‘Snake Eyes’ With Bill Simmons, Sean Fennessey, and Van Lathan

Key Takeaways

Brian De Palma's 1998 film 'Snake Eyes,' starring Nicolas Cage, Gary Sinise, and Carla Gugino, is appreciated for its craft and unique performances.
Nicolas Cage's portrayal of morally ambiguous characters is a central theme, highlighting his distinctive blend of 'sleazy' yet sympathetic acting.
The episode examines De Palma's signature directorial techniques, including long takes and split screens, within the context of 'Snake Eyes.'
Discussions covered the changing landscape of Hollywood filmmaking since the late 1990s, including shifts in genre popularity and actor personas.
The panel provided critical analyses of the film's plot, character logic, and discussed 'what if' casting scenarios and its most rewatchable scenes.

Cage's ability to portray 'sleazy' yet sympathetic characters is unique, distinguishing him from actors like Denzel Washington or Idris Elba.
His off-screen artistic demeanor contrasts with his on-screen 'sleazeball' image, influenced by his choice to distance from the Coppola name.
Cage transitioned from Oscar-contending roles to action films like 'Con Air,' 'Face Off,' and 'The Rock,' imbuing these characters with unexpected depth.
His successful roles often feature characters with baggage or unresolved issues, as seen in 'Moonstruck' and 'Raising Arizona'.

De Palma is characterized as a 'maniac' and important director, with 'Snake Eyes' somewhat suppressing his signature 'freak' element.
His filmmaking style in 'Snake Eyes' explores sexuality but holds back from explicit content seen in earlier works like 'Scarface.'
De Palma's signature long takes and camera movements are evident, notably in the opening scene of 'Snake Eyes,' comparable to 'Mission Impossible.'
The film features a notable long tracking shot, with hosts debating the technical challenges and suspected use of hidden cuts.

Nic Cage predicted around 1998, coinciding with 'Snake Eyes,' a shift towards internet-based media and the decline of conventional filmmaking.
Filmmakers like Scorsese, Lucas, and Spielberg saw transitions in the 2000s, with De Palma making only four films in the preceding 25 years.
Spielberg moved into new territory in the 2000s, while De Palma seemingly struggled to find his next direction after 'Snake Eyes.'

The 1999 film 'Fight Club' is cited as a brilliant film from an era before Y2K and 9/11 culturally shifted themes, particularly masculinity.
'Snake Eyes,' 'Halloween H2O,' and 'Saving Private Ryan' released around 1998 highlight a past era where moviegoing was a significant cultural event.
The panel discussed the decline of 'cool' factor in comedies, noting that modern comedies are often streaming-focused with less investment.
The SNL-to-movie pipeline has diminished, with fewer actors taking on riskier projects, contrasting with earlier films like 'So I Married an Axe Murderer' (1993).

Carla Gugino's character is a nuclear physicist testing missile results, a role described as absurd, comparable to Denise Richards' Dr. Christmas Jones.
Gugino was considered a versatile actress on the verge of greater stardom, praised for her talent in 'Snake Eyes' and other roles like 'Sin City.'
Supporting actors from 'Snake Eyes' who also appeared in 'The Sopranos' include Michael Rispoli and Kevin Dunn.

Nicolas Cage's opening scene performance is highlighted, rated 9.5 out of 10 on the 'Cage scale.'
Brian De Palma's use of split screens and multiple boxes to show simultaneous events is notable, particularly in Carla Gugino's staircase scene.
A scene where Stan Shaw and Nic Cage scream at each other is mentioned, along with an 'elevator chase' sequence.

The film's '1998' aspects include Atlantic City heavyweight fights and Nic Cage's large cell phone, contrasting with modern shifts to Las Vegas.
Discussion touches on TV detectives like Columbo and Quincy MD, prompted by a line referencing 'Columbo' in the film.
Brian De Palma's unique vision made 'Snake Eyes' watchable in the 1990s, even if not his best work.
The trope of a trusted character being revealed as the antagonist, exemplified by Gary Sinise's character, is analyzed.

Steven Spielberg viewed the rough cut of 'Snake Eyes,' marking the end of a collaborative period for filmmakers.
The panel considered whether 'Snake Eyes' would have used Donald Trump's Atlantic City casino if he had allowed it in the 1990s.
An overhead shot of a staircase, directly inspired by Hitchcock's 'Vertigo,' is nominated for a cinematic award in the film.
A potential future 'Rewatchables' episode on 'Vertigo' in 2026 is discussed, with speculation about a modern remake.

Rick Santoro is portrayed as an 'asshole' and killer with a darker side, contrasting with his initial on-screen persona.
His true nature is revealed to his girlfriend, Monique, leading to a violent confrontation.
The discussion explores Rick's complicated family life, including his girlfriend and his wife, referencing Jay-Z's quote about relationship boundaries.