The Grindhouse Podcast
Citizen Kane (1941)
Aah yes, come in! Our featured presentation is about to start. You have entered into cult cinema with the dastardly evil, cheese film, and my partner in crime. Hecubus, this is The Fine House Podcast. We're coming to get you, Barbara. Welcome back to The Grindhouse Podcast. I am your host, Cheese Film, and I am Hecubus. And this is one of cinema's greatest movies of all time. According to the American Film Institute, it is the greatest film of all time. American film of all time. You know, I would go as far as to say it, just in general. What's it called? Well, I'm good there. See, I don't think I've ever seen a foreign film that compares quite to this. I definitely have not. And so I think the title of greatest film of all time would go to The One and Only, Citizen Kane. Citizen Kane is 1941, Ramon, starring and directed by Orson Welles. Orson Welles, his first movie, and it also stars Joseph Cotton. This is, all right, listen. Orson Welles was a big deal on Broadway, in New York, Broadway. And then he did the War of the Worlds radio thing that freaked everybody out. So Hollywood, RKO Pictures, gave him carte blanche. They said, "Come here, make a movie, do whatever you want." So he brought a lot of his Mercury Theater people out to Hollywood, didn't know what he was going to do. Ended up writing this Citizen Kane, which Charles Foster Kane is loosely based on William Randolph Hearst, a newspaper magnet of the early 20th century. And he had no, he didn't know how to make a movie. He's 25 years old. He's 25 years old. Yeah, so when you hear about, he's a wonderkind and a genius and all this stuff. When he was doing stuff on Broadway, he was 21. And then a lot of Shakespeare stuff. When he got to do this Hollywood stuff, he was only 25 when he made Citizen Kane. Yeah. So he wrote it with Joseph. Make a witch? Yeah, I can't say that. It is make a witch. And there's a whole, there's a whole movie worth of making this movie as the movie itself. He didn't know what, and then like I said, he didn't know what he was going to do. And he just did whatever he thought he could do. Yeah. And that's where this comes from. And it really goes to show just how powerful of a film this is. It does. It's almost 100 years old. Almost 100 years later, it's still talked about, it's still studied. Yep. It's still, it's still as popular as it was in the 50s. You know what? I'm glad you said that now. Because I'm like, when am I going to work this in? It did not do good in the, when it first came out. It bombed when it first came out. So what did, what does that make it? We're still talking about it today, but it was a bomb. It's a cult classic. It's funny that a movie of this caliber, this movie bombed, it got a bunch of academy awards. And when they were nominating the awards, and they said, well, for best picture set of cocaine, they booed. Nobody at the time liked or appreciated this movie. They really did. I find that to be hysterical. Yeah. Because it went on to be known as the greatest American movie of all time. The only thing really competing with it is like the godfather. You know, nothing else has ever gotten that status. I think you're right. You know what I mean? Yeah, that's, that's true. The godfather is pretty prestigious like this. Let me tell you something. William Randolph Hearst who ran, it was like, he had a ton of newspapers. And no. Hearst publication has ever even mentioned citizen Kane ever. To this day, I think. And I'm pretty sure that's accurate. Do you think it's intentional? Oh, it's absolutely intentional. And it might have had something to do with the box office not being so good. Because I don't think they even reviewed it back then in the newspapers. So it would have gotten a lot less publicity. We got newspapers and radio and that's it for publicity and newsreels. But you got to go to the movies and see newsreels. You're going to see a poster for Census Kane if you go to the movies. So it's not, that doesn't really count. Right. But yeah, to this day, no Hearst publication will mention citizen Kane. And there's some more things about that. I'll give it to you later. Well, one specifically. I thought that movie sucked. Whoa, whoa, bad take. You know, a lot of, I think a lot of, it gets hate nowadays from young people like us. Yeah. Young, him. Because we're going out of order. I wanted to see it because of all the hype about it. Now, why is this the best movie ever? Blah, blah, blah. And I was, I wasn't cynical walking into it. But I think a lot of people are like, oh, really? Well, is this going to be better than Avengers Endgame? You know what I mean? Because a lot of people who are watching this aren't taking into effect of like A, what makes it the greatest movie. And B, how it has changed the landscape for real. Like, I know I say this a lot like, well, this is the first time when they did that, that, that this. Well, this is the first time they did a whole bunch of stuff. And it's definitely the first time they did all of it together. All of it together, like, because you've got, you've got, I call it shot composition. But when you've got an image in the forefront that's imperfect. Yeah, it's more cinematography, but you're right. I agree with the shot composition. Yeah. Well, you've got this in perfect. What's the word? Focus. Focus. But then you've got stuff in the background that's also in perfect focus. Deep focus, which isn't a easy to do on a single lens period. A lot of times when you see it, it's rotoscope. So you've got, you've got one shot in focus. Right. And that's blurred. And then you shoot it again reversed. Right. And then you cut this one out and you put it over that one. Right. And that's how you get that. They don't have that technology here. Well, they did literally, but then they don't all the time. Like in the party, when he's going to war with Spain, they're having a giant party for it. Yeah, right. And they're sitting down laughing, watching the dancers and all that. They're all in focus. He's all in focus. And it's shot to where it looks like they cut them out and put them in front. Right. But then they pull him into the dancing too. That stuff isn't easy to do. That stuff isn't really seen. And everything's in focus, it's usually a wide shot. Not this club. Right. It's insane. Yeah. All things like that are. That one I had you put up there. What did you call it for Randy official? Which one? The one with the, he's a kid and he's in the window. Yeah. So when the mother sat in the documents. And it's all in focus. But it's all in focus. And it's three different stories going on in one picture at the same time. You have the business section up front. Then the dad who doesn't want to let the son go. Can't go. And then far in the background, literally outside in a frame. Is. The person that they're talking about and has no idea what there's going on. And that's the kind of the theme and the. His motivation that he's never going to be. Not in charge of his destiny. Right. When he's literally outside in the snow. See, I always thought the theme of this movie was. There's a lot of themes in this movie. Well, it's like all the glitters are never gold. That too. So like he's a man who basically had everything. But dies. He achieves everything. He achieves everything, but he doesn't get, he doesn't own anything. Everything's just kind of either given to him or he just, just because he has a lot of money. He's not able to do exactly which he didn't get. He inherited. And he put that. And you see that that money doesn't mean anything to him because he just spends it everywhere. Yeah. He spends it on statues or a giant house that's empty all the time. Or not Kublicon. Well, yeah. Yeah. Kublicon. Yeah. No, it's Xanadu. The poem is called Kublicon. Yeah. Yeah. But yeah, like that, even that. It's the newsreel guy narrating that he named his gigantic mansion, Xanadu, which is a. Xanadu is a. An ice fortress where you could live forever, but you're totally alone. Yeah. In the poem. And that he even calls it Xanadu. You know what I mean? And he's in it. Even the inside. The interior of the house when he see it. Like, yeah, it's a lot of huge rooms. And then like, what's the second wife or this wife making puzzles? Yeah. In the corner of the shot with just all that emptiness. Yeah. Oh my God. Listen. So when his first wife, he first falls in love with his first wife. They're living in kind of a modest house. Do they fall in love? Well, they do at the beginning. Okay. And he, he's sitting at this end of the table. Yeah. Even that. And they just, they, they do the, the fades in and out. Yeah. To show time as, oh, well, you know, I'm not going in. They can do it without, the news is to be there tomorrow. Right. To, well, I feel like you're, you're in love with the news too. I wish it was a human being that you were leaving me for. Right. To just silence. Yeah. On the other end of the table. The distance grows. Yes. You see it grow artistically too. Right. It's done superbly. For being his first movie too. Because he didn't know what he was going to do. So he didn't know what he couldn't do. Right. And what wasn't okay. Oh my God. And like we brought up the, the scene earlier with the hit, the kid in the background. Yep. With them signing the papers. That shot starts inside the house in the window. Yes. That too. We pull back and then we still, we pull back and then we move down here. Yeah. Past the dad. Back more. Past the business man. The table too. And then sit here on the table as they're doing their work. Never had been. Flawless. Never. The camera moving is. Absolutely new. I think to this movie. I think that was the first time that they had a motion camera instead of just a static camera. And then people do things. Right. 1941. Yeah. 1941. Well, you'd go back to like the silent films. I think Buster Keaton. He's like, he's holds on to the trolley and it whips him and he, we're following the trolley. Yeah. But the camera is on another thing. Yeah. Moving at the same speed. Right. This isn't doing that. This is the camera is on what we now use as like dollies and gimbals. Right. To move through just this space. We're not, it's not, the shot isn't. The shot isn't motion. Right. But the camera does move. Right. It is spectacular. It is spectacular. Every time they do it and it's crazy to see like the, and I did it twice and I love pointed out when they go with the camera arcs up through the sign. It's raining. There's the wind goes through the window and into the house. Right. Beautiful. Beautiful. And doesn't it start when she's younger and by the time it goes in, doesn't it show a progression of time to it or her emotions from where she was at the beginning of the shot. To where she is at the end of the shot, which is a length of time later. Yeah. And she's like disillusioned and not happy anymore. Brilliant. Beautiful. Great idea. Great idea. Uh, but yeah, I've got notes on this that we had a whole structure that we're supposed to take. Yeah. We just. We totally started fanning about it. So we got deep focus. Oh, the lighting. Yes. A lot of use of black and white stuff is shot phenomenally with just, uh. Uh, what you can't see and what you can see and, uh, he really did. Obviously they were lighting movies before this movie, but the way they do it in this movie is just brilliant. Uh, so we have an example of the lighting, uh, that I would like to point out because it's, I think it's the newsroom. I think so too, uh, and you've got these heavy back lights that are casting like arcs in. And people are, it's not even that they're just shattered out of silhouette because you see that a lot in the war films, right? It's that they're, it's like ambient glow. Yeah. You know, it's, it's so soft, very soft on, because he's over the table like this and it's so soft on this half of the body, but then pitch black face, the guy investigating his last words. I don't think you ever see his face is always from behind. Maybe at that very, very, very end when he's like, we'll never know. Yeah. Yeah. I think you see his face there, but for the most part, you do not always shop behind because it doesn't matter. Yeah. It's, it's us. Actually, he's the audience, filling in what's going on. Uh, and it's, it's lit in a way and it feels in such a way that's like mystical. Like you're watching something, something you've never seen before. Yes. It's somebody who has seen it all in the 21st century going back to this movie where it's just now getting its legs. It's a whole different experience. Yeah. Like you watch, watch endgame and it's like, all right. Yeah. Okay. I see how they do this, this, this, and then you watch this where, where the dinosaur was hatching and you're like, Oh my God, look at where we are, where we came from and why does this look like that and how come this looks like this? It's insane. It's beautiful. It is. This movie, such a testament to filmmaking and art in general, it's so solid. It is. Have nothing but positive things to say about it. Me too. I don't have anything negative say about it. And I think the people that do have negative things to say about it are full of crap. Anyway, you remember, uh, not too long ago, I said that it was about 12 monkeys. It's a movie movie. It's like, uh, well, a guy that was just watching, uh, megalopolis, the friends for cobalt movie said that that's the most movie I have ever seen. That's what I'm talking about. And this is, this is one of them. It's the mode. It's a movie movie. It's about it's things that you could not happen anywhere else like on radio. This isn't going to work in print. It's not going to work. Yeah. It's a, that's where the art work of it is. Yeah. And, uh, it's the most movie, not all I've ever seen, but it's, that's what I'm talking about and it's, it's 100% that and it works so well. It does. So well. I'm so impressed. Talk about a first outing. Right. And like I always tell you mother, uh, it's the Beatles of film. She don't like it anyway. I watched it with my fiance, uh, and it was her first time seen as my, uh, second, third time seeing it. I haven't watched this movie a whole lot, but, uh, I'll never turn it down. No, it's good. My first reaction when I ever saw this movie was like, cause everybody says it boring. Yeah. It's like biggest criticism of this movie that's boring. I thought this isn't boring. I don't think it's boring at all. I got sucked into it immediately. I don't know how it can be boring. The way it weaves around, uh, it's like pulp fiction. Yeah. It's an unbroken, broken storytelling. Yeah. It totally is. Nonlinear. And it's not confusing. No. Either. And you know what I really like about it too is that when, so it's like three segments of people telling the, the life of came through interviews with people that he knew. And you have the first one where it's because you knew him as a boy and up to the day he died. Then second guy who was somebody hired on to be a kind of a buddy, uh, up until he got fired or whatever or up until came died and then, uh, his business partner in there too. And each one will break up. So like, you know, youth, young guy, old guy, right guy. But then he only knows as part of the story. So he only tells this part of the story. Exactly. You know, this other guy, he feels in this part of the story, which is it's, it's like building a forensic, yeah, uh, scene, everything's told you in bits, but the bits line up perfectly to where you, you follow the whole story. Their puzzle pieces. It's a jigsaw. Right. And that's, I think that's why they use a lot of jigsaw puzzles in them visually. But there's that one piece that they're looking for. Why did he say that at the end? And they never get it. And that's so cool. I love that it has like an unresolved ending. It doesn't have an unresolved and it's totally resolved. Well, they don't know. They don't know. But we do. Well, we know. And that's what I mean by resolution. Well, yeah, but what I'm talking about is like they don't, they don't, all right, well, we don't know. It's still a mystery. And the cycle continues. But even when we find out the meaning of Rosebud, right, it's still. We can discuss it. Yeah. Oh, you don't know why the audience, meaning we don't know why he said, right? And everybody can have their own idea about it. What a great genius way to do that. Well, should we tell them what Rosebud is? Well, let me tell you what it really is. Oh. I'm pulling up Rosebud. Well, hang on, if he's going to give you the, I've got a, I've got a picture of it. Yeah. Do you want to spoil it? Because a lot of people still haven't seen this movie because they take it for granted. I haven't seen it. Well, well, so, as a story, I don't want to tell. I'm up and down. That's all right. The movie from 1940, then we'll go and spoil it, but what Rosebud really is, and this is another reason why William Randolph Hearst hated him so much. Somehow Orson Welles found out that that's what Hearst called his mistress's private parts. Oh my God. So now the first and last thing you see in that movie is a real FU to him. Wow. Yeah. That is insane. It is insane. I highly recommend you see RKO 231, I think it's called just look up RKO and then that movie come up. Liv Schreiber plays Orson Welles and it's about the making of Citizen Kane and even like Mank. I haven't seen Mank yet. I've heard a lot of good things about because it's a Fincher, David Fincher made it. Yeah. So I want to see it. There's a lot of controversy with the movie other than William Randolph Hearst, like Orson Welles taking credit for stuff that he shouldn't be taking credit for and not giving. But they go into that and all that stuff in RKO 231 too. It was pretty interesting and I love David Fincher who was obviously influenced by this movie and that Mank movie. I would like to see that too, but go ahead with your story. So before I ever even saw this movie, I had it spoiled for me in the form of a cartoon. I didn't. Well, go ahead in the form of a cartoon. So if Randy will pull up, there's a picture of ghost came, I think it's called. Is it from the Simpsons? It's from the real Ghostbusters. Oh, really? They get a call that there's a ghost haunting this house and all the ghost says is Rosebud. As all this goes to saying, it's really freaky looking and he's possessing. I remember this episode and I've never seen it. And it's the ghost of the call of the character's name, Charles Foster King. Yeah. The whole time they're investigating and they're trying to figure out what he wants. They can't catch him and at the very end, he gets the ghost of Rosebud. Oh, really? And he slides off with it or flies off with it. And that's the end of it. They don't really bust them. He just goes away. Right. And I was like, okay, that's cool. Then putting things together, I was like, oh my God, this is the unofficial sequel to Citizen King. Yeah, really. That's so cool. It's a Saturday morning cartoon. So Rosebud is his childhood sled. Right. It was the last thing he loved. Yeah. For real. That's what I say. And you see him playing with it at the very beginning of the movie. That's the first word they say. He dies at the very beginning. The very beginning. And he says Rosebud in an extreme closeup of his mouth, which is another thing that was brand new. Right. And yeah, then they don't mention it. None of it for the rest of the movie. They don't even when he's a kid. And then at the very end, yeah, even when he's a kid, but until the very end, they burn it. Yeah. So you said it's the last thing he ever loved. I always thought it was the last time he would ever be innocent. Or happy. Yeah. It was great. Yeah, his mother and his father, it's life was simple. This was it. And he'll never get that again. Yeah. It never did. It's burned. Yeah. And then it's gone. It's gone forever. It's kind of tragic. And it's really not that important to the movie. It's just a little, another cool thing, I think, about about it. But I just think maybe it's just a little bit more important if you think about it in those terms, like that his innocence is gone, and then the rest of the world that he wants to be on top of burns it and just gets rid of it all. So I got some highlights written down here. I said what we've been talking about, the lighting in this movie is amazing. If you're going to watch this movie for anything, I'd say the cinematography and the lighting. Yeah. You can watch this movie on mute, and it's a whole story on it. Sure. You probably would pretty much get it too. And it's just amazing. There's a, uses a lot of long takes too. A lot of long takes. Which is kind of an Orson Welles thing. Did you ever see Touch of Evil? No, I wanted to though. You're going to. You have to. There's no reason. She's film is a big film The War Guy, and that is like the mother of film The War. It's got Charlton Heston. He's got, he's supposed to be a Mexican guy, because takes place at the border, and he's got brown makeup on. It's a black and white movie, but you could tell he's supposed to be darker, but at the very beginning, there's like a, it might be two minutes. It's more than a minute long take. It's very Hitchcockian. Is this with the bomb? Yeah. Yeah. I've seen that. Okay. I mean, that's a longer take than anything in here. It's like 10 minutes long. It ain't 10 minutes. That's four. Well, maybe this one. It's not 10 minutes long. It ain't 10 minutes long. Most takes are seconds at least five to seven seconds is your, is your takes. And it's really good to and it really heightens the tension to this is your like, in real time, when's it going to blow up? Yeah. Yeah. That's a good movie touching you. Follow the whole thing goes in the trunk and then the part of the end with the crane shot where it comes up. Yeah. Everything. Yeah. Love that. He loves cranes because there's a whole bunch of crane shots in this. Yeah, there are. Plus. Oh, yeah. Okay. There's another thing we can talk about. There's overhead shots like to purposely make him look smaller. Yeah. And then the undershots that I'm sure everybody knows, they started making like you never saw the ceilings in films before this movie and then where they had to dig a hole literally to put the camera down, to put the camera down low enough to get that angle to make him look larger than life. He did a lot of stuff and it was all on purpose and that's, I think that's why it deserves to be the number one. Oh, yeah. AFI movie ever. Another couple of cool things of trivia here. So in the scene, I've got a photo of this too, where Cain's given a speech and that's great. Yeah, that's great. He looks larger in life there too. The giant background, which I think is all reference in Batman, when Harvey, I get you what you're saying. Yeah. Very similar to that. The Harvey, Harvey Denton, you're talking about Billy D Williams. Billy D Williams. Yeah. Yeah. If you like, they kind of look the same. Yeah, they do. Cause the podium's there. He's talking in his giant picture behind him. So I wouldn't think Tim Burton would think this would. You know, it's funny. I found this out about Tim Burton. One of his favorite movies was Dracula, AD 1972. No kidding. No kidding. Wow. Yeah. But so in that shot, he's standing in front of an audience. He's given this giant speech about how he's going to take down the governor and come on. He's got so much charm too. He does. Go ahead. Those people weren't real. That was a stock photo with holes popped in it. It was a light moving back and forth to make it look like a motion. Really? Yeah. I didn't know that. I'm looking at it. I didn't know it. Yeah. I was impressed. I was like, I'm going to talk about this movie. And that was one of them. I was like, what? Wow. Yeah. He only made 13 movies. He only made 13 theatrical movies because he did do other stuff to, because he's an indie filmmaker because he didn't want to have to. Huh? How nuts is that? Yeah, really back then. But like I've seen a few of them and they're really good. They're really good. And I want to see F for fake, which I've been doing until I used to watch go to the rent a video. I'll get in that some other time. This is more than them. I'm going to end up watching it. But it's documentary and I think it's going to be like the Citizen Kane of documentaries. Oh, wow. Yeah. Like inside stuff and he is a genius. He really is. Another little bit of trivia is that he had a non-interference deal with the studio who made this movie. Uh-huh. RKO. RKO. So that he could do whatever he needed to do. Right. Oh, yeah. They didn't care either. But they showed up a lot. Yeah, they did. And tried to give him pointers and critiques and he didn't like it to the point where when they would show up, they would stop filming and go play softball on their left. Right. And they were doing that until they stopped showing up or the first six weeks of filming. They told them that they were doing rehearsal. So nobody would come watch the fact that they were actually filming things. Uh-huh. There's another thing in the very beginning of shooting it, they were talking about he would do lighting and stuff for the plays. So he knows about it and he was talking to the lighting people about it and the grips and stuff. And they were like, well, you know, that's, I forgot the cinematographer's name. His job. Yeah. Then, uh, like the producer or something came up to him and said, don't you ever do that again? Don't you ever try to tell him what the director, what he needs for the shot and then everything was pretty cool after that. Uh-huh. Shoot. I forgot what I was going to say. This film also opens up with- Oh. The title card. Yeah. The citizen came. No starring. No. Nothing like that. Which was unprecedented. The films in this time were very much about getting your stars in there and those names on the board. The names and butts in the seats. Yeah. Uh, this movie did not do that and that would carry on to modern day as the, the presidents. Now it's weird when you've got those big names and not just the title card. Right. Or I like when like Star Wars, there's none of that at the beginning. They just get right into it. Yeah. I like when they do that too. This was a trend setter with that too. Nothing like that happened before. Uh, let me tell you something about Orson Welles. He narrates the history of the world part one. Yeah. Mel Brooks paid him $25,000 to be the narrator for it. He thought he'd come in nine to five. Will work for a week and that's what he did it in two hours. He could have paid him $5,000 for one day's work. So then he asked him, what are you going to spend your money on? He's like, uh, Don Perignon and Caviar. Uh, Orson Welles, listen, we've been talking about this movie, he's like 30 minutes now. Not even talking about the plot, just about, uh, it's, it's, uh, wait on history, how it influenced everything and how, what it did. But, uh, Orson Welles after his mighty career went on to not be so popular either. He was in a lot of wine commercials and stuff like that. I guess he owed, I don't remember the guy's name. He owed money to somebody and he's like, Oh, I use $5,000. How much do I owe you? And he's like another $30,000. So he gave him his car. That's awesome. It was like, it was like Bentley or something. He's like, there you go. I was settled. Yeah. He was a pretty eccentric guy. He was a very, yeah. And, uh, smart as a whip. He's just, man, it's, it's, it's so fascinating to see the legacy of a film like this. Yeah, it is. It's insane. I definitely give it a thumbs up, a two thumbs up for me. It's very much two thumbs up, uh, but I don't really think I had any plot points to hit on. I just wrote on the plot is basically, uh, he dies and, uh, he says rosebud. That's his last word that nobody hears. Yeah. By the way, so why does, how does the reporter know to go finding that anyway? I don't think that. I think that's just a mistake. Anyway, he, uh, that the whole story is this reporter trying to find out what his last word means and, uh, he talks to people that knew him throughout different parts of his life and that's what it is. And then at the end, you find out what rosebud is and it's a good time. Uh, so if you were to improve anything with this movie, what would you improve? I wouldn't prove anything. Nothing at all. No, those, he, like, did I say that he brought mercury theater actors with him? Yeah. So everybody has a good rapport. Everybody brings their A game acting wise. The camera work, the lighting and, uh, the overall direction, everything, I, I wouldn't change a thing. I was thinking about this because, you know, like it's, it is citizen cane. So what do you change about citizen cane? Well, I think the only thing I would change, and this might even impact the story in a negative way is I would film this in IMAX or Panavision. I would get that huge shot, you know, 70 millimeter, uh, hateful, laid type of filmography because I feel like this movie is that encompassing. Right. It's that big and he's that bombastic of a character. Uh, so like in the sum of the flashbacks, maybe shoot it with just, you know, your standard right, uh, aspect ratio, but then like Christopher Nolan does. Yes. And then, but when it's big, it's big, really, that's the only thing that's real. That's just presentation though. That's not because you could do that. You could. If you could get the rights to citizen cane, you could release it in IMAX and do exactly what he just said. So you're not really changing the movie, no, but if I had to change anything, I would shoot it. I would shoot it in IMAX. Right. Uh, well, that was it. Yeah. That's all I can think of because that's how this movie is. Yeah. And there was no such thing. If you put this movie in color, would it change your opinion? Absolutely. It has to be in black and white. Yeah. I think I agree with that. Because of the way it's lit. For black and white, which is a thing. Uh huh. And a lot of people don't get it. Yeah. A lot of people just take a color movie and put it in monotone and take it on. Yeah. Technicolor. Well, you just got to say in words, uh, it would it would end up hurting it more than it would feel. Yeah, it would be. It would hurt a more than it would ever help. Uh, I've got a photo saved of of cane clapping. Uh, people will, I want to see Randy. If you recognize what that looks like. So when you see this picture, yeah, I never heard what we talked about earlier and I didn't know what you were talking about until you showed me side by side. It does. Very cool. And it's very influential. Yeah. It does. What is it, Dom? Is this the Shiloh Buff thing? Yeah. That Shiloh Buff got it from this. Uh, well, like that, it's just seen in the movie where he's watching his wife, poorly, sing opera. Right. And he, well, seeing that too, he was forcing his self in, into her life and she was not capable of singing like that. She didn't want to sing like that and he made her sing like that. She's not as ambitious as he is. No. You know what I mean? She's a different person and he tried molding her into him. Yeah. Like doing his life again because she's so much younger than him and it doesn't work. Uh, millions of things you could just pick out of this. That's great. There, uh, there's a, and when I noticed this one was watching it, this is, I think might be the last thing I have to say about Citizen Kane for this, but, uh, this movie came out in 1941, which means it was shot in either 1939 to 35, you know, had a couple of years to film. Sure. No, I don't think so. I think he started in, he might, uh, in 39 or 40 at the latest. Okay. And then you got it done. Yeah. I'm not able to. There is video of Hitler in this movie. Hitler was alive during this time, right? And they bash him. They're not like, well, yeah, he's pro Hitler. Yeah. Right. They call him a fascist. They call him a communist. And he says, the only thing I've ever been is an American, uh, which I, I think that's I love. I also, oh my God, I'm going to talk us over. I love how this movie starts with a, like, if you went to see the news in the movie theater. Yeah. Like how it starts or a silent film where you've got like a montage of stuff happening and then it cuts to what they're saying because I don't have the audio, okay, aspect. And then it cuts back to more footage and stuff like that or just narration over stuff. It's authentic. It's authentic to the times. And that's so cool that it's real. It just feels real. It feels like a fantasy movie. Right. And it's the everything is fantastical to bring reality. Yeah. It's life. Uh, I also think it's kind of funny, maybe getting a little political here. Uh, he's very much kind of like Donald Trump is kind of a plastic, charming guy who gets a lot of people to follow him even though he might not. He's only serving himself. Yeah. Yeah. Yeah. He's a self serving icon. Yeah. Not to get too political and I'm sure Donald Trump did not model his entire life over Charles Foster Kane. I doubt it. It's just weird that like almost a hundred years later that life is imitating art. Yeah. Or like when he's, when he's given his rally, he's like, I'm going to lock him up. He's going to do jail time. That's what he campaigned against Hillary for. We're going to lock her up. That's all. Yeah. It mirrored it. It changed the more they stay the same. Yeah. That's my last take on Citizen Kane. The more things change, the more they stay the same. Uh, man, it's, it's such, I will never not recommend this movie. No, it's great. It is. Go out there and watch it. It is. I don't know. It's not my favorite movie of all time as the Empire Strikes Back, but this is the best movie of ever made. Yeah. Like there's a difference between a personal, uh, like, and just you, what you've got to give it, because like people, you don't personally like the Beatles, right? But, uh, you can't have to, their, uh, influence, influence and, uh, importance. Yeah. And that's this move. Yeah. It is. It's, it's a must watch. It's a 10 out of 10. Either if you love film or if you love art, check it out because it's that good. It is that good. This is a movie. Everybody should watch at least once. Yeah. Uh, but that's all I've got to say about it. Uh, any closing thoughts or anything like that? Things change and where they say the same, uh, I've been, I've been called many, many things, but the thing I am and this American, I think that's a great line. That's a great line. What about you, Randy? You're going to check it out? I did check it out. Uh, what did you like? Did you watch the Ghostbusters? Uh, no, uh, I would check this out as someone who has not genuinely seen it. I would check it out. It's interesting. Uh, I'm normally put off by the black and white, but I, the story-wise, it does sound cool. You know, it's good. It's good. I'm not. It's really good at holding attention. Strongest at non-linear story you're telling, but because I didn't, I didn't get pop fiction, but I only watched it once and I wasn't paying attention. It's not as non-linear as that is. Okay. It has a beginning, middle, and end, but each segment also fits into the last one really well. No, the way you were saying it, I understand what you were going for, but then you referenced all of that. No. I didn't really get that movie. I understand it, but I didn't like, well, at the time I wasn't paying attention. So, no. Pay attention because pop fiction is up there too. All pop fiction is the second best movie ever made. But, yeah, I have Ben Cheesefil in the Acubus, and this has been the Grindhouse podcast. I'm Ben Cheesefil. I'm Ben Cheesefil. I'm Ben Cheesefil. I'm Ben Cheesefil. I'm Ben Cheesefil.