iTunes Exclusive Episode Paris Can Wait

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Number two, 90, as we're getting close to another milestone, greetings.
My name is Rob.
I am the executive producer of the Clubhouse podcast and I always think about my sister
Charlotte when she says, I hate the French, but I want to go to Paris.
I'm not alone with this particular episode as I rarely am sitting across from the official
fact checker of this show and a man maybe he wants to go to France.
You don't know.
You may know him as Vaughn Dongo, but his mom and even Donfort, I'm going to call him Donfort
welcome sir.
The S card got.
Yes, card got.
All right, I believe that does play a role in what we're about to talk about.
Okay, so there's that.
Whatever we do one of these things, it is to review something in this particular episode
is no exception.
Today we are reviewing a brand new film from director Eleanor Copola and if that mean
name means anything to you, it might.
The last name?
Not some familiar?
Not Copola?
Oh, like Francis, it is his wife.
Okay, who adds the age of 81, just turned 81, releases her first narrative film.
Okay, also wrote called Paris, can wait.
But before I start this whole thing, what's that?
Ready to sing?
And a lot in the grandma getting.
Got to think Josh, the whole group of our favorite people in the entire world over there
and allied in a great marketing.
They're best friends.
I got to go see this.
You guys were otherwise booked that night, but I got to go see this myself.
Here's what you need to know.
Back in Diane Lane, we're talking, uh, Alec Baldwin, and we are talking, European actor
Arnold Villard.
I mean, I'm sure I'm sure he's actually French, but Alec Baldwin is a film producer.
The film starts out at during the Cannes Film Festival, and basically Baldwin plays the
husband of Diane Lane, Diane plays Anne, and Alec Baldwin is Michael.
And they're kind of having fun there at the old Cannes Film Festival, but due to some
problems with a film in Budapest, Budapest, I'm hungry.
Michael has to go.
Yes, we.
Well, Anne was going to go with him, but she's been having some problems with her ears
since they flew just flew to Paris, flew to I'm sorry to can.
And so the pilot of the plane suggests that she stayed behind.
So she decides she's just going to catch a train to Paris herself, and then when Michael
finishes with his problems at the, at, in the other country that he'll come back in
meter.
All right.
Well, just so happens that one of his producer buddies is named Jacques, Jacques played
by Arnold Villard, and he says, you know what, I've got some business in Paris.
Why don't I just drive her?
Oh, that's nice.
Maybe they're by dinner time.
So he says, yeah, that's fine.
Whatever.
Well, what's supposed to be about a seven or eight hour drive ends up taking about four
days?
So it's like the three hour tour that turns to be a kind of.
I don't want to go too deep into it because there's a lot of self discovery and journeys
within one's self and things of its ilk.
So I don't want to ruin too much of it.
I was very impressed by this film.
I enjoyed this film a lot.
It runs right at an hour and a half.
So it's not very long.
I thought it was pace really, really well.
There's a lot of moments where I was going, all right, I see where this is going.
Okay, I see what you're doing there.
But it didn't bother me.
It's first of all, Diane Lane.
How you doing?
She's always great.
And anything she does.
And she's really rock solid in this.
I thought she and VR had really, really good chemistry together.
Oh, really.
Yeah.
I mean, he's playing the guy who's the friend, but you can kind of see maybe he wants
to kind of move in on his buddy's wife or whatever.
And she's kind of dealing with their own stuff too because they now have an adult daughter
who is just graduated of high school and starting her first year of college in America
while they're over in Europe.
And she just wants to get the Paris and chill out for a while.
Yeah.
I will tell you this, Don.
Listening, remember how you remember when we saw chef and we were talking about boy
or my glad that we ate before we saw this.
I did not eat before I went into the film.
Oh, no.
Because I wasn't expecting what I got.
Uh-oh.
This is an hour and a half of some of the most wonderful looking food in the French countryside
in the history of E.
You're like, oh no.
So, you know, it's okay, starving by the end of it and I wind up it McDonald's.
Not to say no.
But I mean, he took her to every little restaurant he knew and there were people in
these little towns and, you know, this is just a fun road trip kind of a wrong time.
I don't like that one.
We saw the tour of Italy with all those restaurants and everything.
It wasn't as food intensive as the trip to Italy.
But there's a lot of food in this.
Like at one point he's like, no, you must try the cheese and there's this basket that
I'm not getting used as wide as the table they're sitting at and about three feet deep
of every kind of cheese you've ever heard of in your entire life.
So, I know I'm a fan of cheese.
Yeah, me too.
Now question.
Uh-huh.
If you would've ate before he came in would still help like on chef because they don't know.
Yeah, I don't know that it was a member of chef.
We ate before we saw chef and we were still hungry.
You know what I'm saying?
Yeah.
If three forks had a drive through, I'm mighty hit it.
I'm just saying, I mean, I really, really, really enjoy this and everything shot on location.
So you get to see some beautiful shots of the French countryside as they're driving and
I just really, really enjoyed this film.
There's a more of a romance novel, would you say?
No, it's not really a romance.
It's a rom-com is the kids like to say.
So there's some good comedy in it.
Oh, absolutely.
Great comedy.
Okay.
Diane Lane always has good timing no matter what genre she's working in.
She's one of those actresses that you see on screen and you're just like, you know what,
I'm going to get a really good performance and you do.
Baldwin after about the first 10 minutes you don't see him, but you hear his voice as
they're talking on the phone at a couple of different points.
And Allen Baldwin's out, Baldwin.
Yeah.
He's hot.
He's hot right now.
I strike you on the iron pot and he gets to, he's, he's playing a movie producer.
So, you know, he's got that going for him.
I also enjoyed the work of the art.
I thought he was really, really good as a guy that you want to hate, but you kind of can't
because he's a little charming, but you don't want to make it a move on a guy's wife.
And this is only like the 3rd or 4th English film he's done.
No, he's trying to make the move speak time.
Oh, absolutely.
I mean, you see it all those from the kick.
Oh, no, no, she, well, I don't know, we didn't want to spoil, but, you know, it's kind
of reciprocating in the same way.
I will neither confirm nor deny that question, sir.
All right.
All right.
That's definitely, you know, you want to watch the story as it unwrapped.
So what would you, what would you say this film is, was it more of a romance, a character
study and just a movie of people taking a trip?
It's a ho-hodge podge of all those things, all those things, and it all works together.
And I think that, you know, Eleanor Copa Copa, she's been around the business at
least her entire married life.
So how she, but she also, if you remember, there was a documentary done about the
making of apocalypse now called Hearts of Darkness.
Okay.
She directed that.
But this is her first honest to God, actual full of heart, yeah, hearts of darkness.
This is her first full length feature film that she's directed.
And there's conflicting reports on whether she is the oldest director to have a first-time
film directed.
So now they're having that kind of heat around this thing.
I mean, she just turned 81.
Yeah.
I mean, you can't hate on that.
Yeah, exactly.
Give it to her for that.
Right.
I mean, she was 80 when she did it.
But there's also a little bit of a discussion, I think there's another one in here.
Yes, apparently some people are saying that that this thing of the oldest narrative
feature of a debut goes to Japanese director, Tekeo Komura, who was 90.
So question.
So she might be the oldest American film director.
Now, this is about what 90 minutes to write at 90 minutes.
Did it flow well?
Absolutely.
I thought, you know, I wasn't really worried about the time, watch gauge 45 minutes.
That's a, like, tied.
It was right about the half, right about the halfway marked.
So about tied the record.
Mm-hmm.
So wow.
That's impressive.
And I also liked it.
I got to see this in a smaller auditorium.
I don't know that this is a film that's made for a 3,400 Seattle auditorium.
I think this film works a lot better if you see it in an environment.
Well, the intimate kind of said, yeah.
And I said in my written review, conveniently located at www.theclubhousepodcast.com.
Guess what?
That's our website.
This is not a good first date movie since it deals with the dude kind of making moves
on another man's wife.
But it's a good date movie.
If you think you're together for a while and you want to see someone that's kind
of fun.
And that's not like he's real slimy.
There's just little things here and there that she's like, I can't even see him.
And it's not like she's not hit to the game.
She's what's going on, but she's keeping him at bay.
It's just, it's a lot of fun.
There's some good heart to it.
How's the scenery?
Gorgeous.
You're seeing the French countryside.
We just talked about that a bit.
It's beautiful.
It's a French countryside.
I mean, they took advantage of that.
I'm saying it.
Also a very funny sequence when the car breaks down.
OK, that they deal with and how they wind up with a different car.
And it's just, there's a lot of goodness to this.
What would you say be a downfall of this film?
The ending's kind of weird.
OK, does it finalize it or does it leave you hanging?
No, do you really have to do this?
It doesn't.
OK, but there's this really weird and I don't want to give it away.
But the very last shot of the film didn't seem like it belonged in the film.
OK, it was kind of like a lot of kind of ran out of stuff
and went, this is what we're going to do.
You're kind of like, well, yeah, I didn't, I didn't,
it didn't completely take me out of it.
OK, but it did make me go, was that necessary thing?
Did we need to do that?
OK.
I mean, it wasn't bad, but it wasn't great.
OK.
I mean, that's about all I have to say on that.
So we should probably go to the final analysis.
OK, the way we do the final analysis on the show,
we're not going to give you thumbs up thumbs down.
We're not going to give you bottom lighter grades.
I mean, we could give you a bottle of wine, but it's going to be a while.
It's not going to make money.
You know what I mean?
I got to get paid, vert.
But what we're going to do is we're going to talk two questions.
Question number one, since I'm the only one that got to see this one,
is what I see this film again.
If the answer is no, we're done here.
But if the answer is yes, then the follow-up question is,
how far would I be willing to go to see it?
And here is your spectrum from best to worst of the best.
Full price at the theater.
Twilight, Matt and A, early morning, second run at the dollar theater,
actually leaving the house to go get it from red box, streaming it on Netflix,
or watching it on cable.
Rob.
Sir, acquiring lines, what a no.
I hope so.
Would you want, would you see this film again?
I would.
I very much enjoyed this film.
OK, now the empire wants to know at what level would you want to see?
How far am I willing to see?
Yeah.
I'm going to put it right on the edge of a late,
matinee twilight, just because of the food factor.
But before you go in, you know what?
You're still going to be hungry afterwards.
So it's like chef where you're going to write yourself a little snack
to have during the film.
But then go out afterwards and like I need to eat food and go eat
like good food after this because you're going to see some amazing food
here to go McDonald's, which I did.
It's all I think that's what this is.
This is not going to be one of you.
Yeah, what questions, what options do I have?
Open at this time.
Let's see McDonald's, a lot of burgers.
Yeah.
OK.
All right, but before we end this whole thing, we also want to
go ahead.
We want to thank some of our favorite people in the world.
That.
And the marketing, I think Josh, the whole crew,
thanks for the invite.
It is Eleanor Copola directing Paris can wait.
By the time you hear this, it will be available for you to go check out.
So do so.
That being said, let's do the plugs.
Visit our website.
We've mentioned it just a moment ago.
www.theclubhousepodcast.com.
Find out everything you need to know in some stuff you don't.
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I am a yes, that Rob Irvin that is spelled ERV-I-N.
My normal co-host for this show is Chad Warmic.
You can follow him at Chad and PG-69.
And I'm at Fondango and you can email me at Don at theclubhousepodcast.com.
Email Don for information on how we can come to a live show for you.
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You can email me if you would like.
Questions, comments, concerns, something to go
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Chad is Chad at theclubhousepodcast.com.
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And Jill's Womit.
She's probably with Chad, but Chad may be on his way to the studio for some of the
recordings that we're getting done later this afternoon.
Our normal show every Sunday, night, seven Eastern, four Pacific is your one stop shop for
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get all the cool stuff like this.
So until next time for Don for the Empire, I'm Rob, clubhouse is closed.
I mean, come on, you could have been pretty pomegranate footage from the Cannes film festival
seriously.
Hope a brother out that's all I'm saying.