Speaker 1: Look out.
Speaker 2: It's only films to be buried with. Hello, and welcome
Speaker 2: to films to be buried with. My name is Brett Goldstein.
Speaker 2: I'm a comedian and actor, a writer, a director of
Speaker 2: Fishing Hook, and I love films. As Brody Ashton once said,
Speaker 2: the great heroes are made by the paths they choose,
Speaker 2: not the powers they are graced with. Like David Lynch
Speaker 2: was gifted the power of art and he chose to
Speaker 2: completely fuck with our heads with it.
Speaker 1: I love that shit. Yeah, agreed, Thanks Brody.
Speaker 2: I'm recording this in the car by the way, so
Speaker 2: sorry for the noise. Every week I'm invite a special
Speaker 2: guest over. I tell them they've died, then I get
Speaker 2: them to discuss their life through the films that meant
Speaker 2: the most of them. Previous guests include Barry Jenkins, himesh Patel,
Speaker 2: Sharon Stone, and even Queed Clambles. But this week it
Speaker 2: is an all time hero and national treasure one of
Speaker 2: my favorite actors, Gay Dave himself. It's mister Ray Winster.
Speaker 2: Head over to the Patreon at patreon dot com forward
Speaker 2: Slashbrett Goldstein, where you get fifteen minutes extra chat with Ray.
Speaker 2: We talk beginnings, we talk secrets. He tells me it's secrets.
Speaker 2: He does a dance to the Patreon theme tune. You
Speaker 2: get all that and more ad free, and you get
Speaker 2: it as a video. Head over to the Patreon at
Speaker 2: patreon dot com, forward slash Brett Goldstein and join. So
Speaker 2: Ray Winston, this was a big one for me. Ray
Speaker 2: is one of my all time favorite actors. I think
Speaker 2: he is one of the most charismatic formers working today.
Speaker 2: Sexy Beast is one of the films I've watched the
Speaker 2: most in my life. I was so delighted when he
Speaker 2: agreed to come on the show. We recorded this on Zoom.
Speaker 2: We'd never met before. I had no idea what he'd
Speaker 2: be like, and he was absolutely fucking delightful. I really
Speaker 2: think you're going to love this one. He has two
Speaker 2: things coming out. He's got The Gentleman on March seventh
Speaker 2: and Damsel on March eighth. Both of these are on Netflix,
Speaker 2: and make sure you watch them all. So that is
Speaker 2: it for now. I very much hope you enjoy episode
Speaker 2: two hundred and eighty nine of Films To Be Buried
Speaker 2: With Hello and Welcome to Films. To be Mereis With
Speaker 2: It is I Brett Goldstein, and I'm joined today by
Speaker 2: a producer, an actor, a movie star, a nil By Malfa,
Speaker 2: BeO Wolf, Swedey Todd, one of the three Bears nowhere.
Speaker 2: He's a black widower, he's a Hugo, he's a departed
Speaker 2: he's in Indiana Jones, and he's in one of my
Speaker 2: all time favorite films of all time that I'm absolutely
Speaker 2: obsessed with. He's a sexy beast. Please will you welcome
Speaker 2: to the show. He's a national treasure. I can't believe
Speaker 2: he's here. It's the one and only here he is.
Speaker 2: It's mister Ray Winston.
Speaker 1: Ah what I want to build up? That was Brett.
Speaker 1: Thank you for it. Match, It's lovely.
Speaker 3: Nice to be It's nice a little chat about movies
Speaker 3: before Christmas as well, because it keeps my memory going.
Speaker 1: Yeah.
Speaker 2: Now, Ray Winston, if I may say you National Treasure,
Speaker 2: you're amazing sexy Beast. Of all the films, you know,
Speaker 2: one of the questions is what's the film you think
Speaker 2: you've watched the most. I think Manely is Sexy Beast. Really,
Speaker 2: I love Sexy Beast so much. I think you're phenomenal
Speaker 2: in it. Well, Pleasure and I think it's a really
Speaker 2: beautiful love story.
Speaker 1: It is, Yeah, it is. I think the film I've
Speaker 1: watched the most over the years is probably Zulu.
Speaker 2: Really is.
Speaker 1: Just amused. You just do it when it comes in
Speaker 1: of at least, and you just I'm on it.
Speaker 3: You know, I don't know every word in it, and
Speaker 3: you know, I just love it. I love Michael, you know.
Speaker 1: They're all in it. You know. It's just a great
Speaker 1: and they keep talking about wanting to make it again.
Speaker 1: You know, why why would you make that again? It
Speaker 1: is a perfect film, you know, and it's they nailed it.
Speaker 1: They nailed it, did you.
Speaker 2: I was looking over your credits and there's a lot
Speaker 2: of them, and I was like, are you how are
Speaker 2: you not working? Are you always working? Are you good
Speaker 2: at not working? And I haven't been working the last year.
Speaker 2: We've been on strike, you know, yeah, strike and all that.
Speaker 1: Have you got mad? Yeah, a little bit. At first.
Speaker 3: I was quite pleased about it, but not about what
Speaker 3: we were striking for, because it was it was correct,
Speaker 3: the stripe was correct. But but just that little bit
Speaker 3: of time and thinking, you know, but you've got to
Speaker 3: go back to work, you get a little bit.
Speaker 1: Itchy, you know, and it's kind of waiting for the
Speaker 1: right thing to come along, you know, the right script,
Speaker 1: which I think I found now because we're back to work.
Speaker 2: I start working February, so you know that's all right.
Speaker 2: I feel fresh, like I'm yeah, you can't tell me
Speaker 2: what it is. I'm as human.
Speaker 3: Jimmy White story, you know, so, and it's I know,
Speaker 3: I've known Jim Jimmy for many, many years.
Speaker 1: But it's actually written brilliantly by Stephen Waddington, you know
Speaker 1: who I've worked. It's quite surreal actually, you know.
Speaker 3: It's about a certain period in his life and he's
Speaker 3: telling his story, you know, for this kind of illness
Speaker 3: he has.
Speaker 1: You know, it's all been through it sometimes you drinking
Speaker 1: drugs and all that kind of shit.
Speaker 3: It's brilliantly written, and it's great to find a script
Speaker 3: like that about a sportsman, you know, yeah, a genius
Speaker 3: in his own right.
Speaker 1: You know. That's very exciting, that's very cool. I'm not
Speaker 1: blaming you be White, by the way, I'm sure. Yeah's manager.
Speaker 2: Okay, where are we recording this from? By the way,
Speaker 2: where are you? You're in a cupboard?
Speaker 1: I'm in Essex.
Speaker 3: Yeah, yeah, I like that a lot.
Speaker 2: Ray. Ye, there's something I've forgotten to tell you, which
Speaker 2: I should have said up front.
Speaker 1: Yeah, I think.
Speaker 2: I should have. I actual should have said it when
Speaker 2: we logged on. But oh fuck, I don't know you're
Speaker 2: going to take it. You've you've died, You're dead. I
Speaker 2: thought I had, you know, yeah, I had this kind
Speaker 2: of feeling down on you know, it was a stupid thing.
Speaker 1: All how do you die? What do you do? I'm
Speaker 1: sixty years of age.
Speaker 3: It was old season in November, and you know, you
Speaker 3: still think you can do things when you were thirty,
Speaker 3: you know, you know, be greedy in a way.
Speaker 1: It's greed.
Speaker 3: Greed that killed me really, because you know, we got
Speaker 3: these things that kind of whap the tree, you know,
Speaker 3: and the olives out of the tree and then go
Speaker 3: into a net and we collectible up which out more.
Speaker 3: But sometimes when the tree is a little bit large,
Speaker 3: you can't get the top. So I thought, you know, agreed,
Speaker 3: these beautifuls. I just didn't want to leave the rot
Speaker 3: on the tree, you know, so I climbed up the tree.
Speaker 3: And I don't it very successful climbing up the tree.
Speaker 3: There was not a problem, you know, THEND the injection
Speaker 3: in the arts earlier on in the day, so the
Speaker 3: right and I could climb so and I got to
Speaker 3: the top of the tree and I managed to but
Speaker 3: it was a couple just a little bit further out
Speaker 3: on the branch, and I felt Jesus fell from the tree.
Speaker 3: And I wasn't really that aware that I've actually passed over.
Speaker 3: But I must say it must have been pretty quick.
Speaker 3: I must think about I'm like instant, you reckon, I
Speaker 3: like to think so I did. I can't remember stuff
Speaker 3: in anyone, but it's been I made this kind of
Speaker 3: funny vibe going on that I'm not quite there, you know.
Speaker 1: Yea, thank you for explaining me. I've had a good life.
Speaker 1: You've had. It seems like you've had a great life.
Speaker 1: Tell me this. Do you do you worry about death?
Speaker 1: Not anymore? Because I'm bid.
Speaker 3: That I should have pulled Tonic, but everyone had poured
Speaker 3: out Gil and Tonny.
Speaker 2: Do you think there's an afterlife? Be on this podcast?
Speaker 2: I can't vote, so it's kind of weird. My bigdea
Speaker 2: of what after like is I've thought about that quite
Speaker 2: a bit.
Speaker 1: Actually, it seems Please please tell.
Speaker 3: Me all this information we've kind of collected and we've
Speaker 3: got insilence and this life and what we've left behind.
Speaker 1: It's can't just be like that, surely, I mean, is
Speaker 1: that nature? Is that where it is? I caess it is.
Speaker 1: But to me, it's kind of like almost like the film.
Speaker 1: You know, I like a video tape if you like,
Speaker 1: But when it stops, it rewinds and it starts again.
Speaker 1: And maybe that's what the soul is.
Speaker 3: Maybe the soul is a memory, you know that it's
Speaker 3: just gives to an end and it stops and it
Speaker 3: rewinds and you go through it all again. And maybe
Speaker 3: in the film you take a different chance, you don't
Speaker 3: in a different direction. I don't know, but I think
Speaker 3: the body dies, but maybe the memory doesn't, you know.
Speaker 1: I like to think that anyways.
Speaker 2: So so like reincarnation, you're not saying you come back
Speaker 2: as Ray Winston and do it all again.
Speaker 3: I don't know if it's reincarnation, it's just but it's
Speaker 3: just a memory, the memory something there that kind of
Speaker 3: goes on, I don't know, always left.
Speaker 1: And maybe maybe the memory is left in your children.
Speaker 1: I don't know.
Speaker 2: I like that a lot. Well, here's the truth, Ray,
Speaker 2: because I know you're going to heaven. You think Yeah,
Speaker 2: you're going to heaven. There's a heaven and you're welcome
Speaker 2: there and it's filled with your favorite thing. But what's
Speaker 2: your favorite thing?
Speaker 1: Well, my favon I've got a lot of them, got
Speaker 1: a lot of favorite things. You can have a few.
Speaker 1: I'm watching a good thing. Yeah.
Speaker 4: My favorite things, I guess are watching my kids craft,
Speaker 4: you know, watching my grandchildren role you know, and that
Speaker 4: to me, I'd love to be there when they have
Speaker 4: their kids.
Speaker 3: You know, one of my children's had well, you know,
Speaker 3: my grandson. But that's the most magical moment in the world,
Speaker 3: you know, seeing something that you've produced produced something else
Speaker 3: that actually looks like.
Speaker 1: You as well, which is amazing. Yeah.
Speaker 2: Yeah, is it more amazing having a grandkid than a
Speaker 2: kid when they were first born?
Speaker 1: Did the blow your mind even more? It's funny, It's
Speaker 1: it's kind of funny. Yeah, in a way, it is.
Speaker 3: Yeah, you know, because something that you your wife is
Speaker 3: given birth to, that comes from you, you know, give
Speaker 3: us birth to something else that looks like you, and
Speaker 3: it's kind of poor little fingure get over it.
Speaker 1: You know, it's quite it's quite amazing, you know, that
Speaker 1: is incredible. Yeah, it's kind of working net change working
Speaker 1: that reincarlation if you like.
Speaker 2: Yeah, there's the memory. Well they're all you can see
Speaker 2: all of them in heaven and and it's and you
Speaker 2: can watch some films and everyone in heaven is very
Speaker 2: excited to see you. They're big fans. Okay, anyway, the
Speaker 2: bars open and it's already ready for you, and they
Speaker 2: want to talk to you about your life. But they
Speaker 2: want to talk about your life through film. And the
Speaker 2: first thing they asked you was the first film you
Speaker 2: remember seeing Ray Winston?
Speaker 1: Very good question. The first one I remember was one
Speaker 1: hundred and one Dalmations.
Speaker 3: It was with my mum. Yeah, into the pictures in
Speaker 3: west Ham see it. And by all accounts I got
Speaker 3: the rund with Kuella.
Speaker 5: Deville and I escaped from where we were sitting and
Speaker 5: reading down to the front of the screen and shook
Speaker 5: me fished and shaid Couella Deville lead those doggies.
Speaker 1: Alone, this lovely stime.
Speaker 3: Probably about five. That's very nice, Yeah, probably about five.
Speaker 3: Been in the early sixties, in the early sixties sometime.
Speaker 2: Yeah, that's very nice. I like that very much. Do
Speaker 2: you have siblings? Can I ask or was this who
Speaker 2: were you with.
Speaker 3: My sister would have been free, right, so she might
Speaker 3: be she might have been there with mum.
Speaker 1: Yeah.
Speaker 3: Maybe it's funny because when we went pictures years later
Speaker 3: and we used to always go.
Speaker 1: To the cinema Mom and dad.
Speaker 3: Always my dad to take me on a Wednesday afternoon
Speaker 3: when he finished in the fruit market on a meat
Speaker 3: market where he was working and he picked me up
Speaker 3: from school and taking the pictures to see a war
Speaker 3: film or western and all that kind of stuff. When
Speaker 3: I was about six seven, eight years awage, you know,
Speaker 3: but we'd go about once a month and we got
Speaker 3: up the West End to watch a film, whether it
Speaker 3: was Thomas and Beckett, you know about Beckett.
Speaker 1: It was Zulu or whatever.
Speaker 3: And we got there, but my sister always always all
Speaker 3: had to go to the toilet halfway through the film.
Speaker 3: So everyone, yeah, I know we're getting yet always I
Speaker 3: want to go just try to look at the toilet,
Speaker 3: that's all.
Speaker 2: It was kind of there. Yeah, what about scared? What's
Speaker 2: the film that's scared? You didn't do you like being scared?
Speaker 1: Yeah? I do. The scariest film. I've got to explain
Speaker 1: the situation.
Speaker 3: Around it why it was so scary. I was I
Speaker 3: was working on a TV program many years ago in
Speaker 3: Jersey called Burger. I had a bit of time off
Speaker 3: during the day and we were we were actually stationed
Speaker 3: where we were, but the green room was was in
Speaker 3: an old cinema which was not working at the time.
Speaker 3: But we had a teley and a VHS machine there.
Speaker 3: I think it was a v machine at the time.
Speaker 1: We would have been. And they had two.
Speaker 3: Films, and the first film was it was Only Me
Speaker 3: And by the way, sitting there in a cinema, they said.
Speaker 1: The lights on or off?
Speaker 3: I turn the lights off. I watched Midnight Express. First
Speaker 3: Midnight Express, very good, excellent film, brilliant film. And then
Speaker 3: they had this other film which in the dark cinema,
Speaker 3: right on your own right, we couldn't see how fucking
Speaker 3: thing right.
Speaker 1: I put on a raz your head, oh man, that
Speaker 1: was scared the share of you.
Speaker 3: Ah no, on my own right, and I couldn't move.
Speaker 3: I couldn't even reach every ahs to turn it off.
Speaker 3: I was too scared to get out and run out
Speaker 3: of the cinema. I said there and I told this film,
Speaker 3: which I'm glad I did because it's.
Speaker 1: A fantastic move, and I got out of it. Was
Speaker 1: it's a guy out of the night. You know. It's
Speaker 1: just he's just got as going on in his mind,
Speaker 1: you know.
Speaker 3: And to be quite I've seen it again since and
Speaker 3: I got a little bit more out of it, you know,
Speaker 3: But I think that is probably the scariest film I've
Speaker 3: ever seen due to the situation I was in as.
Speaker 2: Well, you know, yeah, yeah, yeah, yeah, David Lynch made
Speaker 2: the scariest things I've ever seen for sure. I mean,
Speaker 2: very clever man, and they raise ahead I think. Now
Speaker 2: I'm older and i've seen it again, I'm like, oh,
Speaker 2: it's about he just had a baby. It's about a
Speaker 2: man terrified of he's had a baby. Yeah, and then
Speaker 2: annoyse do you know what got out of it as well?
Speaker 3: The noises in films, you know, which we don't concentrate
Speaker 3: enough on, just the atmosphere of noise and how important
Speaker 3: sound is making a movie. You know, it was quite incredible,
Speaker 3: just a clanging and the drops of water and all
Speaker 3: that kind of shit was going on.
Speaker 1: You know.
Speaker 3: It was really an atmospheric film mainly to do with
Speaker 3: the sound that was.
Speaker 1: You know, and he's just just quite standing there, flickering,
Speaker 1: you know.
Speaker 3: Yeah, yeah, I lost some weight that ye.
Speaker 2: Can I ask you acting question, which is, have you
Speaker 2: ever worked on a film where acting in it? Because
Speaker 2: there was no atmosphere, there's no sound, there's no music,
Speaker 2: there's no nothing where you thought, actually, I think this
Speaker 2: might be ship and then when you've seen the finished product,
Speaker 2: you're like, oh no, it's brilliant, like they put it
Speaker 2: together so brilliantly. But when you were feeling it, you
Speaker 2: thought it might not work.
Speaker 1: Yeah, I guess bear Wolf really, Oh yeah, I'm.
Speaker 3: Not I ever thought it was going to be shipped
Speaker 3: because you got no you had no sounds, you had
Speaker 3: no drances such. You literally were in a in a
Speaker 3: room with white walls, you know, with doctoring your head.
Speaker 3: But what it made you do as an actor, it
Speaker 3: actually made your imagination work one hundred times morning would
Speaker 3: on a normal film because you've got to see everything.
Speaker 1: Now it's not you.
Speaker 3: You're got to have it in your mind, you know.
Speaker 3: So in one way, I thought, at first, I don't
Speaker 3: know how this is going to fucking work quite, you know,
Speaker 3: and you didn't have that thing. But the great thing
Speaker 3: about it is you had all the other actors they're
Speaker 3: doing the same thing. So it was because you wouldn't
Speaker 3: do say one tape of that, you would do the
Speaker 3: whole scene, the whole scene. And it's because it's related
Speaker 3: to related cameras on there picking up all the close
Speaker 3: ups and so you're playing it in one I mean,
Speaker 3: I think we actually shot it in less than six weeks,
Speaker 3: and it took them two years from what we are
Speaker 3: working and all of that kind of stuff, and the
Speaker 3: result was quite incredible, really, you know, Yeah, yeah, yeah,
Speaker 3: it was.
Speaker 1: Yeah, I mean I had an appec it's quite fantastic.
Speaker 1: It looks all right, yeah, did you?
Speaker 2: Does he love it? This type of acting with the police.
Speaker 3: Actually, it's probably one of the most enjoyable jobs I've
Speaker 3: ever done.
Speaker 6: To be honest with you. Oh, you know you're with
Speaker 6: John Malcolm Icture, with Anthony Hopkins, you know, and the Gilts,
Speaker 6: and it was it was just just fantastic to be
Speaker 6: in that sort of company with those sort of iconic
Speaker 6: kind of acts actors, you know, and little old meat,
Speaker 6: you know, not going a bat from the Eastend.
Speaker 2: You know, you ever intimidated. You've worked with the greatest
Speaker 2: directors of all time, have you you are you ever
Speaker 2: like nervous?
Speaker 1: Yeah? Yeah, I'm not. Yeah, of course, Yeah, you get nervous.
Speaker 3: I think I'm glad I get nervous because I think
Speaker 3: that kind of gives you that little spurt, you know, intimidated, No,
Speaker 3: not so much intimidated, because they want you, They want
Speaker 3: you to be there.
Speaker 1: You know.
Speaker 3: I've worked with a couple of directors who actually I
Speaker 3: knew didn't want me on the film. You know, they're
Speaker 3: someone else in mind for the part, right and that
Speaker 3: doesn't that doesn't end well because you know they right
Speaker 3: away they made up their mind and you're not the
Speaker 3: one for the part. And you can feel that, and
Speaker 3: it does affect your performance, It affects what you do.
Speaker 3: So that's that's happened. But normally it's with people that
Speaker 3: want you there and believe in you so and that
Speaker 3: gives you the greatest confidence in the world, you know.
Speaker 2: Yeah, yeah, what about crying? Are you a crier? What's
Speaker 2: the film that made you cry the most?
Speaker 3: I've got a few nuns in the old film One
Speaker 3: of them was a film I can't remember the name of,
Speaker 3: but it was water Pidgeon in it, and it's about
Speaker 3: a guy who loses his memory. He gets right, he
Speaker 3: gets knocked down by a bus and when he's off
Speaker 3: somewhere and the woman he loves, he's forgot what she
Speaker 3: is if he married someone else, right, the woman becomes
Speaker 3: his secretary.
Speaker 1: And at the end there at this gate and his name.
Speaker 3: Is Smith Smithy and she goes Smithy Smithy and these
Speaker 3: memory comes about.
Speaker 1: I was crying. I was crying. Like the other film is,
Speaker 1: which I'll watch all.
Speaker 3: The time as well. When it comes, I can't miss it.
Speaker 3: It's this Happy Breed and it's Robert Newton, and it's
Speaker 3: about London.
Speaker 7: During before, during and half of the wars at the
Speaker 7: World War, you know, and our people's lives were and
Speaker 7: you just look back, I mean in ours is that
Speaker 7: we used to live in, you know, when I was
Speaker 7: a kid. I was born in nineteen fifty seven, so
Speaker 7: it was twelve years after the Second World War. We
Speaker 7: lived around bombed houses, you know, and there were still
Speaker 7: like bombs in the grounds, you know.
Speaker 3: And it's and so when I watched this film with
Speaker 3: a family who lived with them then and then make
Speaker 3: them next door and over the road, it's just remind
Speaker 3: as we of Britain, England, especially in London when I
Speaker 3: was a kid. And to be honest, I missed that
Speaker 3: you know, and just this thing of this family breaking
Speaker 3: up and having to move away, and it just absolutely
Speaker 3: breaks my heart. So it would be this happy breed,
Speaker 3: you know, I mean a raging book, you know. Yeah, yeah,
Speaker 3: The Raging Bulls about boxing. It's about a guy who
Speaker 3: comes from the streets. But my connection with boxing, and
Speaker 3: I understand that mentality, and me and my mate who
Speaker 3: boxed together, who are still great mates to this day.
Speaker 3: You know, we went to see it when he first
Speaker 3: come out, and we're both fighters, both ex fighters, and
Speaker 3: we're both seeing not about the violence or anything like that,
Speaker 3: but just about this means pain he's going from, you know,
Speaker 3: as a fighter and trying to express himself, you know.
Speaker 1: And so yeah, it's quite diverse films. But yeah, I
Speaker 1: get very emotional about things, you know, and oh, you.
Speaker 3: Don't always cry because you're unhappy, you know, you're quite happy.
Speaker 1: You know. I'm fine with that, you know. Yeah, it
Speaker 1: just releases a lot of things, you know. Yeah, when
Speaker 1: did you stop boxing? You were? You were you did
Speaker 1: a lot of it, right, you were praying for it.
Speaker 3: Yeah, oh yeah, it was quite a lot. But I
Speaker 3: stopped when I was about twenty two. Then I made
Speaker 3: a comeback by a couple more fights, because you get
Speaker 3: like that. You just think people love doing it. But
Speaker 3: you know, I went, I went into a ring about
Speaker 3: twenty years ago in Ireland, no the Irish Champion and
Speaker 3: when we had a.
Speaker 1: Little spark, God, I can't know, you can't. You just
Speaker 1: mustn't get that one. Yeah, yeah, yeah, all right. What
Speaker 1: is the film that you love?
Speaker 2: It is not critically acclaimed, most people don't like it,
Speaker 2: but you love it no matter what anyone says.
Speaker 3: It's a film I don't Actually it's not. He's a
Speaker 3: couple of them that I don't. We won't critically acclaimed,
Speaker 3: but I just love doing it. If you don't want
Speaker 3: me saying once tracker that I filmed in News in
Speaker 3: and I love filming the News Zealand. And it was
Speaker 3: with Ian Sharp, who was a great old friend, you know,
Speaker 3: and we went and made a film out there and
Speaker 3: I loved doing the film.
Speaker 1: I loved making the film and I think it's a
Speaker 1: really nice, good film, you know.
Speaker 3: And it didn't quickly came, but that's fine, you know,
Speaker 3: I'm pleased have done it. And the other one was
Speaker 3: a film called forty four Inch Chest with Malcolm Venville.
Speaker 1: Which love film, you know.
Speaker 3: I mean, you know, we had a lot of we
Speaker 3: were up against it on that film. A lot you know,
Speaker 3: special effects was taken away from us.
Speaker 8: You know.
Speaker 3: So there's things we're doing and it don't really get
Speaker 3: explained really that well, you know, but for a performance
Speaker 3: piece and the writing, you know, the boys that.
Speaker 1: Great writings.
Speaker 3: You know, it's when you're saying words that you really
Speaker 3: haven't got to do too much.
Speaker 1: The words are doing it, you know.
Speaker 3: And just the work with John Hurt and McShane and
Speaker 3: Ian McShane again, and you know, and and everyone that
Speaker 3: was involved in that. It was it was a great
Speaker 3: time in my life, you know, to perform, you know,
Speaker 3: So I would I would say those were the two
Speaker 3: that really didn't get particularly and probably quite so, I don't,
Speaker 3: you know.
Speaker 2: I saw a forty four inch chest at the festival,
Speaker 2: I think at the London Film Festival, and I loved
Speaker 2: it and I went to see it because it was
Speaker 2: You and the Sexy Beast writers. I love it and
Speaker 2: I think about it quite often because I like it
Speaker 2: was a really good film about masculinity, about like ego
Speaker 2: and masculinity and how he love can.
Speaker 1: Take you down a certain road as well. You know.
Speaker 3: Yeah, you know, what do we say? Love with love
Speaker 3: is love fighting for someone of his love let him go?
Speaker 3: You know, Yeah, I love you. You know, it's all
Speaker 3: that kind of shit going on. It's very lever stuff,
Speaker 3: you know.
Speaker 2: And it's quite like it's it's sort of the ending.
Speaker 2: I think it's a great film. Oh good, that's made
Speaker 2: my day love. Yeah, yeah, I think you. I think
Speaker 2: you're right to have picked that one. On the other hand,
Speaker 2: what is a film that you used to love but
Speaker 2: you have what's recently and you thought I don't know
Speaker 2: this anymore for whatever reason that moment.
Speaker 1: You know.
Speaker 3: Really, it's really because that's the one question I found,
Speaker 3: you know, I spoke to you before.
Speaker 1: I found it really difficult to actually dig one out.
Speaker 3: I think because when you've got a film in your
Speaker 3: head that you really did like, you love, it's still there,
Speaker 3: you know, it's still it's always going to be there
Speaker 3: and it's never going to go away, honestly.
Speaker 1: And I went trying to think about this.
Speaker 3: Yeah, I think I think of a film.
Speaker 1: Yeah, strange it because you think time changes things. We
Speaker 1: get I'm very nostalgia, you see.
Speaker 3: I can look back to the old films and they
Speaker 3: might be old fashioned there, but that's.
Speaker 1: Kind of what I like about them, you know, I do.
Speaker 2: Fair enough, I'm gonna let you off. What is the
Speaker 2: film that means the most to you? Not necessarily the
Speaker 2: film itself is any good, but the experience you had
Speaker 2: around seeing it will always make it special to you,
Speaker 2: very instant.
Speaker 1: There's a few. Actually it's for really funny and funny reasons.
Speaker 3: You know, I'd have to say The Raging Book, you know,
Speaker 3: meant a lot because you know, if the film was
Speaker 3: becoming something else at that time, you know, watching scors
Speaker 3: films like Me and Streets and all that kind of
Speaker 3: stuff coming through, and the difference between being an English
Speaker 3: actor film actor. We don't necessarily back in the day
Speaker 3: I'm going now, I'm much talking about today, but back
Speaker 3: then we didn't really learn what it was like to
Speaker 3: actually act on film, you know, and to bring in
Speaker 3: a movie. And so there's a lot of these guys,
Speaker 3: you know, if you look back on and back in
Speaker 3: the day when he was watching films like somebody up
Speaker 3: there likes me, Paul Newman back boxing again, but you know,
Speaker 3: it's the first time he saw Steve McQueen in the film,
Speaker 3: you know, on top of the roof of a thrick
Speaker 3: blade and out there he's a kid off the streets.
Speaker 1: And you know, you knew all.
Speaker 3: These kids came out of kind of the New York
Speaker 3: school of acting. So it was all kind of reality.
Speaker 3: It wasn't real, it was right and reality. And so
Speaker 3: you all came through that bit, and then you were
Speaker 3: watching de Niro's and the Pecies and all that being
Speaker 3: people that we knew, Oh this is this is a
Speaker 3: game changer.
Speaker 1: This is a little bit of a game changer.
Speaker 3: So I'd have to say at the time, the Raging
Speaker 3: Raging Ball was, and of course once upon a time
Speaker 3: in America, which was for me, which we'll get on
Speaker 3: to later. We're talking a bit about that they, I guess,
Speaker 3: but I'd have to say that the Raging Ball for me,
Speaker 3: there's one that changed my whole outlook on film one
Speaker 3: film only really, and that was the Tin Drum to
Speaker 3: German film.
Speaker 1: Oh, I see you how I saw that. I saw that.
Speaker 3: I was in New York and I forget what it was,
Speaker 3: it was probably about nineteen seventy nine or something, and
Speaker 3: I was walking about and there's a cinema on an
Speaker 3: arts cinema in New York and it's a film called
Speaker 3: The Tin Drum. I thought it would be about the
Speaker 3: American Civil War. It's a war film something, so I
Speaker 3: didn't know. I wasn't that art and all that kind
Speaker 3: of stuff. And I paid me my money, went in and
Speaker 3: all of a sudden it started. It's in fucking German,
Speaker 3: and I went and I got to see you. After
Speaker 3: five minutes, I stopped reading the subtitles and I knew
Speaker 3: what the film was about in the sound, you know,
Speaker 3: very much like a rasierhead, the sound and that kind
Speaker 3: and it hit me like a rasiahead hit me in
Speaker 3: a certain way where European film is more like British
Speaker 3: in a way because it's real.
Speaker 1: It's reality. But that was in a very surreal kind
Speaker 1: of way.
Speaker 3: And I think that changed my whole outlook on how
Speaker 3: films should be made.
Speaker 1: You know. It was a big changing point for me
Speaker 1: in movies.
Speaker 3: Yeah, and I watched a lot of international films since Japanese, Korean,
Speaker 3: you know, and forgot about you know, the way I
Speaker 3: look at it is that if I stopped reading the
Speaker 3: subtitles and I know it's all about, then I'll correct it.
Speaker 1: It's fine, watch.
Speaker 3: Italian movies and all that, you know, because to be
Speaker 3: honest with you, a lot of American films and ship
Speaker 3: you know, I don't want to watch it when they
Speaker 3: make it.
Speaker 1: Good, and they really do make it good, you know,
Speaker 1: they really I.
Speaker 3: Get more drawn into the European British kind of film
Speaker 3: making is I don't know, there's no redenttion, you know,
Speaker 3: it is what it is, you know, And I kind
Speaker 3: of like that.
Speaker 8: And then then I like, I see Russian films in wonderful,
Speaker 8: you know, and then you watch Korean films and you know,
Speaker 8: and you go, Jesus Christ, the value.
Speaker 3: They get out of the way they shoot Anni Morphing
Speaker 3: and make it is a movie.
Speaker 1: You're watching a movie, you know.
Speaker 3: And so for me, you know, Raising Ball for waking
Speaker 3: my eyes up and going, wow this we can we
Speaker 3: can play these scenes, we can do these things, we
Speaker 3: can play these people, and we.
Speaker 1: Can play them in a way that I'm interested in
Speaker 1: playing them.
Speaker 3: And then the drum purely for cinema and selling the store,
Speaker 3: and it doesn't matter what they're interesting.
Speaker 2: So yeah, having seen Raising Bull and going and you
Speaker 2: were saying like British people weren't taught sort of a
Speaker 2: screen a thing. Do you think you just learned it
Speaker 2: by doing it? Like, did any did you then have
Speaker 2: any did anyone help watching films?
Speaker 1: I think by watching the film.
Speaker 3: I always had this kind of idea that action is
Speaker 3: about not being seen to act, you know. I mean
Speaker 3: if Gary always said to me your women was doing right,
Speaker 3: I don't say you acting, thanks, Karen, it was it
Speaker 3: was That's that's the kind of role we was going
Speaker 3: in because you know, the sort of stuff that I
Speaker 3: like to do is very social. It's about people where
Speaker 3: you know, I know where they come from. That was
Speaker 3: a lot of my early stuff was that, So.
Speaker 1: You kind of be a kind of documentary actor in
Speaker 1: the way you'd.
Speaker 3: Be instead of like, look I'm performing now, Oh, here
Speaker 3: we go, it was more like, you know, your your
Speaker 3: performance was about not being seen. Perform ain't easy because
Speaker 3: you don't always get it right. But that's that's where
Speaker 3: I come and that came from watching The Raging Ball,
Speaker 3: probably watching Albert Finney as well as Saturday Sunday all
Speaker 3: this life.
Speaker 1: Loneliness is a long distance runner. You know.
Speaker 3: They were British films that actually came out I think
Speaker 3: in the sixties.
Speaker 1: If I'm right, like probably.
Speaker 3: Late fifties, early sixties around that time, and they were
Speaker 3: the films that kind of said to me, oh, I
Speaker 3: could do that. These guys come from where I come,
Speaker 3: maybe up north, but the working class boys.
Speaker 1: You know. So that was the kind of that was
Speaker 1: my kind of trip into it. You know.
Speaker 2: My other question for you is, given how you feel
Speaker 2: about cinema and how you see it and you can
Speaker 2: visualize it and hear it, would you ever want to direct?
Speaker 1: Do you want to direct? Have you done it?
Speaker 3: I've got some really blinded ideas, but you know, it
Speaker 3: finds me watching Gary Oldman and directors I've worked with.
Speaker 3: With the directors, is it's kind of three or four
Speaker 3: years of your life. Yeah, you know, you know the
Speaker 3: post of pre and the actually the actual filming of
Speaker 3: it is the fun, you know, and that's that's very weird.
Speaker 1: You gotta put.
Speaker 3: It and then you've got to edit it, and you've
Speaker 3: got to go out on the road, and you know,
Speaker 3: and I get Gary would love to direct again.
Speaker 1: You'd love doing direct again, but you can't afford to.
Speaker 3: You just cannot afford to four years away from doing
Speaker 3: the stuff you're doing, because you know, the living and
Speaker 3: directors don't get.
Speaker 1: The money they're in told to get anyone. Yeah, the one.
Speaker 3: Like like the writer as well as well. Yeah, I
Speaker 3: mean we've got a director on the right. You ain't
Speaker 3: got film with me, so she'd be well looked after.
Speaker 2: Well, I sort of want you to always be busy,
Speaker 2: but I'd like you to have a three year gaps.
Speaker 1: You could direct something, because it sounds like it would
Speaker 1: be interesting. As I'm getting older, I might ever go yes.
Speaker 2: All right, Oh, I can't tell you one thing about
Speaker 2: Raising Bull that I'm sure you know that.
Speaker 1: Do you know that?
Speaker 2: At the premiere of it, Jake Glmutter was there with
Speaker 2: his girlfriend of with an ex wife I think, and
Speaker 2: he cried and he turned to her after it and
Speaker 2: he said, was I really that bad?
Speaker 1: And she said you were worse?
Speaker 2: Yeah, yeah, yeah, yeah. Anyway, what is the film that
Speaker 2: you most relate to.
Speaker 3: There's a couple of them as well, which I've albably
Speaker 3: mentioned This Sporting Life, Saturday night, Sunday Morning.
Speaker 1: So it's you know, just a working guy or what
Speaker 1: do you want to do? What do you want to
Speaker 1: do your life?
Speaker 3: This is what life isn't if you're lucky enough to
Speaker 3: be working it's okay. You know, my dad works in
Speaker 3: the meat market and the fruit markets and all that
Speaker 3: on his life and then he went into only fruit shops.
Speaker 1: And then they ended up was a black cover. I
Speaker 1: come from a family grafts, you know, and they kind
Speaker 1: of let our heroes working class heroes, you know.
Speaker 3: So I'd have to say a film like Saturday Night
Speaker 3: Sunday Morre it was, you know, more or less the
Speaker 3: inspiration and you look at I'm not saying that that's
Speaker 3: my life, but yeah, it just kind of hit and know,
Speaker 3: you know, it kind of struck a call with me
Speaker 3: about you know, people have becoming very aware and what
Speaker 3: what what happens is when you start making films and
Speaker 3: you shit back and you have to look at your
Speaker 3: own life in a way and you say, well, what's
Speaker 3: stopping me from going out and being something else, being
Speaker 3: something different?
Speaker 1: You know?
Speaker 3: And if you've got the mother and dad who would
Speaker 3: like minded and help you do that and create that
Speaker 3: the possibility that you must grab it with both hands
Speaker 3: and at.
Speaker 1: Least have a cold, you know, and I'd say the
Speaker 1: film was going to do that. It'd probably be that.
Speaker 1: And looking at Waging Boys, you kin'd say, do I
Speaker 1: want that life, No, I don't you know, you don't.
Speaker 3: You know, surrounded by the violence, the gangsters and all
Speaker 3: that we played it now on film.
Speaker 1: We haven't got around it. You know.
Speaker 2: You know what sort of age was it where you
Speaker 2: were like I want to go for it, and that.
Speaker 1: I was sixteen seventeen.
Speaker 3: I think my mom and dad actually kind of moved
Speaker 3: me on because I'd probably shut my arms and done,
Speaker 3: you know, and they kind of saw a little way
Speaker 3: out for me, you know, out of what. I don't know,
Speaker 3: you know, but you know I was just like an
Speaker 3: old kid. I was out on the streets with the
Speaker 3: boys and doing with what boys do you know?
Speaker 1: And I spoke for them.
Speaker 3: It was just, you know, there was another way of life, right,
Speaker 3: you know, you don't remember it was. It was kind
Speaker 3: of a very strange, you know for kids and my
Speaker 3: age to go into drama school and want to go
Speaker 3: and be an active from where I came from. You know,
Speaker 3: it was was he one of them, you know, you know,
Speaker 3: it's quite brave with my mom and dad, or maybe
Speaker 3: they thought I was that way inclined. I don't you know,
Speaker 3: but anyway, they looked after me and they sent me
Speaker 3: off and and thank god, you know, I went on
Speaker 3: and I you know, yeah, I.
Speaker 2: Wonder if they because if you hadn't done they hadn't
Speaker 2: seen you act, right, you hadn't done like school plays
Speaker 2: or something.
Speaker 1: They just frame in the.
Speaker 3: School player, all right, So they're like, I went to
Speaker 3: school Player because there was a girl in the play
Speaker 3: that I fancied.
Speaker 1: So I thought I'll go in and do a play
Speaker 1: A closer it go.
Speaker 3: Yeah, that was was I got anyway, you know, but
Speaker 3: the players all right, and you know, people laughed and
Speaker 3: it was called one of the Detectives, and I've got good,
Speaker 3: good reviews written and all that kind of Yeah.
Speaker 1: I thought, oh, all right, Winston, what is the sexiest
Speaker 1: film you've ever seen? West Winning the Cup?
Speaker 3: I think there's a moment in one film that is very,
Speaker 3: very sexy, and it's done in such good taste. I
Speaker 3: think maybe I'm perfid.
Speaker 1: I don't know, let I know exactly what you're talking about.
Speaker 1: You know, when when you know.
Speaker 3: When she's I mean, she's a beautiful looking lady anyway,
Speaker 3: always there's been a favorite way.
Speaker 1: But when she's massaging herself.
Speaker 3: With lemons, I'm going to commit to switch. I think
Speaker 3: that was probably one of the Yeah, I mean, space
Speaker 3: posh is no good, but just you know, watch this
Speaker 3: woman do that.
Speaker 1: No, I think that's a I think that's a classic answer.
Speaker 1: I see it's a very Yeah.
Speaker 2: She's she's just finished work and she's cleaning herself with
Speaker 2: some lemons.
Speaker 1: Yeah.
Speaker 9: Absolutely, but yeah, it's yeah, yeah, there's a sub category
Speaker 9: ray and I'm almost horrified we're doing this, but troubling
Speaker 9: bone and is worrying.
Speaker 1: Why don't it's a film? I thought about it. I'm
Speaker 1: trying to think the one. I'm sure there's help us.
Speaker 1: I know we get it. I'm just trying to think.
Speaker 1: I actually, actually I actually.
Speaker 3: Worked with an extress once and on TV. Things were
Speaker 3: a really nice girl, good girl. We's ke funny and
Speaker 3: we had a little kischen and roll about on the
Speaker 3: bed and all that, and she.
Speaker 1: Said, oh my god, I got a wide one. I
Speaker 1: never heard. I never heard the staying before.
Speaker 3: Oh my god, yeah, good day.
Speaker 1: I'm just I'm trying to think. I mean, I'm quite
Speaker 1: I'm quite weird. I come from that. You know. Anyone
Speaker 1: was kissing on telling years ago.
Speaker 3: Mom and Daddy's going on the proper stuff. It was
Speaker 3: a little bit pretty conservative, an old hat in my house.
Speaker 3: You nine and a half weeks it's Mickey Rourke and
Speaker 3: he's he's But I mean that was I mean that
Speaker 3: was being on what.
Speaker 2: I mean, yeah, I mean that's shaving that.
Speaker 1: No.
Speaker 3: I think it's right, yeah, yeah, yeah, yeah. I don't
Speaker 3: know whether they can make it, but I mean it's
Speaker 3: about it. Yeah, weeks was a bit there in the mark. Yeah, probably,
Speaker 3: I probably couldn't. The other probably felt a drink for
Speaker 3: about ten minutes.
Speaker 2: All right, what is it objectively the greatest film?
Speaker 1: I've all take?
Speaker 2: This does not mean your favorite necessarily, this is what
Speaker 2: you consider to be the pinnacle of cinema.
Speaker 1: Okay, I would say once upon a time in America.
Speaker 1: I love it. I love it for me.
Speaker 3: There's so many layers in that film. You have to
Speaker 3: go back and watch it. And it's sort of there
Speaker 3: with drugs, you know, in the open. It's also to
Speaker 3: do with what might have happened, what might have been,
Speaker 3: And the telephone is so important to the film, ringing, ringing, ringing,
Speaker 3: And you watch it and it's about something that never
Speaker 3: really happened. At some point, you know, it's a man
Speaker 3: laying on a bit thinking what if what I've done
Speaker 3: it that way unless the main way he smiles at
Speaker 3: the end, you go film, you know he ain't.
Speaker 1: He's dreaming, mean about what it might be, what might happen.
Speaker 3: But then again, you watch it again, you will see
Speaker 3: something else. It's the way it shot, the music Indian
Speaker 3: morning Car directed that I think.
Speaker 2: No, I think it's okay, sorry, yes it was.
Speaker 3: And just the performances, you know, it's the perfect, perfect
Speaker 3: film that doesn't treat an audience like an idiot. It
Speaker 3: makes you think you have watched the film, and for me,
Speaker 3: that's the greatest film ever made.
Speaker 2: You know what, It's never come up on the podcast,
Speaker 2: and I'm so glad that you've said it. It's a
Speaker 2: really exceptional film, and I think you're probably right. Well,
Speaker 2: don't forget. Finally someone got it right. Yeah, okay, what
Speaker 2: is the film you could or have? What's the most
Speaker 2: over and over again, I'd.
Speaker 3: Have to say this. There's a couple, as I said,
Speaker 3: the Vikings. I love the Vikings. Kirk Douglas. Yeah, the
Speaker 3: Viking is unbelievable. The talking Bronx, it's like New Jersey accents,
Speaker 3: you know, got New Jersey, you know.
Speaker 1: How rag how Ragna has been.
Speaker 3: Yeah, it's just just a film.
Speaker 1: What I just love it.
Speaker 3: It's a bit other films, a lot the such as
Speaker 3: The Search for John Wayne is immensely this film.
Speaker 1: It's just so underwrated, isn't it? You know?
Speaker 3: And it kills me. He just got better and better
Speaker 3: and better and better as he got older. But this
Speaker 3: film he plays are big and it's you know, you're
Speaker 3: against it. This is a man who's hero and we
Speaker 3: see both sides of a story in a way. And
Speaker 3: I read the book. I don't read many books, gotta
Speaker 3: be honest with you, but reading the Book of the
Speaker 3: Searchers so brilliant. But it's very small chapters and you
Speaker 3: read it before you go to sleep at night. Didn't
Speaker 3: read another chapter. Smell of the Prairie and you hear it.
Speaker 3: You need the noises when you.
Speaker 1: Watch the film, it's like the book.
Speaker 3: It says toast the book is you're going to be
Speaker 3: a film right, and it's just incredible. You know, give
Speaker 3: them a loan, give them a loo I know the
Speaker 3: film backwards, but when it's done, got a rabbit.
Speaker 1: You just got to have it.
Speaker 3: And yeah, for me, they're the films that I would
Speaker 3: beck it. You never seen Beckett, which is Rotal Richard
Speaker 3: Burton man for a seasons. No, no, no, that's a
Speaker 3: great film memphoces.
Speaker 1: But Beckett is Peter Rotel and Richard Burton beat in
Speaker 1: two mates.
Speaker 3: One is the King of England once the arts fish
Speaker 3: and right and they it's like two geges having a rabbit,
Speaker 3: a boat, girls and things, you know, and it's it's immense,
Speaker 3: it's fantastic, historical and it is it is shocked beautifully and.
Speaker 1: It's actually superbly.
Speaker 3: I mean to the finest actors that would come out
Speaker 3: of this country who were stage actors who work on film, fantastic.
Speaker 3: No one talking about the work, who might just move
Speaker 3: probably pistol all the time, but they were fantastic. It's
Speaker 3: a film there there, They're my films that I would
Speaker 3: watch over and over again.
Speaker 2: Aside from the directors you've worked with, it seems like
Speaker 2: you've ended up working with also some of your favorite actors.
Speaker 2: Were nervous that first time working with those people that
Speaker 2: you really loved, and.
Speaker 1: Yeah, I would have been nervous, you know. But it's funny.
Speaker 3: You know, people that are usually good, I mean, it's
Speaker 3: except there are exceptions.
Speaker 1: To the rule.
Speaker 3: But people are usually really good, you knowle to work
Speaker 3: with because you know, they realized that it's got to
Speaker 3: be If there's two year in the scene, there's two year,
Speaker 3: it's got to work.
Speaker 1: So we've got to get on thing.
Speaker 9: You know.
Speaker 3: And you know, in which Shane is one of my
Speaker 3: favorites too. I love with Shane to work with.
Speaker 1: You know.
Speaker 3: There's also John. You know, we a funny old relationship being.
Speaker 3: John would argue all the time, I kind of love one.
Speaker 3: I know it, you know it was it was a
Speaker 3: good old and just thought all the all them old checks,
Speaker 3: you know. I mean, I made a film last year
Speaker 3: a guy it was a great mate onner, Johnny Harris.
Speaker 1: We made a film called jaw Bone, you know, and
Speaker 1: you know it's when you do studio films, it's he
Speaker 1: was a great defence. You know.
Speaker 3: It's it's thousands of people on a film set and
Speaker 3: you never really get to talk to anyone, know anyone.
Speaker 1: You know, you can't remember anyone's name. I don't know.
Speaker 1: You know, you've been working with his name, I don't know.
Speaker 3: But then you'll go and do something like jaw Bone
Speaker 3: where you've got forty crew or you do something which
Speaker 3: was last year a Bit of Light with Steven Moyer
Speaker 3: and you know, during COVID as well, and it was
Speaker 3: with you know, twenty five people, and you all of
Speaker 3: a sudden you're making a film again and you're talking
Speaker 3: to people and the film becomes better for it, you know,
Speaker 3: it becomes more personal, you know, and uh kind of
Speaker 3: like that. And I know when we go and do
Speaker 3: this Jimmy White film, I know that's going to be
Speaker 3: the same is We're going to have a really small
Speaker 3: crew and I'm just looking forward to that rather than
Speaker 3: being lost in this great big machine.
Speaker 1: You know, bast is fine. You know, when you turn up,
Speaker 1: you get a buzz by it. But when you go
Speaker 1: to work and you want to go work with people, know,
Speaker 1: you know.
Speaker 2: To know, I agree, Yeah, I don't think you're going
Speaker 2: to be able to answer the next question, which is,
Speaker 2: what is.
Speaker 1: The worst film you've ever seen? It's the worst film
Speaker 1: and probably my favorite film. I can answer.
Speaker 3: Answer to questions the worst film I ever saw. It
Speaker 3: is not my favorite film. I can't tell you what
Speaker 3: it's called. Harvey Cte was in it, who I love
Speaker 3: as an actor, and it was written I believed by
Speaker 3: David Memmi and it.
Speaker 1: Was that quick fire I'm talking.
Speaker 3: And I stood sett in the theater for half an
Speaker 3: hour in cinema. It's the only time I've ever worked
Speaker 3: at thoughts out on the film.
Speaker 1: I get and they're going over a beer. It was
Speaker 1: killing me.
Speaker 3: It might have been just the mood I was in, right, Yeah,
Speaker 3: I might because don't men it's a very clever writer.
Speaker 3: Oh he's a great actor, you know, and academic. It
Speaker 3: was just you know, fast talking, bust snappy, shut up
Speaker 3: from me, shut up, give me, let me give you breath,
Speaker 3: you know. And I walked out of that one the
Speaker 3: worst film ever made. Who are the best films?
Speaker 1: I love them?
Speaker 3: Death is the Sharknado film, you know, Mega Shark and
Speaker 3: Mega donand.
Speaker 1: They love them. I mean, my daughter goes, are you
Speaker 1: watching that shark mad? Yeah? They coming on look this
Speaker 1: because your fix is so appalling. It's great. It's laughing.
Speaker 3: It makes laugh, you know, there's always someone going to
Speaker 3: get eat there chopped the with platst.
Speaker 1: For and everywhere.
Speaker 3: It just gives me a smile on me FA the
Speaker 3: terrible film horrible. It's all violently, it's all horrible, but
Speaker 3: it's just makes me laugh. And so the worst films, Yeah,
Speaker 3: but the greatest films in the world watching ever laughed.
Speaker 2: Yeah, twist, twist. No one saw this coming. All right,
Speaker 2: all right, what is the film that made you laugh?
Speaker 1: The most Life of Bryan fantastic, that's the the laugh
Speaker 1: of Brian.
Speaker 3: I went with my wife, who was a good Catholic,
Speaker 3: you know, she's a good I said, we're going to
Speaker 3: go and see Monkey Pipe. This the film and you know,
Speaker 3: I mean, I like the other one when the Romans
Speaker 3: and you're fucking so. I said, we can't see the
Speaker 3: laugh of Brian and she said, what's that about? I said, religiously. Okay,
Speaker 3: so we're sitting there. She never laughed once.
Speaker 1: It was blessing us, but it was blessed for me,
Speaker 1: and this she is blessed. I was crying. I can
Speaker 1: see you. You know, it is just the business for me.
Speaker 1: That was very rude, funny. I got a bit lost
Speaker 1: when the ady come down and yeah, what's up? Get
Speaker 1: to the humor. But it was. It was hilarious, probably
Speaker 1: the funniest film while super long that.
Speaker 2: It's fucking brilliant as well. It's a really well made film. Look,
Speaker 2: it's quite moving in the end. I think, like, I
Speaker 2: really the ending is like it's profound that I think
Speaker 2: it's a fucking great filmy, Ray Winston, You're an absolute pleasure.
Speaker 2: I have loved this so much. However, when you went out,
Speaker 2: it was olive season November. You went out in the
Speaker 2: garden and you've got your olive tree, and you know,
Speaker 2: you stuck an injection in your bum to sort arris
Speaker 2: I'm ready to go. You put some adrenaline in as well.
Speaker 2: You went, I'm up for this. You climb the tree
Speaker 2: like an absolute lad. People at the bottom of the
Speaker 2: tree they were going, ok, you know, it's a big tree.
Speaker 2: Well done, and you're like, yeah, no problem at all.
Speaker 2: You're knocking down lives everywhere, olives knocking down and then
Speaker 2: you're like there's something at the end of this thing, and.
Speaker 1: Everyone in the bobs going, don't worry about it.
Speaker 2: We've got enough for olives, and you going, no, no,
Speaker 2: I got it, seriously, We're fine, we don't need this
Speaker 2: many olives.
Speaker 1: You go, I got it. You crawled out. They said
Speaker 1: it looks quite dangerous and he said, I've got it.
Speaker 1: Stop telling me what to do.
Speaker 2: And then you fell, landed on your head, broke your
Speaker 2: neck died. I'm walking past with a coffin, you know what,
Speaker 2: I'm like, and I'm said, what just happened here?
Speaker 1: I heard that?
Speaker 2: I said, Ray, Ray was just picking your olives and
Speaker 2: he went out on a branch and he's dead. And
Speaker 2: I went, oh, bloody hell, that's well.
Speaker 1: I was just sort of like, what's he doing going
Speaker 1: to the end of the branch.
Speaker 2: And they went, well, you know, we say, we did say,
Speaker 2: but you know, he was trying to prove something.
Speaker 1: I said, that's crazy. He's he's a national treasureation.
Speaker 2: Everyone respected him, they weren't respect him more because he
Speaker 2: went further out on a branch.
Speaker 1: Anyway, dead is dead. So I come along. I'm like,
Speaker 1: can you help me get in?
Speaker 2: But you're covered in our lives to chop you up
Speaker 2: into bits with a bit of an axe, everyone's gathered
Speaker 2: around chopping up into bits. We get all your bits
Speaker 2: and we stuff them in the coffin. But the coffin
Speaker 2: is absolutely round.
Speaker 1: If I live is in you there's no room in
Speaker 1: this coffin.
Speaker 2: There's only enough for slide one DVD into the side
Speaker 2: for you to take across to the other side. And
Speaker 2: on the other side it's movie night every night, and
Speaker 2: one night it's your movie night. What film are you
Speaker 2: taking to show the people of heaven, mister A. Winston
Speaker 2: when it is your movie night? The searchers excellent choice.
Speaker 2: No one else has brought it.
Speaker 3: Yeah, the searchers. It's a wonderful film. John Ford can't
Speaker 3: be best was the white shot Ali's you know, it's
Speaker 3: just incredible film that shot at the end when he's
Speaker 3: standing in the door. Yes, and I watch it every
Speaker 3: time I watch it, and I see it's a floor.
Speaker 3: It's it's flaws and films and I love and as
Speaker 3: the door shut, it's obviously someone laying on the floor,
Speaker 3: because that's technical lot we are, you know you've got,
Speaker 3: And someone's obviously pushed the ladder on the floor and
Speaker 3: then pushed the door. And the next time you're watching,
Speaker 3: you know, John standing there and the winds blowing that way,
Speaker 3: and as the door shuts, it's a little stumble there,
Speaker 3: a little crack like you watch it, right, It ain't
Speaker 3: like so it's just it's a little clo comes open.
Speaker 1: Just have a little look at it.
Speaker 3: It's a great it's real, you know, it ain't just
Speaker 3: so perfect, And yeah, I love that. It's a film
Speaker 3: for the atmosphere of it and everything I absolutely adore.
Speaker 1: Yeah, it's right.
Speaker 2: Is there anything you would like to tell people to
Speaker 2: watch out for coming up?
Speaker 1: Oh?
Speaker 3: For me, Yeah, I got I've got Damsel coming up, yeah,
Speaker 3: which is a Netflix thing with Mini Bobby Brown.
Speaker 1: Yeah, and that comes out, I believe in March, March
Speaker 1: the eighth, I think, so we got that. Yeah, I
Speaker 1: saw the trailer for that. It looks exciting. Yeah, I play.
Speaker 1: I player dad. You know, it's the lord of a
Speaker 1: part of the territory, and I play.
Speaker 3: I tried to play it in a different way and
Speaker 3: what it's written funny enough, because you know, it's like
Speaker 3: the bad guys and all that kind of stuff.
Speaker 1: I changed around being the dead, you know.
Speaker 3: And I spoke to One Caluss, the director, about it,
Speaker 3: and we sat down and the words it makes it
Speaker 3: much more interesting characters, I think, yeah and so, and
Speaker 3: just because you're doing one of those kind of films,
Speaker 3: and it doesn't mean to say you sit back and
Speaker 3: just played the part. You know, you bring your game
Speaker 3: to the table and as long as you're part of
Speaker 3: that process, in your part of making a.
Speaker 1: Movie, you know, And that's that's for me. What it's
Speaker 1: all about you're not allowed to perfect, right, it's beyond
Speaker 1: and to have done this with you. Thank you for
Speaker 1: your time. Thank you for doing this. I really enjoyed
Speaker 1: it enough because I want to find out a few things. Yeah,
Speaker 1: I mean that's the biggest thing I space. Yeah. Well,
Speaker 1: good luck with the Jimmy White. Yeah. Pleasure than you
Speaker 1: and thank you so much.
Speaker 3: So.
Speaker 2: That was episode two hundred and eighty nine. Head over
Speaker 2: to the Patreon at patreon dot com. Forward slash Brett
Speaker 2: Coldstein for the extra fifteen minutes of chat Secrets of
Speaker 2: Video with mister Ray Winston. Go to Apple Podcast give
Speaker 2: us a five star rating. But right about the film
Speaker 2: that means the most to you and why my neighbor
Speaker 2: Marian likes to read them and it always touches her,
Speaker 2: you know what I mean, She's always moved by them.
Speaker 1: So thank you for that.
Speaker 2: Thank you so much to Ray for being so wonderful.
Speaker 2: Thanks to Screbius, Pip and the Distraction Pieces of Network.
Speaker 2: Thanks to Buddy Peace for producing it. Thanks to iHeartMedia
Speaker 2: and Will Ferrell's Big Money Players Network for hosting it.
Speaker 2: Thanks to Adam Richardson for the graphics and leads to
Speaker 2: Lay them for the photography. Come and join me next
Speaker 2: week for another right banger of an episode.
Speaker 1: But that is it for now.
Speaker 2: I hope you're all well in the meantime, have a
Speaker 2: lovely week, and please, now more than ever, be excellent
Speaker 2: to each other.