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, an actor, a writer and director, a
Speaker 2: roundabout and I love films. As Taju Cole once said,
Speaker 2: cities are a collection of the stories we tell about them,
Speaker 2: which is why Gangs of New York could probably be
Speaker 2: a lot longer. Every week I invite a special guest.
Speaker 2: I tell them they've died, then I get them to
Speaker 2: discuss their life through the films that men the most
Speaker 2: of them. Previous guests include Barry Jenkins, Kevin Smith, Sharon Stone,
Speaker 2: and even Samples. But this week we have the brilliant actor, writer, poet,
Speaker 2: and award winning comedian and movie.
Speaker 1: Star mister Tim Key.
Speaker 2: All episodes of Shrinking season two are available on Apple TV.
Speaker 2: Get caught up on season one and season two. You
Speaker 2: will love it. Head over to the Patreon at patreon
Speaker 2: dot com, forward slash Brett Goldstein, where you get extra
Speaker 2: stuff with Tim, you get all sorts of other stuff,
Speaker 2: you get the whole episode adfree and does a video.
Speaker 2: Check it out over at patreon dot com forward slash
Speaker 2: Bret Gunstein so Tim Key. You might know him from
Speaker 2: Mid Morning Matters with Alan Partridge and other Alan Partridge shows.
Speaker 2: You might know him from his Skepco group Cowards, or
Speaker 2: from the film See How They Run. He is now
Speaker 2: in the film The Ballad of Wallace Island, which he
Speaker 2: co wrote with the other star of the film, Tom Basden.
Speaker 2: It's in cinemas March twenty eighth. I've seen it. It's
Speaker 2: fucking brilliant. You will love it. You should go see it.
Speaker 2: At a Lovely Time with Tim. We recorded this on
Speaker 2: Zoom a few weeks ago and I really think you're
Speaker 2: going to love this one.
Speaker 1: So that is it for now. I very much hope
Speaker 1: you enjoy episode three hundred and forty four of Films
Speaker 1: to be Buried With.
Speaker 2: Hello, and welcome to Films to be Buried With. It
Speaker 2: is I Brett Goldstein, and I'm joined today by a poet,
Speaker 2: a stand up a bather, an actor, a Alan partridga,
Speaker 2: a witch hunter.
Speaker 3: A and Hathaway leader, a movie star, a fisherman, a singer, a.
Speaker 1: A lover, voice over artist.
Speaker 2: A voiceover artist, and a award winning comedian who is
Speaker 2: also a sun Dance sensation. Ah Yes Good and a writer,
Speaker 2: a screenwriter for God's sakes, and a skeet coo. We
Speaker 2: haven't even mentioned the skeet co and a cricketer.
Speaker 4: Yeah.
Speaker 2: Most of all very good, most of all good at ball,
Speaker 2: please show.
Speaker 1: I can't believe he's here. It's been for Tim k.
Speaker 4: It's great to be here. Thanks for having me. I
Speaker 4: thought maybe you'd run out of steam when he got
Speaker 4: to Comedian, but then some of the best stuff came
Speaker 4: after that. Yeah, Sun sund Dance was a bit of
Speaker 4: a highlight after that.
Speaker 2: Yeah, Sensation. Now, typically, I've been trying to get you
Speaker 2: on the podcast for a long time, but obviously you've
Speaker 2: never wanted to do it because you don't like talking
Speaker 2: about your feelings and you know that I see through you.
Speaker 2: But you've now got a movie, an actually incredible movie
Speaker 2: that I in the full let's be let's be honest.
Speaker 2: I don't like to lie. I've seen one hour, one
Speaker 2: minute of because I only got and I can say
Speaker 2: this unequivocally unless it turns out there's a big twist
Speaker 2: at the end. I love this film. I think it's beautiful.
Speaker 2: I think it's beautifully written, beautifully performed. I think it
Speaker 2: plays to all of your strengths. You're incredibly charming in it,
Speaker 2: Tom Basin, very put upon cam manager, delightful and the
Speaker 2: direct Ah, it is class. It is so beautifully directed.
Speaker 2: It's like real masterclass, like good storytelling, very nice shots,
Speaker 2: very unobtrusive, but very lovely.
Speaker 1: I love it.
Speaker 4: Do you want to know the ending?
Speaker 2: I would have finish it's.
Speaker 4: What's going on at one hour, one minute.
Speaker 1: I don't want to spoil it. It's all got.
Speaker 2: It was like lovely, lovely, lovely, And now I don't
Speaker 2: want to spoil it for you too.
Speaker 4: The wheels are coming off.
Speaker 2: She's just revealed something we didn't know, and it's like, ah.
Speaker 4: That's a great scene. You know, very lucky to have
Speaker 4: been involved in that film. You make your own luck.
Speaker 4: But yeah, tell us how?
Speaker 1: Tell us how? Because it was a short, right, tell
Speaker 1: us the story of this film.
Speaker 4: It was a short. I don't don't know whether you
Speaker 4: saw the short or how. How far? How far into
Speaker 4: the short you managed?
Speaker 2: I saw three minutes, three seconds, and I got the
Speaker 2: gist and I thought, as long as it's not all
Speaker 2: I think, I love you.
Speaker 4: Well, yeah I was. I was a Peter at the
Speaker 4: short as well. Yeah, we just fledged it out. No
Speaker 4: the short. Mayor Basden made the short. It is a
Speaker 4: good story. Actually, well, I don't know. I still a
Speaker 4: lot to tell with stories, isn't it. But Tom Basden,
Speaker 4: who I made the film with, he did a Barclays
Speaker 4: advert for Barclay Card.
Speaker 1: Lovely fantastic.
Speaker 4: I mean, this is two thousand and seven, so very
Speaker 4: envious because he suddenly had money. I was living with him.
Speaker 4: I imagine it is, I mean, decent campaign. And then
Speaker 4: the director of the advert.
Speaker 1: Do you remember the campaign? Can you do it for me?
Speaker 4: I'll tell you what. Some of your listeners might remember
Speaker 4: this one. Some of the u UK listeners there was
Speaker 4: at the end of it he I think he's got
Speaker 4: a golf machine, a putting machine, and I think the
Speaker 4: ball spits the golf ball out and it smashes the computer,
Speaker 4: something like that. And then he writes a letter of
Speaker 4: apology and then at the end doesn't know whether to
Speaker 4: put a kiss or not to his boss. I don't
Speaker 4: know whether they sold more more more Barclay Card accounts
Speaker 4: on the back of it. But the important thing for us,
Speaker 4: what's the messaging? No, no, no, no, just classic Barclays,
Speaker 4: just being a rock solid bank. But you can't go
Speaker 4: wrong with right.
Speaker 2: So the point is, if you're with Berkeley, you've still
Speaker 2: got manners if you break something.
Speaker 4: Okay, I'm now. I think I will submit to the
Speaker 4: idea that we won't talk about the film again. So
Speaker 4: I think if we're drilling down into this advert, maybe
Speaker 4: want to enjoy it. I don't know what I'm engaging.
Speaker 1: I'm engaging, thank you.
Speaker 4: This is my theory. I shouldn't have a theory about advert.
Speaker 4: But I think what it's maybe trying to say is
Speaker 4: maybe the campaign was for insurance, and so maybe at
Speaker 4: the end he's something, maybe he's messed something.
Speaker 2: Do I have insurance? But also, yeah, I love you?
Speaker 1: Yeah?
Speaker 4: Oh maybe Yeah. I think the kiss was just satire
Speaker 4: on you know, we're all sending messages day and day out,
Speaker 4: an't we? And you never know exactly when to put
Speaker 4: a kiss. I mean you you said you were going
Speaker 4: to be five minutes late to this podcast? Yeah kiss? Maybe? Well,
Speaker 4: that was certainly what I was trying to get across.
Speaker 1: It was because it's blow Well, yeah, you said.
Speaker 4: You're going to be five minutes late, and I said
Speaker 4: kiss blowy kis blowy kiss blowy kiss blowry fine.
Speaker 2: And that made me a Lloyd's master Care Barclay's MasterCard.
Speaker 4: That's it.
Speaker 1: Anyway.
Speaker 4: The point being, Griff, who was the director of the advert,
Speaker 4: emailed Boston's agent and said, got to tell you I've
Speaker 4: just worked with your client. Lovely guy, very talented. We
Speaker 4: talked about stuff. Apparently he writes as well, I'd like
Speaker 4: to work with him again.
Speaker 1: Wow.
Speaker 4: So yeah, And so Baston was living with me at
Speaker 4: the time, so he told me this. We had an
Speaker 4: idea for a short film, and he said, why don't we, like,
Speaker 4: you know, bump it out into a little treatment, send
Speaker 4: it to him and see if he wants to make it.
Speaker 4: We did that and he said I can make this.
Speaker 4: And he had stock left over from the advert, and
Speaker 4: so they shot it on film with the stock that
Speaker 4: was left over from the Bard effort.
Speaker 1: Wow.
Speaker 4: Two thousand and seven. And that was the short which
Speaker 4: we made of this movie.
Speaker 1: And it's a long short.
Speaker 2: It's twenty three minutes, right, obviously we saw the first
Speaker 2: three minutes three seconds, So that's a lot of shock. Yeah,
Speaker 2: that's a lot's one take on this baking card that
Speaker 2: would do cut, that would do.
Speaker 4: It did feel a bit thin. It didn't seem to
Speaker 4: have got many establishing shots. There was no shot of
Speaker 4: the bank, let's put it that way. The golf ball
Speaker 4: immediately fired by the advertising agency. But now we had
Speaker 4: this short film which would become a feature film sixteen
Speaker 4: years later.
Speaker 1: Wow.
Speaker 4: Yeah, So then that film was like, we were very
Speaker 4: proud of it. I think that film would have gone
Speaker 4: down as you know, when you do interviews. For example,
Speaker 4: if I'm doing this today and I haven't made this
Speaker 4: feature film and you'd said what you're most proud of,
Speaker 4: I probably would have said, weirdly, this short we made
Speaker 4: in two thousand and seven. Probably. Yeah. We loved making that.
Speaker 4: It took like three days just on the Welsh coast.
Speaker 4: And well, you've had the same sort of thing in
Speaker 4: your you know, your job, where you kind of you're
Speaker 4: just poodling around, aren't you. Then you get he gets
Speaker 4: a little part in something where you're like wide eyed
Speaker 4: and nervous and there's like a massive TV program of
Speaker 4: film being made and you're like a tiny little person
Speaker 4: and you're just trying not to fuck it up. And
Speaker 4: then you leave and then you go, wow, there you
Speaker 4: go a little insight into what happens out there. And
Speaker 4: so this was our first one where you're like, this
Speaker 4: is mad. We wrote this thing. We now have a
Speaker 4: crew tiny, like you know, twenty five people, but still
Speaker 4: in our minds that was like loads. It wasn't just
Speaker 4: me him and the director. It is like there was
Speaker 4: people doing makeup and stuff. And so we made it.
Speaker 4: We loved it, and then it did well, that went
Speaker 4: to festivals and things, and then we got the chance
Speaker 4: to develop it into a feature. We declined and decided
Speaker 4: to write a different film about about business in China.
Speaker 4: Don't know whether you've seen that one.
Speaker 1: I don't think it was.
Speaker 4: I don't think it's definitely was made.
Speaker 1: We just.
Speaker 4: No, not really certainly, not enough left over enthusia as
Speaker 4: from the production company. Eventually we decided that well that
Speaker 4: just ended. It sort of fizzled out. Some of it
Speaker 4: was fun. I guess we got a script. The script
Speaker 4: was pretty good. But anyway, the elephant in the room
Speaker 4: is we had the chance to make a feature of
Speaker 4: this short and all three of us decided that we
Speaker 4: should do something different and go a different angle because
Speaker 4: we didn't know what the feature would be. Then sixteen
Speaker 4: years later, me and Basden in twenty twenty had a
Speaker 4: look at it again and I think we'd had like
Speaker 4: maybe let's say, six different conversations in pubs across sixteen
Speaker 4: years saying we really should do that, and then we
Speaker 4: decided this could be how it would work as a feature.
Speaker 4: And the way that it worked in the short is
Speaker 4: just me and Basden and I get him to come
Speaker 4: to my island by paying him money. I sort of
Speaker 4: could wink him. And then in the feature he also
Speaker 4: is coming with the other member of his band. They
Speaker 4: used to play together, and they used to be lovers
Speaker 4: and they used to be in love. And then it's
Speaker 4: all about me nefariously bringing them back together as a
Speaker 4: band and also as a couple. That's my I don't
Speaker 4: know what I'm trying to do, but it all goes
Speaker 4: it all goes wrong.
Speaker 2: You know, it's very charming. Here's a question I genuinely
Speaker 2: am curious about. In your shot the original short, are
Speaker 2: there any identical scenes that you redid sixteen years later?
Speaker 4: Great question, great question. This is where you earn your money, bro. Honestly,
Speaker 4: I would say that is the perfect question, Thank you, beautiful.
Speaker 4: There are yeah, I'd say maybe there's two scenes which
Speaker 4: are kind of pretty much almost shot for shot.
Speaker 2: Then here's the question as a performer. As an actor,
Speaker 2: did you find yourself like, forgive me for being sincere,
Speaker 2: just being present in the moment, or were you unconsciously
Speaker 2: trying to replicate exactly what you've done in the short
Speaker 2: having seen the short a million times and liking how
Speaker 2: that bit works.
Speaker 4: Yeah, yeah, it was very, very weird. And I remember
Speaker 4: because also because of what I just said about how affection,
Speaker 4: how much affection we have for the short. We did
Speaker 4: see it a lot of times, and me and Bazan
Speaker 4: like used to do a double act a lot.
Speaker 2: I know I saw it a lot, right, I'm like
Speaker 2: your character in the film.
Speaker 4: With and not paying me a million pounds to do this.
Speaker 1: Yeah, I don't know.
Speaker 2: We haven't talked many I could come up with.
Speaker 4: So the answer to your question is yes, but probably
Speaker 4: are like times one hundred where there's definitely one scene
Speaker 4: where there's an intonation that I use which is exactly
Speaker 4: the same, and it's not because I went back and
Speaker 4: looked deliberately, once we got green Lip to make the feature,
Speaker 4: I did not go back and look at the short
Speaker 4: again because I think that would have been made me
Speaker 4: go mad. Maybe, And you have such a complicated relationship.
Speaker 4: You don't want to drive this one by nostalgia for
Speaker 4: watching your own short film. But yeah, there's this moment
Speaker 4: where it's the same, it's not the same. We didn't
Speaker 4: shoot in the same location, so that sort of helped.
Speaker 4: But it's the same setup, the same guy directing it,
Speaker 4: it's the same sort of the same words pretty much.
Speaker 4: But then there's this one intonation which is exactly to
Speaker 4: the millimeter, exactly how I said it seventeen years before,
Speaker 4: sixteen years before. And yeah, I think we got a
Speaker 4: pretty good balance because I think if you do too
Speaker 4: much of that, then you are literally making the same
Speaker 4: thing and then adding scenes. So there's some which I
Speaker 4: think I think, if anything, we did it a little
Speaker 4: bit less than we could have done. I think we
Speaker 4: could have, but I think we were quite keen to
Speaker 4: make sure that this film had its own sort of identity,
Speaker 4: and it wasn't. Kind of I think it was like
Speaker 4: enriched by this short having existed, but I think you
Speaker 4: don't want it to be just sort of leaning on that,
Speaker 4: yeah script, Bearing in mind also we wrote that script
Speaker 4: when we were maybe like thirty yeah, yeah, twelve.
Speaker 1: Yeah, and then this one when we were like in our.
Speaker 4: Much more sort of well, let's be fair forties quite
Speaker 4: late forties.
Speaker 1: Did you know carry melligan or did you just send
Speaker 1: her the script in a center? Agent? How did that happen?
Speaker 4: This is another brilliant bit of luck where she had
Speaker 4: emailed my agent asking if I could do something for
Speaker 4: her about six or seven years ago. She wanted me
Speaker 4: to like host a charity event with a charity she's
Speaker 4: evolved with, And it was a flat eno from me.
Speaker 4: Obviously despise charity naturally, but I'm not, like, it's not
Speaker 4: really my scene to like, you have different comfort zones
Speaker 4: and one of mine isn't to host something. It would
Speaker 4: literally make me vomit, I'm afraid. And that was roughly
Speaker 4: what I replied to her with, But I said, like,
Speaker 4: I'm very grateful to be arsen all of this. Then
Speaker 4: we wrote the film. Then we had this additional main
Speaker 4: character who is going to be Basden's love interest. Then
Speaker 4: we wrote up, as you will have done in your movies,
Speaker 4: you just go. You just forget about whether they're too famous.
Speaker 4: It's a wishless you just daydream. You just go, well,
Speaker 4: who cares, Maybe we can get this person. I don't
Speaker 4: know anyway, then you're waiting for a bit of luck,
Speaker 4: which is anyway, at the top of our list was Carrie.
Speaker 4: And then I said to Griff and Tom, I mean,
Speaker 4: I've got her email, and you know, me and Basard
Speaker 4: have known her for a long time, so he's like
Speaker 4: very much in the camp of yeah, well done. Literally
Speaker 4: doesn't believe me. Would I have carry Mulligan's email, but
Speaker 4: I did have it from this incident with the charity thing,
Speaker 4: and so yeah, I just emailed her and I'd say, like,
Speaker 4: I'm pretty proud of like the writing of the film,
Speaker 4: but I think my best writing in the in this
Speaker 4: project was that email. It was very, very high quality.
Speaker 4: And then she wrote back immediately. So the bit of
Speaker 4: luck is that she wrote back saying, I mean I
Speaker 4: was just asked. I was just saying, can I send
Speaker 4: the script? Who should I send it to?
Speaker 1: Yeah?
Speaker 4: And then she said I'd love to read the script,
Speaker 4: and so she we were totally like on her radar.
Speaker 4: You never know who is watching what who you know
Speaker 4: who knows what you do, and it could have been
Speaker 4: you know, we reach out to Kerry Mulligan and that's
Speaker 4: Kerry Mulligan. Unobtainable Kerry Mulligan, who's just Carry Mulligan, and
Speaker 4: literally she can't be in your film because she's Carry Mulligan.
Speaker 4: Or you reach out and they go weirdly. There's another
Speaker 4: dimension to me, which is that I know who you are,
Speaker 4: and then you've got then you have a chance. And
Speaker 4: then of course if the script doesn't really her scene,
Speaker 4: then she'll just go, oh well look, you know, let
Speaker 4: me know if you do something else. This isn't quite
Speaker 4: for me, or more likely I'm busy whatever, but she did.
Speaker 4: She said, I'd love to do it. Let's try and
Speaker 4: make it work.
Speaker 2: Very very long, if you will, if you will host
Speaker 2: this charity thing for me.
Speaker 4: This was the thing.
Speaker 1: This was.
Speaker 4: This was well yeah, yeah, yeah, that is a line
Speaker 4: in the sound that we're not cross completely unpaid, completely unpaid.
Speaker 1: Obviously obviously ridiculous.
Speaker 4: Yeah.
Speaker 1: How long was the shoot?
Speaker 4: Twenty two days, twenty one days, whatever it was? It
Speaker 4: was not quite enough for anyone concerned. But the direct
Speaker 4: drove in particular was like, this is very very tight
Speaker 4: and it.
Speaker 1: Felt very well directed. It's really beautiful.
Speaker 4: Well that's good. I'm glad you said that's he's fantastic. Yeah,
Speaker 4: And all of that stuff is like quite difficult. You know,
Speaker 4: you make a short when you're young and then you know,
Speaker 4: we we were like we'd see each other and stuff
Speaker 4: in between. But I mean he was living in La
Speaker 4: for a bit, so you do sort of not drift
Speaker 4: but like me and baths and live in each other's
Speaker 4: pockets a bit. But we really wanted to get the
Speaker 4: you know, the original team to do it. And that's
Speaker 4: not really plain sailing always, particularly as other people getting
Speaker 4: get involved and there's more and more money or whatever.
Speaker 1: There's money and.
Speaker 4: You know, other people like to have like make decisions
Speaker 4: and things. But we were very lucky that everyone was
Speaker 4: kind of very supportive and wanted. I think also you
Speaker 4: have this sort of smoking gun of a short where
Speaker 4: people are like, I like that short. That'd be great
Speaker 4: if these people can make it. But yeah, we felt
Speaker 4: very lucky that we managed to all come through together
Speaker 4: and make it.
Speaker 1: When was it? You shot this?
Speaker 4: Shut it two summers ago? I think I love it?
Speaker 2: Yeah, question for the group two more questions? If I
Speaker 2: make this is great. I'm loving answering these questions. Okay, good, well, actually, okay,
Speaker 2: let's finished on the film.
Speaker 1: How was Sandouts? You won?
Speaker 2: Suandos? Of course you won three awards at Sundouts. You
Speaker 2: went Best Beard, Best Film, and Best sort of Blake.
Speaker 1: You went Best Blake at Sundouts. How was that.
Speaker 4: Humbling? Humbling? No, we didn't actually to refer to you
Speaker 4: when anything, but it was really you.
Speaker 2: Did get a fantastic reception. We've got an amazing reception,
Speaker 2: and you sold it.
Speaker 4: You sold it there, Okay, pretty so. But yeah, it's
Speaker 4: very strange because you make the film and then I
Speaker 4: don't know exactly you know, all of the machinations of
Speaker 4: movie making and how it ends up in Sundance or whatever,
Speaker 4: but it arrived in Sundance, and for whatever reason, I
Speaker 4: hadn't seen it. So it's kind of quite as spicy
Speaker 4: first place as it. Obviously, we'd been in edits and
Speaker 4: stuff and seen different versions, and I'd say we've seen
Speaker 4: something really really close to the finished thing, like maybe
Speaker 4: like one percent off, but that's kind of makes quite
Speaker 4: a big difference. I think the very very final screwing
Speaker 4: in of the final bolts that can make the film
Speaker 4: makes it exactly.
Speaker 1: It just suddenly makes it your movie.
Speaker 4: So I've found sun Dance incredibly surreal, very very overwhelming.
Speaker 4: And you and I again we have a lot in
Speaker 4: common in terms of we do live stuff as well.
Speaker 4: And it's funny because you start a live thing and
Speaker 4: you're just trying to work out how to do it,
Speaker 4: and you might do it in a smaller room, and
Speaker 4: then you get you gradually work out what it is
Speaker 4: and it gets better and better, and then eventually nearer
Speaker 4: the end of its life, you might be playing in
Speaker 4: quite big rooms. For me, like not impossible to play
Speaker 4: in a room like about five hundred would seem okay
Speaker 4: when I know what my show is and at the start,
Speaker 4: but I build up to it. But it's kind of
Speaker 4: weird with a movie where the first time you see
Speaker 4: it was in like a massive movie, it was crazy
Speaker 4: and all of this stuff that I'm just not used to,
Speaker 4: like all of this stuff where you're doing interviews where
Speaker 4: I actually felt really overwhelming where people were like saying
Speaker 4: they like the film. That stuff is kind of I
Speaker 4: don't know. I think maybe as you get more experience
Speaker 4: and more experienced film someone being in a film who's
Speaker 4: a bit in loads, it would sort of wash over
Speaker 4: you a bit. It is weird the first time when
Speaker 4: you think made something and some people like it, you
Speaker 4: don't know how many or whatever, and also you don't
Speaker 4: know what's real and what's not real. But then it
Speaker 4: all builds up to this premiere and then you're on
Speaker 4: a red carpet and that is so crazy because again
Speaker 4: I've been on red carpets but felt like completely like
Speaker 4: a fraud and trying not to be on the red
Speaker 4: carpet because I've got like a tiny part in the film,
Speaker 4: I think, and I haven't written the film, so I
Speaker 4: think it's stupid. And then suddenly you're in a situation
Speaker 4: where they're saying, now this film. You know you've made
Speaker 4: this film, and you're like, wow, it is mad.
Speaker 1: I guess we.
Speaker 4: Thought weirdly did. And then we sit down in the
Speaker 4: cinema and then Griff the director, says some nice stuff
Speaker 4: about the film and things, and it's full and then
Speaker 4: it starts, and then you get like the first laugh
Speaker 4: and things and the first and you realize that people
Speaker 4: are into it and they're engaged in the movie. And
Speaker 4: it's honestly, I think it will stay with me pretty
Speaker 4: much forever because it was it was a crazy feeling
Speaker 4: where you just and at the end of it, people were, Yeah,
Speaker 4: they were into the movie, I think, and you know, yeah,
Speaker 4: it's so. I guess my answer is the old pit
Speaker 4: of saying oh yeah, that's all fine. Literally, it was
Speaker 4: mind blowing moment of that weekend crazy.
Speaker 1: I'm glad to hear it.
Speaker 4: Yeah, I couldn't believe it.
Speaker 2: The thing about the red carpet stuff, it's so fucking intense,
Speaker 2: and when it's your film and you wrote it like
Speaker 2: we had it in Toronto with a film like I
Speaker 2: care so much about that film. It's the thing I'm
Speaker 2: most proud of all of you. I want you know,
Speaker 2: I want people to see it. I want to sell it.
Speaker 2: So I'm like, yes, I'll do whatever it is you
Speaker 2: tell me to do that will help this film exactly.
Speaker 1: Weird.
Speaker 2: So then you in the position normally I'm like, oh,
Speaker 2: can I do the least.
Speaker 1: Amount, but in this case, I'm like, I'll do all
Speaker 1: of it.
Speaker 2: But then you find yourself on a red carpet and
Speaker 2: you have some people who are like, tell us about
Speaker 2: the film, and tell us about image, and and and
Speaker 2: then and you're really like locked in and sincere okay,
Speaker 2: but they're still shouting and it's kind of chaos.
Speaker 1: And then you get to the next person.
Speaker 2: They're like, what's your favorite potato chip and you're like, what,
Speaker 2: what's happening here?
Speaker 1: Yeah, there's a lot of that. It was. It was
Speaker 1: very interesting.
Speaker 4: I mean, I suppose when you first start doing it,
Speaker 4: the first interview is like fresh and they can't really
Speaker 4: do anything wrong because I'm just ask him questions. It's
Speaker 4: like the fourth one where you go, oh, I see,
Speaker 4: like every single question would be more or less well done.
Speaker 1: Who are you?
Speaker 4: And then the next one, how the fun did you
Speaker 4: get carried Ulligan? Great? And then what would you do
Speaker 4: if you want the lottery? And you're like, oh, why
Speaker 4: have you asked me that? And then you think, oh,
Speaker 4: that's in the film. More and more throughout the weekend
Speaker 4: people are like, go on, then what would you do
Speaker 4: if you win the lottery?
Speaker 1: I don't know, I don't know. Yeah. Yeah.
Speaker 4: The reason the reason we made the film isn't because
Speaker 4: me and Tom Basman have like an interest in lottery,
Speaker 4: but not like like, if someone makes, you know, an
Speaker 4: important film where it's got themes and stuff, then it's
Speaker 4: totally legit. Say to the director, wow, these themes were
Speaker 4: your views on the themes? And they go, well, yeah,
Speaker 4: this theme's been in my head for a while, so
Speaker 4: I thought I'd make a movie where with this literally
Speaker 4: the guy wins the lottery at one point, and do
Speaker 4: you like? Okay, fine, I suppose if I'm going to
Speaker 4: do interviews, I should work out whether I'm going around
Speaker 4: the world or like buying a pub.
Speaker 1: What's what's your answer? You've given it some thought? Now, No,
Speaker 1: I don't know.
Speaker 4: I mean literally the answer would be. I always thought
Speaker 4: like maybe the answer would be actually making a movie. Yeah,
Speaker 4: But now I suppose once you've made the movie, you
Speaker 4: sort of think maybe there's a chance of like making
Speaker 4: another one without winning the lottery. Potentially, what would you
Speaker 4: do if you won the lottery?
Speaker 2: I'd make Yeah, I'd make a movie. I mean I
Speaker 2: like that. Neither of us are giving the money to charity, obviously, but.
Speaker 4: We'd give it back to Carry. I won't host it. Carry,
Speaker 4: but here's a million pounds a.
Speaker 1: Million pounds to thank you for doing the film. Speaking
Speaker 1: of life.
Speaker 2: I love your life stuff, love it and you the
Speaker 2: show that you won the Edinburgh Edinburgh Was it the
Speaker 2: if dot Comedy?
Speaker 1: Where did you win the Do you know what it was?
Speaker 2: The Edinburgh Comedy Award? It was unsponsored. Nice Nice only
Speaker 2: were artist?
Speaker 4: I thought if it's not being sponsored, I'll make the
Speaker 4: effort this year.
Speaker 1: Yeah.
Speaker 2: And in that show, which was one of my all
Speaker 2: time favorites, you have a bath on stage and you
Speaker 2: you do poetry and you do jokes, and at some
Speaker 2: point you get you go into the bath. You get
Speaker 2: in the bath on stage and I'm going to say
Speaker 2: this to him. I found that. I think that was
Speaker 2: a very sexy show. It was a very sensual show.
Speaker 2: I loved that show and I thought it was I guess,
Speaker 2: how do you do it? How do you learn to
Speaker 2: hold your breath?
Speaker 1: All right?
Speaker 4: Yeah, well it isn't easy actually holding your breath, but
Speaker 4: I do remember. Well, actually, I know you're you do
Speaker 4: a podcast about films, don't you.
Speaker 1: Yeah, at some point we'll probably get to the film
Speaker 1: part of it.
Speaker 4: There's definitely a movie where someone's trying to escape from
Speaker 4: some prison and he has a cigarette and he puts
Speaker 4: the cigarette on the side of the bath and then
Speaker 4: goes underwater and he's trying to train to get the
Speaker 4: cigarette to go right down to the orange bed. And
Speaker 4: that's what it's doing doing in this hotel room or
Speaker 4: not be a hostel in a prison. But you know,
Speaker 4: you get the idea. I'm surprised to Scott a bath.
Speaker 2: Maybe I'm uddling anyway, he's in the hot time.
Speaker 1: Yeah, yeah, Well.
Speaker 4: Look well I had to do two things. Had to
Speaker 4: learn how to hold my breath, so that was literally
Speaker 4: in the bath and just kind of what you have
Speaker 4: to do, weirdly is hyperventilate before you go under, so
Speaker 4: you breathe in and out really quickly, then take a
Speaker 4: huge breath in and then go under. And I had
Speaker 4: to go under I think for about maybe thirty seconds
Speaker 4: and then I think in the last bit maybe a minute.
Speaker 4: But crucially this changes the anadomee quite a lot. We
Speaker 4: also had like a oxygen cylinder in the bath.
Speaker 5: Ah right, okay, so I would sometimes use that and
Speaker 5: sometimes not, but the longer breath hold later in the
Speaker 5: show that would generally involve holding that, although there was
Speaker 5: one or two times where it was forgotten to put
Speaker 5: it in and and at that point my training came in.
Speaker 4: But also on the screen in that show, when I
Speaker 4: go into the bath, on the screen, there's like an
Speaker 4: underwater world where I kind of appear in this on
Speaker 4: screen swimming down into the bath, and that was like,
Speaker 4: that was absolutely horrific. We shot that in a in
Speaker 4: a water tank in Basingstoke. I mean, basing Stoke isn't
Speaker 4: the obviously isn't horrific, but but going on and going
Speaker 4: to this underwater tank was like, but I think one
Speaker 4: of the most hard the hardest thing I've done in
Speaker 4: my life. It's horrific with these two divers. So a
Speaker 4: diver would obviously I'm I'm in a suit, yeah, shirt
Speaker 4: and tie, and so I'd be with one of the
Speaker 4: divers with the thing in my mouth, just breathing, and
Speaker 4: then when we've said action, he would like push me out,
Speaker 4: and then I would swim across this water tank about
Speaker 4: maybe twenty feet underwater and looking for this other diver
Speaker 4: who's waving this torch which you couldn't see until you
Speaker 4: get quite close. So there's a bit where you're just like, oh, fantastic,
Speaker 4: I mean, fair player, I am going to drowne now.
Speaker 4: And then it grabbed me and then plunged the string
Speaker 4: into my mouth. Yeah, yeah, I suppose it is kind
Speaker 4: of real old school suffering for your art.
Speaker 1: It's great love it. Are you going to do a
Speaker 1: new sur.
Speaker 2: Looks like, yeah, yeah, I'm doing it in May. Great
Speaker 2: in the Soviet theater. Yeah, do you have a new
Speaker 2: stunt for it?
Speaker 4: No, I had a bath in that one, and then
Speaker 4: the next show, I had a bed with a dancer
Speaker 4: coming up the steps.
Speaker 1: That was great, yeh in bed. Yeah, it is funny, isn't.
Speaker 1: You do?
Speaker 4: Have to keep on going and making new stuff. But
Speaker 4: like it's very dangerous to look back and sort of
Speaker 4: go I love doing that. But I really did, like
Speaker 4: I had a great time doing that show just and
Speaker 4: but I guess what I'm trying to do now is
Speaker 4: each show had like one of these things. I guess
Speaker 4: it's like a Kuda tiatra. And this one I'm really
Speaker 4: really being strict to try and have nothing on stage,
Speaker 4: no screens, no nothing, and just do it with just
Speaker 4: use your words. So that's that's what I'm trying to do, right,
Speaker 4: And I think the show is now pretty much finished.
Speaker 1: I've done it quite a lot.
Speaker 4: Yeah, I think this one, this one definitely I did
Speaker 4: achieve the target of no props and no other stuff.
Speaker 4: Still music, oh, still music, and still like still poems.
Speaker 1: And things playing cards, playing.
Speaker 4: Cards, Yeah, but nothing else. I guess nothing interesting that's
Speaker 4: I've lost.
Speaker 2: Yeah, yeah, thank god him that all the stuff that
Speaker 2: you were saying you just liked. Yeah, this one's for
Speaker 2: the fans. Last question on all of this stuff. You're
Speaker 2: very excellent in the Alan Partridge stuff, Morning Matters, This Time,
Speaker 2: et cetera. I was, I think I was thinking about
Speaker 2: the other day. Keeps popping up on my reels, lots
Speaker 2: of clips of you being very funny, very subtle, very
Speaker 2: very good. I imagine that was incredibly intimidating to join
Speaker 2: that and to start with a kind of legendary figure
Speaker 2: such as Alan Partridge. How was And it seems very
Speaker 2: clear from I have no idea, but it certainly plays
Speaker 2: as if he massively respects you and thinks you're brilliant,
Speaker 2: particularly the fact that you're still part of it. I
Speaker 2: wonder how it was joining that world and how difficult
Speaker 2: it was to do in the beginning. I'm interested in
Speaker 2: the beginning of that because I imagine that scary to start.
Speaker 4: Yeah, it was. The thing is, well, watching Partridge was
Speaker 4: like very very formative. I think it's like it's sort
Speaker 4: of next level. I mean, the fact is, again you've
Speaker 4: got like almost a direct same experience in that you've
Speaker 4: worked a lot with Ricky Gierbet's and I'm sure without
Speaker 4: like putting words into your mouth, it's probably similar because
Speaker 4: it would have been crazy to have got a job
Speaker 4: where I'm working with French and Saunders or like like
Speaker 4: any amount of amazing people, Sasha Baron Cohen or something
Speaker 4: like that. But this was like the direct hit of
Speaker 4: the thing that I was watching when I was like
Speaker 4: starting to you know, just love comedy and also watching
Speaker 4: not stuff just with my family. This is like stuff
Speaker 4: where you're going to school and quoting this stuff and
Speaker 4: all of that, and so I remember when I was like,
Speaker 4: I think this stuff was coming out around the mid
Speaker 4: to early to mid nineties.
Speaker 1: This character.
Speaker 4: I mean like I used to listen to the tapes
Speaker 4: driving around Cambridgeshire with my friend Greens, and it would
Speaker 4: be like quoting these tapes of Mame knowing you, and
Speaker 4: then you sort of really were spoilt because suddenly after
Speaker 4: that you would then get the TV show would come
Speaker 4: out around about that time as well. You had the
Speaker 4: day to day and you had you know, all of
Speaker 4: those guys making this stuff and a lot of Alan
Speaker 4: Partridge stuff and then all leading up to I'm Alan Partridge,
Speaker 4: which for me, that's my favorite incomfirmation of it. So
Speaker 4: if you were to, like, you know, ask me who
Speaker 4: my favorite person is, look, I guess influential or my
Speaker 4: favorite comedian, it would be probably him and all those
Speaker 4: people around him as well, you know, you know, Doom
Speaker 4: mckeekon and Patrick Marburn, Chris Morris or all those people.
Speaker 4: So so what the question you're asking is, The answer is, yeah,
Speaker 4: it was absolutely insane. I do remember meeting him for
Speaker 4: the first time and just thinking this is completely overwhelming
Speaker 4: and sort of impossible. And that was doing a tiny
Speaker 4: part on Saxondale, and then they offered me yeah, and
Speaker 4: then they offered me this, and so you're kind of like, wow,
Speaker 4: that is this is kind of almost impossible to kind
Speaker 4: of process. And so I then obviously said yes, I'll
Speaker 4: do that, and then I went and did it for
Speaker 4: the first time. And it was shot in this tiny
Speaker 4: little radio recording studio, and the way they shoot it
Speaker 4: is just two fixed cameras, so you go in. I
Speaker 4: mean there's really no hiding because he's literally dressed as
Speaker 4: Alan Partridge and you know where you go. And so weirdly,
Speaker 4: the part in playing is kind of like a little uncomfortable,
Speaker 4: and he's been sort of dragged out of the pub
Speaker 4: to host this thing with him, and he's trying not
Speaker 4: to let the guy down, and then meanwhile, that's what's
Speaker 4: happening in my head, where I'm just like, this is crazy.
Speaker 4: I've been sort of plucked from obscurity to just be
Speaker 4: in this room with this guy. And so both my
Speaker 4: character and me are just like I've got massive, very
Speaker 4: very big, don't funck this up energy, and so it
Speaker 4: kind of made it kind of weirdly easy to perform.
Speaker 4: As in most people who say, oh, I like that
Speaker 4: you do this, I'm like, yeah, that's that's not that's
Speaker 4: not that's me, and then kind of like trying to
Speaker 4: remember that as it goes on. So like the TV one,
Speaker 4: I remember there's bits where he's walking over to me
Speaker 4: in this time and it's slightly too far and his
Speaker 4: shoes are slightly too heavy and it takes a long time,
Speaker 4: and I know what I'm doing. I'm like playing the
Speaker 4: guy who's like, fuck, I'm about to be on camera,
Speaker 4: but also that I haven't completely got rid of fuck
Speaker 4: come up out to be on camera has me, so.
Speaker 1: It's very pure before that's great.
Speaker 4: So I bet it's like you know, I would imagine
Speaker 4: that it's like what you have when you when you
Speaker 4: first started working with Ricky Gervas, where you're like very
Speaker 4: flattered to be asked and very I don't know whether
Speaker 4: you were kind of quite you know, shy, or like
Speaker 4: worried that you're.
Speaker 1: Going to.
Speaker 2: It's also like it doesn't I remember walking into Ricky's
Speaker 2: office for the first time for the audition and he
Speaker 2: was just sat at his desk and it's sort of impossible,
Speaker 2: surreal thing that this person that you have watched so much.
Speaker 2: I've watched the office a million times and there he
Speaker 2: is and he's he looks like him.
Speaker 1: It's very weird.
Speaker 4: Yeah, exactly Weirdly Steve Coogan doesn't look like Alan Partridge, right,
Speaker 4: but he was dressed as Alan Partridge because he was
Speaker 4: playing him.
Speaker 1: But but I think you're right.
Speaker 4: I think that's you get that full on as well
Speaker 4: with Ricky Gervas, because he really does look Ricky Gervays.
Speaker 4: He looks like David Brent. I mean, because David Brent
Speaker 4: isn't a sort of grotesque a wig makeup job. It's
Speaker 4: like roughly Ricky Gervas's look.
Speaker 1: Yeah, so weird lucky boys.
Speaker 4: Where we are Lucky Boys are it's really interesting to
Speaker 4: be I have found that thing. Like obviously both of
Speaker 4: us we liked too our own stuff, but to have
Speaker 4: that as a kind of thing where you it's an
Speaker 4: interesting I mean, I like the way that it's written
Speaker 4: and stuff. I love the Gibbons brothers who write it.
Speaker 4: But it is also just really interesting to kind of
Speaker 4: it's like sort of doing evening classes. That's quite and
Speaker 4: he's really interesting to work with. I think we're very different,
Speaker 4: I think in terms of how we work, probably, But
Speaker 4: when I'm watching him work, it's like it's kind of
Speaker 4: fascinating how kind of what a perfectionist he is and
Speaker 4: how he just does it again and again and again
Speaker 4: and again, and some of it's crazy where it's like
Speaker 4: making mistakes and like false starting and stuff like that.
Speaker 4: Then he'll get the take and you're like looking at
Speaker 4: him thinking, yeah, Okay, finally you've got to take. That's
Speaker 4: world class. It's really interesting.
Speaker 1: And how is it different from how you like to work.
Speaker 4: Well, let's say with the film, it's kind of a
Speaker 4: different thing where me and Tom have like worked together
Speaker 4: on stage and on radio and on screen. I guess
Speaker 4: for maybe two thousand and four, so I'd say twenty years,
Speaker 4: twenty one years, and it's always been like a kind
Speaker 4: of a shorthand that we have where we're able to
Speaker 4: kind of I guess it's much more even than me
Speaker 4: working with Steve. That's like like obviously like you're working
Speaker 4: with Steve, you're like playing in the same football team
Speaker 4: as Pele. And so the answer isn't to sort of go, well,
Speaker 4: I'll tell you what, I'll have a shot here, yea,
Speaker 4: you give it? Yeah, Whereas me and Basden are much
Speaker 4: more to sort of work a day midfielders who can
Speaker 4: just pass it to each other, we're like Shabby and Iniesta.
Speaker 4: I mean, you know, I'd take it, said it, but.
Speaker 1: But it's more of that shorthand and I've taken it.
Speaker 4: Yeah, So we we have like this kind of Yeah,
Speaker 4: it's it's much more of a kind of single organism
Speaker 4: with where we sort of come as a pair, and
Speaker 4: also the other big differences. We've written this stuff, so
Speaker 4: we have a definite idea of how it should be delivered,
Speaker 4: and we we're I mean, I think as people were
Speaker 4: like quite similar but obviously similarities and differences. I think
Speaker 4: as like a kind of sense of how things should
Speaker 4: be on set. We're about the same. I think you know.
Speaker 4: We would like to be really we're trying to be precise. Also, yeah,
Speaker 4: has to be now. We like to have like we
Speaker 4: like to know exactly what we're doing. We like to
Speaker 4: know what the script doesn't. Work really hard on the script,
Speaker 4: and then we like to be able to get that
Speaker 4: down and then have some freedom in a subsequent take.
Speaker 1: Oh, Tim, I've forgotten to tell you something.
Speaker 4: Fuck great, here we go.
Speaker 1: What is it? Well?
Speaker 2: I should have told you sooner probably, But I've really
Speaker 2: been enjoying this chat. I really loved this. But I
Speaker 2: do have to Oh God, should I just tell you?
Speaker 1: Oh? I think I know? Do I? I hope it? Well? Well,
Speaker 1: what is it? You're dead?
Speaker 4: They can't be that. Ye got to be dead guy?
Speaker 1: Dead guy, yeah, dead guy. Very enough. You've had a
Speaker 1: great life, but you are dead.
Speaker 4: I'd bite your hand off to die now at this point,
Speaker 4: I've had a good inn. Okay, Oh well, how old
Speaker 4: were you thinking I was when I died?
Speaker 1: Am I older? That's up to you. Okay, how did
Speaker 1: you die in what age? Oh?
Speaker 4: Well I did think about this? Oh good, Well I
Speaker 4: died at Oh I don't think my math is going
Speaker 4: to work. Tell you what put me down for eighty eighty? Okay, yeahray,
Speaker 4: how did you die at eighty? I actually do think
Speaker 4: I want to take a bullet.
Speaker 1: For I just want to get shot in the back
Speaker 1: of the head.
Speaker 4: I don't that's not taking a bullet.
Speaker 1: It's very much taking a bullet right the back of head.
Speaker 1: It is taking a bullet.
Speaker 4: It's not giving a bullet. Wow, you want to get
Speaker 4: shot on the back of the.
Speaker 2: Head, get it done while in the shower by fielded lover.
Speaker 1: I don't mind. Really could be a mistaken identity.
Speaker 4: Mistake of identity would be nice. It's nice to have
Speaker 4: a little bit of, you know, mystery in the old papers.
Speaker 4: You'll be in the papers when you don't. Don't worry
Speaker 4: about that.
Speaker 1: Sure, we don't know. I'm not sure.
Speaker 4: You'd have to go pretty cool. You have to go
Speaker 4: pretty quiet for about thirty years.
Speaker 1: I think.
Speaker 4: Okay, if you if you keep this up for thirty
Speaker 4: years and then you're shot in the back of the head,
Speaker 4: I think you've got a chance.
Speaker 1: This podcast, this.
Speaker 4: Podcast, if you if you could not be acting on
Speaker 4: the head, just keep doing this for thirty years.
Speaker 2: Podcast Shut in the back of the head in a shower. Yeah,
Speaker 2: I like being in anyway. That's enough about me. How
Speaker 2: you've died taking a bullet for someone? It wasn't even
Speaker 2: why not? Why not in the face wherever you're taking it.
Speaker 2: It's funny that you should immediately think in the face.
Speaker 2: It's because my face is on your screen.
Speaker 1: Possibly, I think, well, how about this in the chest
Speaker 1: in the left why not? Why not?
Speaker 4: Well, the heart is the phrase you're after. Are you
Speaker 4: still calling the left chest still.
Speaker 1: The heart of the left chest? Yeah? Question for the group.
Speaker 2: Yes, practically a bullet for Carroen mallaghan because of them.
Speaker 1: No, No, I've got.
Speaker 4: I've got two options, but the one I don't think
Speaker 4: my math is going to work. But it's good for
Speaker 4: your podcast because it brings him back to film. A
Speaker 4: certain g Horn, g Horn, g Horn, Garry Horn, huge,
Speaker 4: huge movie star.
Speaker 1: G Horn.
Speaker 4: Honestly one of my favorites.
Speaker 1: This is a very.
Speaker 4: Interesting version of a cryptic question crossword, isn't it. But
Speaker 4: the person we're looking for is g Horn. She's she's
Speaker 4: world famous. I would imagine she's one of your favorites.
Speaker 4: I would be staggered if not, only is she like
Speaker 4: one of your favorite actors. She's probably you probably were
Speaker 4: in love with her.
Speaker 1: G Horn, g Horn, Jean triple Horn.
Speaker 2: I'll give you it Goldie Horn. Oh, so I was
Speaker 2: spelling it wrong in my head. I was thinking of
Speaker 2: the old Horn. You mustn't blame yourself. You mustn't blame yourself.
Speaker 1: Doesn't I'll take that bullet back ahead right now.
Speaker 4: Well, I mean if we were in the same country,
Speaker 4: have you met have.
Speaker 1: You met Goldie? I have not met Goldie. I have
Speaker 1: worked with her daughter.
Speaker 2: In law is an amazing, amazing Yeah, Meredith Hagner, No, No.
Speaker 4: Never met either. I don't know what I do if
Speaker 4: I met Goldie. Actually I probably do. Yeah, I would exactly.
Speaker 4: I'd make sure I make sure I came with an assassin.
Speaker 4: But also she didn't worry because I'm taking my left.
Speaker 1: Wow, that's a lovely way.
Speaker 4: To Actually, I don't I mean, is it worth? I
Speaker 4: mean you don't want to sort of you don't want
Speaker 4: to set it up really this far out? But would
Speaker 4: you would you find the bullet.
Speaker 2: If if I have not been taken out? Yeah, you said,
Speaker 2: I got thirty years of podcasting before I'm dead, So
Speaker 2: I don't think the maths works out. I'm gonna have
Speaker 2: to hang on a bit longer. Question, Yes, has Goldie
Speaker 2: seen me? Or am I hiding in like the in
Speaker 2: a bush?
Speaker 4: I think you're I think you're doing the classic company.
Speaker 4: I think you're hiding in the bush.
Speaker 1: Right, So I don't get to me Goldie. I could have.
Speaker 1: I could reveal myself after after you've taken mine in
Speaker 1: the left chair.
Speaker 4: Yeah, I don't think.
Speaker 1: Is she difficult? I've never heard.
Speaker 4: It's such a bad starting point, though, isn't it where
Speaker 4: you've you've tried to take her out?
Speaker 1: Well?
Speaker 4: Oh it is, Brett.
Speaker 2: Yeah, you're right, it's not ideal. And I think her
Speaker 2: husband Cut also has guns, and I'm worried that he
Speaker 2: might shoot me. I probably got to stay hidden in
Speaker 2: the bush.
Speaker 1: I think so.
Speaker 4: I think probably for the rest of your life.
Speaker 1: Same.
Speaker 2: Okay, Oh you know what fucking circle of life is
Speaker 2: in't it? I shoot you in the bush? Russell seeks
Speaker 2: me in the back of the head. Not mistaken, I don't.
Speaker 2: There we go perfect. That is almost the definition of
Speaker 2: circle of life. You could look that up at a dictionary.
Speaker 2: That's what it would say.
Speaker 1: Do you worry about death? No?
Speaker 4: I used to think as a kid. I think I
Speaker 4: might have been obsessed with it. I think I was
Speaker 4: worried when I went to bed when I was a
Speaker 4: kid that I wouldn't wake up.
Speaker 1: Wow.
Speaker 4: There was a bit where I couldn't work out how
Speaker 4: I would know to breathe if I'm asleep.
Speaker 1: Oh my god, you put that in my head.
Speaker 4: Yeah, I don't know, but a lot of people are
Speaker 4: managing it. It's the numbers going really.
Speaker 1: Wow. So what stopped too worried about you? For worth?
Speaker 2: Statistically, I must be breathing in asleep. I must have
Speaker 2: said it. I must have said it to someone and
Speaker 2: they must have said, well done, you will care. I'm
Speaker 2: reading when you go to sleep? And then I think
Speaker 2: a fear of mortality. I think that that sort of
Speaker 2: once I sort of became, you know, a little older,
Speaker 2: I don't know that.
Speaker 1: Do you know anyone?
Speaker 4: Do you have anyone on your books who worries about death?
Speaker 5: Yes?
Speaker 2: Do you care? Absolutely? Filled with death anxiety brought her
Speaker 2: on this show for five times now. I just talked
Speaker 2: about it. She's got death anxiety.
Speaker 4: That must be hard to deal with, because if you
Speaker 4: look at the world through that prison, there's plenty going
Speaker 4: on where you think you could, you could go.
Speaker 1: Oh yeah, I mean mad that we were just walking around.
Speaker 4: I do find it really surprising that there's not more death,
Speaker 4: I really do. There's so much chaos going on in life,
Speaker 4: but everyone sort of seems to I guess because everyone
Speaker 4: takes control of their own destiny and is trying to
Speaker 4: stay alive. I suppose that's what's happening.
Speaker 1: Weird? Did you stop worrying about it?
Speaker 4: You grow out of these things asthma as.
Speaker 2: A childre no, far from it. How do you cure that?
Speaker 4: I think it is one of those it's a grow
Speaker 4: out of. Really, I think it can be a growout
Speaker 4: of just that pull yourself together, stop having That's my
Speaker 4: father again, that's doing his parenting.
Speaker 1: And it worked. He's good.
Speaker 6: He's very good. Or mental health? What do you think happens?
Speaker 6: Please tell me about it? Yeah, I will just tell
Speaker 6: you what his catchphrases, bottle it up. You'd never know
Speaker 6: that from hanging out with you.
Speaker 1: Tell me this. What do you think happens when.
Speaker 4: You got I was very open with you once on
Speaker 4: a train back from Luton. What do you think happens
Speaker 4: when you die? You?
Speaker 2: We're very open with me on a train for Luton,
Speaker 2: and then I think you felt so sick about it
Speaker 2: you said, if you ever bring that up again, I'll
Speaker 2: kill you.
Speaker 1: I'll cut you.
Speaker 4: Yeah, that sort of thing. I also think, to be
Speaker 4: completely fair to you, you said on that train, I'm
Speaker 4: thinking of starting a podcast. Would you come on it?
Speaker 1: Yeah? Really?
Speaker 2: And you said absolutely not. I don't like talking about
Speaker 2: my feelings. There's no chances that's not going to happen. Yeah,
Speaker 2: but flattered to be asked. Here we are twenty five
Speaker 2: years later.
Speaker 4: Well, I said, if you get incredibly famous, let's talk.
Speaker 1: Wake me up, Wake me up.
Speaker 2: When you've got an Emmy, it's totally worth. What happens
Speaker 2: when you die? I think nothing. I mean I do
Speaker 2: think nothing. That's the thing.
Speaker 4: I don't really think about it anymore. I think when
Speaker 4: you're scared of dying, When I was scared of dying,
Speaker 4: then I'm thinking, wells, there must be something afterwards, or
Speaker 4: you don't know you've died and you just sort of
Speaker 4: carry on, and all sorts of things will going around
Speaker 4: my head about what would happen, all of them positive.
Speaker 4: And now I think maybe when you die, I think
Speaker 4: that might be potentially that not in a bad way.
Speaker 4: I judge from your facial expression, you think there might
Speaker 4: be more to it.
Speaker 1: Well, young man, let me tell you something. You're wrong.
Speaker 1: There's a heaven and you're going.
Speaker 4: Oh, fantastic, that's good news.
Speaker 1: And it's filled with your favorite thing. What's your favorite thing? Films?
Speaker 1: Right then you'll love it there. It's all lame.
Speaker 2: It's like a blockbuster video, but with reels on actual film.
Speaker 1: Thirty five meal? Everyone wow?
Speaker 4: And is there like a shambling figure who you point
Speaker 4: to your film and they shamble over and pull it down.
Speaker 2: Yeah, carry down the reels and they've got like a trolley.
Speaker 2: They pussed the reels and they load them up and
Speaker 2: they always coffing and they cigarette in the booth.
Speaker 4: This is very interesting because I used to work at
Speaker 4: cinema and I can picture the yeah, big game, I
Speaker 4: am your perfect guest.
Speaker 1: Tell me everything. What cinema.
Speaker 4: It's called the Cambridge Picture House, an art house cinema.
Speaker 1: What did you do there?
Speaker 4: I was, you know, I don't want to sort of
Speaker 4: blow smoke up my own ass, but I was selling
Speaker 4: tickets and I was working behind the bar. I could
Speaker 4: do them both.
Speaker 1: Ever worked the projecting. No, But the guy I.
Speaker 4: Just described just just described shambling around. I think I
Speaker 4: roughly described him. He had a very long white beard.
Speaker 4: He was kind of like I would say, if anyone
Speaker 4: can be, this guy looked quite mythical. And he he
Speaker 4: was the projectionist. I don't think you could have like
Speaker 4: a twenty five year old projectionist. I'm sure there are some.
Speaker 4: I'm sure you'll have people emailing you.
Speaker 1: And saying, well well done.
Speaker 4: I am one, But I think that it felt very
Speaker 4: right that this projectionist was. I mean, basically, this guy
Speaker 4: could only really have been either a projectionist or an egged.
Speaker 1: Well, he chose the right path. I think that's.
Speaker 4: Wonder when he chose it, because you know these people,
Speaker 4: they sort of they look like they've been doing it
Speaker 4: forever as well, So those two things don't quite match up,
Speaker 4: do they.
Speaker 2: He must he was a twenty five year old projectionist,
Speaker 2: I guess, or maybe he wasn't good for a bit.
Speaker 1: Yeah.
Speaker 4: I suppose The thing that can be your through line though,
Speaker 4: is that they smoke rollies or something, and they've always
Speaker 4: done that.
Speaker 2: Do you think he was as old as film? Do
Speaker 2: you think he like was there at the beginning and
Speaker 2: followed it through well?
Speaker 4: Let's let's say I don't know how old he was,
Speaker 4: but let's say I mean he looked so mythical.
Speaker 1: Even if he was like seventy.
Speaker 4: This was two thousand and maybe four, so that would
Speaker 4: have been nineteen thirty four, early thirties. I'm sure there
Speaker 4: was films in like the twenties.
Speaker 1: One.
Speaker 4: Now you could probably tell me.
Speaker 2: Yeah, I think film is about one hundred by then,
Speaker 2: right by two thousand and four, Yeah, I think.
Speaker 1: Yeah.
Speaker 4: Do you think we'll talk about any films? What do
Speaker 4: you think is the oldest film we'll talk about? From you?
Speaker 4: Do you know what I was thinking about? Tom Basden?
Speaker 4: You know your your good friend Tom Basin love that film.
Speaker 4: I'm the godfather to his daughter.
Speaker 1: Carry on you? Wow, what have you done about that?
Speaker 4: Nothing so far? But she's only eleven?
Speaker 1: When are you going to start kicking in? Maybe? Like
Speaker 1: I guess it's got to be soon, isn't it?
Speaker 4: By her like a laptop or something?
Speaker 1: Right? Right?
Speaker 4: No, she's I don't know how old she is, probably should.
Speaker 4: I think she's probably about two or something like that.
Speaker 4: And I did buy her a pink hippo and then
Speaker 4: she left it here And then the following Christmas. I
Speaker 4: gave her that again, so she's forgotten. So it was
Speaker 4: basically a case of giving her a hippo the same
Speaker 4: hip Hoover.
Speaker 2: Well, that seems like an absolute sort of dereliction of
Speaker 2: your duties, but I appreciate it, so anyway, he and
Speaker 2: I say this with respect. So many people come on
Speaker 2: this podcast and they always go, oh, I don't know
Speaker 2: anything really about film, worried I'm too stupid, I don't
Speaker 2: know anything about film, And I go, are you talking
Speaker 2: about all films?
Speaker 1: Film?
Speaker 2: And then they'll talk about School of Rock, and they
Speaker 2: talk about just masterpiece after masterpiece. But everyone thinks that
Speaker 2: they're supposed to come on and talk about sort of
Speaker 2: French black and white, you know, impossible to get hold
Speaker 2: of films, and no one's done that except for Tom Bastard.
Speaker 1: Entirely.
Speaker 4: You must get you cook in the books. It must
Speaker 4: have had a few classics and then thrown in the
Speaker 4: odd Italian film.
Speaker 2: I think it was the most the most where I
Speaker 2: was going and thinking I haven't seen that.
Speaker 4: Did you release the film? Did you release the podcast? Yeah?
Speaker 1: Yeah, it's out there with my with my nodding lies. Yeah, yeah,
Speaker 1: of course I love.
Speaker 4: Did you educate yourself.
Speaker 1: I did. Afterwards, I looked up half of him.
Speaker 5: You know.
Speaker 1: Yeah, I'm busy. I'm busy to him.
Speaker 4: He once brought his girlfriend to the Cambridge Picture House
Speaker 4: when I was working there.
Speaker 1: Yeah.
Speaker 4: Yeah, they watched the Taiwanese film, of course they did.
Speaker 2: Did Did you two become friends at Uni?
Speaker 1: Is that where you met? You need to have forever.
Speaker 4: I was living in Cambridge and he was. He was
Speaker 4: studying there and I met him. I was I was
Speaker 4: directing him in something, a sketch show.
Speaker 1: Yeah, but you weren't.
Speaker 4: No, I was not in it. I was directing it.
Speaker 4: And then after that I identified his talent. I was
Speaker 4: an opportunist. I thought, I need I need to get
Speaker 4: involved with this guy. I need this man in my circle.
Speaker 4: And so then we started doing our sketch show shortly
Speaker 4: after that.
Speaker 1: Yeah cowards. Yeah the name of the sketch show. If
Speaker 1: you've not heard of.
Speaker 4: It, Yeah, yeah, yeah, I thought, I thought, I thought,
Speaker 4: you meant you're making movies.
Speaker 1: Wards.
Speaker 4: He's very good. He's a very good actor.
Speaker 1: That really good.
Speaker 4: He's brilliant.
Speaker 1: You both are really good.
Speaker 2: I'll tell you what is the scene the scene of
Speaker 2: the movie so far there's a scene at the kitchen table,
Speaker 2: dinner table. You are watching Carrie and Tom sing to
Speaker 2: each other. It's beautifully framed, the beautiful shot. And then
Speaker 2: there is a long shot of you just listening. Really
Speaker 2: beautiful performance too. It's a really lovely bit of acting
Speaker 2: more than watching an actor listen. You don't say anything,
Speaker 2: You're just watching in this thing and it's really beautiful.
Speaker 4: Well that's very kind. Yeah, it was interesting. That is
Speaker 4: a scene where I'm like, it is sort of again
Speaker 4: a bit like the party thing. Not much acting really,
Speaker 4: I'm just like thinking this is mad. But yeah, but
Speaker 4: they were doing it right. They were there, you were
Speaker 4: they were there. They were there, So that's and I
Speaker 4: hadn't heard them sing together before. So there was a
Speaker 4: lot of me thinking, well, two levels really, me think
Speaker 4: me and my characters are thinking fantastic, I've got the
Speaker 4: band back together and are singing. But also there's a
Speaker 4: little tranche as well of it's wild that we're making
Speaker 4: this film. Yeah, and that's mad that Boston singing with
Speaker 4: Kerry Mulligan. Yeah, there's a little bit of that in
Speaker 4: my eyes.
Speaker 2: Yeah, and directing wise, if I may, there's a shot
Speaker 2: you on this side of the screen, the two of
Speaker 2: them on the other, lit almost by candles and circles
Speaker 2: at the side of the frame.
Speaker 1: Beautiful, really, really good.
Speaker 4: I am going to forward this podcast to my director.
Speaker 4: He's going to love this.
Speaker 2: It's a real I've got a real interesting directors who
Speaker 2: like as in, he's not getting in the way of it.
Speaker 2: He's not going to look at me, look at me.
Speaker 2: But nonetheless he is doing a beautiful job and just
Speaker 2: telling the story in a very beautiful, unobtrusive way.
Speaker 1: It's great.
Speaker 4: And do you know what I would like to say
Speaker 4: about directors before we move on. Yeah, I think they've
Speaker 4: got a very interesting skill set personally where they also
Speaker 4: are the beating heart of the other whole movie when
Speaker 4: you're making it, and you really do notice that when
Speaker 4: you get a really good one, where I think it
Speaker 4: counts for a lot when all of the different departments
Speaker 4: are like they really love the director. And it was
Speaker 4: a really nice vibe on set and also stressful because
Speaker 4: you know, we don't have much time, so there are
Speaker 4: lots of kind of by it points where it could
Speaker 4: be quite difficult. But through it all he had a
Speaker 4: very good vibe where he's very good at creating the cliched,
Speaker 4: you know, family atmosphere on set. It's very interesting and
Speaker 4: you and you really notice it when it's not happening
Speaker 4: where you're like, huh, it's not good. It just doesn't
Speaker 4: work if someone knows what shots they want. But of
Speaker 4: course there's like loads of really famous directors, so people
Speaker 4: are like there and you're like, oh, well done, that's
Speaker 4: my favorite film. So actually I take it back. It
Speaker 4: really doesn't matter.
Speaker 1: Basically one could do it.
Speaker 4: Yeah. And also the shot you were talking about was
Speaker 4: a complete fluke. Anyway, carry on.
Speaker 1: On, all of you. The film that we took to Toronto.
Speaker 2: The director of that, Will Bridges, who I'd worked with forever,
Speaker 2: like in a way that we sort of joke about,
Speaker 2: he doesn't like talking about his feelings, let's say, you
Speaker 2: know what I mean. He's not a feeling openly like
Speaker 2: to talk about the stuff. And there was one day
Speaker 2: on set we were doing this scene, me and imaging,
Speaker 2: and he took it. Before we did the scene, he said,
Speaker 2: you two come for a walk with me. And this
Speaker 2: was very unusual, we didn't normally do this. And we
Speaker 2: went for a walk and he told us an incredibly personal,
Speaker 2: intimate story about him and his kids, and it was
Speaker 2: such a beautiful like and I know exactly why he
Speaker 2: did it. He did it because he wanted to put
Speaker 2: us in a certain headspace for this scene. But it
Speaker 2: was such an amazing like wow, he really read. It
Speaker 2: was like he knew for this moment he had to
Speaker 2: divulge something of himself, which he does don't like to do,
Speaker 2: and he did it, you know what I mean. It
Speaker 2: was almost like a sacrifice, Like it's a very lovely thing.
Speaker 4: It's very interesting and how one did that once or
Speaker 4: twice two. He's probably more open than the one you're
Speaker 4: than your one that you're describing, but still it's like
Speaker 4: it's very you don't want to do that lightly and
Speaker 4: you don't want to just be like a big old
Speaker 4: splurge person. It's just like a sort of emotional chaos,
Speaker 4: just just trying to get anyone to do stuff throughout
Speaker 4: if you, if you if it's sort of it's sort
Speaker 4: of occasional. I do remember the times on that shoot
Speaker 4: where he said something about his life where you're like hmm, interesting, yeah,
Speaker 4: and you can like, yeah, that was a useful bit
Speaker 4: of information and it was something that you shared for
Speaker 4: like a good reason.
Speaker 2: Yeah, all right, well you've got to have an It's
Speaker 2: filled with films and a scary old man who could
Speaker 2: be an egghead, but he's not.
Speaker 1: He's definite. The film.
Speaker 2: Very excited to see you, and he wants to talk
Speaker 2: to you about your life, but he wants to talk
Speaker 2: about it through film.
Speaker 1: Of course he does. And the first thing he asked
Speaker 1: you is, what's the first film you remember? Seeing? Timothy Keys.
Speaker 4: It's very interesting. I had a will have a mother
Speaker 4: and she she phoned, she phoned right before this, and
Speaker 4: also I got like a heads up some notes about
Speaker 4: the podcast, and one of them was like, don't mention
Speaker 4: these films because everyone does.
Speaker 2: And then it's been so long since people have mentioned
Speaker 2: the things on the list.
Speaker 4: Well I have to, because she she said, I said,
Speaker 4: what is the first film I saw? And she said, hmmm,
Speaker 4: I think it's the one about the Flying Man begins
Speaker 4: with E and I said, right at.
Speaker 2: The famous your Believer man could play.
Speaker 4: Yes, So the first film I saw was et the.
Speaker 1: Flying Man with Wow.
Speaker 2: Did you see that at the cinema?
Speaker 1: Yeah?
Speaker 4: The dates check out when we was that eighty three
Speaker 4: something like that round about the Yeah, I was I
Speaker 4: would have been like maybe I did. I think genuinely,
Speaker 4: I do think I saw Bambi before that.
Speaker 1: Jesus Christ, what double headed?
Speaker 4: Oh no, but yeah, that wasn't It wasn't a double bill.
Speaker 4: I was like Bambi was not. Bambi was released years ago.
Speaker 4: I think it was like a re release. But I
Speaker 4: think I did go and see that in the cinema.
Speaker 4: But Et is the first one I can totally remember.
Speaker 4: How were you and I would have been six, probably
Speaker 4: being totally beguiled by it, And I think I it
Speaker 4: must have been a massive movie, right. I think I
Speaker 4: remember stick stickers and like they used to have transfers
Speaker 4: and things in cereal boxes, and I think ET might
Speaker 4: have got the full might've got the full push on that.
Speaker 1: Sure, even had like a Michael Jackson audio tape? Did it? Yeah?
Speaker 1: With it where Michael Jackson telling the story of the
Speaker 1: Flying Man Et? No? Yeah, I think I had it. Wow? Yeah?
Speaker 1: Do you have brothers and sisters? Oh? God?
Speaker 6: Got a brother older, younger older and a half years Yeah.
Speaker 4: Well, I'd say, well, how do you define close? We
Speaker 4: got on very well, and we see each other.
Speaker 1: And I like the guy.
Speaker 4: Recently we've called each other a few times.
Speaker 1: Did he go to et with you? Oh? Great question,
Speaker 1: he's nine.
Speaker 4: Well, yeah, what we would have to do is do
Speaker 4: a bit of finding out when it was in the
Speaker 4: cinemas in the UK.
Speaker 2: Do we call your mom? Would you remember? I mean
Speaker 2: she she remembers the Flying the Playing Man.
Speaker 4: He remembers the Flying Man, beginning with E E T A.
Speaker 4: I would say probably we did. The only way we
Speaker 4: didn't is if he's in school and I'm not. But
Speaker 4: I'm thinking I'm in school at that point, an't I.
Speaker 4: So I'm saying this was after school or most likely
Speaker 4: someer holidays. I bet that was released in the summer.
Speaker 4: That's got to be a big summer film.
Speaker 1: Yeah, it's a big movie for.
Speaker 4: All the kids to go to in the summer holidays.
Speaker 2: Yeah, you and your brother? You and your brother open
Speaker 2: weeping in this film?
Speaker 4: I don't. Yeah, my dad wasn't this I probably would grow.
Speaker 4: I would say, well, I've watched it again since, you know,
Speaker 4: as an adult, and definitely there was some ow in
Speaker 4: that one. It's a very touching film, hopefully weeping.
Speaker 1: Yeah.
Speaker 2: Did you watch that film and think I want to fly?
Speaker 2: I want to be able to fly like that man?
Speaker 1: Oh?
Speaker 4: I think when you watch that film at six, you
Speaker 4: are I want to fly like the man beginning with
Speaker 4: the Eto, and you're also thinking I want to find
Speaker 4: an alien like the Boys, beginning with the Elliott.
Speaker 1: Yeah. Yeah.
Speaker 4: Also, of course you must have mentioned this on your podcast,
Speaker 4: the audition tape for Elliott.
Speaker 2: Yeah, yeah, I'm sure that's come up extraordinary myself.
Speaker 1: That's crazy.
Speaker 4: That is absolutely insane.
Speaker 1: When I see.
Speaker 4: Something like that, that is where you go, okay, absolutely
Speaker 4: understand that there are literally with acting, there's two types
Speaker 4: of acting. I'm not the same type of actor as
Speaker 4: the lad in that. Yeah, and I know that he's
Speaker 4: not like the usual go to example of what an
Speaker 4: amazing actor is.
Speaker 1: I know what you mean. Though, I watched.
Speaker 4: Movies and like people are like crying, people are like
Speaker 4: you know, inhabiting a character. People are doing some absolutely
Speaker 4: crazy stuff. Yeah. I think I'm I have a different
Speaker 4: sort of approach or I'm in a different path when
Speaker 4: I do acting, where it's much more trying to say,
Speaker 4: roughly roughly playing a version of myself and trying to
Speaker 4: do it where you think, yeah, roughly that's how a
Speaker 4: person would be maybe, And then you watch that audition
Speaker 4: and you're like, oh, okay, well I don't even know
Speaker 4: what he did after that.
Speaker 1: He's in some haunted hill. Great, okay, that's great. Keep
Speaker 1: up your acting, always keep he's kept it out. Yeah awful.
Speaker 2: I mean I have talked about this on the podcast
Speaker 2: too much, but I'll do it again for you. I
Speaker 2: can't bear eat. And what I mean by that is
Speaker 2: I'm not strong enough for it. The Flying Man is
Speaker 2: so upsetting to me. I remember on Trauma. It's I
Speaker 2: just remember crying so much watching it, and my dad
Speaker 2: had taken us and I think I said, why have
Speaker 2: you broadtested this? Like I was so sad. I was like,
Speaker 2: what are you doing?
Speaker 4: You must have been tiny.
Speaker 1: Well I think it was a re release.
Speaker 2: They re released right because my dad had loved it
Speaker 2: and he was like, we're gonna we're gonna go see this,
Speaker 2: and I was like, what are you doing?
Speaker 1: Why are you making us watch it? Is?
Speaker 4: There are some films that unfortunately just need to sort
Speaker 4: of work it out a bit, because that one doesn't
Speaker 4: hold back, and they could have held back a bit
Speaker 4: more and still had a lovely film, but without absolutely
Speaker 4: breaking everyone's hearts. I don't go I don't go to
Speaker 4: the cinema. My heart broken. I get enough of that
Speaker 4: down the Boozer. Really really good film. I can't argue
Speaker 4: with it when he's hiding amongst the cudly toys. Come on, relaxed.
Speaker 4: There's some levity in the film. You must you must
Speaker 4: admit that.
Speaker 1: There's a lovely bit.
Speaker 2: And there's a bit I always remember when when you
Speaker 2: think he's dead and then he's not dead and the
Speaker 2: taller brother jumps in the air and bangs his head
Speaker 2: on the ceiling. I remember thinking, well, thank god, something
Speaker 2: something fun's happened in this.
Speaker 4: Oh well, I once went to the doctor as someone
Speaker 4: and he banged his head and lose that bit.
Speaker 1: Carry on, carry on.
Speaker 2: I once went to the doctor, walked out. The doctors
Speaker 2: stabbed a window into my head. I had to walk
Speaker 2: straight back in and getst it.
Speaker 4: Yeah, that's annoying. That's a decent anecdote. That means my
Speaker 4: bit staysy.
Speaker 2: The day I went to see the Witches. Speaking of
Speaker 2: films anyway, speaking of scary.
Speaker 4: Films, Speaking of films, when a bad name for the podcasts?
Speaker 1: Would you be fed up if I started one of those,
Speaker 1: I'd come on, would you come on? I'd come on?
Speaker 1: Speaking speaking of films.
Speaker 2: It would mean a lot to me because that would
Speaker 2: mean you're endorsing it. I'd love to come on, speaking
Speaker 2: of films, what about being scared?
Speaker 1: Tim Key? Do you like being scared? This is very good. Yeah.
Speaker 4: I used to get scared. Are you talking about being scared.
Speaker 1: Of the movies?
Speaker 5: No?
Speaker 1: Not yet. We'll get to that.
Speaker 4: Yeah, Well, hang on, where else can it be scared?
Speaker 1: Yeah?
Speaker 2: Am I going to Am I going to breathe in
Speaker 2: my sleep? Is there someone in my house? Is there
Speaker 2: a ghost at the end of my bed? Am I
Speaker 2: safe in the woods? We're filming in a remote location.
Speaker 2: Does that mean it's haunted? What happens if you know?
Speaker 1: Yeah?
Speaker 4: Got it, I've got it.
Speaker 1: No, I would never would never get scared, right, but
Speaker 1: in films? Do you like it? I'll tell you what.
Speaker 1: In films?
Speaker 4: I think the period where I would like it was
Speaker 4: so so slim. I think I was so scared by
Speaker 4: films when I was small, so I couldn't really watch
Speaker 4: them because they're too scary, and then tip over into
Speaker 4: not being scared so I can watch them but then bored.
Speaker 4: You need to have the perfect Goldilocks amount of fear
Speaker 4: where you're scared, but you are still able to good
Speaker 4: to watch it.
Speaker 2: So you're not scared. You can watch a scary film
Speaker 2: there and not be scared.
Speaker 4: I think, I think, unfortunately for your podcast and for
Speaker 4: films in general, I think I do have the capacity
Speaker 4: to just move myself out of the scene by six
Speaker 4: feet and be amongst the sort of crew and the
Speaker 4: people sort of like knowing that just out of screen
Speaker 4: there's a there's a boom, so that I'm not really
Speaker 4: scared that that that that thing that has been done
Speaker 4: in post production is going to eat that lady.
Speaker 1: Yeah, I can understand that. So what is the film
Speaker 1: that's scared you? Okay?
Speaker 4: So there was a film that I watched in Yugoslavia
Speaker 4: at the former yugoslav which was in a hotel. I
Speaker 4: think it might be the first time I went to
Speaker 4: a hotel. My brother was there definitely, and they had like.
Speaker 1: A video room.
Speaker 2: What were you doing in Yugoslavia holiday holiday.
Speaker 4: For us globing Montenegro? I think it became and then
Speaker 4: and then they had like a video room and they
Speaker 4: were showing a film called April Fall's Day.
Speaker 1: Have you seen a classic? Have you seen that? Of
Speaker 1: the slasher genre? Right?
Speaker 4: Is it because I'm like, I remember watching that being
Speaker 4: so completely petrified. Bearing in mind i'm probably well probably twelve.
Speaker 4: Do you remember the plot of April fourth Day? No
Speaker 4: tell me it, please, I mean, I genuinely think. I mean,
Speaker 4: I'm ever so sorry if I've misremembered this to anyone
Speaker 4: involved in April Fall's Day. But I think it's like
Speaker 4: you're right, Slasher type film. I think they one by
Speaker 4: one they get.
Speaker 1: Picked off on April the first.
Speaker 4: Yeah, and if I'm not wrong, it turns out that
Speaker 4: no one died and it was the April Four's park.
Speaker 2: I think, yeah, I think you're I think you're right.
Speaker 2: So it's like it's come Halloween was made. They're like,
Speaker 2: we need something else. What other holidays are there? April
Speaker 2: Fall's Day? We're doing April Four's Day. One final twist,
Speaker 2: it's April Falls just like we said.
Speaker 4: Yeah, yeah, exactly. That's not a bad lift pitch. Also,
Speaker 4: always nice to have final twist in any lift pitch.
Speaker 4: I think, look, let's be fair. When you say it
Speaker 4: like that, it sounds like a decent movie.
Speaker 2: I mean, but did the twist then? Go oh, I
Speaker 2: didn't need to be scared. Everyone's fain.
Speaker 1: That's what I mean.
Speaker 4: That's what I mean. It shouldn't be you have nightmares.
Speaker 4: It should be when you go to sleep, you go ah.
Speaker 4: But none of it happened. But I think I was
Speaker 4: ready for horror films to scare me at that point.
Speaker 1: I don't know.
Speaker 4: I kind of stayed scared, probably for another few years.
Speaker 4: I think when I got a little older, Yeah, snapped
Speaker 4: out of it. I mean I sometimes have seen a
Speaker 4: horror movie and thought that's fantastic. I think, like the
Speaker 4: Blair Witch Project is insanely good, but in my opinion,
Speaker 4: but it didn't well, it's difficult not to be scared
Speaker 4: by Blair Witch Project. Just the final final twist. The
Speaker 4: final twist of the blow Witch Project is kind of crazy.
Speaker 4: It's just a moment, isn't it. Yeah, which does everything crazy.
Speaker 4: I then I think The Shining. I think I watched
Speaker 4: The Shining I was very, very scared by. So I
Speaker 4: think maybe that was that would be the one film
Speaker 4: I watched in the zone I was scared by movies
Speaker 4: and was able to sit just about watch it.
Speaker 2: So this thing of stepping six foot to the sides
Speaker 2: downing with the crew, thinking about the boom that keeps
Speaker 2: you protected from fear. Do you use that same technique
Speaker 2: with all things? It's a sad film, I don't want
Speaker 2: to cry. There's a boom over there. Oh, a funny film.
Speaker 2: I get what they're doing. There's a boom over there?
Speaker 2: Or is it? Does it only apply to horror films?
Speaker 1: Yeah? Good point.
Speaker 4: If I'm watching a comedy, do I think, oh god,
Speaker 4: I shouldn't be laughing this much? This is a film?
Speaker 1: No? I think.
Speaker 4: The thing is, when you're sad in a film, you
Speaker 4: just think great, you throw the kitchen sink at it.
Speaker 4: It means you're alive. When you're laughing at the film,
Speaker 4: you just think, okay, well that's good stuff, you know,
Speaker 4: as I'm happy scared, this is something where you're like,
Speaker 4: it's not your instinct when you're scared is to stop
Speaker 4: being scared, I think. But then, I don't really know
Speaker 4: what horror film I've seen recently where oh I'll tell
Speaker 4: you what I did see. It follows that's a horror film,
Speaker 4: isn't it that? But I don't think it's a hollow film.
Speaker 4: There's nothing in it pointless decent Final finals twist. I
Speaker 4: don't remember the final finals twist A bit follows I
Speaker 4: think fellows some else. I like it for those very much.
Speaker 4: It follows someone else probably is that a sequel?
Speaker 1: No, good for it?
Speaker 4: Yeah, I really like that film and I really really
Speaker 4: did absolutely harvest the soundtrack to use.
Speaker 1: My own shows.
Speaker 4: Oh did Yeah, really good soundtrack.
Speaker 1: Is that what you're listening to? Underwater?
Speaker 4: No, it would have been like a few years later.
Speaker 4: In the Bed, yeah, one of those. It's a brilliant soundtrack,
Speaker 4: very evocative, beautiful.
Speaker 2: The dancer in the bed in that show, she's there
Speaker 2: the whole show, just hiding in the bed.
Speaker 1: Yeah. Wow, what is most impressive?
Speaker 2: She doesn't like go when she gets up, she's been
Speaker 2: lined out for an hour.
Speaker 4: I went in that bed. Yeah, it's really really difficult
Speaker 4: to be in that bed. I mean there might be
Speaker 4: people on your who's listen to the podcast who hasn't
Speaker 4: even seen that live show. But basically it's a the
Speaker 4: way we did it. It's a mattress and we've carved
Speaker 4: out the shape of a person in the mattress, and
Speaker 4: they go into that little like coffee and I suppose yeah,
Speaker 4: and then the douvet goes over the top so it
Speaker 4: looks like a bed with no one in it, and
Speaker 4: then she just appears magically. But I went into that
Speaker 4: hollow bit and I could last in there for about
Speaker 4: maybe ninety seconds because it's so hot and with the
Speaker 4: with the theater lights as well and the douve, and
Speaker 4: she would go in there when the audience were coming in,
Speaker 4: so she would be in there before she comes out
Speaker 4: for the first time. She'd have been in there for
Speaker 4: about thirty five minutes, two minutes, and then there'd be
Speaker 4: a lighting change and she'd come out, and I would
Speaker 4: just be like staggered.
Speaker 1: Every time she was like.
Speaker 4: There would not be a pearl of sweat on her
Speaker 4: whole body. Just she'd come out this elegant, serene figure
Speaker 4: and dance and then go back in. It's crazy. She
Speaker 4: never fell asleep in there, never fell asleep. One time
Speaker 4: she came out, danced and then walked away, walked past
Speaker 4: me and out of the auditory, and I'm like, oh, okay,
Speaker 4: my dances, my dances slept she should end up back
Speaker 4: in the bed, And I'm like, off he goes. What well,
Speaker 4: I carried on doing the show, and then the next
Speaker 4: time she's supposed to appear from the bed, she just
Speaker 4: appeared at the top of the steps and then danced
Speaker 4: and went back into the bed and I was like,
Speaker 4: welln't there just had to throw up. Oh no, genuinely
Speaker 4: lying in the bed, just ill, just thinking. Okay, I
Speaker 4: guess my technique is when I come out, obviously do
Speaker 4: the dance and then if I go.
Speaker 2: Fuck game, well I here, yeah you did do what
Speaker 2: a cliffhanger. Come back next week for part two. But
Speaker 2: in the meantime, that was episode three hundred and forty four.
Speaker 2: Head over to the Patreon at patreon dot com forwards.
Speaker 2: Last Brett Goldstein for the extra video secrets and chat
Speaker 2: with Tim go chat Apple podcast. Give us a five
Speaker 2: star rating, but right about the film that means the
Speaker 2: best to you and why it's a love and think
Speaker 2: to read it.
Speaker 1: We really appreciate it. Thank you very much.
Speaker 2: Thank you to Tim for giving me his time. Thanks
Speaker 2: to Scruby's pipping the distraction, Pieces of Network. Thanks to
Speaker 2: Buddy Peace for producing it. Thanks to iHeartMedia and Wilfaw
Speaker 2: with Big Money Players Network posting it. Thanks for the
Speaker 2: graphics and needs Aladdin for the photography. Come and join
Speaker 2: me next week for part two with the brilliant Tim Key.
Speaker 2: Thank you for listening, but that is it for now.
Speaker 7: In the meantime, have a lovely week and please be
Speaker 7: excellent to each others.
Speaker 8: Back back back, backs and tacks and back by the bat,
Speaker 8: back flos and backs back back by the bass, back
Speaker 8: flos and tax by back back, back back