One of us is writing something he won't talk about yet, and treats it as training, worth doing even if nobody reads it. The other shares everything, sometimes to his regret. Orson Welles once said he'd written scripts covering the whole range of human feeling, and luck decided which got made. Then comes a new idea, sparked by John Cassavetes explaining the fake play he wrote for Opening Night: two actors, each married to someone else, who fall for each other and can only act on it on stage. It reminds one of us of Edward Albee's The Goat, a play about love and betrayal in a long marriage, in which the husband falls in love with a goat.
We compare films that dazzle and leave nothing behind with older ones that let a scene run long. Seen on a big screen downtown, Citizen Kane left one of us ranking it above anything he'd seen, and Touch of Evil has just floored him. On technology, one of us is grateful for the AI that masters his audio and fed up with his 2019 truck, which now takes 45 seconds to bring up CarPlay. He buys old things because they're simple, and because a six-year-old one still works as it did new. It ends on the scene in One Battle After Another where Leonardo DiCaprio's character can't have a cell phone, and what that would be like.
Mentioned in this episode: Howard Stern's Private Parts, John Cassavetes' Opening Night, Edward Albee's The Goat, or Who Is Sylvia?, The Greatest Showman, Dostoevsky's The Gambler, Neil Postman, Orson Welles' Touch of Evil, Terrence Malick's A Hidden Life, Paul Thomas Anderson's One Battle After Another.
-Ai
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