What is that

i'm reading the invention of billy the kid right now, which is by stephen tatam. And it came up like a couple decades ago now. But it's about exactly this phenomenon in american history, which is, like, immediatelylike, in the reporting of the criminal, there is already like an erotic, aspirational element to it, like, earlyon, in serd of the american press, that immediately, within the criminal's lifetime, supersedes, like, what the actual actuality of their life is, and then just becomes sort of a totem in which, like, you can imagine yourself. And i think, like, largely, particularly with regard to like, the outla, the criminal is the outlaw. And i think it largely has to do with the fact that this country, in particular, i can't speak to other ones, seems to really not do well by people who follow the rules. I mean, those stiffs who ride the subway to work every day, really doesn't treat the rule followers very well. And i think that everyone knows that, on some level, is tat iis, like the criminals really convenient, ecause it can either be like that fuck and scum bag who's worse than i am, or a ticket to not being the scum bag that i am.

And, i mean, i don't know, like the wolf of wall street, when we see you, like kail chandler on the subway at the end, i feel like we're being asked like, well, who's had a better ride? The guy with the high highs and the low lows who ended up as a chrised metaphor in his own crashed ferrari, or this fucker? We both now,

i

mean, this, this

was the take, what i was saying earlier, i was like, i don't really know what is this about. Whatever i was i was wondering if you were going to go down te criminal tied the ceril killer somehow tied to something, tie itto. I was like, it's not like my lane to work. That is, that is much more the lane. I mean, you were a mind hunter. You do know a lot about this. You're god damn right. I was in mind hunter. Were you i temper? No, no, i was a, iwa fbi traine number nine. I believ yes, yes, i did think of tat. You know, it's funny you bring that up. I did think sodaberg's not quite as like, legendary for the takes. And hes. He's very exacting, from what i understand, but not the like, sort of incredibly draconian style as fincher's known for. I was thinking about that with a lot, like the casino shots, which are just sort of, particularly one, like, there's absolute chaos after the power the pinch takes things out, like there's just mass caos. I was like, wha. I wonder if thit's, like, how corographed all this chaos was, if he was obsessive about etting, like the cocktail waitress clothes lined at the exact tim more like, if i was thinking about that, i'm always thinking about things from from the extra point of view, as is my miper view as a long time in, by long time, i mean, like three time extra. Unsurprisingly, my mam been an extra in many, many, many movies and has wheedled her way into many a scene.

I think i even talked about this last time. Oas as going to say my favorite story about your mam perpetrating a scam. It's hardly a scam, as when she was in diabolique. Well, i was too young. Young. Patrick mc ginty and ddevelikas well, the shernstone classic, yemo, it is funny thinking about making this movie. I mean, it's funny to compare this to casino in a lot of ways. And one is that casino, like, seems maybe slightly more intricate, or like, the same level of intricacy as this. But, like, it's, it's very operatic. So it makes sense to think of the work going into it. Where as this, the feeling, is supposed to be so easy and breezy. I feel like it is really, you're able to forget how difficult this would have been to make, which i think is the goal.

Like yhat, this is a very detailed movie. It's incredibly it's showing you details early that that are relevant later. It's a scheme. It's got all these mechanics, but there is, there's so much what i call muck. Nobody wants to go step by step. You have to undo this, you have to do this. We don't actually want a manual. We want an experience. And what i think sodaberg's really good at in this is just throwing in the so much sort of plot muck that is very specific detail, but it's just rendered incomprehensible. When they're like, oh, you need a bosky and a agi jim brown and el fitzgerald. The fact that basher's accent is hyper specific in using all these terminology, but it's incomprehensible, so you're ust i what, i kno hat he's doing. Yen, the fact that yen isn't translated, and isn't like, there just like rusty speaks chinese. It's fine. This is one character in every nineties movie. Ya. There's so many different little ways in which odeberg throws in tons of specific that's actually just mud that makes it feel like it's super specific. And these people know what they're doing, but you don't need to actually know it, and we're not going to explain it. Getting back to yer. It's that thing you talk about early ogs were it's just like that. They're ot going to explain to how they know oscaror that security guard. There's a whole big world out there full of terminology, and we're just kind of diving in that. I think that's like one of the smarter things about this

so many things happen in this movie that do not matter.