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Tag: Denis 2049 (Page 1 of 4)

Denis 2049: Link Roundup

If you missed any of our series on Denis Villeneuve, you can find links to all of our podcasts and writings in this post.

Without further ado:

Podcast Episodes

1) Director Deliberations (52:39)

2) August 32nd On Earth (38:55)

3) Maelstrom (27:13) 

4) Polytechnique (44:22)

5) Incendies (42:24)

6) Prisoners (54:06)

7) Enemy (52:50)

8) Sicario (49:55)

9) Arrival (1:02:35)

10) Bonus: Blade Runner (30:06)


11) Blade Runner 2049 (1:01:02)

Fireside Chats

1) August 32nd On Earth

Taylor: I’ve never seen a premise quite like this before. Does this happen often? Have any of your friends ever approached you asking to help them conceive a child in the desert? Would you do this for any of your friends?

Sam: The short answer is yes, of course I would take my friend to the desert to impregnate her. But only if we were married … (Keep reading here…)

2) Maelstrom

Taylor: Um, Sam? This movie was in French. I don’t speak French.

Sam: I speak French just fine, but remember, Taylor, this movie is French-Canadian. And in that field I can only speculate. (Keep reading here…)

3) Polytechnique

Taylor: I felt like I was witnessing something impossible, the act of witnessing it ensuring that I couldn’t deny what was happening right in front of me. A contradiction that I can’t justify but won’t back down from. It was surreal. I don’t think I’ve ever been so compelled and disturbed and haunted by a movie all at once.

Sam: “Polytechnique” is one of those movies – “Schindler’s List,” “Manchester by the Sea,” Villeneuve’s own “Prisoners” – that gladly asks you to pay money to get punched in the throat. It hurts to watch this movie. It’s gut-wrenching and brutal and the longest 80-minute movie I’ve ever seen.

I loved it. (Keep reading here…)

4) Incendies

Sam: It represents what he thinks about what he’s portraying. He believes, I think, that the world is dark and terrible, but not without hope, love and people fighting break cycles of anger and the systems that oppress them. Or, I don’t know, maybe he’s just into incest.

Taylor: I think this is a really good point. He often presents worlds that make no sense, that would make anyone question their existence and purpose and whether anything really matters. By the end, though, nearly without fail, he presents them with a way forward. A way to keep going. It may not be definitive or solve everything (or anything!), but it shows some optimism. And that gives me some hope, too. (Keep reading here…)

5) Prisoners

Taylor: This is such an obnoxiously bad opinion that I don’t even know where to start. Maybe he just wanted people to think, “Wow, what a bold take! He must know something I don’t!” If I was younger, I might have fallen for this, but facts are facts. If you think “Prisoners” is Denis’ seventh-best movie, you should not be allowed into the theater for “Blade Runner 2049.”

Sam: If Melissa Leo and her whack-ass husband kidnapped me, pumped me with some psychedelic Welch’s grape juice, put me in a basement, and said, “Here you go, finish this book of puzzles and you can go home,” and the last page said, “Explain how ‘Prisoners’ is Denis’ seventh-best movie,” I’d happily rot under that 1972 Chevy Vega.

And that’s really what “Prisoners” is about, isn’t it? (Keep reading here…)

6) Enemy

Sam: …let’s try on a couple:

  • Spider Number One: The spider on the plate. At the beginning of the movie, Actor Gyllenhaal goes to the strangest speakeasy in Toronto, in which women step on spiders served on stainless-steel, beautifully-crafted serving dishes. If this isn’t symbolic of the existential threat posed by women taking over the culinary industry, I don’t know what is.
  • Spider Number Two: The spider with long legs walking slowly over the city, careful not to step on any of the sharp buildings. This is clearly Denis’ ode to waking up in the middle of the night and gingerly walking to the bathroom when you can’t see what’s on the floor.

What spiders am I missing?

Taylor: You left out a hugely important spider.

Wife Spider. (Keep reading here…)

7) Sicario

You won’t believe who we got to write this one for us. Go read it.

8) Arrival 

Taylor: Tell me I’m wrong.

Sam: You’re wrong.

Taylor: Okay. Good talk.

Sam: No, listen. Renner is…(Keep reading here…)

9) Blade Runner 2049

Taylor: Your well-founded concerns about the LAPD looking the other way on serious child labor crimes while also sending officers to other states notwithstanding (though, trust me, I also find this deeply concerning), I think it’s time we get to the nitty-gritty: Tell me your thoughts on Jared Leto, and give me your guess for what planet his character is from in this movie.

*dives into bunker, covers ears*

Sam: I don’t want to guess irresponsibly about the behind-the-scenes decisions that led to casting Leto as the titular villain (maybe Denis was trying to impress his 14-year-old stepdaughter?), so I won’t get into the why on Earth was this decision made discussion but will try to only discuss his on-field performance.

I’ll start by trying to answer your question: I have no idea what planet Wallace is from, but I’m guessing it’s a world a lot like Earth except that it is inhabited by blind humanoids who are deeply philosophical, malicious, and don’t read scripts. Leto for sure showed up on set without having seen the original “Blade Runner” or having read anything but his own lines.

He definitely thinks…(Keep reading here…)

Fireside Chats: ‘Blade Runner 2049’

For each movie in the “Denis 2049” series, Taylor and Sam will sit down and bounce some thoughts off each other, off-mic. Their brilliant minds will unleash many words. Make of them what you will. This time: “Blade Runner 2049.”

Taylor: Wow.

After weeks and weeks of build-up and hours and hours of watching and talking about old Denis Villeneuve movies, we’ve finally – truly – arrived.

“Blade Runner 2049” is here, and it’s amazing. It’s everything I dreamed of and more. I’ve seen the Lord, and his face is brightly shining!

What should we even talk about with this one, Sam? I feel like I could write 77,000 words about this movie.

Sam: I want to start from the very beginning. Partly because I know the deeper into the movie we go, the more deeply I’ll be confused, and partly because it took me approximately zero seconds to be sucked all the way into this movie (and partly because Jared Leto isn’t in this part).

Look, I came for Dave Bautista farming worms, and that’s where I want to set up shop for a couple of sentences. I could watch that life every day. Dave wakes up. Dave puts a kettle of coffee on the stove. Dave shuffles around his house with a normal-sized cup of coffee that looks tiny in his hands and puts on normal-sized glasses that look tiny on his head. Dave looks out the window at the grey landscape and taps out a couple notes from a sad but familiar riff on his sad but familiar piano. Dave bites into a strudel, zips up his hazmat suit, gets his lunch pale, and Dave goes and FARMS WORMS. Dave goes around and inspects each worm. He feeds them. He tends to them. He probably has a folding chair that he keeps in the farming tent to sit and watch his worms do whatever the hell. Occasionally, a Blade Runner comes in to retire him, and Dave buries them under his worm farm. It’s a movie all to itself.

Holy cow, is this movie stunning. I need to see it again so my senses can corroborate what I’m pretty sure I experienced. It was what I imagine heroine is like – and even though I’ve never had the luxury of purchasing an ounce (a gram? a rock?) of the liquid lady, I can’t imagine it costs any more than an IMAX ticket – and let me tell you, was worth every cent of the 200 dollars I spent to see it. We can talk about the plot if you want, but all I really remember is the way this movie felt. Like someone took the original “Blade Runner,” “The Fifth Element,” “2001: A Space Odyssey,” the Tupac Hologram, a neon light, a rock, a wool coat, the skeleton of Harrison Ford and a trumpet blast to my eardrum, and put all of it in a burlap sack and hit me over the head with it. It was perfect.

What should we talk about? I have no idea. Here are some starting points you can choose from:

– Flying cars

– Landfill orphanages

– The end of the phrase “happy birthday”

– Mackenzie Davis

Taylor: As many words as I could write about the end of the phrase “happy birthday,” let’s save the Leto of it all for later.

For now, listen.

You hear that?

That’s the sound of someone coming to a stop and catching fire because they walked into a movie theater right as Mackenzie Davis came on the screen. As a Halt Head (who, admittedly, has not watched the final season yet), I’ve gotta take that choice and start there.

She pulls some Anthony Hopkins-level work here (in the sense that she shows up for like three scenes but makes a huge impression by virtue of being interesting, mysterious, gross, pretty, thoughtful, rude, and just an all-around great robot lady) in BR2049.

The thing about Mackenzie Davis, though, is that there’s only one thing people will really remember about her in this movie.

You know what I’m talking about.


This scene was the strangest, ballsiest thing I’ve seen in a “big blockbuster” movie in a long time, and sitting in a theater on opening night watching the people around me try to figure out what the f*** they bought a ticket for (and even watching some people straight up walk out at this point) was an experience that made me weirdly giddy.

What did you think of this scene, and more importantly, what did you think of Villeneuve deciding to take a movie that cost hundreds of millions of dollars and just play it out in the slowest, weirdest way possible?

Sam: I’ve never heard of Anthony Hopkins being described as “all-around great robot lady” and I have no intention of going far enough in “Westworld” to find out if he ever is one, so I’ll take your word for it.

I think Big Mac Davis – while being a robot – is arguably the most human part of BR. This movie spends 2 hours and 575 minutes exploring humanity’s most boring question: “What does it mean to be human?” But here, in Ryan Gosling’s cool-guy-futuristic-Disney-Channel-SmartHouse apartment, she dives into some of the more poignant questions about humanity and why we do what we do for a living, like, for instance, “uh…what the hell is going on and why is this taking so long?” I know that’s not literally what she said, but with her apprehensive head-grabbing and frustratingly imperfect physical synchronization with Joi that reminded me of shooting a free-throw in NBA 2K5, she’s basically screaming the words, “I should really try to go back to school.” Her I’ve-done-this-before-but-it-never-gets-less-weird approach to this scene really resonates with me and makes her more relatable than most of the real humans in Blade Runner. Surely more so than Robin Wright’s Lieutenant Joshi.

Which, let’s talk about Joshi now — more specifically, the LAPD. This is a long one, but I think I’m uncovering something about a corrupt system.

Based on the location of Joshi’s office at the precinct and the amount of resources and time allocated to the Retirement Division, it’s no wonder to me that there are literal landfills full of abused and neglected children. Why are the plights of three or four generally peaceful robots (i.e. Dave Bautista, worm farmer/book reader/glasses wearer) the primary focus of the Los Angeles Police Department? I know we only see the actions of one unit and maybe there’s a team of homicide detectives that are cracking down on actual crimes, but as far as I can see, the Blade Runners have infinite jurisdiction and the state of California really needs to intervene. K goes to Las Vegas! That’s unacceptably far outside the reach of power for a municipality’s police force.

Here’s what I think is going on.

The blackout of 2022 was like a futuristic terrorist attack. Terrible thing happens, a bunch of people die, and the government needs to “respond.” Now look at Deckard’s boss in the original Blade Runner, basically a tired beat cop who took the desk for extra cash and the ability to drink on the job. His office was dusty and crappy AND he was a Captain (according to Wikipedia, that’s at or above the rank of Lieutenant). After the attack, all of a sudden Joshi, a lieutenant, is partying it up in the penthouse of a very wealthy LAPD.

The LAPD is cashing in on the public’s fears! They know people can’t afford to move off-Earth, and the government is just promoting the idea that while you’re here on scary Earth, terrible stuff is going to happen – just like 2022 – unless we protect you. I don’t know, man. Smells like conspiracy. Who’s in charge here? Who’s the governor, the Terminator? Who’s the president, Biff Tannen? (wait.)

Back to Joshi. The bottom line is, I felt nothing when she got axed, and California taxpayers are better for it. What’s with the humans in this movie, and why are they at best unremarkable and worst, Jared Leto?

Taylor: I laughed when she had her head smashed into her futuristic version of the gin-soaked captain’s desk. Is that worth something?

To answer your question, let me say this (we’ve wasted more words on “Westworld” than that show ever deserved, but bear with me): I think “BR” accomplishes something “Westworld” either failed miserably to accomplish or accidentally accomplished, I’m not sure which. It highlights the humanity in the robots by showing the lack of it in the humans. Now, in “Westworld,” this rears itself as a series of characters that may or may not be human or robot but it really doesn’t matter because you don’t give a shit about either and also the reason you can’t tell the difference is because both the robots and the humans are uninteresting. But in “BR,” I felt like the humans have allowed themselves to be smashed into submission – as you pointed out – to the point where they don’t have any personality or depth to them. They’re just shuffling through the day so they can go home and eat their holographic dinner cooked up by their holographic wife.

The robots, on the other hand, find personality and drive in their very subjugation. The simple act of living is rebellious and adds layers of color and intrigue to each one. You talked about Bautista, for example. I wanted to spend another two hours with him at his worm farm! There was something palpable and real there that was lacking with other characters, in the same way the movie seemed to come alive when Joi walked into the rain or when Gosling felt his soul coursing through his veins. My point is, in this movie, it works for me.

Your well-founded concerns about the LAPD looking the other way on serious child labor crimes while also sending officers to other states notwithstanding (though, trust me, I also find this deeply concerning), I think it’s time we get to the nitty-gritty: Tell me your thoughts on Jared Leto, and give me your guess for what planet his character is from in this movie.

*dives into bunker, covers ears*

Sam: I like the idea that these robots are rebelling just by existing. It makes them seem like parasites in a system that actually needs them to survive. It’s amazingly subtle how backwards and robotic the people are compared to the actual robots.

Speaking of parasites … Jared Leto’s Niander Wallace.

I don’t want to guess irresponsibly about the behind-the-scenes decisions that led to casting Leto as the titular villain (maybe Denis was trying to impress his 14-year-old stepdaughter?), so I won’t get into the why on Earth was this decision made discussion but will try to only discuss his on-field performance.

I’ll start by trying to answer your question: I have no idea what planet Wallace is from, but I’m guessing it’s a world a lot like Earth except that it is inhabited by blind humanoids who are deeply philosophical, malicious, and don’t read scripts. Leto for sure showed up on set without having seen the original “Blade Runner” or having read anything but his own lines.

He definitely thinks he’s stealing the show with every word he says, and it’s almost entertaining how not true that is. If Gyllenhaal serves every movie he’s in by being the best actor but recognizing the star of any given scene and giving them the space to ball, then Leto is the anti-Gyllenhaal, the inverse Jake. He doesn’t care who the star is supposed to be in BR2049 because he really thinks that by the end, it’s going to be him. He steps all over a quiet and thoughtful Gosling and out-shouts old Harrison Ford. He knows a trailer line when he sees one (“happy birthday”), and he gives it the max oversell possible. Jared goes full Leto in this movie, and it doesn’t really help anyone.

That’s enough nitty-gritty.

I have no more grits to nit, but since we’re talking about bad actors, let me ask you this: Are we glad Harrison Ford came back for this? He was responsible for the coolest fight scene of the year.

Taylor: Leto is responsible for putting me in a place that I like to call “30 Seconds to Bars.” It’s the idea that any single Leto line reading or acting choice could drive everyone in the audience to a bar to start drinking in less than 30 seconds.

Harrison Ford, on the other hand, is more like “30 Seconds from Bars,” in the sense that he’s never more than 30 seconds away from a bottle containing alcohol at any point in this movie.

I presume you’re talking about his first fight scene with Ryan Gosling, and I concur: it’s dope.

The strobe lights, the intermittent Elvis interjections, the punch after punch after punch to Ryan Gosling’s pretty face (one of those was real!). The thing that I loved about it most, though, was what I mentioned on the podcast: Harrison Ford was trying! I was sure that he would be in “Star Wars” mode and be like “listen, I don’t remember filming this movie 25 years ago because I was doing a lot of drugs then and I’m cool so I have better stuff going on, so just give me my paycheck and cut me loose from this shit.”

But no! He was trying! (You can always see when Harrison Ford is trying.) And it was fun! Was he good? Not important! The fact that he committed is all that matters.

It’s like my theory about being the coolest cat on the dance floor: If you act like you know what you’re doing, people will think you know what you’re doing. And Harrison Ford loves doing that (and also not caring, what can I say, he’s a man of many contradictions).

I’d like to just spend a little time now reveling in the sheer beauty and wonder of all the early-movie Joi scenes.

*deep exhale, closes eyes, man starts yelling phrases at me (“CELLS INTERLINKED CELLS INTERLINKED CELLS INTERLINKED”)*

Sam: You know what makes you the coolest cat on the dance floor, Taylor? Not using the phrase “coolest cat.” My 8th-grade history teacher used to say “coolest cat,” and he once told us that his favorite band was a tossup between Maroon 5 and Barenaked Ladies.

Anyway, this is our last movie in the Dilliverse, so it’s only appropriate to compare how far we’ve come with the women of Denis’ work over the last nine movies (I’d add the men from his movies, too, but they are almost universally less interesting than the women*).

*with the obvious exception of Jake Gyllenhaal because I mean come on. It’s Gyllenhaal.

Here are the advanced metrics:

“August 32” – A car crash survivor named Simone. She bleeds, is able to leave her house without explicit help from Ryan Gosling, and can pee, so she gets a 10/10 on the biological human scale. But her inexplicable desire to get pregnant in Salt Lake City and her propensity to indirectly put her friends into comas lands her at a 0/10 on the humanity scale.

“Maelstrom” – Sucks and is unstudyable.

“Polytechnique” – Valérie goes through the most brutal and tragic and gut-wrenching experience of all of Denis’ characters. She just wants to be an engineer and not get harassed by her male professors or shot by a guy. In a movie where every scene is more jarring than the last, the most powerful part is when she wakes up in the middle of the night in terror only to stare herself in the mirror with dread knowing that she’s alive, years after the shooting took place. She earns a 1000/10 on the humanity scale and a 0/10 on the “how excited am I to rewatch this movie” scale.

“Incendies” – The mom survives prison at the hands of a war criminal who is also her son (and her children’s father) only to die and leave a will that basically says “violence isn’t the answer.” She earns herself a ?/10 on the “uh…what?” scale and a -5/0 on the ability to do simple math scale.

“Prisoners” – Maria Bello lays on a bed, and Melissa Leo kills a bunch of kids. Bello gets a 0/10 on the “likelihood you’ll remember she was in this movie” scale, Leo is up one-zip over Hugh Jackman, and I lose ten points for getting the names Maria Bello and Melissa Leo mixed up in my head always.

“Enemy” – Gyllenhaal’s wife gets a 4/10 on the “potential ‘Spiderman 2’ villain” scale.

“Sicario” – Emily Blunt gets a 10/10 on the “Wait, why is Jon Bernthal getting paid more than me?” scale.

“Arrival” – Amy Adams gets a 10/10 on the “not being Jeremy Renner” scale but loses 5 points for marrying him. She gets those points back when they divorce.

“BR2049” – Joi. The only character in Blade Runner with any believable emotion. She’s the least sophisticated robot by technological standards, but the most endearing by actual standards. She is a robot, so she gets 0/10 for being a human, but 10/10 for having humanity. That scene when Gos comes home and she just wants to hang out with him and cook him dinner while he smolders is the best. It’s a marriage of the creativity of Denis with the likeability of Joi. Even though she’s trapped inside a SmartHouse (TM Disney Channel) program, she’s the most … uh … joyful part about this movie to the point that it feels like a well-earned cinematic climax that she should be able to feel the rain.

R.I.P. Joi Flashdrive.

Taylor: Wow. Well said.

Now that we’ve talked at length about this movie, pop quiz!

Tell me one thing you remember about the plot.

Sam: Uhhh. Gosling is an orphan with very few toys? Harrison Ford impregnated a robot? Edward James Olmos was in this movie? Something about a landfill?

Taylor: Perfect.

Sam: Final Denis Power Rankings:

  1. “Arrival”
  2. “Prisoners”
  3. “Blade Runner 2049”
  4. “Enemy”
  5. “Sicario”
  6. “Polytechnique”
  7. “Incendies”
  8. “August 32nd”
  9. “Maelstrom”

The end. 

Denis 2049: ‘Blade Runner 2049’

Taylor Gaines is joined by Sam Hensel for the thrilling conclusion of the Denis 2049 series, where they break down Villeneuve’s latest film, “Blade Runner 2049.” They talk about the audacity of its ambition, the top box office hits of 2017, the movie Jared Leto was in versus the movie Denis Villeneuve was making, and where it falls in the Villenouvre.

Thanks for coming along for the ride! You can find the old Fauxworthy episodes still in our feed or on our new website, OnTheIslandPodcast.com. Please go review us on iTunes! It helps so much.

Find the written companion piece here. Thanks for following along!

Fireside Chats: ‘Sicario’

For each movie in the “Denis 2049” series, Taylor and Sam will sit down and bounce some thoughts off each other, off-mic. Their brilliant minds will unleash many words. Make of them what you will. This time: “Sicario” (hijacked!).

Dear TS,

No prep, no outlines, just pen to paper. I respect that. I’m also a genius, and that’s what it takes to understand the modern-day “No Country For Old Men”/“There Will Be Blood” masterpiece that is “Sicario,” so I’m just gonna jump right in and defend you against all the BS criticism.

This is a tale of men (and women, but mostly men cause women are weak) fighting to make our streets safe but more importantly getting revenge for specific personal sins against themselves. Women can come along to watch for “equality” to tell us what they think we’re doing wrong and when they tell us what they think we’re doing wrong we tell them to go to hell cause they don’t know what they’re talking about.

You know what they say about life: Everything is personal, and men are strong. This is a movie for wolves, not sheep. Have you ever smelled a burning sheep? I have.

This is the best movie of at least the last two centuries. The only issue I have with is the line, “Time to meet God.” That’s dumb because there is no God and also time is a flat circle, but I guess that is what also makes it brilliant since it’s working on so many different levels like that.

Anyway, I was almost as impressed with this movie as I was with “True Detective” Season Two.

Love you bro,

Nic Pizzolatto

Hey Nic,

It’s me, Academy Award-nominated screenwriter and creator of “Sicario,” Taylor Sheridan.

Thanks for reaching out and writing that letter. You and I are my two biggest influences, so it means a lot to me that you’d think to write me about how good “Sicario” was.

I’m actually writing a second one now! It’ll have less women and even more of what you loved about “No Country For Old Men”: Josh Brolin and other people getting shot in and near Mexico. I’m hoping (fingers crossed) it’ll be my “True Detective” Season Two.

“Time to meet God” was actually my proudest moment writing “Sicario.” I tried to make Benicio del Toro (I think that was the character’s name, I haven’t seen the movie) as compelling and subtle as I could, you know? So to me, that line in a weird way kinda says, “I’m about to kill you.” Did you pick up on that? Cause right after he says that line, he kills them! Get it?

Man, I really hope we can work together in the future. Maybe we could work on a “Prisoners” sequel together. It would be so dark and violent the original would look like a Paul Dano rom-com. Or we could do a “There Will Be Blood” sequel so dark and violent the original would look like a Paul Dano rom-com!



Look T,

I admire your work almost as much as my own, but there’s something you gotta know about me. I work alone.

That’s why I write complicated male characters who prefer to work alone and get wet on a series of bad habits once in a while. It comes from a real place, man. That’s what makes it work.

I tried working with a partner once – some asshole who had a girly first name and a last name of like a bombing site – that did not work out. The show we put out was the worst thing I’ve ever made.

You’re a writer. Think about the word writer, Sher. It’s a singular word. There can’t be two writers. That doesn’t make sense.

But I like you. Watching short YouTube clips of some of your work has made me think that we might really get along in a deeper way than anything I’ve ever experienced. Instead, I’ll have to just tell you a secret. Nobody knows this. I’ve already written Seasons 3 through 22 of “True Detective.” HBO just sucks.

Your “Sicario” sequel sounds sick as hell, bro. I’m all for less women, too, but make sure the ones you do have are basically dudes and/or topless randomly. See, the thing you need to learn is that women can be cool, you just have to remember they suck at everything. It’s science. (That’s what Season 6 of “True Detective” is about.)

Thanks for liking Season Two, by the way. It’s nice to hear the opinion of someone I respect other than myself. I’m glad you understood the point cause I’m sick of explaining it.

God, I’m a genius. Well, not God, but you know what I mean.




It’s okay if you want to work alone. I get it! I love working alone, too! It’s all I ever do.

My first acting project was on a show I started called “Walker, Texas Ranger” where me and Chuck Norris walk around Texas beating up bank robbers and kidnappers and Satan worshippers. It’s actually where I came up with the idea for “Hell or High Water.” There was a scene in the only episode I was onscreen for where they were like, “Hey, Taylor, in this scene we want you to talk to this guy or shake hands with this guy or something,” and I was like, “Whoa, wait a second. I work alone.” So that’s when I invented the green screen.

So maybe we could just work together through green screen?

Let me just pitch you my idea for “There Will Be Blood Two: Sangre.” (Sangre is Spanish for “blood,” according to Google Translate. [I wrote half of “Sicario” by just typing different names of drugs into Google Translate.]) Anyway, let me just pitch this and you can tell me if you want to help out.

Okay, so the original was pretty good. It had troubled powerful men with gristly voices. It had Paul Dano. It had Paul Dano playing his own twin! I didn’t understand most of it, but it was great.

My only problem is this, Nic. Where’s the blood? I was promised one simple thing going into this movie: Blood. It will be there. That’s literally what it says on the poster! I’m a big fan of posters saying what the movie is about (that’s why I loved “Harry Potter and the Chamber of Secrets” so much). But there wasn’t that much blood!

So my idea is to basically do the same thing as “TWBB1,” but instead of Daniel-Day Lewis as an oil tycoon, I’m thinking JOSH BROLIN, and he’s gonna play an FBI agent who’s seen some stuff but still has a sense of humor.

Let me know if you’re interested. By the way, what did you think of “Sons of Anarchy”? I was in that (tons of green screen).




Who is this? I’m busy.

Nic Pizzolatto

Next up: “Arrival.”

Denis 2049: ‘Sicario’

On this episode, Taylor Gaines and Sam Hensel break down Denis Villeneuve’s “most fun” movie, 2015’s “Sicario.” They talk about Villy’s most intense action sequence yet, Emily Blunt’s and Benicio Del Toro’s greatness, and the Taylor Sheridan of it all. Plus, they ask the most important question of our time: How did Jim from “The Office” wind up with Emily Blunt? All that and more, right here.

Next time: “Arrival

You can find all of our previous podcasts on our website, OnTheIslandPodcast.com and on iTunes. Subscribe, rate, and review!

As always, thanks to Levi Bradford for the theme song. You can find his music at poblano.bandcamp.com.

You can find the companion written piece here.

(Now On The Island!)

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