Fred Armisen and Carrie Brownstein

“You’ve seen Being There, right? Where did it go? You’ve seen it already. But that’s okay. I would love to have it. Peter Sellers, Being There. It’s a beautiful movie. He was a genius. He really was. Yeah. Not that you need convincing.”

“This is going to be really jock-like of me, but you know I’m really into basketball right now, so I’m going to give you Hoop Dreams, which is an amazing documentary. Have you seen it? I’ve seen it, but I’ll take it. Okay, jeez. I love Hoop Dreams. It’s a beautiful film. I love it. Except I didn’t realize until now it was basketball.”

“There’s something that’s kind of… it’s kind of obvious in a way: Sid & Nancy. At the time, when it came out, I was so thrilled to see it all happen. But now as I get older, I just love the end of it more and more. I’ll hand this to you. Okay.”

“Let’s see. I’ll pick one that is like this one for me for you. You’ve seen Moonstruck, right? Yes. Okay. But it’s been a really long time. Okay. This movie, it’s peak Nicolas Cage. There’s great lines in it. He’s like, “I lost my hand. I lost my girl.” Remember how he doesn’t have a hand? Yeah. And then he’s like, “Johnny has his hand, Johnny has his girl.” There’s so many good lines in this. It’s Cher at her best. I would say this movie is a movie I have watched more than any other film. I suggest a rewatch. This is a really good experience. Because you’re learning about me. Because– Yes. Because I didn’t know that about you. Yeah. Which is humiliating.”

“Female Trouble is a masterpiece. I know that John Waters is one of your favorites. Yes. And this is my favorite of his. But Divine really gives everything, just really is full-performance all the way through for what at the time was probably, like, an underground film. Okay, thank you. I appreciate it.”

“Let me give you a Portland film, which is Drugstore Cowboy by Gus Van Sant. What I love about this movie, aside from the amazing acting and the way it’s shot, is it… there are so many parts of Portland that no longer exist that have been, like, captured. And by old parts of Portland, what do you mean? Like Old Town, just things that have been gentrified or torn down. They’re all preserved in this film. And same with My Own Private Idaho. I love watching that. There’s just these diners and things in Old Town that just aren’t around anymore.”

“I see a movie that we both love: After Hours. Right? Yeah. Do we want to give each other this movie? Yeah. Okay. Thank you. Here you go. Okay. Thank you. I love the momentum of it. It’s propulsive. It’s funny. It’s just, like, there’s… It’s specific. That version of New York, too. There’s this one scene where he’s going off on a rant. This is towards the end. And he ends up in this guy’s apartment, this stranger, and they changed the subway fare, and he’s going off about it and he’s like, “Did you know that they changed the subway fare?” And the guy goes like this: “Mm-hm.” That’s so New York. It’s so New York that someone is freaking out about it and that someone else is like, “Yeah, I totally knew about it.” And also Teri Garr. Teri Garr. I… I mean, Tootsie, there’s so many… I miss Teri Garr. I miss her. I do, too. What?! To me, one of the best.”

“To let people know that we have seen a foreign film we’ll both pick Bergman’s collection. One of my favorites, though, is Through a Glass Darkly, a terrifying and dark film about a woman who has mental illness, and it’s tragic, but it’s beautiful. Ooh. And it’s just… There’s not a lot of films, to me, that are about mental illness that are from that era, I guess, but even now, that just lay things so bare and uncomfortable things in it, for sure. But I think that discomfort is part of it. The Seventh Seal is in this, and that’s my mom’s favorite movie. Really? Yeah. She used to describe it to me when I was a kid. Do we get to keep this? Ooh. Oh, wow. Man, that is awesome. I’m so happy about that. Thank you.”