Julie: FILMS AND BOOKS ARE ALWAYS
A WAY TO COMMUNICATE WITH OTHER PEOPLE.
AT FIRST, IT COULD BE ENTERTAINMENT,
BUT ALSO IT COULD BE
MAYBE YOU'RE NOT ALONE IN THE WORLD TO FEEL THAT WAY.
Pogorzelski: WELCOME TO THE ACADEMY FILM ARCHIVE.
Julie: THANK YOU FOR HAVING ME. THAT'S EXCITING.
Pogorzelski: I'M GONNA TAKE YOU TO THE VAULT TO PICK OUT YOUR PRINT.
Julie: OKAY, GREAT.
Pogorzelski: NOW THIS IS WHERE WE KEEP THE FILM.
Julie: OH, MY. THAT'S FANTASTIC.
Pogorzelski: THERE'S EVERY KIND OF MOVIE IN THE ARCHIVES COLLECTION.
THE COLLECTION GOES BACK TO THE 1890s.
AND THEN EVERYTHING RIGHT UP TO LAST YEAR'S ACADEMY AWARDS.
Julie: THAT'S AMAZING.
Pogorzelski: WELL, THEN, RIGHT OVER HERE IS "AFTER HOURS".
Julie: AH! GREAT.
Pogorzelski: NOW, WHY DID YOU PICK THIS FILM?
Julie: WELL, I LOVE THAT FILM. IT'S A DARK COMEDY.
I SAW IT WHEN IT CAME OUT.
I RELATE TO THE FILM IN A WAY THAT IS A BIT WEIRD.
SEEMS LIKE MY LIFE IS AFTER HOURS EVERY DAY OF MY LIFE.
[ CHUCKLES ]
EVERY DAY, EVERY NIGHT, IT'S AFTER HOURS -- SADLY.
Paul: WHAT DO YOU WANT FROM ME? WHAT HAVE I DONE?
Julie: "AFTER HOURS" IS A COMEDY BY SCORSESE FROM THE MID '80s.
A MAN GOES DOWNTOWN NEW YORK.
HE JUST HAPPENS TO END UP IN TROUBLE.
AND ONE THING AFTER ANOTHER AND ANOTHER AND ANOTHER
THAT LEADS HIM TO HAVE A WHOLE GROUP OF PEOPLE
TRYING TO BASICALLY LYNCH HIM AT THE END OF THE FILM.
Woman: EXCUSE ME! EXCUSE ME. HAVE YOU SEEN THIS GUY?
Julie: I MEAN IT'S COMPLETELY INSANE.
AND IT SLOWLY BRINGS YOU INTO THIS MADNESS THAT YOU BUY.
Man: HEY, MAN, IS IT WORTH TAKING THIS THING?
Man #2: ARE YOU CRAZY, MAN? THIS IS ART!
Julie: WE'RE GOING TO THE ACADEMY THEATER
WHERE THEY SCREEN FILMS FOR THE ACADEMY.
I SAW A FEW FILMS THERE, SINCE I'M PART OF THE ACADEMY NOW.
I'M INVITING MY FRIEND NADIA CONNORS TO MY SCREENING.
SHE'S A GOOD FRIEND OF MINE.
SHE'S A WRITER/DIRECTOR AND SHE LOVES MOVIES.
AND I LOVE MOVIES. AND SHE LOVE "AFTER HOURS".
I LOVE WOODY ALLEN, I LOVE MEL BROOKS, TRAPLIN,
AND THOSE ARE THE GENIUS OF COMEDY.
AND THEN YOU HAVE THE COMEDIES BY SCORSESE,
WHICH ARE NOT BASED ON NEUROTIC PEOPLE,
NOT BASED ON NECESSARILY CRAZINESS OR ANYTHING.
BUT THAT ARE BASED ON CHARACTERS THAT ARE, UM...
-Paul: WHAT? -Man: WHAT?
Julie: ...DANGEROUS. [ BANGING ]
Paul: OH! IT'S ALL RIGHT. IT'S ALL RIGHT.
[ BOTH LAUGH ]
OH, THAT'S OKAY, THAT'S ALL RIGHT.
Julie: HE'S DONE SOME OF THE FUNNIEST FILM
BASED ON A COMPLETE SOCIOPATH.
AND THERE'S NOTHING THAT MAKES ME LAUGH MORE
THAN, YOU KNOW, CRAZY PEOPLE. [ LAUGHS ]
CRAZY, DANGEROUS, VICIOUS PEOPLE.
[ ROCK MUSIC PLAYS ]
[ LAUGHS ]
WHAT'S WEIRD IS THERE'S MOMENTS
WHERE IT MAKES ME THINK OF A POLANSKI FILM.
Connors: I NEVER REMEMBERED THAT MOVIE AS BEING A SCORSESE MOVIE.
Julie: SCORSESE FILM. IT'S OUT OF HIS WORLDS --
OF MORE VIOLENT -- A LITTLE BIT MORE DARK.
Connors: YEAH.
Julie: BUT I THINK SEEING IT NOW, FIRST OF ALL,
I REALIZE IT'S EXTREMELY WELL FILMED.
Connors: BEAUTIFULLY FILMED.
Julie: AND SO MANY BEAUTIFUL, INVENTIVE --
WHEN HE BREAKS THE DOOR IT'S FROM ABOVE.
EVERYTHING IS SO WELL THOUGHT VISUALLY.
Connors: WITHOUT BEING OVERWROUGHT.
-Julie: IT'S NOT ON THE NOSE. -Connors: NO, IT'S NOT.
Julie: IT'S NOT ON THE NOSE. IT'S VERY NATURAL.
BUT AT THE SAME TIME IT'S BEAUTIFUL,
LIKE LITTLE DETAILS... -Connors: YEAH.
Julie: ...OF LIKE SLOW MOTION FOR THE KEYS.
Woman: HERE CATCH.
Julie: YOU KNOW, OR FAST SPEED WITH THE TAXI.
YOU KNOW, LITTLE DETAILS LIKE THAT --
SEEING IT AGAIN, I WAS LIKE, "WOW.
"IT'S JUST A PERFECT MOVIE.
IT'S EXACTLY WHAT I LOVE ABOUT EVERYTHING," YOU KNOW?
EVEN THE COMEDY.
THE WAY FEMALE ARE PORTRAYED IN THE FILM IS...
-Connors: CRAZY. -Julie: THEY'RE ALL CRAZY.
THEY'RE ALL DANGEROUS.
THERE'S NOT ONE THAT'S NOT COMPLETELY DANGEROUS AND LETHAL.
Man: LET ME OUT OF THIS THING. NOW.
DO YOU HEAR ME? -Woman: SHH!
-Man: LET ME OUT! -Woman: SHH!
Connors: BUT IT'S INTERESTING
BECAUSE THIS IS THE FIRST TIME I'VE WATCHED IT AS A ADULT.
-Julie: OH, REALLY? -Connors: YEAH, AS A GROWN UP.
Connors: MY MEMORY OF IT WAS THAT HE WAS A VICTIM
AND NOW I SEE HIM AS RESPONSIBLE FOR HIS POOR CHOICES.
Julie: BECAUSE HE MAKES TERRIBLE CHOICES.
HE DECIDES TO GO DOWNTOWN, IT'S TOO LATE.
HE SHOULD STAY HOME. -Connors: YEAH.
Julie: IT'S THE PERFECT, NOT "ROAD" MOVIE, BUT...
-Connors: RIGHT. -Julie: YOU KNOW, OF THAT GENRE
THAT JUST UNFOLDS THIS WAY. -Connors: YEAH.
Julie: I THINK IT'S LIKE THE PERFECT --
ACTUALLY MY FIRST FILM IS A LITTLE BIT BASED ON THAT.
"2 DAYS IN PARIS".
JUST THE FACT THAT IT'S LIKE OVER TWO DAYS.
Connors: WELL, ALL YOU'RE SORT OF "2 DAYS IN PARIS,"
"2 DAYS IN NEW YORK,"
"BEFORE SUNSET," "BEFORE SUNRISE," "BEFORE MIDNIGHT"...
Julie: IT'S ABOUT THIS SHORT PERIOD OF TIME.
Connors: IT'S A SHORT PERIOD OF TIME
WHERE PEOPLE GO THROUGH A CHANGE.
WHEN DID YOU SEE IT THE FIRST TIME?
Julie: WHEN IT CAME OUT, '85.
Connors: IN A MOVIE THEATER?
Julie: I WENT TO A THEATER NEXT TO MY HOUSE IN PARIS --
MY PARENT'S HOUSE -- AND I JUST LOVED IT.
SEEING IT AGAIN IN A THEATER WAS FANTASTIC.
AT FIRST WE WERE LIKE, "OH, MY GOD, IT'S FLICKERING."
-Connors: YEAH. -Julie: [ LAUGHS ]
-Connors: IT'S MOVING. -Julie: IT'S MOVING.
IT'S ALIVE! -Connors: IT'S A MOVING PICTURE.
AS FAR AS SEEING IT ON FILM -- IT WAS SO BEAUTIFUL,
THE TONES AND THE WARMTH OF THAT.
THE PINK WALLS AND THE BLUE WALLS...
AND LIKE, EVERYTHING WAS SO... -Julie: YEAH, IT'S SO ALIVE.
Connors: THERE'S ALSO A CONSUMPTIVE ATTITUDE
TOWARDS HAVING SEEN SOMETHING.
LIKE, I WATCHED IT, DONE. CHECK.
YOU KNOW? -Julie: MM, MM.
Connors: WHERE AS GOING TO SEE A MOVIE IN THE THEATER
IS ABOUT THE EXPERIENCE OF BEING IN THAT THEATER
GOING TO SEE THAT MOVIE.
Julie: LIKE, THE WHOLE EXPERIENCE. WHO SAID THAT?
I THINK GODARD SAID, YOU KNOW, "IT'S NOT JUST THAT,
IT'S LIKE YOU'RE WATCHING SOMETHING HUGE,
BIGGER THAN YOU."
A TV IS SMALLER THAN YOU.
A SCREEN IN A THEATER IS BIGGER THAN YOU.
AND YOU'RE LOOKING UP.
SO THERE IS SOMETHING MYSTICAL
ABOUT SOMETHING BIGGER THAN YOU LOOKING UP.
[ SLURPS ]
FINI. THANK YOU OR COMING.
SORRY I DIDN'T SHARE MY COCONUT.
Connors: IT'S ALL RIGHT. YOU NEVER SHARE YOUR COCONUT.
Julie: I NEVER SHARE MY COCONUT. [ CHUCKLES ]