The Art Immortal

Celebrating the Art That Shall Endure Throughout Time

Episode #35 — Big / Music for the Jilted Generation / Chimichurri / French Disko / We Couldn’t Leave Dinah / Being Human (U.K.)

Big podcast review

The Immortals are back and they just wish to be big. In a complete coincidence, they’re reviewing the Tom Hanks comedy Big this week! Also Leigh delves back into EDM, Sarah finds an excuse to buy empanadas, Pedro talks about departing bubbles, Adam admires a Pony Club and Austin talks about paranormal roommates. All this and more tangents about numbers and facts!

Intro 0:00 – 5:28
Big 5:28 – 30:55
Music for the Jilted Generation 30:55 – 38:36
Chimichurri 38:36 – 45:08
French Disko 45:08 – 51:08
We Couldn’t Leave Dinah 51:08 – 1:06:26
Being Human (U.K.) 1:06:26 – 1:21:50
Outro 1:21:50 – 1:27:30

 

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Join us Thursday next as we discuss more things. Until then, email or tweet us your thoughts, leave a review on iTunes and other crap every podcast asks you to do. (But we love that you do it!)

 

Artwork by Ray Martindale

1 Comment

  1. When I was first finding my voice as a writer, I read Robert McKee’s “Story” cover to cover and I still hold to a few of his ideas even though the man has become a joke. (On his website, he attacked “Spotlight” and “Room” as terribly written film.)
    The point: in his chapter on theme, he wrote about “Big” in a paragraph that concluded “Big is a very wise film” because Josh realizes he needs to have a full childhood to be a fully grown, successful adult.
    I was reminded of this in your discussion of Josh’s temptation to remain a child and the ending, in which Susan says she doesn’t need to go through childhood again. Now, you took “Big” into pretty dark territory in your discussion and this seems to be making the film even darker, as Susan affirms that what Josh will have to do won’t be fun. Will bring pain. Will hurt.
    So what I am left with from your podcast is this question: is “Big” one of the more emotionally honest films ever made?
    Because it is completely based around the idea that life requires an amount of pain and unpleasurable things, which is a fair description of any adolescence, but that this does not deny the joy and accompanying wisdom that Josh’s experience gives him. Unlike films that turn on excitement and cleanly solved problems, or films about the most depressing elements of existence, “Big” reaffirms how all of this complexly coexists.
    That it works as a fantasy-comedy while doing so is a mere bonus.
    (“Big” was cowritten BTW by Anne Spielberg–Steven’s sister–and Gary Ross, who went on to direct “Pleasantville,” “Seabiscuit,” and “The Hunger Games.”)

    The one other thing I can comment on this week is Stereolab. I have their album “Emperor Tomato Ketchup” on my iTunes and it is a delightful listen that also raises the question: how do we define music that doesn’t nearly fit into genre? The mix of modern electronica, the influence of Enoch Light and Martin Denny, Letitia Saedler’s sardonic vocals…somehow this relates to my problem with the Grammys, where they put great country, pop, rap, R&B, and old school rock albums side by side and say “pick one for Album of the Year.”

    Finally, the image of Sarah watching Austin make bewildered noises at children’s books is now permanently in my mental picture of the podcast.

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