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Highlight Clip of Unspooled: Fast Times at Ridgemont High

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A snippet of hosts Amy and Paul discussing an important scene in the movie "Fast Times at Ridgemont High".
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A snippet of hosts Amy and Paul discussing an important scene in the movie "Fast Times at Ridgemont High".
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falling into cliches because I think that we model cliches or, you know, I wanna be like that person. I see that movie, that movie, that person is me. And then we take on that personality. And so this whole movie is refreshing in that in the in the same way, to put in the same idea that the abortion is so pedestrian like it's not like, ah, movie of the week. I mean, it is weighted, it's serious. But the way that this movie jumps through time and these characters over this course of a year, it could almost derailed the whole film. And this became an obstacle. She has to get over. There is a deleted scene. I pulled it, um, where you see her in the abortion clinic, and I think the way they actually did it is way better because she goes in and she comes out and we can kind of think about what we wanted. But I wanted to play that scene of her and the doctor just to kind of hear what that scene was even like Hello, I'm Dr E. Waste Hurt a lot. Use the local, but you feel some pressure it doesn't last that long eyes. It hurt more to have a baby. Yes. I don't think you minded less. Yeah, there's just a little bit of I think, uh, a moralistic spin on that. I mean, I don't think the doctor is trying to be moralistic, but I think he's like, weigh your options blah, blah, blah. And in this movie, she doesn't actually even wrestle with it. It's like this happened. And this is my option. Yeah. Yeah. And I think that all the deleted scenes that I watched and there's plenty of them, like you said, they all just push a little bit Maurin a direction that I think ultimately, um, paints in the edges. And this movie works really well with not wrapping up everything so nicely and tightly. It's sort of it gives it more of a feeling of we We don't know what's gonna happen or we, you know, like there's these gaps of time. Like I read this interview with Amy Heckerling and she said something that really rang out to me. She's like, I wanted this movie to be a film that if you put it on any point, you could sink right into it, and that's what the movie does feel like. It's all these kind of vignettes, and it doesn't Each section works at any point. Andi, that's really hard to pull off while also having a film that makes cohesive sense, right? Like I think a lot of directors try to do that. I believe that the best compliment to this will be dazed and confused because they do a similar kind of, ah thing with it. You know, Linklater does, um, that's true. That's interesting. And you're right in that there's no built in system in this film, even of like escalating levers of punishment or something. It's not like she made this. I mean, easier than foreigner blows like he he, like, got in trouble this one day for holding the picture. And then and then and then it builds into this whole disaster for him here. You know, there's an emotional weight on the abortion. There's. I mean, I think there's a lot of pain in the scene right here, where she tells Dimon that she's pregnant. I hope this is important because I could be blowing a big deal, Mike. I just I just want
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