Super Ticket Episode 4 – The Tourette Syndrome Convention


Dust. Wind. Dude. Nolan likes to present his deep thought, high concept material in the simplest way possible. Why? Is he talking down to us or is there some other reason for it? And is that ok? Forget quantum mechanics, string theory, global disaster and baseball in space, we want to know two things: why does Nolan treat us like children at times and will Coop ever get a chance to copulate with his daughter? Also, Maaaatt Dammun.

As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!



Opening Crawl: 00:00
Welcome/Roll Call: 2:00
Interstellar (SPOILERS!): 3:30
Outro music: 1:25:41 – 1:29:00


Matthew McConaughey in “True Detective”
Also Sprach Zarathustra (remix by Charlie Parra del Riego)

“Dust in the Wind” by Kansas


show content


newest oldest most voted
Notify of

I am sort of dissapointed that this podcast is not longer than the film, like it was the case with Prometheus. Anyways, it is always fun to hear the Mamo and Cinecast crew together.

Matt Brown

All things being equal, I agree.


There are sparks flying, and it’s not always between who you might think. Apparently, it’s dangerous to bring up the subject of Doctor Who….


So Anne Hathaway’s Dr Brand found that evil does exist in space after all, not in 2001’s artificial intelligence form but in self deluded self interested American form, which ended in explosion and death.

And when an American acted with genuine altruism and for the good of all mankind things end well.

The ending was a bit silly in parts and required major suspension of disbelief but most films ever made do, to a degree.


Shit, I forgot to say spoiler alert before my comment. I’M SO SORRY!


I think they messed up the sound mix in places. I also couldn’t understand what was being said at times and couldn’t hear the robot’s humour as everything was drowned out by the rest of the sound mix. I saw it on a really big screen, but not in IMAX.

Sean Kelly

I noticed absolutely no problems with the sound and I saw it in IMAX on the very first night.

Matt Brown

I find this inexplicable. I don’t understand how some audiences had pristine experiences and others had major, objective problems – especially since it doesn’t apparently track to format (i.e. if this was only happening to IMAX audiences, I’d understand). It wasn’t just me in my audience (also IMAX) – the major overheard comment on the way out was about the five or six times in the movie that whole dialogue scenes were simply inaudible.

Half of me is wondering if Nolan will reveal in 6 months’ time that he intentionally seeded the release copies with random aural fuckups as a kind of large-scale social experiment.

Sean Kelly
Matthew Fabb

Wow… he purposely made it so that it was hard to hear the dialogue at times.

I’m not sure it actually has the desired effect that he was looking for. As most of those scenes that have the bad sound, it takes you out of the movie and I noticed a lot of the audience whispering to each other, I’m guessing they were hoping the other person caught what was being said.

I saw it in UltraAVX, as all of the good seats for the IMAX screening had sold out and noticed audio problems in several places. The worst is referenced in that article with Michael Caine’s character in the hospital bed.

Dan Gorman

I noticed in a VIP screening a few moments where I had to strain to hear some lines of dialogue through noise and music (my mother also noted this, though she was further unable to hear some dialogue, where I strained and made out the jist of most scenes).

Maybe some of the inexplicable elements of this can be routed back to the fact that and all our ears are different, special little snowflakes… or something. Some people clearly had more of an issue than others, and all that jazz. Shruggggggg!

Rick Vance

I enjoyed the film well enough while it was running and am also bot wanting to watch it a second time.

I also don’t see how not wanting to watch something twice makes something weaker it just makes it different.

Movies can still just be vehicles of raw large spectacle and Nolan does that pretty well and manages to cram some interesting ideas on the sides.

Kai in Boston

I’m glad I wasn’t the only one who felt uncomfortable about the Murph/Cooper scenes. I felt perverted just thinking about it.

Anyway, I didn’t care for the movie all that much. The score was overbearing and I didn’t care about any of the characters. Nolan’s first misfire IMO.

Matt Brown

Hee hee hee. Between her scenes with McConaughey, and the Jacob “romance” in the Twilight movies, Mackenzie Foy has a weird little sideline going.

Andrew James

I wish we had talked a bit about the score for this movie. Alas it was kind of overlooked. I really enjoyed the score mostly because it is very unique and interesting to listen to. Sure it’s overbearing and a bit ostentatious at times, but at least it fit the mood and theme of the story at any given moment – unlike Godzilla; the score for which I mocked in the last Super Ticket for being overbearing and at times laughable by trying to oversell the drama in places where there was no drama.

BTW, the score popped up as a playlist on YouTube a couple of days ago:


I am surprised how many BASIC things you guys failed to grasp in the movie, a movie that is otherwise “packed” with exposition.

Mat daymon the everyday man? jesus christ.
by the way
his scene is THE WHOLE POINT of this film, how can you argue that it should be left out, Why? his speech about death is the explanation of the third act.

also, your criticism of the reoccurring poem.

Again, you guys missed the whole point.

The whole repetition is there to precisely comment on those smelling your own fart character archetypes.
and to also show that there is something wrong with this character. hes is a bit loony.
MAN’s character and the Professor are very similar in the sense that they are highly regarded , but are in fact flawed.


Matthew Price

thanks for stopping by!