance. And what
<v Speaker 2>his acceptance is is I'm not here for me, I'm
<v Speaker 2>here for everybody else, and so he makes his purpose
<v Speaker 2>to better everybody else's life. And you have this little
<v Speaker 2>vignette in the middle of all of that, in the
<v Speaker 2>middle of the acceptance, where he goes through the whole
<v Speaker 2>cycle again in a brief moment with the vagrant with
<v Speaker 2>the bumb Yeah, okay, he gives him money and then
<v Speaker 2>he discovers that but you know, hey, he's not doing well,
<v Speaker 2>takes from the hospital and he dies and she's like,
<v Speaker 2>sometimes people just die, and he's not today, and you
<v Speaker 2>see him again and again and again trying to save
<v Speaker 2>this guy and it doesn't give us closure about what happens,
<v Speaker 2>but you have to at that point go. He probably
<v Speaker 2>just had to accept it, and that's why we're in
<v Speaker 2>this stage here. We're in the acceptance stage. And you
<v Speaker 2>get to the final point where he's bettered himself as
<v Speaker 2>a person, learned to play the piano, read countless books,
<v Speaker 2>helped everybody be their best self, and he isn't chasing
<v Speaker 2>read it anymore. She is now chasing him. And it's
<v Speaker 2>there that finally you get the end and I'll do
<v Speaker 2>I'll blow your mind with this. You ready, yeah?
<v Speaker 1>Yeah?
<v Speaker 2>Okay. So at the very beginning of the cycle of
<v Speaker 2>the time loop, they're trying to get out of town, right,
<v Speaker 2>he's predicted that the blizzard is not coming. Right, They
<v Speaker 2>try to leave town and the road is blocked, and
<v Speaker 2>this kind of lets us know, Hey, this is why
<v Speaker 2>he can't leave, why he can't get out of this
<v Speaker 2>place and go do something somewhere else. Right, right, the
<v Speaker 2>trooper says, you can either go back to bucks a
<v Speaker 2>tawny or you can die in the cold. Yes, you pick, right,
<v Speaker 2>I'm thinking about it. Right at that moment, it's snowing.
<v Speaker 2>You see the snow falling right, you do not see
<v Speaker 2>snow falling again for the entire movie until that last
<v Speaker 2>night of February second and he's dancing with Rita, dancing
<v Speaker 2>in the pavilion and while they're dancing, it starts to
<v Speaker 2>snow and that's the first time you see snow again.
<v Speaker 2>And it's like the book ends of his time with
<v Speaker 2>Predicament start with snow and with snow.
<v Speaker 1>I like it. I like it very cool. Okay, you know,
<v Speaker 1>you brought up something that I wanted to touch on.
<v Speaker 1>So Rita is his everest, right, that is his number
<v Speaker 1>one goal. But he has like all these side missions, right,
<v Speaker 1>because you can tell because when he walks through the
<v Speaker 1>diner and he's actually explaining it to her, he's like, well,
<v Speaker 1>this guy does this, this.
<v Speaker 2>This, and this.
<v Speaker 1>I mean, how many days did he spend with that
<v Speaker 1>guy to learn about that dude?
<v Speaker 2>Right?
<v Speaker 1>You know, Nancy makes a funny noise when she gets excited.
<v Speaker 2>Right, that only took one day.
<v Speaker 1>Yeah, But he spends time with all these people. He
<v Speaker 1>gets to know everybody, you know, and so to me,
<v Speaker 1>that's just really cool to think about the amount of time.
<v Speaker 1>And then you know he catches that kid. It falls
<v Speaker 1>out of the tree. He's like, hey, thank you. You know,
<v Speaker 1>say thank you you, Brad, I'm here every day is
<v Speaker 1>save your life. You never say thank you.
<v Speaker 2>Right, So let me just say this. I got I had.
<v Speaker 2>I knew I was going to have to tell this
<v Speaker 2>story at some point. Okay, So I watched this movie
<v Speaker 2>in preparation for this. But the last time I saw
<v Speaker 2>it before that, yeah, I was on a flight. I
<v Speaker 2>don't remember where I was flying, but it was a
<v Speaker 2>long enough flight that I could watch the whole movie right,
<v Speaker 2>And I'd seen Groundhog Day a few times before, and
<v Speaker 2>I had enjoyed it. When I saw this movie this time,
<v Speaker 2>this second most recent time, I was weeping at the end.
<v Speaker 2>Now we've talked about how all of these religions and
<v Speaker 2>psychoanalysis and all these other things, there's this universal concept
<v Speaker 2>that they all have said, Hey, this is a you know,
<v Speaker 2>the time loop, the repeating the same day is something
<v Speaker 2>we all deal with. But on this particular watching it
<v Speaker 2>hit me hard. It hit me really hard. I literally
<v Speaker 2>when I got done with the flight, I was like, Jason,
<v Speaker 2>I got to figure out how to do a podcast
<v Speaker 2>minute by minute On Groundhog Day, I did not realize
<v Speaker 2>how incredible a movie this was And then I googled
<v Speaker 2>emotional overreaction on flights and it turns out that's a thing.
<v Speaker 2>There you go, Okay, I love this movie. I did
<v Speaker 2>not cry this most recent time. But this movie it
<v Speaker 2>hits in a spot that it needs to hit. And
<v Speaker 2>like you pointed out, the first time you saw it,
<v Speaker 2>you're twenty. Yeah, so you didn't really appreciate this idea
<v Speaker 2>of hey, I'm stuck and doing this same routine over
<v Speaker 2>and over like you do when you're in your forties. Right.
<v Speaker 2>But and Ramus actually talked about this. He was talking
<v Speaker 2>about the Jews reading the Torah and how it has
<v Speaker 2>a different meaning every time they read it, as they
<v Speaker 2>go through it each year, and he's like, and it's
<v Speaker 2>like this movie. You know, every time somebody watches it,
<v Speaker 2>they get something new from it. And he's like, not
<v Speaker 2>that I'm comparing Groundhog Day to the Torah, but that's
<v Speaker 2>what happens. And it's true, every time I see it,
<v Speaker 2>there's something new about it that hits home.
<v Speaker 1>I wanted to bring up a couple of things. So
<v Speaker 1>Bill Murray was going through a divorce at the time
<v Speaker 1>he was filming this, Yeah, which was hard.
<v Speaker 2>Sure, Well, yeah, it was. It was marital problems that
<v Speaker 2>ended in a divorce about three years later.
<v Speaker 1>Yeah, yeah, it was bad, so angry Phil could come
<v Speaker 1>out pretty easily.
<v Speaker 2>Yeah, by the way, that's what Bill Murray would say
<v Speaker 2>before each take. He's like, am I angry Phil in
<v Speaker 2>this one? Or? Am I happy? Film?
<v Speaker 1>It's all he needed to do. That's hilarious. So we
<v Speaker 1>talked about how Harold Ramis and Bill Murray had a
<v Speaker 1>fall out after this movie. Yeah, and I think one
<v Speaker 1>of the things was this divorce was causing him to
<v Speaker 1>be cranking difficult more so this anyway.
<v Speaker 2>Yeah, he's notorious anyway for is he going to show it?
<v Speaker 2>They didn't know whether he was going to show up
<v Speaker 2>the Gobusters or not, right exactly. I mean, he's just
<v Speaker 2>notorious for you never know what he's going to do.
<v Speaker 2>And there's this whole cow of Bill Murray and the
<v Speaker 2>Bill Murray stories out there where he'll just randomly show
<v Speaker 2>up at a sorority party and start washing dishes. He'll
<v Speaker 2>randomly show up at a urinal and rub somebody's ear lobes,
<v Speaker 2>and when they turn around and see it's him, he'll say,
<v Speaker 2>nobody will ever believe you, Right, you know, he does
<v Speaker 2>weird stuff, and part of the conflict that he had
<v Speaker 2>with Harold Ramis is Harold Ramis was trying to make
<v Speaker 2>a good, funny Hollywood movie and Bill Murray got kind
<v Speaker 2>of caught up in this, as you do when you're
<v Speaker 2>in depressed states of life, wanting to dive deeper into
<v Speaker 2>the philosophical side of things. Right right, This movie does
<v Speaker 2>a perfect combination of both. I don't know how their
<v Speaker 2>headbutting ended up with good dose of philosophy with a
<v Speaker 2>good dose of comedy, perfect mix together. But at some
<v Speaker 2>point I think you're coming to this. Harold Ramis, who
<v Speaker 2>is just the gentlest, nicest guy in the world, grabs
<v Speaker 2>Bill Murray by his shirt and pushes him against the wall.
<v Speaker 1>Yeah. I mean they had a collision of egos here.
<v Speaker 1>But one of the things that kind of I think
<v Speaker 1>got under Bill Murray's skin, and Harold Ramis doesn't really know,
<v Speaker 1>and I haven't heard Bill Murray talk explicitly about it. Yeah,
<v Speaker 1>but he delegated the talking to Bill to one of
<v Speaker 1>his aides. Did you hear this? No, So, Harold Ramis
<v Speaker 1>said that they were asking him in the interview, They're like,
<v Speaker 1>you know, does Bill Murray show up early for work
<v Speaker 1>or is he involved in the process, And Harold Ramis said, well,
<v Speaker 1>we always know where he is, which is in his
<v Speaker 1>trailer he goes. Sometimes you got to rouse him to
<v Speaker 1>get him going, and a lot of times he doesn't
<v Speaker 1>like to be roused. He doesn't like to be pushed.
<v Speaker 1>He doesn't like to be prodded. And so he delegated
<v Speaker 1>that to an aid, right, And I think Bill Murray took.
<v Speaker 2>That personally, Yeah, well, how do you not well?
<v Speaker 1>And during this divorce, like Bill Murray would call him
<v Speaker 1>at like five o'clock in the morning or two am
<v Speaker 1>questions and of course you're trying to direct a movie
<v Speaker 1>and you know, why are you calling me in the middle.
<v Speaker 2>Of the night.
<v Speaker 1>And so he finally just said you handle Bill to
<v Speaker 1>one of his aides.
<v Speaker 2>Right, I don't know what Bill Murray is going to
<v Speaker 2>complain about with this sort of communication technique. Bill Murray
<v Speaker 2>has no agent. I know he has a red phone hotline.
<v Speaker 2>I know he has a one eight hundred number. And
<v Speaker 2>you leave a message. If you're like, hey, Bill, I'm
<v Speaker 2>directing a movie for the very first time. I'd love
<v Speaker 2>for you to come be a part of it. He
<v Speaker 2>might call you back. He might, You don't know, he might,
<v Speaker 2>but there's no agent to call. There's it's he is
<v Speaker 2>a free agent in the truest source of the world.
<v Speaker 1>And you talk. We've talked about how likable he is, right.
<v Speaker 1>You know who had a problem with him, Chevy Chase,
<v Speaker 1>Harold Ramis, Richard Dreyfuss wanted to kill him on what
<v Speaker 1>about Bob? Yeah, right, Lucy lou hated his guts when
<v Speaker 1>they made Charlie's Angels. Yeah, he just rubs people the
<v Speaker 1>wrong way.
<v Speaker 2>Yeah, he's he's an interesting cat.
<v Speaker 1>In fact, Tom Hanks said they didn't bring him on
<v Speaker 1>to be, you know, in the movie groundhog Day because
<v Speaker 1>he's too nice. And Tom Hanks's quote was, well, Bill
<v Speaker 1>Murray is the meanest son of a bit to walk
<v Speaker 1>the earth, so he ought to be fine. So I
<v Speaker 1>thought that was hilarious.
<v Speaker 2>Wow.
<v Speaker 1>By the way, real quick, I've got some information on
<v Speaker 1>the song I Got You Babe by Sonny and Cherry. Okay,
<v Speaker 1>all right, all right, just why not. I'm just touching
<v Speaker 1>on it, Okay, because it's it's featured prominently in the movie.
<v Speaker 1>It's the song that's played by his alarm clock every
<v Speaker 1>time it wakes him. Up. Okay, So here's the deal.
<v Speaker 1>That song hit number one August fourteenth, nineteen sixty five.
<v Speaker 1>This top ten from again August fourteen, nineteen sixty five. Yeah,
<v Speaker 1>get ready for this is gonn blow your socks off?
<v Speaker 2>Okay?
<v Speaker 1>Number ten Down in the Boondocks by Billy Joe Royal,
<v Speaker 1>I don't know. Number nine California Girls by the Beach Boys.
<v Speaker 2>Hey, daf Dave right? Yeah?
<v Speaker 1>Number eight Don't Just Stand There by Patty Duke. Number seven,
<v Speaker 1>it's the same old song the four tops. Number six
<v Speaker 1>Unchained Melody by the Righteous Brothers.
<v Speaker 2>Nice okay.
<v Speaker 1>Number five, what's new? Pussy Cat by Tom Jones. Number
<v Speaker 1>four I'm Henry the eighth I Am by Herman Hermit's
<v Speaker 1>Number three, Save your Heart for Me Gary Lewis and
<v Speaker 1>the Playboys number two again blocking it from the number
<v Speaker 1>one spot. I Can't Get No Satisfaction by the Rolling Stones.
<v Speaker 2>Wow, that's a pretty big hitter.
<v Speaker 1>And number one I Got You Babe by Sonny and Share.
<v Speaker 2>It's probably going to fall in that category of the
<v Speaker 2>perfect most annoying song to wake up to every day
<v Speaker 2>of your life for me.
<v Speaker 1>I think that was the idea, right, Oh my gosh,
<v Speaker 1>for you it might be the Makarina or all I
<v Speaker 1>Want for Christmas?
<v Speaker 2>Is you true? Both of those are true, solid choices.
<v Speaker 2>I had a day where was he like on the beach,
<v Speaker 2>made love? You know, that would have been a nice
<v Speaker 2>day to repeat.
<v Speaker 1>It was a pretty great day.
<v Speaker 2>I was in the Virgin Islands. Once I met a girl.
<v Speaker 2>We ate lobs, drank pinut coladas at sunset, we made love.
<v Speaker 2>Lexianis that was a pretty good game. Why couldn't I
<v Speaker 2>get that day.
<v Speaker 1>Over one other thing on Groundhog Day that I don't
<v Speaker 1>want to mention. Okay, this movie is not shot in Pocksatani, Pennsylvania.
<v Speaker 2>No, they shot it in Illinois.
<v Speaker 1>Woodstock, Illinois. Yeah, the Pocksatani people were super mad about that,
<v Speaker 1>right right, Well, the people in Woodstock, Illinois were also
<v Speaker 1>super mad that he was filming in their town square,
<v Speaker 1>messing stuff up, messing stuff up.
<v Speaker 2>It had more the Woodstock town had more of a
<v Speaker 2>down home feel, like you go to Pusatani and there's
<v Speaker 2>a McDonald's in the middle of the town square, which
<v Speaker 2>not just appealing, not a good appeal for And also
<v Speaker 2>you know copy or trademark issues so well.
<v Speaker 1>And Gobbler's Knob is like two miles out of town.
<v Speaker 2>Yeah, it's like in the woods. Yeah, they don't even Yeah,
<v Speaker 2>they don't even do the ceremony in town square. They
<v Speaker 2>definitely made a Hollywood production, but who cares. Nobody knows that.
<v Speaker 1>I didn't know.
<v Speaker 2>I thought this was perfect spot on ceremonially accurate pucksatani
<v Speaker 2>phil stuff when I saw it. Right at Woodstock, the
<v Speaker 2>town that they filmed it in. There are now plaques
<v Speaker 2>all over the place, including the whole.
<v Speaker 1>With the puddle Bill Murray stepped here.
<v Speaker 2>Watch out for that first step.
<v Speaker 1>It's a diasy Okay, let's flip back to Multiplicity for
<v Speaker 1>a second. She picked Peppy Stief. So the interesting thing
<v Speaker 1>about the filming of Multiplicity and the production of Multiplicity,
<v Speaker 1>So this is at the beginning of all that computer
<v Speaker 1>you know, the CGI stuff that they did in Jurassic Park.
<v Speaker 1>This is still kind of the infancy of all that stuff.
<v Speaker 2>Yeah, this is they used a lot of old techniques
<v Speaker 2>to create the multiple. Michael keatons the multiple Doug Kenny's right.
<v Speaker 2>I mean, you look at Patty Duke in the Patty
<v Speaker 2>Duke Show. It's just one actress, right, but they they
<v Speaker 2>had her and they would use a double and he
<v Speaker 2>would talk talk to him. But for this one, he
<v Speaker 2>would perform the scene. This is kind of how the
<v Speaker 2>fun way that they did it with this. He performed
<v Speaker 2>the scene as one of the characters, over and over
<v Speaker 2>a few times, and somebody would record it on just
<v Speaker 2>a handheld cam quorder, right, like a high eight cam quorder, right,
<v Speaker 2>and then he'd go change wardrobe. They would transfer it
<v Speaker 2>over and put it in the VCR, and so literally
<v Speaker 2>he would he would play off of himself from this
<v Speaker 2>handheld camcorder for the lines. Right. Yeah, So it's it's
<v Speaker 2>really quite brilliant, like they're bringing in some new technology.
<v Speaker 2>And then of course they used a lot of green
<v Speaker 2>screen technology on this as well to make things work.
<v Speaker 2>But can I tell you about them. I mean, I
<v Speaker 2>mentioned that we've got the same guy who did this
<v Speaker 2>the special effects for Fright Night. Remember he's the.
<v Speaker 1>Guy who the pencil through the hand on the.
<v Speaker 2>One of those guys, of those guys. Yeah, and there's
<v Speaker 2>you think to yourself, well, there's not a whole lot
<v Speaker 2>of special effects here, right, You've got the whole you know,
<v Speaker 2>him and the goo getting transferred and cloned and all
<v Speaker 2>of that, but not a whole lot of special effects,
<v Speaker 2>but there were because he had to interact with himself.
<v Speaker 2>And there's this one scene and I remember as I
<v Speaker 2>was watching it, I was like, holy crap, that was perfect.
<v Speaker 2>How the heck did they do that? And it's when
<v Speaker 2>Doug Kenny one brings in Doug Kenny three and introduces
<v Speaker 2>him to Doug Kenny two for the first time, and
<v Speaker 2>Doug Kenny two number two throws him a beer. Yes, right,
<v Speaker 2>And so what they were, what their plan was was
<v Speaker 2>to digitally erase the beer and then put it so
<v Speaker 2>that it didn't you didn't miss a sequence, it didn't
<v Speaker 2>hop out of place or whatever. Michael Keaton's throw was
<v Speaker 2>so perfect, both catching it and throwing it that they
<v Speaker 2>when they spliced the film together, it fit perfectly. So
<v Speaker 2>they literally called it the million Dollar Beer can Toss.
<v Speaker 1>Yeah, if you don't have to digitally do all that
<v Speaker 1>crap and you're just like, oh my gosh, it lines
<v Speaker 1>up perfectly.
<v Speaker 2>Yeah. I mean, just think about how difficult it would
<v Speaker 2>be with nineteen ninety six technology to have three of
<v Speaker 2>the same person shaving in front of the same mirror
<v Speaker 2>like they're's right next to each other. Yeah, this isn't
<v Speaker 2>something where like I'm talking to you from the right
<v Speaker 2>side of the screen and you're responding to me from
<v Speaker 2>the left side of the screen. This is they are
<v Speaker 2>standing in a line looking at their reflection in a mirror.
<v Speaker 1>I mean, that's difficult, it's crazy.
<v Speaker 2>And I will say this about that movie. They pulled
<v Speaker 2>all of it off seamlessly. I mean you just think
<v Speaker 2>about Attack of the Clones a few years later, or
<v Speaker 2>the Phantom Menace where they're staring at the top of
<v Speaker 2>jar Jar's head and it's just awful. It looks terrible,
<v Speaker 2>and I'm just like, guys, they knew how to do
<v Speaker 2>this back then. What are you missing out on here?
<v Speaker 1>Yeah, the characters that Michael Keaton is playing. You have
<v Speaker 1>Doug one, Doug original, Yeah, Dug two. I saw him
<v Speaker 1>interviewed about this. He's like, I get Dug two sort
<v Speaker 1>of out of this region. Wins to his crotch. Yeah, right,
<v Speaker 1>And Doug three is a little bit more the homemaker,
<v Speaker 1>the more nurturing, and he's like, I get Doug three
<v Speaker 1>out of this region. He pointed at his heart. And
<v Speaker 1>then Doug four is a copy of a copy, which
<v Speaker 1>I thought that was brilliant and funny. Yeah, he said,
<v Speaker 1>that is my inner like five year old.
<v Speaker 2>Kid, right right. It is the duality of man, the
<v Speaker 2>components of man. The first one is his macho workhard self. Right,
<v Speaker 2>it's not perfectly him. It is a guy who goes
<v Speaker 2>out and kicks butt, right yep. The second one he
<v Speaker 2>has soft. It is the feminine side to its max
<v Speaker 2>as far as a married man goes right. Sure, he's
<v Speaker 2>even wearing the ascot. At some point, I just you know.
<v Speaker 1>Harold Ramis described to him he wanted him to be
<v Speaker 1>Martha Stewart on steroids.
<v Speaker 2>Right right. And the obsessive compulsive comes out when he's
<v Speaker 2>explaining to her how to wrap up the meat loaf.
<v Speaker 1>All that is ad libd.
<v Speaker 2>It's so good. It's so good you can full it.
<v Speaker 1>Twice, right, I even full of three times.
<v Speaker 2>Sometimes Annie mcdeal would laugh so hard that they had
<v Speaker 2>to stop production for a while because she couldn't stop
<v Speaker 2>laughing at how funny Michael Keaton was in this movie.
<v Speaker 1>Uh huh, the clips that I saw. I laughed with her.
<v Speaker 1>She could not get control of herself. Michael Keaton said.
<v Speaker 1>She would laugh, they'd have to stop production, they'd go
<v Speaker 1>to lunch, they'd come back she was still laughing, which
<v Speaker 1>that just makes me love.
<v Speaker 2>Her even more, you know, yeah, for sure, for sure.
<v Speaker 1>Okay, so the special effects on this are truly amazing.
<v Speaker 1>They're great. Wrong time, it's just it just missed the
<v Speaker 1>mark a little bit, it did. I guess we're moving
<v Speaker 1>Are we moving to final judgment?
<v Speaker 2>So we talked about how Multiplicity was not well received,
<v Speaker 2>didn't even make half of its budget. Do you have
<v Speaker 2>the figures on what Groundhog they did?
<v Speaker 1>Yeah? So Groundhog's Day's budget was thirty million dollars. Wow,
<v Speaker 1>and it made one hundred and five million. It was
<v Speaker 1>the tenth biggest movie of nineteen ninety three.
<v Speaker 2>Wow. And that was a year that Yeah. Jurassic Park, Yeah,
<v Speaker 2>Jurassic Park. When you're talking about a very I mean
<v Speaker 2>or thirty million kind of a low budget, low effects,
<v Speaker 2>not a whole lot.
<v Speaker 1>To do there, not a lot of actors, not a
<v Speaker 1>lot of sets. I mean, it's the same place, yeah,
<v Speaker 1>same people.
<v Speaker 2>We talked. We didn't talk about this a lot, but
<v Speaker 2>can you imagine, like every scene that you see that's
<v Speaker 2>in the same place on a different day. They recorded
<v Speaker 2>all of those scenes on the same day, right, So
<v Speaker 2>scene one with needle nosed Ned occurs on the same
<v Speaker 2>day as I don't know where you're going between you
<v Speaker 2>call in six. Yeah, like those all were on the
<v Speaker 2>same day, one after the other, and all of the
<v Speaker 2>scenes at the bar, so you get all of these things.
<v Speaker 2>Makes the directing and production part easy. I would think
<v Speaker 2>it makes the editing a little more difficult because you
<v Speaker 2>got to move stuff around so much. But it's just
<v Speaker 2>they did such a good job with continuing a time
<v Speaker 2>sequenced despite the fact that they were all you know,
<v Speaker 2>each bit was its own recording process.
<v Speaker 1>The needle nosed Ned Ryerson stuff. Stephen Tobolski talks about
<v Speaker 1>how he had to hit the same mark a bunch
<v Speaker 1>of times in the row. It's like step one, step two,
<v Speaker 1>finger up turn, you know Phil, Phil Connors right, And
<v Speaker 1>he had to do that exact same thing several times
<v Speaker 1>in a row. And he said, you never know what
<v Speaker 1>Bill was gonna do.
<v Speaker 2>You know? Yeah, yeah that that I don't know where
<v Speaker 2>you're headed, But can you call him sick? That was
<v Speaker 2>an ablute. That was like Bill said, Okay, I'm gonna
<v Speaker 2>do something here and just go with it. And so
<v Speaker 2>Steven Tobolavski's response of gotta go running away in like
<v Speaker 2>the Heinee run. It was all ad libbed. Great moment.
<v Speaker 1>Yeah, okay, are we ready for final judgment?
<v Speaker 2>Do we even need to bother at this point?
<v Speaker 1>I meanally we can't. We didn't hide it very well,
<v Speaker 1>did we.
<v Speaker 2>Well we didn't. But I mean it's Groundhog Day to day, right,
<v Speaker 2>or at least it was last week when we started
<v Speaker 2>this process.
<v Speaker 1>Right right right right right right right right right right right.
<v Speaker 2>Yeah, So I mean, yes, sure, final judgment. Multiplicity definitely Okay,
<v Speaker 2>Well I thang, okay, so let me just defend multiplicity.
<v Speaker 1>For a second. Okay, Okay, Yeah, So I'm gonna go
<v Speaker 1>ahead and say this is a landslide for Groundhog Day.
<v Speaker 1>Groundhog Day is a comedy classic. It never gets old.
<v Speaker 1>It's sweet, it's funny, it's poignant, it's meaningful. Multiplicity Doug
<v Speaker 1>treats his wife and his family bad the entire time.
<v Speaker 1>I don't think he's a bad guy, and I like
<v Speaker 1>Michael Keaton a lot. Michael Keaton is one of those
<v Speaker 1>guys like Tom Hanks or Harrison Ford or Bill Murray
<v Speaker 1>even that I'll watch whatever he's in because I like
<v Speaker 1>him as an actor. And there are some real laugh
<v Speaker 1>out loud moments in Multiplicity. When I watched it just
<v Speaker 1>the other day to prep for this, I laughed out loud,
<v Speaker 1>I myself in my house cracked up at several scenes,
<v Speaker 1>the restaurant scene where he runs into two, you know,
<v Speaker 1>one runs into two and his girlfriend is there, right,
<v Speaker 1>and then of course four doing all his stuff. So
<v Speaker 1>I like Multiplicity, but it's just missing something that groundhog
<v Speaker 1>Day has in spades. It doesn't have the same heart
<v Speaker 1>and the same sweetness.
<v Speaker 2>For me.
<v Speaker 1>It's groundhog Day all day, again and again and again.
<v Speaker 2>Well, that certainly his home for me. I feel like
<v Speaker 2>I would have enjoyed Multiplicity more had I seen it
<v Speaker 2>back in the nineties. In the watching it this time,
<v Speaker 2>it did virtually nothing for me. I doubt I will
<v Speaker 2>ever watch it again, honestly. Okay, but that's just me
<v Speaker 2>missing out on the moment, right, Yeah, But that's what
<v Speaker 2>happened with Multiplicity. It missed out on the moment. It
<v Speaker 2>missed out on the moment for me. I wasn't interested
<v Speaker 2>in a Michael Keaton comedy romantic goofy cloning thing at
<v Speaker 2>that time. I wanted to see more pulp fiction. I
<v Speaker 2>wanted to see more natural born killers. I was into
<v Speaker 2>the hard hitting, edgy movies by that point in history.
<v Speaker 2>Let Me see Seven, you know.
<v Speaker 1>One of the best movies of the nineties.
<v Speaker 2>Yeah, yeah, right, But Groundhog Day is kind of like
<v Speaker 2>the perfect ending to the eighties decade of movies, even
<v Speaker 2>though it hits in ninety three. It is a comedy
<v Speaker 2>that hits you deep in the heart. It's something you
<v Speaker 2>can identify with. You are identifying with a guy who
<v Speaker 2>you recognize is a complete jerk. But because he's going
<v Speaker 2>through what we all struggle with, we all as the
<v Speaker 2>human race struggle with. You want him to win. You
<v Speaker 2>want him to find a way out, You want him
<v Speaker 2>to find an answer. And the question that has to
<v Speaker 2>be answered is why are we doing all this? What
<v Speaker 2>are we here for? What is our purpose? Right? And
<v Speaker 2>I love that he finds it and that it's special.
<v Speaker 2>It is. Stop thinking about me and start thinking about others.
<v Speaker 2>Yeah right, make myself a better person, not better circumstances,
<v Speaker 2>and make everybody's circumstances better.
<v Speaker 1>And then then the lesson of multiplicity is if you
<v Speaker 1>lie to your wife, well enough, we'll never know.
<v Speaker 2>Yeah, multiplicity. Did you see that at the end when
<v Speaker 2>they drive off together like like literally halfway into the movie,
<v Speaker 2>I'm like, how is he going to get rid.
<v Speaker 1>Of the Like?
<v Speaker 2>I like that literally, like my mind went to a
<v Speaker 2>really dark I'm like, is this going to be a
<v Speaker 2>really dark ending to this comedy? And then they just
<v Speaker 2>drive away in a car and they go start a
<v Speaker 2>pizza business down in Florida or something, and their logo
<v Speaker 2>is an obvious knockoff of the pet Boys. I mean,
<v Speaker 2>what's going on here?
<v Speaker 1>But I'm telling you they should have cloned Rita.
<v Speaker 2>Well that's one option. That is certainly one option. But
<v Speaker 2>I think that this movie could be remade as a
<v Speaker 2>much darker movie and be really good, like where he
<v Speaker 2>has to kill him at the end.
<v Speaker 1>Yeah, we're like Number two wants to take over the family?
<v Speaker 2>Right? Which is I mean that would have been the
<v Speaker 2>honest reaction. I mean, because number two wakes up and
<v Speaker 2>thinks he's the original. Can you imagine waking up tomorrow
<v Speaker 2>and somebody telling you, no, you have you only exist today.
<v Speaker 2>Your entire memory of your life we put there. It's
<v Speaker 2>not real, right, you're full of bologna. Yeah, let me
<v Speaker 2>show you the tattoo of a two on your ear right. Uh,
<v Speaker 2>that's that's for me. Losing my mind, not being a
<v Speaker 2>cool little I'll go get your work done guy. For you.
<v Speaker 1>Somebody telling you rule number one. Nobody seeps with my wife, right,
<v Speaker 1>I mean my wife?
<v Speaker 2>Yeah, yeah, so, And I was talking to Jet about
<v Speaker 2>this as well. Jet. I love Jet. He called me
<v Speaker 2>the other day and he was literally angry for us
<v Speaker 2>that were not like world famous because of this podcast.
<v Speaker 2>Yet He's like, your podcast is so good. I'm like,
<v Speaker 2>thank you, man, I need to hear that from time.
<v Speaker 2>That's somebody whose opinion I value. But I talked to
<v Speaker 2>him about that concept and he's like, oh, I think
<v Speaker 2>there's a black mirror that's like that, And I looked
<v Speaker 2>it up. There's not one. But maybe, hey, you know,
<v Speaker 2>retell the same story a different way. Maybe it's the recipe.
<v Speaker 2>I don't know. Don't steal that idea, Shirley fans. I
<v Speaker 2>may write that myself.
<v Speaker 1>Let's go to Let's go.
<v Speaker 2>All right, guys. That brings us to the end of
<v Speaker 2>groundhog Day versus Multiplicity. I didn't mention it, but if
<v Speaker 2>you couldn't tell, groundhog Day is definitely my pick. Be
<v Speaker 2>sure and come back and join us next week. We
<v Speaker 2>have a matchup that you are going to Love.
<v Speaker 1>Next week we are doing The Outsiders versus Rumblefish. Now,
<v Speaker 1>for those of you might think, oh, that's kind of
<v Speaker 1>a weird thing. Both Francis Ford Coppola, both Matt Dylon
<v Speaker 1>and Dian Lane, both Tulsa movies. So this is a
<v Speaker 1>little Jason episode will matchup.
<v Speaker 2>Yeah, both came out in eighty three, yes, forty years old.
<v Speaker 2>This March is when it will be the fortieth anniversary
<v Speaker 2>for the Outsiders.
<v Speaker 1>Yeah, so that's going to be a lot of fun,
<v Speaker 1>really cool, and come back next week for that.
<v Speaker 2>Yeah. Some of you have been asking why did it
<v Speaker 2>take us so long to get to the Outsiders. Well,
<v Speaker 2>because we wanted to land on the number forty. That's why.
<v Speaker 1>That's right. All right, we'll see you next week.
<v Speaker 2>Thanks guys, see you then,