Speaker 1: Look out. It's only films to be buried with. Hello,
Speaker 1: and welcome to films to be buried with. My name
Speaker 1: is Brett Goldstein. I'm a comedian, an actor, a writer,
Speaker 1: a director, a tree and I love films. As Doctor
Speaker 1: Zeus once said, how did it get so late? So soon?
Speaker 1: We're nearly on episode two hundred. Does this mean we
Speaker 1: have to say goodbye? I don't want to say goodbye.
Speaker 1: Maybe I won't. Maybe I'll just take a break for
Speaker 1: a bit. We'll see I guess. Wow, that's quite a
Speaker 1: niche quote from Doctor Zeuster. I hope he's all right.
Speaker 1: Every week I invite a special guest diver. I tell
Speaker 1: them they've died. Then I get them to discuss their
Speaker 1: life through the films that meant the most of them.
Speaker 1: But this week is a very special and bang on
Speaker 1: time Films of twenty twenty one special, The End of
Speaker 1: Year Special with Nish Kumar Part one. It's too early,
Speaker 1: you say, I think we're right on time. There's also
Speaker 1: a Patreon to this podcast at patreon dot com forward
Speaker 1: Slashbreck Golstein, where you get extra long episode secrets from
Speaker 1: the guests and whole ups uncut ad free check it
Speaker 1: out over at Patreon dot com, forward Slashbreck Goalsteain. Tickets
Speaker 1: are selling fast for the big live Films to be
Speaker 1: Buried With Live at the Hackney Empire on July second.
Speaker 1: Make sure you get your tickets from Plosive dot co
Speaker 1: dot uk or Hackney Empire dot co dot UK. So
Speaker 1: here we are very much the episode you've been waiting for,
Speaker 1: me and Nis Kumar going over the films of the
Speaker 1: Year twenty twenty one. We tried to make it a
Speaker 1: tight hour obviously when over by an hour, which is
Speaker 1: why this is an hour two part. It's always a
Speaker 1: delight to talk with Nis. I loved it. I love him.
Speaker 1: You will two. So that is it for now. I
Speaker 1: hope you're all well and I very much hope you
Speaker 1: enjoy episode one hundred and ninety eight of Films to
Speaker 1: be Buried With. Hello and welcome to Films to be
Speaker 1: Buried With the end of the Year special. It is
Speaker 1: I Brett Goldstein and I am enjoined today by a
Speaker 1: man who has died, been brought back to life, died, died, died,
Speaker 1: died again. And we're not just talking about his tour.
Speaker 1: We're talking to Micma. Please r to the show, the amazing,
Speaker 1: the wonderful. He's a lovely boy and a very clever man,
Speaker 1: a very funny comedian and also a brilliant mind and
Speaker 1: someone I would love to hear their views on any subject,
Speaker 1: particularly whilst I'm on the toilet. Please run to the show.
Speaker 1: He's done. Cut, it's mister Mishkamer. Hello Brett. I enjoy
Speaker 1: the strict adherence to my Hindu beliefs that I just
Speaker 1: keep dying and coming back again on the podcast. Just
Speaker 1: keep dying and coming back again on the podcast. See
Speaker 1: it and you get better every time. And should I
Speaker 1: guess we should start by addressing the elephant in the
Speaker 1: room that it's the seventh of May twenty twenty two
Speaker 1: as we record, Is this the earliest we've done films
Speaker 1: and films of the year. We are doing the films
Speaker 1: of twenty twenty one, as you well know, I like to.
Speaker 1: I never want to make a decision at the end
Speaker 1: of the year having maybe missed a film. So it's
Speaker 1: taken this long to see all of the films of
Speaker 1: twenty twenty one. I've now seen them all, have you, Yeah,
Speaker 1: we've seen them all. I mean I think I feel
Speaker 1: at some point like the snake is going to beat
Speaker 1: yourself and eventually we'll be recording. I think to be safe,
Speaker 1: we should actually record in December for the whole previous year.
Speaker 1: That's a good that's a good idea. I mean, I
Speaker 1: think I think I've seen everything, and I'm going to
Speaker 1: be very annoyed if i havn't, because it's it's been
Speaker 1: a real effort to see him. What's it interested doing
Speaker 1: them a little bit later? Is it shows you the
Speaker 1: films that last? There were films that I was like,
Speaker 1: really really love and then you kind of think, I
Speaker 1: haven't really thought about that film. S Yes, you know
Speaker 1: what I mean. I won't name them, but like, that's
Speaker 1: an interesting thing. That probably means this list might last
Speaker 1: a bit longer. I look back at some of my
Speaker 1: lists of films of the year that I've done and
Speaker 1: I'll go like, oh, yeah, I forgot about that film,
Speaker 1: you know what I mean? It was number three on
Speaker 1: the lift. Oh yeah, I really was deeply in love
Speaker 1: with that film. I couldn't give a shit, you know
Speaker 1: what I mean. I also think that because we do
Speaker 1: them from UK release dates, sometimes you sort of look
Speaker 1: at a movie and you go, didn't that come out
Speaker 1: five years ago. Yeah, and especially because like if we
Speaker 1: do the best of twenty twenty one, I mean, we
Speaker 1: did start twenty twenty one in an absolute classic lockdown,
Speaker 1: so it sort of feels so long ago. Oh and listen,
Speaker 1: everything is chaos my new motto, Everything is chaos. The
Speaker 1: rules used to be only from released UK release date
Speaker 1: January the first to decemberthety first, and it has to
Speaker 1: have had a cinema release. I mean, now who knows
Speaker 1: what anything is. I don't know what anything is anymore.
Speaker 1: So now it's like it appeared somehow in the UK, somewhere,
Speaker 1: somehow within between January first to decembertety first. I went
Speaker 1: to see it in a dream. I went to see
Speaker 1: it within the year of twenty in the UK if
Speaker 1: you were on American Soil Dream in dunk count the
Speaker 1: film you know, my current film of twenty twenty two,
Speaker 1: mass I saw that last year, right right, right, right right, Yeah,
Speaker 1: everything is chaos, Everything is absolute chaos. Yeah, I saw
Speaker 1: liquorice Pizza last year. But also, Brett, that's because you
Speaker 1: and I increasingly are managing to black our way into
Speaker 1: early screams of things. That's true. There is that as well,
Speaker 1: we're very lucky boys. The more Emmys you win, Brett,
Speaker 1: the more free films I see, We're very lucky boys.
Speaker 1: But it doesn't make it does make this episode confusing,
Speaker 1: doesn't it? There are down bloody stuff. There are administrative issues,
Speaker 1: certainly to executing it. Now. One thing we should check
Speaker 1: in with you firstly, how is your tour? Gang? I
Speaker 1: made a joke about your tour and actually felt sick
Speaker 1: about it. It It was purely a sort of rhythm jake,
Speaker 1: and I thought, it's not my cup of tea. That's
Speaker 1: sort of joke. Actually, I'm sort of deeply filled with shame.
Speaker 1: How is your tour? Speaking of things that are deeply
Speaker 1: filled the show, let's get onto my tour. For the
Speaker 1: love of God, my tour is the UK tour is
Speaker 1: coming to an end. I've done as we record fifty
Speaker 1: one dates, I think, and there are still another ten
Speaker 1: to go. In fifty one performances of this show, how
Speaker 1: much has changed over the course of fifty one How
Speaker 1: now percentage wise? How many different words are you saying
Speaker 1: in performance fifty one? Well, this like ten minutes in
Speaker 1: the show that I kept flexible to accommodate for changing
Speaker 1: topical events and that, so that's changed sort of constantly.
Speaker 1: It's actually it's actually probably been the same for the
Speaker 1: last two weeks. That that's the first time that's happened
Speaker 1: at the tour. I was just constantly having to rewrite
Speaker 1: that bit. And then this kind of seventy seventy five
Speaker 1: minutes that is just that is pretty much steady and
Speaker 1: staying the same, you know, plus or minus the odd
Speaker 1: strange piece of audience behavior or fun piece of audience behavior.
Speaker 1: And so, yeah, and then I'm going to go and
Speaker 1: do that show. I'm doing it in America, I'm doing
Speaker 1: it in Canada, I'm doing in Australia, I'm doing it everywhere. Wow,
Speaker 1: you're doing it in Canada. I'm going to do Montreal.
Speaker 1: I don't know if I say that yet because it's
Speaker 1: not been announced, but I am doing Montreal also. Who cares.
Speaker 1: I don't think there's any This is not a Marvel
Speaker 1: movie release. This is not I'm doing an hour of
Speaker 1: it in the middle of the next Yeah, I'm doing
Speaker 1: an hour of it in the middle of the next
Speaker 1: Door film. That's the next Door film is just going
Speaker 1: to stop and I will just do my entire tour
Speaker 1: show in the middle job. I would absolutely love that.
Speaker 1: That's the sort of thing that would really shake up
Speaker 1: the universe, and it's probably near. Yeah, the multiverse of
Speaker 1: Madness would have been very strange if Doctor Stranger landed
Speaker 1: in one of the universes and it's just been him
Speaker 1: in the audience of my tor show, Lucky Doctor Strange.
Speaker 1: I say, now, the thing we need to check in
Speaker 1: on your year twenty twenty one is I think I
Speaker 1: could be wrong, but you've been on the podcast many
Speaker 1: times in every time you threatened to have therapy and
Speaker 1: never do have you. Well, I've got such sensational news
Speaker 1: for you. I have started therapy. I'm very proud of you.
Speaker 1: How is it going. It's going very well, Brett. It's
Speaker 1: been It's been a very useful. It's been a very
Speaker 1: useful process for me. I had a bit of the
Speaker 1: old PTSD to some name drop, sorry to drop, sorry
Speaker 1: to drop a name so early at the podcast Clang,
Speaker 1: But I've had a bit of the old PTSD and
Speaker 1: been off with some em clang. Ever hear pras cbt
Speaker 1: bong I it says that was doing very well. It
Speaker 1: was yeah, it was some you know, some residual leftover
Speaker 1: problems from some some death threats, and some some fallout
Speaker 1: from you know, some press, some unwanted press attention. But
Speaker 1: the process has been great. I'm embarrassed, of course that
Speaker 1: it took me this long to do it, and I
Speaker 1: should also acknowledge the fact that my my girlfriend and
Speaker 1: dear partner, Amy in it, was very correct in suggesting
Speaker 1: that I have it many years ago, and I do
Speaker 1: buy do delight in saying, boy, it's great. The Brett
Speaker 1: finally convinced me to go to therapy. Isn't it great?
Speaker 1: The Bret and Bread alone came up with the idea
Speaker 1: for me to take care of my mental health? Yeah?
Speaker 1: That guy is That guy is as generous and as
Speaker 1: knowledgeable as he is handsome. Yeah. Yeah. The reason it's frustrating,
Speaker 1: well for all of you, but the reason it's very
Speaker 1: frustrating for Amy is because Amy sort said at the
Speaker 1: start of the process of me getting written about the papers,
Speaker 1: and particularly with the sort of political and racial undertones
Speaker 1: of some of the writing, wouldn't it be useful if
Speaker 1: you did this preemptively? And that is just that is
Speaker 1: not the Kumar family crest, which is the Kumar family
Speaker 1: motto is why not wait? Until things get absolutely awful,
Speaker 1: and the family Crest is just four people sat in
Speaker 1: a house on fire, sipping tea, Yeah, sipping tea and
Speaker 1: waiting for the flames to start actively singing before they
Speaker 1: do anything productive about it. But it's you know, it's
Speaker 1: been a great and fantastic process, and actually it's an
Speaker 1: interesting thing to examine why I was so resistant to it.
Speaker 1: And it's been an interesting thing in terms of how
Speaker 1: it relates to me doing comedy, Like in a lot
Speaker 1: of ways actually helped me in terms of, you know,
Speaker 1: how I work on stage, But most importantly, it has
Speaker 1: sort of sorted out some of my some of the
Speaker 1: old personal issues that I was having, And it's an
Speaker 1: ongoing process. Can I ask how it affects you on stage,
Speaker 1: how it's changed your comedy? What do you mean by
Speaker 1: that sort of just I'm actually able to do so
Speaker 1: the show that I'm doing is the most personal show
Speaker 1: I've ever done, and I think I'm only really able
Speaker 1: to talk about some of the issues around it because
Speaker 1: I have some perspective on them. I think it's I
Speaker 1: think there's an idea sometimes when people talk about stand
Speaker 1: up comedy that it's like I think it's largely because
Speaker 1: the way that sat up comedy is depicted in popular culture.
Speaker 1: If somebody goes, oh my god, I'm just feeling so depressed,
Speaker 1: and then they go on stage and they say I'm depressed,
Speaker 1: and the audience goes, best comedy ever, Whereas in real life,
Speaker 1: if you walked out in front of an audience and
Speaker 1: said I'm depressed and then offered no punchline, someone would
Speaker 1: rightly find the Samaritans. Yeah, you know, like it's it's
Speaker 1: you have to have some you have to be talking
Speaker 1: about things that you have some sense of perspective on
Speaker 1: to tag a joke on the end of it. I
Speaker 1: think you're giving a lot of credit to audiences in
Speaker 1: clums I think if someone came on and said I'm
Speaker 1: depressed and said having someone would just go get off
Speaker 1: the stage. Yeah yeah, yeah, yeah, yeah yeah yeah yeah.
Speaker 1: They're just a bottle of men. Yeah, stop bringing us down.
Speaker 1: And how is your year, Brett Emmy Award winner another
Speaker 1: like fifty Awards, sag, Sag, you won the Saggiest Boobs Award, Bretts,
Speaker 1: I got Saggiest Boobs in Entertainment, swizzing on it. It's
Speaker 1: huge on it. And but what what a mad listen
Speaker 1: if I maybe earnest for a moment. Brett, I'm so
Speaker 1: very proud of you found I found it, I found you.
Speaker 1: Emmy speech genuinely moving. Well, thank you this. That's very
Speaker 1: kind of you to say, and I'm very grateful. Oh
Speaker 1: I've forgotten to tell you something. He's moving on. He
Speaker 1: can't talk about his success. You've died. You're dead. You're
Speaker 1: dead again, He's dead. I just killed you. How did
Speaker 1: you die? I can't remember how I've died before. I
Speaker 1: think like heart attack, bread, roll to the face, crossing
Speaker 1: a road whilst listening to podcast. I can't remember all
Speaker 1: of That's right, that's that sounds about right. How are
Speaker 1: you doing this tone by my hands when you're trying
Speaker 1: to say nice things about me? Yeah, yeah, that's it.
Speaker 1: That's what I died. Yeah, Brett choked me to death
Speaker 1: while I was trying to compliment him on his every win.
Speaker 1: Good death. Actually, so here we are to talk about
Speaker 1: the films of the year. So what I've done is
Speaker 1: sort of I'm not going to ask all the questions.
Speaker 1: Some of the questions we'll see how we go, but
Speaker 1: we're kind of going to make it. We're going to
Speaker 1: do some questions, we'll answer them each and then at
Speaker 1: the end we'll do our top ten. Yeah, that's the
Speaker 1: general format in it. And you know what we're going
Speaker 1: to try and do this time, Bret, which you're going
Speaker 1: to try and keep it to one part as opposed
Speaker 1: to last year one which spilled over into atoll like
Speaker 1: Godfather trilogy length. So let's make this an acceptable listening
Speaker 1: experience rather than the marathon. Strap on your colostomy bags, everyone.
Speaker 1: I mean, it's a podcast. You could just take a
Speaker 1: ship and pits while you're listening to it. I don't
Speaker 1: know why you've chosen to do that, but strap amm,
Speaker 1: here we go. What was the first film you saw
Speaker 1: in twenty twenty one? This Kuma the first film I
Speaker 1: saw in twenty twenty one. I was watching in my
Speaker 1: house because we were in the lockdown. And it was
Speaker 1: One Night in Miami film that was adapted by Kemp
Speaker 1: Powers from his own play, and it's about as an
Speaker 1: a fictionalized account of a night in a hotel room
Speaker 1: after Muhammad Ali won the heavyweight title after we beat
Speaker 1: Sunny List in the first time. And it's Muhammad Ali,
Speaker 1: Malcolm X, Sam Cook and Jim Brown and it's this
Speaker 1: sort of alliance of sport, culture and politics and these
Speaker 1: four people that had a very very significant imprint on
Speaker 1: culture and politics, particularly from an African American perspective, and
Speaker 1: I enjoyed it. I think that it's I think that
Speaker 1: it's always these kind of these sort of fictionalized imaginings
Speaker 1: can sometimes feel a bit empty because you sort of go, well,
Speaker 1: at the end of the day and how much of this,
Speaker 1: what's the point if none of this happened, and it's
Speaker 1: all pure speculation. But I think that the writing managed
Speaker 1: to take in a lot of the kind of social,
Speaker 1: political and racial issues but deliver them in a way
Speaker 1: that I think felt organic to the characters in the
Speaker 1: in the film. And I thought the performances were great.
Speaker 1: I mean, particularly Leslie Odam as Sam Kirk. I thought
Speaker 1: was just absolutely great. And it is kind of responsible
Speaker 1: for the sort of standout sequence which is a kind
Speaker 1: of a memory Malcolm X has of watching him seeing
Speaker 1: Chain Gang when the electrics in the venue has gone down,
Speaker 1: and for something that is quite you know, is a
Speaker 1: theatrical adaptation, I thought there's a really nice like cinematic
Speaker 1: flourish to have in the middle of the film. That's true.
Speaker 1: The film, it's Fixing the Last as in I think
Speaker 1: this is right. We don't know what they said, but
Speaker 1: they did, they said they were they were all together. Yeah. Yeah.
Speaker 1: There are very very famous photos which which Malcolm X took,
Speaker 1: and there's some photos that Malcolm X is in in
Speaker 1: this kind of milkshake bar that that they were in
Speaker 1: and they had to go to Miami because they the
Speaker 1: fight had happened in a place that was segregated, and
Speaker 1: so they kind of gone gone out afterwards, and so
Speaker 1: we do know that these these people were together that night.
Speaker 1: I think it's great and Kingsley benderds fucking great in it,
Speaker 1: and yeah, I really think he was sort of overlooked
Speaker 1: in the awards, and it's always it's because he was quiet.
Speaker 1: It's always quiet performances that get overlooked, and it's like
Speaker 1: he's being fucking brilliant. He's just not He doesn't have
Speaker 1: a big shouted speech like that. Yeah yeah, yeah, yeah,
Speaker 1: so good in it. Anyway, I like that film. My
Speaker 1: answer is I believe the first film I saw that
Speaker 1: year was Promising Young Woman, Ah very nice, the great
Speaker 1: and brilliant Emerald Fanelle, and I loved this film I
Speaker 1: think it's fucking brilliant, and I think when I saw it,
Speaker 1: I was like, what's interesting about that film is it
Speaker 1: kind of became quite controversial. People turned against There was
Speaker 1: real mixed lots of people not like it, and I
Speaker 1: felt like it was entirely that thing that happens where something.
Speaker 1: It was almost like an Edinburgh show in that it
Speaker 1: started as this small film, it's a small fish that
Speaker 1: was coming from nowhere, and then it became very big
Speaker 1: film and people were saying it's the greatest film ever.
Speaker 1: And then I think people then have a million hot takes,
Speaker 1: and I was sort of annoyed by that because I
Speaker 1: was like, this is a really good film, and I
Speaker 1: kept comparing it too. It's not the same, but in
Speaker 1: terms of get Out, I kept comparing it to get
Speaker 1: Out in that it is a film about something incredibly serious.
Speaker 1: You know, it's basically a me too film, but it's
Speaker 1: fucking entertaining and it's thrilling and it's funny and it's scary,
Speaker 1: and it's what it isn't is a heavy, difficult drama,
Speaker 1: which it very much could be, you know, the million
Speaker 1: ways of telling that. But what you don't expect is
Speaker 1: a kind of poppy, fun, almost right roller coaster ride
Speaker 1: that still manages to get across the same very difficult
Speaker 1: messages and very challenge It's incredibly challenging that film. It
Speaker 1: really stayed with me, and and yet the experience of
Speaker 1: watching it is kind of a ride. It's fun, like, yeah, yeah,
Speaker 1: I think it's I think it's fucking brilliant. I really
Speaker 1: think she's done an amazing joke. One of the things
Speaker 1: that I really enjoy is the sort of casting of
Speaker 1: the various terrible men and the use of mcloving mclovin
Speaker 1: from I Don't Believe I just hit the g and mcloving.
Speaker 1: I think that's the most English thing I've ever done
Speaker 1: in my entire life. Ah, mister mcloving of the of
Speaker 1: the Scottish clown mcloving. Yeah, but mclovin Schmidt from New Girl,
Speaker 1: and you know, with all sort of spoiler alerts attached
Speaker 1: to it. Obviously Bo Burnham as well, But by taking
Speaker 1: these kind of comedy soft boys and you know, beloved
Speaker 1: sitcom character, beloved beloved kind of beta male, a beta
Speaker 1: male in the context of super Bad, a film where
Speaker 1: everybody is a beta male, but taking the kind of
Speaker 1: Beatrice b toa male and I thought that was a
Speaker 1: really interesting casting flourish because actually, these are are men
Speaker 1: who are famous for being kind of this sort of
Speaker 1: soft boy, kind of like nice guys like Schmidt and
Speaker 1: New Girl is the sort of softest version of a
Speaker 1: kind of womanizer that it is possible to have. And
Speaker 1: there was something powerful in taking the nice guys and
Speaker 1: having them be the abuses, because I mean, that's so
Speaker 1: much of what we understand about, you know, the kind
Speaker 1: of male predators. You know, we work in comedy. We
Speaker 1: know if there's there's one industry that doesn't need to
Speaker 1: be reminded that somebody can very much be sending out
Speaker 1: all the right signals but doing the absolute worst possible things,
Speaker 1: it's comedy. What's the scariest film you saw in twenty
Speaker 1: twenty one this year? So listen, Brett. You know, I've
Speaker 1: still gone on this journey where I like horror movies
Speaker 1: and I stopped giving cute answers to this question, and
Speaker 1: you know, stopped he gone from inside Lewen Davis and
Speaker 1: trying to sort of, you know, and stop trying to
Speaker 1: be too clever about it. And I would love to
Speaker 1: have picked a straight up horror movie this year, but unfortunately,
Speaker 1: Brett the Father is the most frightening film I've ever
Speaker 1: seen in my entire life. And I do think that
Speaker 1: there is some some of the music cues and some
Speaker 1: of the way that it was shot felt like it
Speaker 1: was he was very consciously I felt borrowing from horror
Speaker 1: as a genre, and I think it is absolutely you
Speaker 1: can have that. Yeah, it was an It felt like
Speaker 1: a nightmare, you know, because it's what I thought was
Speaker 1: really terrifying about it was the idea. You know, the
Speaker 1: film is essentially set inside his mind effectively, you know,
Speaker 1: because at one point the flat is just a different flat,
Speaker 1: and he's sort of almost not noticed that he's moved
Speaker 1: from one to the other. And so it's not even
Speaker 1: fair to say that it's set in the flat, because
Speaker 1: actually the location is shifting, The other actors are shifting.
Speaker 1: Olivia Coleman becomes Olivia Williams. You know, it's yeah, that's
Speaker 1: absolutely it's it's terrifying. But it's also terrifying from the perspective,
Speaker 1: which I think is a real skill of it is
Speaker 1: that you also get a bit of Olivia Coleman's perspective,
Speaker 1: which given at one point she's played by a completely
Speaker 1: different actress, is genuinely remarkable, but you get the horror
Speaker 1: of her perspective of like slowly losing her father, but
Speaker 1: obviously the horror from Anthony Hopkins's perspective of like his
Speaker 1: mind sort of slowly slipping away from him, and you
Speaker 1: just sort of think, how can this possibly end? It's
Speaker 1: a part of you that's like, is there some hope
Speaker 1: that it's just awful? It's really fucking horrible film, and
Speaker 1: I don't know why anyone would watch it. That's what
Speaker 1: I thought. Having watched it, I was like, why would
Speaker 1: anyone choose to watch this? This is horrible? I think
Speaker 1: you know what I think. If you're like, if you're
Speaker 1: caring for I know this is something that people I've expressed,
Speaker 1: if you're caring for somebody in that situation. Seeing Olivia
Speaker 1: Colman's frustration and her guilt of that frustration, I think
Speaker 1: probably makes people in that position feel less alone and
Speaker 1: feel less guilty, because actually it's a very human and
Speaker 1: understandable emotion that when you're the primary care giver for
Speaker 1: that person, there are points where you actively resent them,
Speaker 1: and that because I was trying to work out as
Speaker 1: I was watching it because I do think it's a
Speaker 1: brilliant All the performances are brilliant. I also think adapting
Speaker 1: a play is really hard, and turning it into film.
Speaker 1: It's funny because we've already talked about two films, but
Speaker 1: this is like floren Zella wrote the play and has
Speaker 1: adapted it as into the film. And often when plays,
Speaker 1: really good plays get turned into films, something gets lost
Speaker 1: because the structure of a play often doesn't lend itself
Speaker 1: well to cinema, and often there are long speeches that
Speaker 1: sometimes people don't necessarily break up. And now I haven't
Speaker 1: seen the play that this is based on, but I thought,
Speaker 1: just as a piece, if you can step back from
Speaker 1: the horror from it for a second, as a piece
Speaker 1: of adaptation of something that was originally written for the theater,
Speaker 1: this movie was fucking cinematic, even though it's set in
Speaker 1: such a limited place. It used the tricks of cinema
Speaker 1: and the fact that things can shift and change within
Speaker 1: a scene and we can look back and see the
Speaker 1: same footage again. I thought it used the tricks of
Speaker 1: cinema really brilliantly and just sort of purely on a
Speaker 1: technical perspective, I thought that it was a really impressive
Speaker 1: piece of adaptation. But I mean as a film, I mean,
Speaker 1: it's absolutely horrific. What this is the darkest thing you
Speaker 1: could ever see. Yeah, it's very well made. And I
Speaker 1: think having the two Olivia's play the same part, it's
Speaker 1: a really really smart clasting because they do look slightly
Speaker 1: similar and they are named the same, and you often
Speaker 1: people confuse them. I think not people without dementa confused
Speaker 1: those two. Anyway, That's brilliant. But still, why on earth
Speaker 1: would you watch that filmmake that film and and go
Speaker 1: through it. It's it is very depressing that film. My
Speaker 1: goodness me what it does? It's yet very good. It's
Speaker 1: a horror movie. It's a horror horror movie at the
Speaker 1: most purest level. It is the most sort of deeply
Speaker 1: horrific thing you can imagine. My mother's review of that
Speaker 1: is probably my great my friend. My mother watched it
Speaker 1: and said, I mean, at the end of the day,
Speaker 1: why do we bother? And I don't know whether she
Speaker 1: was talking about the film. I don't know what she
Speaker 1: was talking about life Brett. I don't know if she
Speaker 1: was talking about being alife that that is at the
Speaker 1: end of the day. Why do we bother? That's the
Speaker 1: takeaway of that film. At the end of the day?
Speaker 1: Way mother, missus Kober, imagine that on the posters as
Speaker 1: the flames of going around their house at the end
Speaker 1: of the day, Why do we Bother? What was your
Speaker 1: scariest film? I couldn't think of that. Many scary films
Speaker 1: are so but I guess the closest to a horror
Speaker 1: film I saw, which I was surprised that much I
Speaker 1: really enjoyed, was In the Earth, the Ben Wheatley film
Speaker 1: that during the pandemic during lockdown. I believe he made it.
Speaker 1: Have you seen it? No, I haven't seen this movie.
Speaker 1: It's so talk to me about it. It's good fun.
Speaker 1: It's good fun. It's set in in the woods in
Speaker 1: the Earth, and Joel Fry, who is excellent, is like
Speaker 1: scientists going into the woods during an unnamed pandemic, and
Speaker 1: there's just a cool thing that is all the trees
Speaker 1: are communicating with each other through the soil, which I
Speaker 1: believe is factual, but that there's sort of like, you know,
Speaker 1: the Earth is sort of maybe out to get us,
Speaker 1: I think, is the point of it. And in the
Speaker 1: end it goes mad and psychedelic and sort of he
Speaker 1: likes a bit of that. He does like a bit
Speaker 1: of it. But I really enjoyed it. It's good and
Speaker 1: it's got jar Smith in it as a natter. It's
Speaker 1: kind of funny. It's just very odd and it's it's
Speaker 1: it's impressive because I think they made it in like
Speaker 1: it's one of them films you watched and I think
Speaker 1: they made it in six Days in the Woods or
Speaker 1: something like how did you do this? Fucking out? And
Speaker 1: it's quite fun. It's quite fun as well. I liked it. Yeah, yeah,
Speaker 1: did it have scary elements to it? Or is it
Speaker 1: more than like, yes, it is scary. Rye Smith is scary.
Speaker 1: Is there's Nutter in the woods and like there's a
Speaker 1: moment where he there's sort of this like horrible, like
Speaker 1: funny dark like I think Joel Frey injures his toe
Speaker 1: and r Smith, who lives in the wood, he's like,
Speaker 1: well we have to chop it off then, and there's
Speaker 1: this whole long thing of him trying to chop off
Speaker 1: his tail like still and and you're just like sucking out,
Speaker 1: oh god. And Joel Frey, what's funny is Joel Fry
Speaker 1: is quite polite through the whole thing. Just was like, Oh,
Speaker 1: I'd rather you didn't. You know, Smiths would be top
Speaker 1: of my list of British comedic actors who would do
Speaker 1: a one hour photo style or insomnia style starring as
Speaker 1: a real because comedy. Even when he's playing comedic characters,
Speaker 1: he's sort of on the edge of being really scary. Y.
Speaker 1: What is the film that made you cry the most,
Speaker 1: miss Kuma. You're big, sufty. Well, I think we're going
Speaker 1: to talk about this. I'm going to guess that we're
Speaker 1: going to talk about this film in some detail at
Speaker 1: some point over the course of this show. So all
Speaker 1: I will say is, at points in when I watched
Speaker 1: Come On, Come On, I thought I was It's probably
Speaker 1: the only time I've genuinely thought that I would have
Speaker 1: to leave the cinema really because I was absolutely inconsolable
Speaker 1: through various points. I think it's an absolute sort of
Speaker 1: miracle of a film. I really really loved it deeply,
Speaker 1: and I think it's something that we would probably come
Speaker 1: back to at some point in the conversation. But I
Speaker 1: would just say, in terms of sheer volume of tears,
Speaker 1: come On, Come On. It just you know it hit
Speaker 1: home in a way that I thought I actually found.
Speaker 1: I know that I've read mixed reviews of it. I've
Speaker 1: read people saying that they found the documentary elements felt
Speaker 1: sort of tacked on. I thought that that was absolutely brilliant.
Speaker 1: I loved the incorporation of those real interviews. The premises
Speaker 1: of the film is that, you know, whacking Phoenix is
Speaker 1: also a slightly portly bearded creative. So I mean, amazingly, Brett,
Speaker 1: I somehow found a way to see myself in that character.
Speaker 1: I somehow managed to find myself in this somewhat shambolic,
Speaker 1: unshaven man who works in the media. I don't know
Speaker 1: how I did that. This is the thing about cinema, Brett.
Speaker 1: It's the empathy machine, and you can cross all sorts
Speaker 1: of boundaries if you just try and step out of
Speaker 1: your comfort zone from one second. It's really impressive. This
Speaker 1: therapy's really working. Look look how good your mind is. Yeah,
Speaker 1: it's like what I said that I enjoyed. This was
Speaker 1: years ago when I told my friend that I enjoyed
Speaker 1: funny people, and he was like, of course you did.
Speaker 1: If you don't enjoy funny people, then no one has
Speaker 1: enjoyed funny people. But yeah, I thought I thought the
Speaker 1: black and white photography was stunning. I thought Joaquin Phoenix
Speaker 1: was incredible. I love him. You know, I really disliked
Speaker 1: The Joker. I really deeply dislike it as a film,
Speaker 1: and I sort of one of the reasons I sort
Speaker 1: of resent the fact that he wanted an ask her
Speaker 1: for that because I think I just think he's done
Speaker 1: versions of that foot Like I think his performance in
Speaker 1: The Master is the performance that people seem to think
Speaker 1: he gave him The Joker, Like, I think he's so
Speaker 1: good in The Master. But and I loved this version
Speaker 1: of him. I loved the slightly sweeter the side of him.
Speaker 1: His sister is kind of dealing with her partner's mental
Speaker 1: health problems and trying to get him to help himself,
Speaker 1: so he kind of has his nephew foisted on him.
Speaker 1: Your girlfriend was going, I really relate to this film
Speaker 1: with your like, what is going on with the two
Speaker 1: of us? This film is for us. But he kind
Speaker 1: of has this kid sort of foisted on him, and
Speaker 1: there's an interesting backstory where, you know, something like he's
Speaker 1: given his sister clearly a close and Gabby Hoffman is
Speaker 1: great in the movie as well, But him and his
Speaker 1: sister are clearly close, but you very quickly established that
Speaker 1: there's been some sort of schism, and you sort of
Speaker 1: slowly discover over the course of the film what that
Speaker 1: is and the shape of it. But I just thought
Speaker 1: I thought the kid was brilliant. I thought the kid
Speaker 1: was great, and I just thought that he's like I
Speaker 1: think there's something like if you're sort of a person
Speaker 1: who has been around children as an older person, I
Speaker 1: think it was something very relatable about the slow discovery
Speaker 1: of how difficult it is to be a parent and
Speaker 1: the idea that being a fun uncle is like actually
Speaker 1: quite easy, but actually having to look after them on
Speaker 1: a day to day basis is incredibly stressful in the
Speaker 1: way that it helps rebuild his relationship with his sister.
Speaker 1: And I just thought that again, like I love, you know,
Speaker 1: I love title tracks in films, and I love when
Speaker 1: the film gets its title from the kid has a
Speaker 1: sort of monologue, And again, the kid was brilliant, And
Speaker 1: the kid could so easily have been annoying. Yeah, but yeah,
Speaker 1: the kid was only annoying when the kid was supposed
Speaker 1: to be annoying. I just thought that it was, like
Speaker 1: I thought it was so beautifully Darne, and it made
Speaker 1: me laughing. But also I found it so profoundly moving
Speaker 1: that fucking ending. I'd forgotten how fucking lovely that ending is.
Speaker 1: But also it's like the whole film. I believe you
Speaker 1: would call it humanist. Is that what we would call him? Yeah,
Speaker 1: it's like if you it's it's almost kind of two
Speaker 1: lovely in terms. When I was thinking of it, like
Speaker 1: i'd almost show it to your mom after watching the
Speaker 1: Father watch come up in mind, and it's like it's
Speaker 1: like an hour and a half. I however long, it
Speaker 1: is of like lovely believing people his full sensitive relationships,
Speaker 1: everyone would sort of coming from a place of kindness
Speaker 1: and love. It's a really lovely, lovely film. Yeah. I
Speaker 1: just thought it was beautiful, and I just found that
Speaker 1: relationship so plausible and sweetly drawn. And I sort of
Speaker 1: loved all the interviews with the real kids talk about
Speaker 1: growing up in America, and yeah, I just thought it was,
Speaker 1: you know, somebody struggling to manage their partner's mental health.
Speaker 1: I thought that was really beautifully drawn, and like she
Speaker 1: could have been she could have been sort of left
Speaker 1: out given The most important dynamic is the dynamic between
Speaker 1: Waki Phoeneas's character and the kid Jesse. It could so
Speaker 1: easily have marginalized her, but actually she's brilliant in the film,
Speaker 1: and you get a real sense, a three dimensional sense
Speaker 1: of that dynamic that exists, particularly between the three of them,
Speaker 1: and you know, the Jesse saying it is hard, it
Speaker 1: is really horrible, but sometimes you just have to you
Speaker 1: just have to come on, come on, and like there's
Speaker 1: something about that. You're just expressing that as a kid
Speaker 1: expressing that that felt really sort of organic, and you do.
Speaker 1: I do find myself thinking sometimes okay, I know, but
Speaker 1: you just gotta you just gotta come on, come on.
Speaker 1: I don't even thought that that's beautiful, man. Yeah, what
Speaker 1: was the film that made you cry? I think it
Speaker 1: was Pig, the Nicholas Kailm Pig. Have you seen Pig?
Speaker 1: So I didn't see this movie, but I, having read
Speaker 1: about it, I do deeply regret not having seen it.
Speaker 1: Pig is fucking brilliant, and I think, what's weird about
Speaker 1: it is I don't I cry loads, but I definitely cried.
Speaker 1: And it was like surprising because no one, oh certain
Speaker 1: I wasn't going into a film in which Nicholas Cage
Speaker 1: is trying to get back his travel pig that's been stolen,
Speaker 1: and there's lots of scenes of him going where is
Speaker 1: my Pig? I didn't think that this film would be
Speaker 1: a profound meditation or grief and incredibly moving. It's so good.
Speaker 1: It's so good and it's beautiful and it's odd and
Speaker 1: it does I think, like I almost don't want to
Speaker 1: spoil anything, but what I will say is it kind
Speaker 1: of suggests a load of tropes that happen in films
Speaker 1: and then takes a very surprising roots with them. And
Speaker 1: it's deep. It's like it's a kind of metaphorical, allegorical
Speaker 1: all these things, but it's also just specific to this
Speaker 1: weird story of a man in this travel pig. It's
Speaker 1: fucking beautiful. It's really good. I think it's his best
Speaker 1: film for many times, for many times, just every so
Speaker 1: often he just goes, yeah, I actually can do this. Yeah.
Speaker 1: It's just such a surprising film because even the trailer
Speaker 1: it seems like it could be, oh, it's Cage doing
Speaker 1: a mad Nicholas Cage film. Yeah it's not mad. It's beautiful,
Speaker 1: and he's so understated in it, and Oh, it's great.
Speaker 1: Highly recommend pick Well beautiful. I also cried in No
Speaker 1: Way Home. All right, talk to me about that, Brett.
Speaker 1: That's very interesting to me because obviously I cried in
Speaker 1: No Way Home, Brett. Yeah, obviously because I am Spider
Speaker 1: Man and I love Spider Man. Yeah. But like, you
Speaker 1: know what, what do I love? Brett? I love Spider Man,
Speaker 1: and I love Richard Linklayer movies where he fills them
Speaker 1: over thirty years and every one ages in real time.
Speaker 1: No Way Home is the closest the MCU is ever
Speaker 1: going to get to before sunrising, before sunset. I was
Speaker 1: really impressed with the writing of No Way Home, as in,
Speaker 1: I worry about, if I can say such a thing,
Speaker 1: I worry about eating itself, worry about yeah, you know
Speaker 1: whatever you want to call it, fan service, the thing
Speaker 1: of let's bring back everything we've ever loved and put
Speaker 1: everything together in one big thing of everything, and let's
Speaker 1: never do anything new and just keep bringing back old
Speaker 1: stuff and putting it in new things. It worries me that, however, Yeah,
Speaker 1: if you are going to do it, I think Spider Way,
Speaker 1: No Way Home was as good as you can ever
Speaker 1: do that. It was so well crafted and written and
Speaker 1: the use of spoiler elect Tommyboy and Andrew Garford. I
Speaker 1: thought it was genuinely beautiful and felt meaningful, felt like
Speaker 1: here's a way of answering questions that were left, of
Speaker 1: fixing things that work quite right, of like, it's really
Speaker 1: genuinely a lovely thing. If yeah, if we're all going
Speaker 1: to eat ourselves and that's it, what a way to go.
Speaker 1: I think it's a sort of an argument. I think
Speaker 1: it's sort of an argument potentially to never do it again,
Speaker 1: almost because I don't know how you could, and like
Speaker 1: I don't want to give too much away. We could
Speaker 1: talk maybe more about this at the end of twenty
Speaker 1: twenty three when we do a verse of twenty But
Speaker 1: I've seen I've seen sometimes that have come out outside
Speaker 1: of the year that we're discussing that maybe don't do
Speaker 1: it as well, And they may or may not exist
Speaker 1: in the same cinematic universe of Spider Man Their Way Home.
Speaker 1: But the reason it works is that it's all goat.
Speaker 1: It's they make it work in the context of the
Speaker 1: plot of the film. And also I just don't think,
Speaker 1: you know, in terms of like I just don't think
Speaker 1: they've put a foot wrong with any of the Spider
Speaker 1: Man films. I think they deliver what those films are
Speaker 1: supposed to deliver. They're really entertaining, they're very fun, and
Speaker 1: the chemistry, particularly between the three teenage leads, I think
Speaker 1: it's just great. It's just great and works really beautifully
Speaker 1: in every film. But yeah, I did think Andrew Garfield,
Speaker 1: Toby Maguire, I did think it was done really, really beautifully.
Speaker 1: I'm just I'm I think it's a huge compliment. It's
Speaker 1: not a compliment to the film that I cried through
Speaker 1: that it would have been a profound failure on their
Speaker 1: part if I hadn't just wept through the whole of
Speaker 1: Spider Man their way home, because it's so bound up
Speaker 1: in my whole child. I insist on dressing a Spider
Speaker 1: Man from the neck down for my third birthday. My
Speaker 1: mum wouldn't let me put the mask on, and the
Speaker 1: compromise was that I wore entirely. I don't know I
Speaker 1: was because people wouldn't recognize here. Yeah, yeah, I think
Speaker 1: she was. I was trying to protect my secret identity.
Speaker 1: This woman giving it away left right. If you're walking
Speaker 1: around with the Spider Man mask, everyone's at your birthday?
Speaker 1: Where's this? He put the mask? But so for me,
Speaker 1: you know, just just seeing Toby Maguire in the Spidery
Speaker 1: suit and like that. But I do think I genuinely
Speaker 1: thought it worked really well. And I was surprised because
Speaker 1: Into the Spider Verse was brilliant and they managed to
Speaker 1: sort of do something else with essentially the same raw materials.
Speaker 1: But I thought, yeah, it's almost as good as superhero
Speaker 1: films get. I think it's funny, it's sweet, it's the
Speaker 1: leads are all very charismatic, and I thought the you know,
Speaker 1: they managed to kind of code some character significance into
Speaker 1: the action sequences, you know, and Andrew Garfield sort of
Speaker 1: rescuing MJ resolving his characters trauma is a really nice
Speaker 1: is a nice little moment, and they do they do
Speaker 1: very nicely. It's very good. What is the film that
Speaker 1: you love but most people don't? It certainly wasn't critically acclaimed,
Speaker 1: But you why don't you? Why don't you tell me
Speaker 1: what yours was? I've decided the main works. I had
Speaker 1: a few of them, but the one I'm going to
Speaker 1: go with was the m Nights and my Land film
Speaker 1: Old Wow, Old, And I stand by Old. Here's why.
Speaker 1: Here's here's the truth of what I think is the
Speaker 1: thing with Old. I think this is pure speculation. I
Speaker 1: have no idea how it really worked. I think that
Speaker 1: what was filmed was probably a fairly early draft. I think, oh,
Speaker 1: it is filled with really good ideas, really great concepts. Everything,
Speaker 1: all the elements are there. It just hasn't been knitted
Speaker 1: into a seamless quilt of a film. But all their
Speaker 1: patches are there, and they could have been put together
Speaker 1: a slightly slicker maybe or some I don't know what
Speaker 1: the word is. But I love the ideas of Old.
Speaker 1: I love the ending, I love the concept. I loved
Speaker 1: the various cool, scary, weird ideas that she gets pregnant
Speaker 1: and then five minutes later is giving birth and those
Speaker 1: sort of things that happened and then and then it
Speaker 1: was actually quite moving in the end, and when he says,
Speaker 1: I don't even remember what we were fighting about, it's beautiful,
Speaker 1: like it's got everything in it. It's just not quite
Speaker 1: put together in the best way it probably could be.
Speaker 1: But I really like it, and I and I salute you,
Speaker 1: m Nasmiln And why bother doing more rewrites? If I
Speaker 1: may if I may speak in defense of my fellow
Speaker 1: gentleman of South Asian extraction. Yeah, they're always filled with
Speaker 1: really interesting ideas. Whether whether they're executed well or not
Speaker 1: is a different thing. But if you think about how
Speaker 1: seriously Unbreakable took the superhero genre and where we are
Speaker 1: with superhero movies now, you're sort of like, you know,
Speaker 1: there's lots of really interesting there's lots of really you know,
Speaker 1: they're all even even signs of which I think is
Speaker 1: an absolute piece of shit. It is an interesting concept, Like,
Speaker 1: there are really interesting ideas and concepts kind of at
Speaker 1: work in all of these movies. Did let out that
Speaker 1: would I wouldn't go that far, but it's like, it's
Speaker 1: really interesting. They're always, especially if you like genre movies.
Speaker 1: There is always something interesting going on in these movies.
Speaker 1: And I think he's a good director. I think he's
Speaker 1: I think he suits them well. Yeah, I'm I'm going
Speaker 1: to stand by Yeah, what's your answer? What's the film
Speaker 1: you loved him? That many people did? I would say,
Speaker 1: I think this might have been pretty roll reviewed, but
Speaker 1: I mean I would say it's one of the strongest
Speaker 1: cups of coffee I've ever taken. In my life as
Speaker 1: a film, it's a really bitter black cup of coffee.
Speaker 1: But the card counter the Paul Schrader movie. Okay, I
Speaker 1: saw it. Yeah. I went to see it with my
Speaker 1: brother and my dad and we all actually quite liked it.
Speaker 1: But I've had nothing but I've been met with resistance
Speaker 1: Outside of that, I thought that it was great. I
Speaker 1: thought it was great. I thought it was it's bleak,
Speaker 1: It's kind of relentlessly bleak, and I think the ending
Speaker 1: that is supposed to offer you some sense of redemption
Speaker 1: or home. I thought Oscar Isaac was great in it.
Speaker 1: I mean there's some elements of it that are like
Speaker 1: I mean, the lead character's name is William tell you know,
Speaker 1: like it. There's there's bits of it that feel almost
Speaker 1: risable in But I thought William Dafoa was great, and
Speaker 1: I thought it grappled with something that cinema hasn't American
Speaker 1: movies have not really properly engaged with. There are very
Speaker 1: few good War on terror movies, and there is certainly,
Speaker 1: especially when you compare it to the sort of glut
Speaker 1: of Vietnam movies and even things like Taxi Driver that's
Speaker 1: sort of Vietnam adjacent and this I think is strayed
Speaker 1: a sort of trying to write Taxi Driver for the
Speaker 1: War on Terror and the wars in Iraq and Afghanistan,
Speaker 1: because again we're watching it through the prism of a veteran.
Speaker 1: But the difference between Oscar Isaac's character and Travis Bickle
Speaker 1: is that he knows he's profoundly damaged, and so he's
Speaker 1: actually trying. You know, Travis Bickle is a man walking
Speaker 1: around with a set of psychological traumas that he's picked
Speaker 1: up from being at war that he doesn't know about.
Speaker 1: And Oscar Isaac is a guy who knows that he
Speaker 1: has those traumas and but isn't able to deal with them,
Speaker 1: but instead has removed in films himself from society. So
Speaker 1: it's another Schrader God's Lonely Man movie. And his relationship
Speaker 1: with this young kid that he encounters, who we sort
Speaker 1: of slowly realized his fat as a kind of as
Speaker 1: farther as a connection to Oscar Isaac's backstory, and then
Speaker 1: this kind of romance that happens between him and Tiffany Haddish. Also,
Speaker 1: I didn't know what Tiffany Haddish. She's a brilliant actor,
Speaker 1: but I didn't know what how she functioned in a
Speaker 1: Schrader movie, and I thought what was lovely was actually
Speaker 1: she kind of brought her own personality to it, and
Speaker 1: that Schrader sort of found room for that in this
Speaker 1: kind of movie. But it grappled with, you know, the
Speaker 1: military industrial complex and the part that it played in
Speaker 1: Iraq and Afghanistan. William Dafoe playing this kind of you know,
Speaker 1: a representation of these faceless subcontractors that were involved in
Speaker 1: places like Guantanamo Bay. I think Oscar Isaac is extraordinary,
Speaker 1: and I liked seeing him with the kind of charisma
Speaker 1: turned like deliberately dialed down. I liked seeing quite an
Speaker 1: internal performance. I also just like I found an unlikely
Speaker 1: point of relatability just in terms of, you know, going
Speaker 1: into a hotel room and covering up the fun really
Speaker 1: because like just because like anything you can do to
Speaker 1: personalize a hotel room, me me, Oscar, for me, I'd
Speaker 1: take an HDMI cable so I can plug my computer
Speaker 1: into the screen. That's how you've decided to do it,
Speaker 1: because you're only really comfortable in prison, and I mean
Speaker 1: it's quite a different thing. You're sort of dealing with
Speaker 1: a lot of drawers from military prison. And I just
Speaker 1: spent quite a lot of time in travel lodges in
Speaker 1: the late twenty in the late two thousands, quite different situations.
Speaker 1: But just you know, anything you can do to make
Speaker 1: yourself feel more at ome in a hotel room. But
Speaker 1: I just thought it was a very strong and bleak
Speaker 1: cup of coffee of a film, very well argued, specially
Speaker 1: shout out in this category to Army of the Dead
Speaker 1: and Don't Look Up, both of which I enjoyed and interesting.
Speaker 1: I don't care. I was just saying this Don't Cook
Speaker 1: Up is a yeah and one of the few defenders
Speaker 1: a Don't Look Up. I think that the people that
Speaker 1: don't like Don't Look Up want it to be a
Speaker 1: different film than what it is. That's what I think. Yeah,
Speaker 1: that's my hot take. It isn't the film that you
Speaker 1: want it to be, but the film that it is.
Speaker 1: It's very entertaining. I've got no beef of it. I
Speaker 1: really enjoyed it. Yeah, I get I know what you mean.
Speaker 1: I think, and I know, and I think I would
Speaker 1: be somebody who I didn't I hate to be the
Speaker 1: person who's like I actually thought it was okay. I
Speaker 1: didn't absolutely love that, And I didn't absolutely love it.
Speaker 1: I'm you know, it feels like I'm deliberately trying to
Speaker 1: annoy everybody. But I just thought I thought there were
Speaker 1: bits of it. I'm a fan of the kind of
Speaker 1: righteous hectoring Adam McKay movies, you know, like I like Vice.
Speaker 1: I like to big shot I you know, I share
Speaker 1: his politics and his inability to not scream them in
Speaker 1: your face. You know, it would be it would be
Speaker 1: a bold move for me to start castigating people for
Speaker 1: yelling their politics of people, given that that's what I
Speaker 1: do every single fucking night. Oh my god, damn life.
Speaker 1: But I just thought I thought the analogy. If somebody
Speaker 1: was doing stand up about climate change and the analogy
Speaker 1: that they drew was a meteor, I would sort of
Speaker 1: say that it doesn't quite track as an analogy, just
Speaker 1: because like, if that was the case, we would have
Speaker 1: had fifty years of a kind of pro meteor lobby funding,
Speaker 1: prometia sentiment in the press, you know. And I think
Speaker 1: this isn't something that's kind of come out of the sky.
Speaker 1: This is something that's brood and brood and brood, and
Speaker 1: something that's been allowed to ferment you know, BP hired
Speaker 1: Ogilvin Mother, an advertising company, to popularize it's a semi
Speaker 1: obscure piece of academia called the carbon footprint. And the
Speaker 1: reason they did that was they wanted people to focus
Speaker 1: on their carbon footprint, even though an individual actually can't
Speaker 1: do anything. And you know, oil companies and governments, you know,
Speaker 1: the American, Chinese governments and then oil companies like BP,
Speaker 1: you know, they should be talking about their carbon footprint
Speaker 1: like I'm sorry, but like as individuals, we can only
Speaker 1: move the dial so much. And yes, it is good
Speaker 1: to be aware of your carbon footprint, but that was
Speaker 1: a piece of corporate marketing by BP, and that that's
Speaker 1: where that's what I think I missed from doga Car.
Speaker 1: But that doesn't that doesn't preclude me from doing being
Speaker 1: guilty of exactly what you've just said, which is wanting
Speaker 1: you to be a different film than it was. But
Speaker 1: for me, if I was watching somebody do stand up
Speaker 1: about climate changes, they tried to draw that analogy, I
Speaker 1: would say, but you know, where is the pro me
Speaker 1: to your lobby? Because that's basically like, sorry, you know,
Speaker 1: where's the prome to your lobby? What? Sorry? I said, Sorry, mane,
Speaker 1: what where's the pro me to your lobby? I don't sorry,
Speaker 1: I don't know what you're talking about. I'm just trying
Speaker 1: to do my set. Boo. Okay, what's the basically what
Speaker 1: I've said. What I've done is I've said, Oh, Adam kay,
Speaker 1: I see your capacity to humulously crow by your politics
Speaker 1: into another eise of irrelevant subject matter, and I will
Speaker 1: raise you. What a cliffhanger? What's the answer? Oh my god?
Speaker 1: I guess you'll have to find out next week. So
Speaker 1: that was episode one hundred ninety eight. Head over to
Speaker 1: patreon dot com forward Slashboo Goldstein for the extra chat,
Speaker 1: seepers and videos with Nis. Don't forget to get your
Speaker 1: tickets for the live show at the Hackney Empire July second.
Speaker 1: Tickets at Hackney Empire dot co dot uk or Plasive
Speaker 1: dot co dot UK. We'll have fun. Oh what I'm
Speaker 1: We've had so Thank you so much, TONI for giving
Speaker 1: me this time. Thanks to Scribious, Peep and the Distraction
Speaker 1: Pieces of Network. Thanks to Buddy Piece for producing it.
Speaker 1: Thanks to Acass for hosting it. Thanks to Addam Richardson
Speaker 1: for the graphics and least Alden for the photography. Come
Speaker 1: join me next week for part two of the perfectly
Speaker 1: timed end of year films are twenty Journey one and
Speaker 1: Special Part two. I hope you're all well, Thank you
Speaker 1: for listening. That is it for now. In the meantime,
Speaker 1: have a lovely week and please be excellent to each
Speaker 1: other