The list: Bo Dietl, Ethan Supley (as transcribed), Stephanie Kurtzuba as Kimmy Belzer, Christine Ebersole as Leah Belfort with little screen time, Kenneth Choi as Chester Ming, who is great, PJ Byrne as Rugrat, Shea Wiggum (as transcribed) as the captain, Aya Cash as Janet, close to being known but still in contention, Thomas Middleditch as the Stratton broker with the fishbowl, Fran Leibovitz (as transcribed) as the judge, the real Jordan Belfort introducing Jordan Belfort, and Stephen Kunkin (as transcribed), Ari from Billions, as the man under Mark Hanna.
Belfort had a weird time with his cameo: unique energy, like someone off the street trying to act or an emcee at a bad comedy club, while Leo is weird with the pen; maybe all the drugs changed his brain chemistry or he was just nervous with Marty, Leo and possibly Spielberg; it is choppy and takes you out of it at the end, though he acted every day of his life for his telephone terrorists.
Selections: one host goes Middleditch, from the very beginning of Silicon Valley; another was going to go Belfort, a pick retracted shortly after, and adds that Ethan Supley (as transcribed) is doing good work.
A Kevin Smith tangent: not a big Kevin Smith guy, liked Clerks and Mallrats but Dogma bummed him out, which gets him thrown off the Dogma rewatchables.
The Joey Pants award is clarified as more of a list of people who wound up in lots of other stuff, so the Belfort pick, a man in nothing else, is conceded as wrong and withdrawn; still, the guy in the back is Belfort, who has spent ten years getting rich training salespeople, prompting a life-coaching joke.
Before the category begins, the McConaughey sequence meeting Mark Hanna is flagged as the thesis statement of the movie: you are here to rob people and do cocaine while you do it; the body is a vessel for making money, jerking off and coke, and a wide-eyed 22-year-old from Queens with two accountant parents watching Hanna hoover martinis on a Monday morning could decide that is the lifestyle he wants.
The purpose of the Hanna sequence is pinned to the moment Leo's character offers that everybody wins if the clients make money and Hanna's answer is simply no: every warrior for himself, the thesis in the second paragraph.
The opening, the life of Jordan Belfort with the unreliable narrator, the $49 million a year line and the car flipping from red to white in real time, shows a character at the prime of his life right as the fall is about to come, with Scorsese breaking his own rules; the fourth-wall breaks are never used in a moral way and the film never slows down to judge the characters or let the audience feel better than them.
The Mark Hanna lunch clip is played; McConaughey's four minutes are called the reconnaissance for his comeback between Dallas Buyers Club and True Detective, with the Hanna character and the hair having as much to do with it as the dialogue, which is so eighties and unbelievably bad; an ESPN-era interview anecdote recalls him answering a question about Interstellar by saying he needs a little freedom to do what needs to be done; the chest-beating was his warm-up that Scorsese and DiCaprio told him to keep, and it is good that the character never returns because it is unsustainable.
McConaughey is an amazing physical actor here, throwing his arms down in a thrust before lunch and peering in like a college football coach racing down the sideline; you can imagine him giving the masturbation speech at a bar in real life, and the 'all mustard up here' line gets quoted.
Donnie Azoff in the diner, 'show me a pay stub for $72,000' and quitting his job on the phone, reads as very Long Island, a wealthy guy weirdly having breakfast at a diner; the early run of back-to-back scenes, Donnie, Hanna, Spike Jonze, is remarkable in itself.
Jonah introduces the grotesque with the capped teeth and the shirt patterns, trading his life for a pay stub; the character should not work, marrying his cousin, selling children's furniture, smoking crack days after meeting someone, yet the bond between two weird animals is bought; the objection that DiCaprio would never hang out with him is answered with the cousin Greg Succession theory, that he should not be in the room but every Greg scene is funny, and these are guys who make bad decisions, like Charles Schwab needing a guy for the garage.
Meeting the Duchess of Bay Ridge: Margot Robbie was a lightning bolt, an Australian reportedly 23 at the time with some dispute about her real age, introduced as Jordan's dream girl coming out of the beach-house party with the douchebag boyfriend Blair and the jet-ski comeback.
The smokestack lightning bacchanalia, the office party with the marching band, throwing the little people, the head shaving and the strippers, is one of the most ecstatic pieces of filmmaking ever; then an old blues song with echo comes in, the lighting goes dark and strobe, and you realize they have created hell on earth and are demons who love it; the camera moves in on a despairing DiCaprio walking off the stage, a subtle moment beside the later aside about the man who married the woman they double-teamed and killed himself; the first impression was that it was too much, Braveheart lines of strippers advancing.
The research indicates the party combines things that did not all happen at once, and the absurdity is the point; a nitpick is raised that the film is over-scored, with too much music and a blues-to-eighties-to-Foo-Fighters run whose years do not add up; the defense is that the soundtrack runs the whole arc of pop music out of chronological order, with Robbie Robertson in Scorsese's ear, so that the music is about overconsumption like the movie, and its radio-dial flipping feels true to a coked-out perception, as opposed to the perfectly aligned Talking Heads cue in Wall Street.
The Steve Madden IPO speech, 'my killers, my warriors, my telephone terrorists', with Madden bombing and being thrown out; Madden is played by Jake Hoffman, Dustin Hoffman's son; the bachelor party and wedding dance is now a famous GIF and Leo is a genuinely impressive dancer, which drifts into public Leo with the dad bod, super soakers, the Vans and calf socks and the choice of college hat.
'Daddy doesn't get to touch mommy' is a good scene nobody puts on YouTube, and it apparently really happened, including Rocco watching; after the movie came out every NBA player followed Robbie on Instagram, the entire Central Division, with Hibbert still in the game, a pivot from the Christina Hendricks era.
Jordan invites the FBI onto his yacht, then 'I'm not leaving' is the clubhouse favorite, one of the more rewatchable scenes in any movie of the last decade, simultaneously disgusting and beautiful; the mid-speech realization that he cannot leave is the most honest part of the movie; it is the Field of Dreams heartstring moment that is also the most self-aggrandizing garbage of all time, since he forces Kimmy Belzer to tell a room of screaming dudes how much money he gave her; Aya Cash's snapping character is not meant to be liked, like nobody in the film.
The Lemon Quaaludes are still aging and have lost their potency; the hosts wonder whether a thriving lude community exists on the dark web, compare the finite supply to Honus Wagner cards and ask whether Gretzky has one.
The Naomi yacht capsizing is arguably the best scene, really fun and also true, as is the plane crash; 'I will not die sober' and getting the ludes while the boat goes down; the ultimate wake-up call compared to a country-club DUI; then the sober-at-the-pool scene with Donnie and the ankle bracelet and the O'Doul's exchange, some of the funniest writing in the movie, with 'it sucks, man' played as a clip.
Spike Jonze at the investor center selling AeroTine (as transcribed), two brothers making radar detectors or maybe microwaves out of a garage in Dubuque with their mom Dorothy answering the main line, six cents a share, and the cutaway to the shed.
The Stratton Oakmont cold-call script with Moby Dick and the harpoon, and everyone yelling about who Captain Ahab is, played as a clip; right before the boat leaves, finding out Aunt Emma is dead while freaking out about his money is loved too.
The Spike Jonze scene is perfectly executed: he gets the company name wrong, does not know whether it is microwaves or radar, knows what a clown he is, and the 'if you sell ten thousand dollars of stock I'll blow you' line; DiCaprio's reaction shows the difference between a good and a great actor; dudes eat pizza, a guy screams in a sweatsuit and the bathroom opens straight into the office; the cross-cutting between brokers delivering Jordan's script, his gestures on the answering machine, the 'vice president of Stratton Oakmont' walk-throughs and the later SEC interrogation montage are also singled out.
A correction for the sticklers: the plane that came to pick him up exploded a couple of days later, not in the same moment, and the real sinking is even crazier than the movie; listeners should tweet thanks to Russillo for getting it right.
The final pick: one host argues McConaughey should be ineligible like Shack (as transcribed) in early fantasy basketball because the Hanna lunch is the clear runaway; another narrows it to the lunch, the Lemon Ludes and 'I'm not leaving' and goes with 'I'm not leaving'; a third goes with McConaughey after watching the scene fifteen times that week, so the Hanna lunch takes it two to one.
