The Chicago Movie Draft Live In Chicago > The Rewatchables

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most debated

• Eligibility of 'The Great Ziegfeld' as a Chicago movie for trivia. - Sean questions the eligibility of 'The Great Ziegfeld' because 'only a little bit of this movie takes place there,' sparking an implied challenge. - Sean Fennessy
  
  
• General qualifications for a 'Chicago movie' in the draft. - Amanda highlights the hosts' 'uniformly disagree' about eligibility, leading to 'backroom dealings' and the decision to 'hash it out live' on stage, indicating pre-show conflict. - Amanda Dobbins, Sean Fennessy, Tracy Letts, Chris Ryan
  
  
• 'The Color of Money' as a Chicago film. - Sean argues his pick is 'spiritually Chicago' despite significant parts taking place elsewhere, met with immediate skepticism and challenge from Chris and Tracy regarding its geographic representation. - Sean Fennessy, Chris Ryan, Tracy Letts
  
  
• 'The Dark Knight's' Chicago identity vs. other Batman films. - Chris firmly states 'The Dark Knight is a Chicago film, and Dark Knight Rises is a Pittsburgh movie,' which Tracy sarcastically questions with 'Has anyone confronted him about this?' - Chris Ryan, Tracy Letts
  
  
• The quality/significance of Brian De Palma's 'The Untouchables.' - Amanda declares 'In my opinion, Minor De Palma,' which Tracy vehemently counters with 'you're so wrong! What are you talking about?' leading to a lively disagreement. - Amanda Dobbins, Tracy Letts
  
  
• 'Home Alone's' eligibility as a Chicago movie due to suburban setting. - Amanda's pick is met with audience protest ('I was just informed that the suburbs are not Chicago'), forcing her to defend its eligibility based on a major O'Hare sequence. - Amanda Dobbins
  
  
• Category placement of 'Risky Business' (Drama vs. Comedy/Thriller). - Chris places 'Risky Business' in Drama, immediately prompting Sean and Tracy to argue it's a comedy or comedy-drama. Amanda concedes it's 'a stretch' while allowing it. - Chris Ryan, Sean Fennessy, Amanda Dobbins, Tracy Letts
  
  
• Comparison of 'The Sting' to 'Butch Cassidy and the Sundance Kid.' - Chris declares 'I prefer it to Butch and Sundance, honestly,' sparking strong disagreement and surprise from Amanda and Sean. - Chris Ryan, Amanda Dobbins, Sean Fennessy
  
  
• Category placement of 'A League of Their Own' (Drama vs. Comedy/Other). - Amanda places it in Drama, but Sean and Tracy immediately question the choice, with Sean playfully suggesting she was planning category fraud due to her leniency on Risky Business. - Amanda Dobbins, Sean Fennessy, Tracy Letts
  
  
• Eligibility of 'Mean Girls' as a Chicago movie. - Amanda asks the audience if 'Mean Girls' is 'too suburban,' receiving mixed responses and audience interjections about Madison, Wisconsin, ultimately leading her to opt for a backup pick. - Amanda Dobbins (and audience)
  
  
• Eligibility of 'Sinners' based on a mid-credits scene. - Sean launches into a detailed, elaborate, and somewhat absurd defense of 'Sinners' as a Chicago movie due to a post-credits scene at Buddy Guy's club, which Amanda had not seen. - Sean Fennessy, Amanda Dobbins
  
  

deep dives

• Tracy Letts' personal and professional history with Steppenwolf and Chicago theater. - Tracy provides a detailed, 5-7 minute narrative covering his move to Chicago in 1986, the founding principles and history of Steppenwolf, his 'longest apprenticeship' before joining the company, and the unique culture of Chicago as a 'handmade theater' town. - Tracy Letts
  
  
• Detailed anecdotes and insights on Michael Mann's 'Thief.' - Tracy spends ~4-5 minutes sharing two specific stories: the 'absurd' casting of Tuesday Weld at the Belden Deli, and an extended, humorous anecdote about actor Nathan Davis (who appears in 'Thief') and a recurring bathroom-door-knocking incident. - Tracy Letts
  
  
• The hidden 'Apocalypse Now' reference in 'The Blues Brothers' poster. - Sean elaborates for ~2 minutes on a 'nugget' about a nude Lynda Carter poster in 'Blues Brothers,' explaining how it connects to a casting change in 'Apocalypse Now' and creates an 'alternate universe.' - Sean Fennessy
  
  
• Anachronistic communication methods in 'My Best Friend's Wedding.' - Tracy spends ~2 minutes detailing a specific scene where Julia Roberts impersonates a character using a mix of email, a written letter, and a courier, highlighting its 'weirdest like conflation of communication methods' just 'before the Matrix' era. - Tracy Letts
  
  
• Amanda's re-evaluation and praise for 'Widows.' - Amanda spends ~1-2 minutes explaining her renewed appreciation for 'Widows,' praising its cast, its 'very Chicago, Chicago movie' feel, its focus on Chicago politics, and a memorable 10-minute car shot across the city. - Amanda Dobbins
  
  
• The chilling nature and production context of 'Henry, Portrait of a Serial Killer.' - Tracy discusses for ~2 minutes how the film's genius lies in making the audience question the filmmakers' sanity, its terrifying portrayal of Lower Wacker, and actor Michael Rooker's method acting, including a personal anecdote. - Tracy Letts
  
  
• Haskell Wexler's docufiction approach in 'Medium Cool.' - Tracy dedicates ~2-3 minutes to describing Haskell Wexler's unique filmmaking, shooting during the 1968 Chicago riots, blending fiction with real drama, and the famous 'Look out, Haskell, it's real' moment, linking it to contemporary relevance. - Tracy Letts
  
  
• Appreciation and context for Theodore Witcher's 'Love Jones.' - Tracy, having watched it for the draft, spends ~2 minutes detailing the film's plot, its 'underseen' status, emotional honesty, and Theodore Witcher's overlooked career as a black filmmaker. - Tracy Letts
  
  
• Amanda's absurdly detailed plot recap of 'While You Were Sleeping.' - Amanda launches into a ~2-minute, highly specific, and self-aware recap of the convoluted and 'sociopathic' plot of the romantic comedy, much to Sean's exasperated amusement ('I never asked for it.'). - Amanda Dobbins, Sean Fennessy
  
  
• Sean's philosophical justification for 'Transformers: Dark of the Moon.' - Sean delivers a ~1.5 minute, highly satirical argument framing the Michael Bay film as a profound commentary on disinformation, the faked moon landing, and questioning reality, complete with a humorous hypothetical connection to 'While You Were Sleeping.' - Sean Fennessy
  
  

industry insights

• A24's redistribution of successful Chinese animated features. - Sean mentions that 'Neja 2,' a highly successful Chinese production, is being redistributed in the United States by A24, highlighting a trend in international film distribution. - Sean Fennessy
  
  
• Chicago as a vital, 'handmade' theater town and Steppenwolf's national impact. - Tracy Letts provides extensive context on Steppenwolf's founding, its role in bringing 'Chicago theater into the national consciousness,' and the city's unique culture of actors coming 'for the work' rather than fame. - Tracy Letts
  
  
• Hollywood filmmaking practices in Chicago and local talent casting. - Tracy Letts shares his experience as a local actor in Chicago, noting that while movies often filmed there (like 'The Untouchables'), 'Hollywood stars' would be brought in, with few jobs for local 'day players.' - Tracy Letts
  
  
• Andrew Davis's directorial style and legacy in Chicago filmmaking. - Sean describes Andrew Davis ('The Fugitive') as 'the bard of Chicago for filmmakers' known for making 'many guy with a gun movies here,' cementing his local significance. - Sean Fennessy
  
  
• Critique of casting choices in 'The Untouchables.' - Tracy critiques Brian De Palma for not casting Chicago actors (except Del Close) and humorously likens Sean Connery's 'fucking insult to the Irish' performance to Mickey Rooney's controversial role in 'Breakfast at Tiffany's.' - Tracy Letts
  
  
• The overlooked career of black filmmakers in Hollywood. - Tracy discusses 'Love Jones' director Theodore Witcher, noting he hasn't directed another film and is 'often considered one of the sort of like victims of the way that black filmmakers are overlooked in Hollywood.' - Tracy Letts
  
  
• Early 20th-century film production in Chicago and Charlie Chaplin's experience. - Tracy mentions that Charlie Chaplin made 'His New Job' in 1915 at SNA Studios in Uptown, Chicago, but 'it was too cold, he left,' providing a historical snapshot of early cinema in the city. - Tracy Letts
  
  

business analysis

• The box office success of 'Neja 2' and its international market. - Sean highlights 'Neja 2' as 'one of the most successful Chinese productions of all time,' indicating its significant financial performance. - Sean Fennessy
  
  
• Tony Todd's negotiated bonus for bee stings in 'Candyman.' - A trivia question reveals Tony Todd negotiated a $1000 bonus for every bee sting, totaling $23,000, illustrating an unusual contractual detail in film production. - Sean Fennessy
  
  
• Setting a relevant 'Blockbuster' category threshold. - Sean explains the $50 million threshold for blockbusters is chosen to accommodate 'the entire history of cinema' and older films, showing consideration for historical box office values. - Sean Fennessy
  
  
• Hypothetical 'Third Chair LLC' podcast business venture. - Tracy and Chris playfully discuss their idea for a 'small business venture' podcast, complete with a proposed name, looking for 'deep pocketed' audience members to fund it. - Tracy Letts, Chris Ryan
  
  

funny moments

• Sean's 'dad voice' and strict trivia rules. - Amanda humorously recounts Sean's firm warning, delivered in his 'clearest dad voice,' about audience members blurting out answers, which Sean confirms as '100% accurate' and threatens to use if they 'misbehave.' - Amanda Dobbins, Sean Fennessy
  
  
• Sean's exaggerated threat of audience expulsion. - Sean dramatically warns that if someone raises their hand and gives a 'dumb' answer, he's 'gonna have a large person escort you from the premises,' delivered with mock seriousness. - Sean Fennessy
  
  
• Hosts' self-deprecating comparison to Steppenwolf legends. - Amanda and Sean jokingly lament being 'no talent losers who talk about movies' while standing on a stage where 'Malkovich and Joan Allen once stood doing wonderful things.' - Amanda Dobbins, Sean Fennessy
  
  
• Sean's playful accusation of Amanda 'falsifying research.' - Sean dramatically accuses Amanda of switching trivia questions and 'falsified research' for some 'Provasic,' creating a moment of playful, over-the-top banter. - Sean Fennessy, Amanda Dobbins
  
  
• Sean's blunt review of 'Blues Brothers 2000.' - After sharing a fond personal memory of attending the premiere for his 16th birthday, Sean deadpans that 'Blues Brothers 2000' was a 'Terrible movie. No offense, Chicago.' - Sean Fennessy
  
  
• Sean's sarcastic prize for a trivia winner. - Upon a correct trivia answer, Sean jokingly announces the prize bag is 'just full of 30 copies of 4K of Rookie of the Year,' delivering a deadpan punchline. - Sean Fennessy
  
  
• Tracy Letts' extended anecdote about actor Nathan Davis and bathroom etiquette. - Tracy tells a long, increasingly absurd story about Nathan Davis's intense and repeated frustration over someone knocking on a closed bathroom door ('When the goddamn bathroom door is closed, I'm taking a fucking shit.'). - Tracy Letts
  
  
• Tracy's humorous exaggeration of 'The Blues Brothers' runtime. - Tracy jokes that 'The Blues Brothers' is '6 hours long' with 'a car chase that you grow a beard during,' comically overstating its length and action. - Tracy Letts
  
  
• Amanda's self-deprecating joke about being a young restaurant critic. - When Tracy questions Julia Roberts' character's ethics, Amanda pivots to her own concern that the character is '28 and the restaurant critic of a major newspaper,' adding, 'it's not happening for most people right now.' - Amanda Dobbins
  
  
• Tracy's sarcastic 'heartwarming crowd pleaser' for 'Henry, Portrait of a Serial Killer.' - Tracy introduces a disturbing serial killer film with ironic praise, prompting Amanda to quip, 'Are you sure you don't want to put it in comedy?' - Tracy Letts, Amanda Dobbins
  
  
• Sean's self-deprecating application of 'The Untouchables' quote. - Sean references Kevin Costner's line 'I've become what I beheld' and applies it to himself, stating 'that was me like 180 podcasts ago,' implying he's succumbed to the very things he critiques. - Sean Fennessy
  
  
• Amanda's meta-humor about romantic comedies teaching 'sociopath' behavior. - Amanda prefaces her 'While You Were Sleeping' pick by joking that romantic comedies teach women 'how to be a sociopath,' using self-aware, ironic humor. - Amanda Dobbins
  
  
• Sean's highly elaborate and satirical defense of 'Transformers: Dark of the Moon.' - Sean delivers a long, mock-serious, philosophical justification for his pick, framing the Michael Bay film as a profound commentary on disinformation and reality, culminating in an absurd punchline about Optimus Prime loving Bill Pullman. - Sean Fennessy
  
  
• Tracy's dark humor about Rob Lowe's character in 'About Last Night.' - Tracy speculates that Rob Lowe's character, hanging out in Rush Street bars, might have 'roofied' people in the audience, delivering an unexpected and darkly humorous anachronism. - Tracy Letts
  
  
• Sean's dramatic, over-the-top defense of 'Sinners' eligibility. - Sean launches into a convoluted, multi-layered explanation of how a mid-credits scene involving Buddy Guy and a hypothetical Superman/Transformers connection definitively makes 'Sinners' a Chicago movie, escalating to absurd levels. - Sean Fennessy
  
  
• Sean's 'Mayor Daley shit' accusation during audience voting. - As Amanda shamelessly encourages the audience to vote for her, Sean jokingly accuses her of 'stuffing the ballot' with 'real Mayor Daley shit,' using political humor to poke fun at her competitiveness. - Sean Fennessy, Amanda Dobbins
  
  

personal connections

• Sean Fennessy's childhood dream of being a game show host. - Sean expresses his long-held desire, noting, 'Remember how I said I always wanted to be a game show. I have a negroni in a sippy cup, so I'm just gonna drink that,' connecting the trivia format to his personal ambition. - Sean Fennessy
  
  
• Sean's formative experience at the 'Blues Brothers 2000' premiere. - Sean vividly recounts attending the world premiere of 'Blues Brothers 2000' for his 16th birthday in 1998, calling it 'one of the greatest days of my life.' - Sean Fennessy
  
  
• Tracy Letts' extensive personal history with Chicago and Steppenwolf Theater. - Tracy shares that he 'lived here for 36 years,' moved in 1986, and recounts his decades-long 'apprenticeship' and eventual company membership at Steppenwolf, detailing a profound personal connection to the city and its theater scene. - Tracy Letts
  
  
• Tracy Letts' mixed feelings about Chicago's portrayal in films and local casting. - Tracy reflects on his experience as a Chicago actor hoping for parts in films like 'The Untouchables,' and his 'mixed reaction' to seeing the city represented on screen while local talent was often overlooked. - Tracy Letts
  
  
• Amanda Dobbins' childhood relationship with Chicago through film. - Amanda describes her early knowledge of Chicago as primarily 'through Ferris Bueller, I knew through John Hughes movies,' and the excitement of seeing iconic landmarks from film. - Amanda Dobbins
  
  
• Chris Ryan's 'two Chicago's' perspective based on John Hughes films. - Chris shares his personal view that 'there are two Chicago’s, it’s the John Hughes suburbs and then the everything else,' shaped by watching Hughes movies 'like 4000 times' at a young age. - Chris Ryan
  
  
• Amanda Dobbins' formative VHS movie collection. - Amanda lists her limited VHS collection—'Ferris Bueller, My Best Friend’s Wedding, and Apollo 13'—as movies that 'raised' her, connecting her film tastes to her Chicago-set cinematic upbringing. - Amanda Dobbins
  
  
• Sean Fennessy's father's influence on his film taste and life lessons. - Sean identifies 'House of Games' as 'my dad's movie' that he was shown at age 10, and shares two pieces of 'dad wisdom' imparted by his father ('If you use drugs, I will put you in prison myself' and 'jealousy is a weak emotion'). - Sean Fennessy
  
  
• Amanda Dobbins' connection of 'A League of Their Own' to her love of baseball. - Amanda describes the film as coming out 'at an impressionable age for me' and being 'probably another reason I like baseball as much as I do,' highlighting its personal impact. - Amanda Dobbins
  
  
• Tracy Letts' stage experience with 'Glengarry Glen Ross.' - Chris's wildcard pick leads Tracy to reveal his personal history with the play, having 'done it twice' on the Steppenwolf stage and playing the role of Williamson both times. - Tracy Letts
  
  
• Sean Fennessy's personal text chain connecting to 'High Fidelity.' - Sean mentions being on a text chain called 'Rob from High Fidelity Personified,' suggesting a personal resonance with the film's characters and themes. - Sean Fennessy