Speaker 1: Look at her. It's only films to be buried with
Speaker 1: that when you think about it.
Speaker 2: Way ahead of schedule Films of the Year twenty twenty
Speaker 2: two Special Part one with Nish Kuma. Hello and welcome
Speaker 2: to Films to be buried with that when you think
Speaker 2: about it, Way ahead of schedule Films of the Year
Speaker 2: twenty twenty two Special Part.
Speaker 1: One with Thish Kuma. My name is Brett Goldstein.
Speaker 2: I'm a comedian, an actor, a writer, a director, and
Speaker 2: they're white rap and I love film. As Frank Sinatra
Speaker 2: once said, the big lesson in life, baby is never
Speaker 2: be scared of anyone or anything. Having said that, I
Speaker 2: must warn you about Bob in twin Peaks fire Work
Speaker 2: with me. That really is a scary motherfucker, and I
Speaker 2: would suggest you do your best to stay the heck
Speaker 2: away from him. That's excellent advice. Thank you, Frank, Thank you,
Speaker 2: mister Sinatra. Every week I invite a special guest, ever,
Speaker 2: I tell them they've died. Then I get them to
Speaker 2: discuss their life through the films that meant the most
Speaker 2: of them.
Speaker 1: But not this week. This week it's Steve. When you
Speaker 1: think about it.
Speaker 2: Way ahead of schedule, Films of the Year twenty twenty
Speaker 2: two Special Part one with mister nish Kuma. You can
Speaker 2: watch all of Shrinking on Apple tv Plus. And you
Speaker 2: can now watch ted Lasso Season three episodes one to
Speaker 2: six on Apple tv Plus. Basically go to Apple tv Plus.
Speaker 2: That's all you need, isn't it. I guess? So yeah,
Speaker 2: watch it, love it. Head over to the Patreon at
Speaker 2: Patreon dot com forward slash Brett Goldstein, where you get
Speaker 2: all the extra stuff from all the episodes. You get
Speaker 2: extra questions with guests, you get the episodes uncut and
Speaker 2: ad free, and you get most of the episodes as videos.
Speaker 1: Head over to the.
Speaker 2: Patreon at Patreon dot com forward Slashbrett Goldstein. So if
Speaker 2: you are new to this podcast, every year, me and
Speaker 2: nish Kumar do our Films of the Year. I never
Speaker 2: did them in December of that year because I haven't
Speaker 2: seen them all and that would be disrespectful and I
Speaker 2: want to make sure I've seen all the films before
Speaker 2: we record this. This edition is actually way ahead of
Speaker 2: time when you think about it. I normally get it
Speaker 2: down about June. So you are very lucky people. Nis
Speaker 2: was as brilliant as ever. I've included everything in the
Speaker 2: main podcast because a special one here is part one
Speaker 2: of the way ahead of schedule. When you think about it,
Speaker 2: special Films of the Year twenty twenty two with mister
Speaker 2: nish Kuma. Really loved cutting up with this and recording this.
Speaker 2: I hope you do too. So that's it for now.
Speaker 2: I very much hope you enjoy episode two hundred and
Speaker 2: forty four of Films to be Buried With. Hello and
Speaker 2: welcome to Films to be Buried With the end of
Speaker 2: year special. It is I Brett Goldstein and I'm joined
Speaker 2: today for the fifth, sixth, seventh to seventh time, is
Speaker 2: my guess, seventh time in his life death and judgment.
Speaker 2: Please we haven't judged you anyway. Please. He's a he's
Speaker 2: an actor, he's a writer, he's a panel, he's a door,
Speaker 2: he's a window, he's a roof that he will take
Speaker 2: off in your presence. He's a lover, he's a fighter,
Speaker 2: but he's a pacifist and he's also one of the
Speaker 2: great stand ups of all time. Please work him back
Speaker 2: to the show. It's the brilliant mister nish Kuma.
Speaker 3: Hindu Wisdom, Hindu incarnation, reincarnation. He keeps coming back it's
Speaker 3: like I've achieved, like I don't know what level of
Speaker 3: enlightenment this season. In the Hindu and Buddhist system of reincarnation.
Speaker 1: You're a terminator.
Speaker 3: I'm coming back as the same person every time. I've
Speaker 3: behaved in exactly the same way in every one of
Speaker 3: my lives, and I'm constantly re reincarnating as myself.
Speaker 2: Every time you die, the gods, go and try that again.
Speaker 2: I feel like you didn't really do much with that.
Speaker 1: Do you want to go try again? We'll give you
Speaker 1: another gun.
Speaker 3: As with all of my acting, Brett, they asked me
Speaker 3: to do a second take, I do exactly the same.
Speaker 3: Everyone gets frustrated, everyone gets Australian. Nothing is anything.
Speaker 2: Else this time, anything just some options, just anything. We'll
Speaker 2: send you back, same as before, just something different.
Speaker 1: What a delight to see you.
Speaker 2: I miss you. I'm in America, you're in London. This
Speaker 2: isn't how it's meant to be. We should be in
Speaker 2: each other's arms, but here we are.
Speaker 3: We've run a whole gamut of things. Now you and
Speaker 3: me in the same room, you and me live in
Speaker 3: front of an audience, You and me on zoom in
Speaker 3: the supposed in the UK but currently you're ensconced in
Speaker 3: the sweet bosom of Halliwood now and I am being
Speaker 3: slowly passed out of the annus of London.
Speaker 2: What's what's your tell us for the listener who hasn't
Speaker 2: heard from you in a while, what's the latest?
Speaker 1: What's he happen to now?
Speaker 2: What I will say is, because I don't said, I
Speaker 2: did come to the recording of your stand up special,
Speaker 2: and I'll say this in public. It was phenomenal. It
Speaker 2: was truly brilliant. It was so good. It was the
Speaker 2: sort of thing that makes you question your own work.
Speaker 2: Your stand up was so good that I was like, oh,
Speaker 2: I guess that's I guess that's how you do it.
Speaker 2: Like I sort of was like simultaneously delighted, is a
Speaker 2: bit and a bit and I think I left.
Speaker 1: Like fucking pricks really good.
Speaker 3: Well, this is this is clearly something we have in
Speaker 3: common Bread, because after I do stand up, I deeply
Speaker 3: question my own work. The first thing I think is
Speaker 3: I don't think that's good enough. Yeah, I've recorded that
Speaker 3: show and I've got a finish editing it, and yeah,
Speaker 3: I was touring a lot, but I'm about to start
Speaker 3: a podcast. Tell Us like as we record.
Speaker 1: Podcast toilet toilet podcast.
Speaker 3: No now I have. I did try and suggest toilet niche.
Speaker 3: It's toilet niche is what you used to refer in
Speaker 3: the brief period when I did a show for Quibi
Speaker 3: r I p for ever in our hearts. We put
Speaker 3: I pour one out every morning for Quibi. It was
Speaker 3: a short whose business model was YouTube but you pay
Speaker 3: for it, and whose business model, it turns out, was
Speaker 3: written on a piece of toilet paper and human shit.
Speaker 3: But it's it did it did listen it, It paid
Speaker 3: me money and I was thrilled about it. But yeah,
Speaker 3: when that was on, I believe you might be the
Speaker 3: only viewer of working on the shower wat it.
Speaker 2: But I watched it every single day? Was it every day?
Speaker 3: You watch it on the toilet?
Speaker 1: On the toilet?
Speaker 2: It was the perfect amount of time and also what
Speaker 2: better way to get the news and information that's important.
Speaker 1: And I know maybe I don't have a sort of
Speaker 1: radar for what.
Speaker 2: Populist because I was like, this is the one, toilet,
Speaker 2: this is the one.
Speaker 3: But now I'm doing a show about the UK news
Speaker 3: for Crooked Media, the American podcast network who do pod
Speaker 3: Save America. I'm about to start on May the fourth,
Speaker 3: I start doing a show called Pod Save the UK,
Speaker 3: which is going to be a weekly show which I
Speaker 3: do with my friend Coco Kahn, who's a journalist about
Speaker 3: what's going on in UK politics. So now Brett, you
Speaker 3: don't have to text me and say can you tell
Speaker 3: me what the fuck is going on in the news.
Speaker 1: You're doing for me?
Speaker 3: No, it's weekly. It's once a week. I'll be doing
Speaker 3: a full round up of the week. I did suggest
Speaker 3: toilet Nish as a name for the podcast, but they
Speaker 3: said that that name was as off putting as it
Speaker 3: was incomprehensible, and they thought that they'd stick.
Speaker 2: Like I don't have a populist instinct, but for me,
Speaker 2: I'm like that.
Speaker 3: For me, I don't have a populist instinct. I think
Speaker 3: all kids should be forced to watch Twin Peaks, and
Speaker 3: I think toilet Dish is a good note for a podcast.
Speaker 3: If there's two things I know about you, Brett, it's
Speaker 3: that you think Twin Peaks should be added to Disney
Speaker 3: Plus and put under the family section. And I should
Speaker 3: have done called toilet Dish, but no, We've elected to
Speaker 3: stay with Pod Save the UK, which is part puts
Speaker 3: it in line with the successful branding of the incredibly
Speaker 3: famous American podcast America.
Speaker 2: I guess I can see some logic to that decision.
Speaker 2: When does this start?
Speaker 3: May the fourth Star Wars Day? Not not on purpose? Well,
Speaker 3: this is thrilling news. How's your year been, Brett? How's
Speaker 3: your year?
Speaker 1: Bin Emmy number two?
Speaker 3: Yeah? Yeah, I like to give the impression that you
Speaker 3: and I don't speak at all.
Speaker 1: In between these exist between.
Speaker 3: April is pretty good going for us to get our
Speaker 3: best of the previous year going. I think what we
Speaker 3: always try and do is get it in before June,
Speaker 3: where the half the year is.
Speaker 1: A halfway mark.
Speaker 2: Yeah, okay, so this is we're doing our films of
Speaker 2: the Year twenty twenty two very early because it is April.
Speaker 1: I think we're way ahead.
Speaker 2: But one of the reasons it always happens late is
Speaker 2: it's hard to see all the films. You want to
Speaker 2: see as many films as you can before you're calling
Speaker 2: the list. I never want to do it before New
Speaker 2: Year's Eve because, as you know how to fuck do
Speaker 2: you know, you might see something on the December day
Speaker 2: if but the rules generally are it has to be
Speaker 2: a film that was officially released in the UK between
Speaker 2: January first and December thirty first, twenty two. So then
Speaker 2: it becomes difficult because Tar. You might be thinking, why
Speaker 2: isn't Tar on this list because that's twenty three.
Speaker 3: Mate, twenty twenty three.
Speaker 2: Why isn't women talking about that's twenty twenty three, will
Speaker 2: be twenty twenty three about that June next. Now, generally,
Speaker 2: generally what we're saying good year for film, Good.
Speaker 3: Year for film, good year for Brett Goldstein, good year
Speaker 3: for this tumor. How was Emmy number two as an experience?
Speaker 2: Truthfully, no less mental? It isn't like you go like, yeah, no,
Speaker 2: I get it. I think you just because these things
Speaker 2: are so sort of huge but also very brief. It's
Speaker 2: not like when you do stand up, when you two
Speaker 2: hundreds of gigs and you build up yeah yeah, ten
Speaker 2: thousand hours of experience like I guess the Emmys is.
Speaker 2: You don't really get to practice it. It's just fun
Speaker 2: and it's so surreal that the first time it happened,
Speaker 2: I think my brain just put it away like that
Speaker 2: obviously didn't happen. The second time it happened, it was
Speaker 2: the same, the same sort of like what.
Speaker 3: The heck is.
Speaker 1: Very nice, obviously very nice.
Speaker 3: What's weirder winning Emmy or talking to Harrison Ford? Because
Speaker 3: I think that for me because we obviously the lasso
Speaker 3: jugger all rolls on, but we should talk a little
Speaker 3: bit about shrinking, which is a fucking great show.
Speaker 1: Thank you, Nis.
Speaker 3: And I mean, like I've seen you on these talk
Speaker 3: shows Brett talking about how you met Harrison Ford. But
Speaker 3: there is something very clearly omitted from that story, which
Speaker 3: is immediately after it happened, I didn't see you telling
Speaker 3: bloody Stephen Colbert. I just immediately got on the phone
Speaker 3: with my friend. She went, fucking hew mate, our fucking
Speaker 3: oh fucking met Indie. I fucking did, fucking Indee.
Speaker 1: Yeah, I did leave that far out. That's true.
Speaker 2: Well, I mean what I would say about Harrison Ford
Speaker 2: is what is weird because sometimes you meet people, and
Speaker 2: you know, I've been very lucky to meet and work
Speaker 2: with lots of amazing, very famous people, and usually if
Speaker 2: they're great people and lovely people, you just sort of
Speaker 2: get they do become it's normal, this is your friend whatever.
Speaker 2: But I will say I think for everyone with Harrison
Speaker 2: Ford has avoid has been nothing but lovely and delightful
Speaker 2: and charming and hard working and and good, you know
Speaker 2: what I mean, like zero complaints from him. However, I
Speaker 2: think all of us from crew to cast are still
Speaker 2: like fucking hell.
Speaker 1: And that's after a year of working with it, you
Speaker 1: know what I mean.
Speaker 3: I had to watch the first episode twice because, to
Speaker 3: be honest with you, I honestly wasn't paying attention to
Speaker 3: what was going on just whenever he was on screen.
Speaker 3: I was just thinking, Brett met Harrison, Brett, Brett met
Speaker 3: Han Solo, and now Brett writes things that Han Solo
Speaker 3: says out loud.
Speaker 1: It is nuts.
Speaker 2: It is and I still even when he texts me,
Speaker 2: which you know we're we are in communication every single time,
Speaker 2: I go fucking hell.
Speaker 1: Oh look, Harrison for tastes me anyway.
Speaker 3: Wait, so just answer the question, working with Harrison Ford
Speaker 3: or Emmy number or two times Emmy, which is weirder?
Speaker 2: I guess Harrison Void is weirder because it has been longer.
Speaker 2: It's been longer and not got any less weird. It's
Speaker 2: it's so cool. It's the absolute coolness. Now, I forgot
Speaker 2: to tell you something and I can't believe it.
Speaker 1: I can't believe it. I see this is mad, No,
Speaker 1: what is it?
Speaker 2: I don't know if you know how Sometimes they say
Speaker 2: like every fear hides a wish, Like sometimes I'm like,
Speaker 2: I think you, I think this is you've died.
Speaker 3: You fucking hell yeah, this is truly shocking information to me.
Speaker 1: What happened? Oh man, I don't.
Speaker 3: I can't remember how all the ways that I've died.
Speaker 1: Listen to a podcast, walked into the road.
Speaker 3: Oh you definitely killed me because you were embarrassed by
Speaker 3: my compliments.
Speaker 1: Yeah, I killed you once and again. Yeah.
Speaker 3: Well let's say this was times too. Every year you
Speaker 3: win an Emmy and I congratulate you too earnestly I
Speaker 3: had to say that I'm proud of you too much,
Speaker 3: and you murder me again. This time you actually blunted
Speaker 3: me to death with the Emmy, which was horrible.
Speaker 1: So many that.
Speaker 3: Yeah, yeah, it's like it's like it's a sword with
Speaker 3: a bunch of knives taped on it.
Speaker 2: Basically it is like the Game of Thrones throne. Then
Speaker 2: it's sort of that with a face, well, well done,
Speaker 2: you have died, but this time when you've you come
Speaker 2: back to them and again and again.
Speaker 3: They're sort of like, oh my god, we can't get
Speaker 3: rid of this guy.
Speaker 1: It doesn't seem like he changed much this anyway. Compactly.
Speaker 3: It's like the British television audience, Oh Christ, we thought
Speaker 3: we got rid of this guy, and yet here he
Speaker 3: is back again.
Speaker 2: But they want to talk about the films of the year.
Speaker 2: To both of us, weirdly, for once, that's good. That's
Speaker 2: film films of the year.
Speaker 3: Murderers and their victims rarely do things together, and that's
Speaker 3: actually a real shape.
Speaker 2: And that brings us to one of my answers. But
Speaker 2: we'll come to that. We're going to answer the questions,
Speaker 2: some questions, and then we're both going to do our
Speaker 2: top ten generally great year.
Speaker 3: I film very good year. Yeah, very good year.
Speaker 1: When you look back, you go a little bangers there.
Speaker 3: Yeah, I felt like the year was there were a
Speaker 3: lot of early bangers. And because before we do this,
Speaker 3: we do prep for this beyond just watching a lot
Speaker 3: of films, and I was looking at some of the
Speaker 3: year end lists and slowly realizing that there was a
Speaker 3: bit of a sort of recency bias with some of
Speaker 3: the lists, and I think there were some real early bangers. Also, again,
Speaker 3: because of the UK releases, there's some stuff that comes
Speaker 3: out in America. That so people, I think, feel weird
Speaker 3: about including it on UK lists. But there's definitely some stuff.
Speaker 3: If we're observing the strict rule, which no one is
Speaker 3: making us do, there's no reason for it to continue
Speaker 3: to be in this life. Increasingly as release schedules changed. No,
Speaker 3: you and I bought Empire magazine in the nineties, and
Speaker 3: so we can only engage with the idea that it's
Speaker 3: the first of January to the thirty first of December.
Speaker 3: This is UK release dates.
Speaker 1: Tah, I keep hearing you knocking at the door.
Speaker 3: Wait, and I hope those women are talking about how
Speaker 3: we'll be talking about them next year.
Speaker 2: Oh, we're gonna be talking about their women talking in
Speaker 2: the time.
Speaker 3: Quite your marital dispute, pablements. We'll get to it. But yes,
Speaker 3: we're stuck to this incredibly strict rule and this year
Speaker 3: we're hoping to keep it sub two hours.
Speaker 1: Okay, let's go.
Speaker 2: What was the film that scared you the most this
Speaker 2: yearns Kuma.
Speaker 3: I'll tell you what it was, Brett. This film scared
Speaker 3: me and it also delighted me in how it's scared me.
Speaker 3: It was Barbarian Love. Barbarian one of the and I
Speaker 3: mean this is an absolute, absolute compliment, one of the
Speaker 3: nastiest films I have ever seen. Just nasty, just like
Speaker 3: deeply unpleasant, and like the worst thing about it is
Speaker 3: that I actually had to stop watching it the first
Speaker 3: time I was watching it because I was watching it
Speaker 3: on a plane, so I have to wait until I
Speaker 3: got home. I think a I was conscious that this
Speaker 3: is a really good movie, and I would really like
Speaker 3: to watch this like in the you know, and feel
Speaker 3: immersed in the film. But also, nobody needs to see
Speaker 3: that breastfeeding scene. There's kids on the plane.
Speaker 1: Never forget.
Speaker 3: Listen. I'm all for mother's breastfeeding their children in public.
Speaker 3: I think we need to remove the stigma around that. However,
Speaker 3: this specific breastfeeding cover them up love.
Speaker 1: I think this has set that debate back.
Speaker 2: Oh, it's just some journalists at the Daily Mail.
Speaker 3: See this is the end of the slippery slope.
Speaker 2: First it's cafes, then it's underground dungeons in your house.
Speaker 3: Then it's the kid from Dodgeball being forced meent tit
Speaker 3: milk in a basement. This is the future liberal ones.
Speaker 2: He's very good, justin long it's something about him, very charming,
Speaker 2: he's good. You can play sort of bad people because
Speaker 2: you sort of you sort of like him, don't you.
Speaker 3: Yeah, it's kind of It's interesting because there's like three
Speaker 3: thirds to the film, and when the first one, the
Speaker 3: first kind of sequence that involves the couple of we
Speaker 3: should also say spoiler alert for everything. Yeah, yeah, yeah,
Speaker 3: arguably the chat about breastfeeding is a huge spoiler. But
Speaker 3: the first sort of third of the film, which kind
Speaker 3: of shows you this couple they've both got in there's
Speaker 3: been a confusion and they're both in the same airbnb,
Speaker 3: and then you know, they get dragged into the basement
Speaker 3: by this monster and it's almost happened so quickly. There
Speaker 3: is a hard cut suddenly to a close up of
Speaker 3: Justin Long's face, and it's one of the most I've
Speaker 3: laughed at anything in a film this year, Like it's
Speaker 3: just like you just don't expect it. And also it's
Speaker 3: such a clever piece of casting, and it follows along
Speaker 3: the line of something that Promising young Woman did as well,
Speaker 3: which is take beloved soft boy be to male comedy
Speaker 3: performers and turn them into sex pests. And like in
Speaker 3: this case, he's playing an actor who's like embroiled in
Speaker 3: an allegation of sexual assault, and it's just like it's
Speaker 3: so brilliant. Again, like this is sort of slightly by
Speaker 3: the Bible. There's a scene in it where he's in
Speaker 3: a bar talking to a friend of his, and just
Speaker 3: the language that he's using about this woman, it's just
Speaker 3: like such a like it's such a brilliant depiction of
Speaker 3: a very specific type of misogyny. But the film itself
Speaker 3: is I mean, it's it's horrific, it's imaginative in its horror,
Speaker 3: and there's obviously some sort of comedy connection because justin
Speaker 3: Long's and it cut braun OLA's in it late, but
Speaker 3: it's sort of then the third third flashes back to
Speaker 3: the eighties to explain the entire backstory for how this
Speaker 3: situation and this Often horror films, it's nice when you
Speaker 3: don't know every single detail and you can kind of
Speaker 3: put a bit of it into your imagination. But I
Speaker 3: think with this one, it's quite good that we know.
Speaker 3: I don't think you want to let people's imaginations run
Speaker 3: right with this film. It's I think with this film,
Speaker 3: it's good to have all of the facts.
Speaker 2: You know, what the director I believe was a sketch
Speaker 2: comedian guy. I think now I've just it's just occurred
Speaker 2: to me that what the structure of Barbarian is is
Speaker 2: a Harald.
Speaker 3: Yeah.
Speaker 2: Like, guys, here's one thing, there's another thing. Here's the
Speaker 2: two things together, little game. Yeah, middle a Harold structure.
Speaker 1: How about that?
Speaker 3: Yeah, that's yeah, that's amazing because he did what all
Speaker 3: what I do know about it is that he kind
Speaker 3: of it was written as an improv effectively, So what
Speaker 3: you've said makes absolute sense because he didn't plot out
Speaker 3: the beat of the plot. He just had this idea
Speaker 3: for the first third of the film and then just
Speaker 3: kept writing it and trying to surprise himself. So I
Speaker 3: guess if he has like improv training, he's essentially done
Speaker 3: the horror movie equivalent of playing a Harold. That that's
Speaker 3: an extraordinary observation. God that God, that was. That was insightful.
Speaker 1: Brett, thank you, thank you. As long as I've done one, do.
Speaker 3: You want to explain fully what a Harold is? Everybody
Speaker 3: listens to this podcast. Everyone who listens to this podcast
Speaker 3: has some improv credits. Let's be honest. Let's be honest here.
Speaker 1: There's hasn't done a week.
Speaker 2: Harold is a structure used in improv, which is the
Speaker 2: same structure as barbarian thing. Basically, you do a scene,
Speaker 2: then you do a little thing in the middle, then
Speaker 2: you do a completely different scene A to B and
Speaker 2: then a little thing in the middle, and then C
Speaker 2: should be a combination of A and B paying off.
Speaker 3: Yeah, and also there's there's a there's a structure in
Speaker 3: improv where you kind of where you have two people
Speaker 3: where you see an event, and then there's a sub
Speaker 3: scene that explores how that event came to happen. And
Speaker 3: that's also definitely what's going on here. We're getting backstory
Speaker 3: on backstory on backstory, it's just all of the suggestions.
Speaker 3: It's like doing improv, but all of the suggestions were
Speaker 3: from Joseph Ritzel. Like that was basically.
Speaker 2: Also, if there are people listening, which of course there are,
Speaker 2: and I have explained the Herald correctly, and you're fucking huming,
Speaker 2: I'm within the bullpark and if you're not, if you're
Speaker 2: tuning in for this for expertise, then you've only got
Speaker 2: yourself to play out film. That scared me most. I
Speaker 2: got sort of double. There's there's a brief mention to Smile,
Speaker 2: which I thought was just a great, great horror I
Speaker 2: will say for Smile, and this is not Smiles, for
Speaker 2: it is the world of marketing, et cetera. The trailer
Speaker 2: of Smile really does put all of the bits in it,
Speaker 2: which is really shayeah. They work really well in the trailer,
Speaker 2: and they work really well in the film. And my
Speaker 2: only sort of negative was I wish I hadn't seen
Speaker 2: that Trainer because it's pretty much all the bits are
Speaker 2: in the right yeah, yeah, but they're really really good bits.
Speaker 2: It's a really well made film. It's a fucking scary,
Speaker 2: scary idea, really well done recommend don't works the Trainer.
Speaker 2: And then the other film is made by with people
Speaker 2: we know All my friends hate me?
Speaker 1: Have you seen it? Scary? That's a horror film.
Speaker 3: This is this is closer to the answer that I
Speaker 3: normally give to this question, which is like, I go, oh,
Speaker 3: the film that scared me was actually the film that
Speaker 3: inspired existence childread how do you feel about that? But
Speaker 3: now this year I have gone straight to breastfeeding, Frankenstein,
Speaker 3: Bang disgusting, I've got root. One horror talk to Me
Speaker 3: about All my Friends my.
Speaker 2: Friends Hate Me? Is made by Andrew Gaynord. I believe
Speaker 2: with the Totally Tom's writing it.
Speaker 3: I believe Tom Sterton and Tom Palmer, who were in
Speaker 3: a sketch double at called Totally Tom fun fact about them.
Speaker 3: We shared a flat in Edinburgh twenty twelve and we
Speaker 3: flooded the toilet. I believe that it was the toilet
Speaker 3: largely used by me and Tom Sterton. So all our
Speaker 3: friends certainly hated us starves, they're just like us.
Speaker 2: The the it's a film, very very well made film.
Speaker 2: I would recommend it about a sort of reunion of friends.
Speaker 2: And it plays it's like a horror comedy, but it's
Speaker 2: it's really it plays on your fear quite your social
Speaker 2: paranoia is what it plays on. It plays is like
Speaker 2: the title says, do all my friends hate me? That
Speaker 2: there is a series of things that happened that make
Speaker 2: him think is this a Was that a joke or
Speaker 2: did I misread it?
Speaker 1: Was that a joke? Or did I misread it?
Speaker 2: And it's really well done and really well acted and
Speaker 2: very like, yeah, I get it.
Speaker 1: We've all felt like that somewhere.
Speaker 3: And also it's like friendships in your thirties where they're
Speaker 3: predicated on you know, there's some friendships where I dare say, Brett,
Speaker 3: I would describe You're my friendship as being this. Occasionally
Speaker 3: we do speak fairly regularly on text, but even if
Speaker 3: we don't see each other, we can resume the friendship
Speaker 3: from exactly where we left off, right. Yeah, but there
Speaker 3: are definitely friends friendships that are predicated on you seeing
Speaker 3: each other a lot, and when you don't see each
Speaker 3: other a lot, the insecurities and the kind of fault
Speaker 3: lines in those friendships start to come to the foe.
Speaker 3: And like, this is definitely it's definitely a very good
Speaker 3: depiction of that. Yeah, it's good, it's good, and it's
Speaker 3: full of really funny British comedy perform It's really it's
Speaker 3: definitely worth checking out. And it also is an interesting
Speaker 3: double bill with another more conventional horror movie, Bodies Bodies Bodies,
Speaker 3: which again is about a bunch of friends getting together
Speaker 3: in a house, and it's again about the tensions that
Speaker 3: have I think it's it's a slightly younger group of people,
Speaker 3: but again it's like the tensions that are occurring between
Speaker 3: a group of friends. And but then and then it
Speaker 3: becomes a lot of fun in a very straightforward horror way.
Speaker 1: Yeah.
Speaker 2: I watched them in a weekend, both those two, which
Speaker 2: is a weird.
Speaker 3: Yeah, but I think it's a great doubleheader. Well, I
Speaker 3: don't know if it's too close. I think like because
Speaker 3: you know all my friends hate me, definitely moves much
Speaker 3: more into a kind of comedy territory and bodies bodies.
Speaker 3: But it's kind of interesting, Like it's like an interesting
Speaker 3: exercise in how creativity works, because you can take the
Speaker 3: same themes and structure and then make a horror movie
Speaker 3: and a comedy out of it.
Speaker 2: Yes, correct, What is the film that made you cry
Speaker 2: the most this year? You fucking pathetic, weedy little crier?
Speaker 2: What what didn't make what didn't make you cry?
Speaker 3: Brett? What phil make you cry the most this year?
Speaker 2: I know what you think. My answer is because you
Speaker 2: saw me? Is that what you think? I actually think
Speaker 2: there were more. It's a close call. I'll give you
Speaker 2: the answer you think because I think it's second.
Speaker 1: Yeah.
Speaker 2: I went to see after Sun and I had. I
Speaker 2: went to see it near Nish and then I was
Speaker 2: going to go to Nicia's house afterwards. It was like
Speaker 2: fifteen minute walk to Nish's house from the cinema. I
Speaker 2: saw after Sun. I sat for all the credits. I
Speaker 2: stayed in the cinema after ten minutes to get myself together,
Speaker 2: and then walked to this's house, thinking I'll be all right.
Speaker 2: By the time I get to the Nish had family
Speaker 2: around the answered the door, he saw me, he went,
Speaker 2: you just seen after Son. He helped me and then
Speaker 2: he said come in, and I said, I'm not ready,
Speaker 2: and then you introduced me to your family by going
Speaker 2: he just saw after And I was like, okay.
Speaker 1: Yeah.
Speaker 3: My brother was there, and my brother had had seen
Speaker 3: after Son, and he was like, fair enough, give him
Speaker 3: a second. My teenage cousins were there, who were also
Speaker 3: say quite star struck and then very baffled. Roy Kent
Speaker 3: a lot of sadder in real life. Yeah, I hope
Speaker 3: he says. I hope he says fuck soon, because this
Speaker 3: is what he looks really like. He's thinking about things.
Speaker 1: The film that made me cry longer?
Speaker 3: Yeah, how is that not your number?
Speaker 1: One? Yeah?
Speaker 2: Because it was everything everywhere, all at once, which I
Speaker 2: think made me cry solidly from the last half hour
Speaker 2: of it, and it's like what two and a half
Speaker 2: hours from the two hour mark to.
Speaker 1: The end, I was crying.
Speaker 2: Yeah, and then on, and then I just didn't see it,
Speaker 2: you know, I blocked out the rest of the night.
Speaker 3: I'll say everything over all at Once made me cry twice.
Speaker 3: I've seen it twice in the cinema and it made
Speaker 3: me cry twice in the cinema. And it's one of
Speaker 3: my answers for later. So I'll probably get into why
Speaker 3: I think it made me cry, because I'll be honest
Speaker 3: with you, Brett, I started crying. I think minute six.
Speaker 3: I don't have an exact time code, but it was
Speaker 3: very very early. But what was it about it that?
Speaker 3: What's the point? I mean, I think I know the point,
Speaker 3: but what was the point that tipped you over?
Speaker 2: Well, I'm sure we're talking, we're talking in depth and
Speaker 2: it I think everything over all the ones is amazing
Speaker 2: and amazing at won Best Picture because it's so rare.
Speaker 3: That it's so weird.
Speaker 2: The films that are popular and chrys nick named and
Speaker 2: win stuff are very rarely the same, and you go,
Speaker 2: it's such a weird film. It's so original, it's so
Speaker 2: odd and funny, and it has button dealdayes in it
Speaker 2: and hot dog fingers and still there's so much going
Speaker 2: on about parenting and children But for me, ultimately it
Speaker 2: was I think the relationship of the husband and wife
Speaker 2: in this idea, right, Yeah, I can't even say it
Speaker 2: without Win's cry, but you know, we'd be happy doing
Speaker 2: taxes and laundry in a kind of finish.
Speaker 3: Hold on, let me get my cousins on FaceTime. Froy's
Speaker 3: got sad again, So you're so yeah, so yeah. So
Speaker 3: for you it was that is that relation to it,
Speaker 3: because it's he starts out, he seems so ineffectual. Then
Speaker 3: you sort of find out there's this kind of heartbreaking
Speaker 3: thing where she finds out that he's planning on divorcing her. Yeah,
Speaker 3: it's also like, I mean, there's so many reasons why
Speaker 3: it was an unlikely Oscar winner, but also for a
Speaker 3: film to be a genuinely funny comedy with properly brilliant jokes,
Speaker 3: and to have genre elements full on and full on
Speaker 3: sci fi elements, those are two things that normally immediately
Speaker 3: boxed you out of an Oscar. So I do think
Speaker 3: it is incredible that it won. But then the point,
Speaker 3: and also the point that you were talking about, is
Speaker 3: the kind of one car why sort of tribute when
Speaker 3: she's been at the movie premiere, and he's it's sort
Speaker 3: of a stylistic homage to things like in the Mood
Speaker 3: for Love, and Yeah, I think that is such a
Speaker 3: that's such a potent scene and it's so brilliantly played,
Speaker 3: and Ko Kwan is so. I mean, Michelle Yo is
Speaker 3: incredible in the whole thing, and that it's like, you know,
Speaker 3: it's like one of those performances like Daniel Kalua in
Speaker 3: Get Out. If the center of a film with that
Speaker 3: higher concept can't hold, if that if we don't buy
Speaker 3: every single thing that she's putting out into the performance,
Speaker 3: the entire movie collapses. Like as brilliant as the film
Speaker 3: as I think it is, I don't think you can
Speaker 3: sell a film that has to have so many outrageous
Speaker 3: elements and then proper emotional beats without that. But he's
Speaker 3: incredible in that scene. And so that was the thing
Speaker 3: that set you.
Speaker 1: Off, I think so, Yeah, And but I was.
Speaker 2: But that's why I think the film is amazing is
Speaker 2: that everyone had talked about it. It's another element that
Speaker 2: gets that they I know, with you unless you want
Speaker 2: to save it, I know.
Speaker 3: Yeah, yeah we can definitely. Yeah is different. Yeah, it's
Speaker 3: a completely different thing. But I'm keen to it. I'm
Speaker 3: just interested to see what it is about that central
Speaker 3: relationship that you think sort of pushed you over the edge.
Speaker 1: I mean, this is not that's not.
Speaker 2: This is I would describe this as unfair. I would
Speaker 2: describe this as an attack. This is our frost Nis
Speaker 2: at moment. Yeah, you know, it's just it's just, you know,
Speaker 2: I didn't mean anything to it. It's just a nice
Speaker 2: thing that he says.
Speaker 3: The man that made me cry the most was after Son.
Speaker 3: Oh yeah, sorry, because everything everywhere did make me cry
Speaker 3: twice both times I saw it. After Sun, I actually
Speaker 3: I went to I can't remember what why I was
Speaker 3: doing this, but I got I like panic, bought tickets
Speaker 3: to see what turned out to be a preview screening.
Speaker 3: I think because I was going to be away and
Speaker 3: so I was like, I got to see this, and
Speaker 3: then I saw there was one ticket left in the
Speaker 3: picture house central in the screenline, it's a really nice
Speaker 3: screen and I think the man who was sat next
Speaker 3: to me was uncomfortable and was worried about me. I
Speaker 3: genuinely think that there is a guy out there. It's
Speaker 3: almost funnier if he recognized me. But even if he
Speaker 3: didn't he has. I think I'm an anecdote that that
Speaker 3: man tells. Because also it was a preview screening and
Speaker 3: there was a Q and A with the director, which
Speaker 3: Charlotte wells afterwards, and I was like, I've got to go,
Speaker 3: like as in, I can't stay. I didn't stay for
Speaker 3: the Q and I really regret it because I think
Speaker 3: it's a masterpiece. I think it's one of the I
Speaker 3: think it just in terms of just for a debut feature,
Speaker 3: is absolutely unfathomable. It's not even worth dwelling on the
Speaker 3: fact that it's her debut feature. But I just think
Speaker 3: as a piece of filmmaking, it's extraordinary. I think the seat,
Speaker 3: the repeated refrain of the night club, so it's about
Speaker 3: this holiday. And also I realized that I didn't understand
Speaker 3: what it was from the trailer, and the trailer I
Speaker 3: think keeps the secrets of the film really nicely. It's
Speaker 3: not really a big twist, but it's a woman in
Speaker 3: her kind of early thirties looking at camcorder footage of
Speaker 3: a holiday she took in Turkey with her dad and
Speaker 3: it was the last time she saw him, and she keeps,
Speaker 3: she keeps she's almost like trying to sift through like
Speaker 3: I saw black box recording to try and find clues,
Speaker 3: and we don't really see too much of her. She
Speaker 3: sort of appears kind of in the background. The main
Speaker 3: bulk of the movie is the period piece between poor
Speaker 3: mescal Is. I mean, just like just imagine that scene
Speaker 3: where he's crying in normal people, but for a whole film,
Speaker 3: Like it's like he's like he's such a like such
Speaker 3: a like wounded animal for the whole movie. And but
Speaker 3: and like I just thought that there's something really tragic
Speaker 3: about the fact that you can see that he is
Speaker 3: being weighed down by his insecurities and depression and anxiety.
Speaker 3: But and also he's really beating himself up about how
Speaker 3: he parents his daughter, and I think it's just a
Speaker 3: very sad thing that he doesn't realize that like he's
Speaker 3: enough for her, like him just being there is enough
Speaker 3: for her. And the sequence, the thing that sort of
Speaker 3: then really like tipped me over the edge is you
Speaker 3: keep seeing shots of him in a nightclub and her
Speaker 3: as an adult looking for him, and it kind of
Speaker 3: appears like outside of the action, which for quite like
Speaker 3: low key naturalistic film, it's quite this like it's quite
Speaker 3: bold or stylistic flourish, and then at the end those sequences,
Speaker 3: the like archive footage and the nightclub sequence converges. And
Speaker 3: in the holiday in Turkey also I'm almost exactly in
Speaker 3: the same age as as woman, because all the music
Speaker 3: in it was like unbearable, like Tender by Blur, like
Speaker 3: it was all just unbearable late night to stuff. And
Speaker 3: the song that her dad loves is ari, Yeah, is
Speaker 3: Losing my Religion, And there's a sequence where she tries
Speaker 3: to sing it with him a karaoki and he doesn't
Speaker 3: do it, like all of that, but there's like a
Speaker 3: moment where he's dancing to under Pressure and she is
Speaker 3: sort of embarrassed by him, but she kind of walks
Speaker 3: towards him on the dance floor anyway. And also under
Speaker 3: Pressure is a fucking amazing song. I know we're sort
Speaker 3: of innuded to it because we all hear it sort
Speaker 3: of ten thousand times a day, but like that when
Speaker 3: David Bowie sings that love such and old fact, like
Speaker 3: that is incredible. And as she hugs him in the
Speaker 3: past in the kind of nightclub sequence, she like fights
Speaker 3: through a crowd and finds him and it's just strobe
Speaker 3: lights going the whole time, and he sort of thinks
Speaker 3: that she's going to like confront him, but instead she
Speaker 3: hugs him. And it cuts between her finding him on
Speaker 3: the dance floor on holiday and hugging him, and her
Speaker 3: finding him in the nightclub and hugging him, and it's
Speaker 3: the it's the act of forgive being your parents, for
Speaker 3: just being human beings. And I just thought it was
Speaker 3: such a brilliant expression of just of love and just
Speaker 3: an evocation of like love and loss, and it just
Speaker 3: absolutely flawed me. And like the last frames of that
Speaker 3: movie when he's like you see him pulling the video
Speaker 3: corder camcorder away and then walking down this corridor and
Speaker 3: then opening the door and it's the nightclub. It's just
Speaker 3: like it was such an amazing mixture of really naturalistic
Speaker 3: sequences and then these kind of really amazing stylistic flourishes.
Speaker 3: But that thing of her when you think she's going
Speaker 3: to hit him and she fucking hugs him. I was
Speaker 3: like I was like throwing up tears, like they were
Speaker 3: like I was crying out in my mouth, just like
Speaker 3: because I think just whatever situation you're in in your life,
Speaker 3: they just has to come a point where you have
Speaker 3: to forgive your parents for just being people, and what's
Speaker 3: happened to her is really difficult. Like she's like been
Speaker 3: abandoned by this man, you know, like whatever his problems were,
Speaker 3: she probably feels to some extent abandoned by him. But
Speaker 3: now we also see that she's got a kid, and
Speaker 3: it's almost like she's coming to some understanding about what
Speaker 3: he was going through, and like the whole film has
Speaker 3: kind of been a journey for her to understand her
Speaker 3: dad and empathize with him. And I just think that
Speaker 3: that is absolutely and I probably should stop talking about
Speaker 3: it now.
Speaker 1: Because Where Guys Are Quiet has left the podcast.
Speaker 3: Oh god, it's perfect.
Speaker 2: It is an incredible film, and I don't know what
Speaker 2: I find fascinating about it, you know, as someone who
Speaker 2: is involved in making stuff, And I don't know how
Speaker 2: After Sun works, Like I think it's so I can't
Speaker 2: sort of work out. It's almost and it's a very
Speaker 2: different reference, but it's almost like a David Lynch film
Speaker 2: in terms of I go, I don't know why this
Speaker 2: is doing the things that it is doing to me. Yeah,
Speaker 2: I don't know what makes this so special. It's incredibly special,
Speaker 2: and I can't really make sense of why. I don't
Speaker 2: know how she's shooting it, how she's framing it, how
Speaker 2: Like I can't really analyate. I can't really sort of
Speaker 2: dissect it and go, well it works because of this
Speaker 2: and this and this. I don't know this. This kind
Speaker 2: of seems like nothing else. It's really pretty magical. Yeah, anyway,
Speaker 2: well masterpiece. Great, all right, so that's two down. What's
Speaker 2: the film that's sort of meant to be shit? But
Speaker 2: you loved it?
Speaker 3: This is because we do these every year. I think
Speaker 3: it has affected the way that I watch movies because
Speaker 3: I literally walked out of this film and was like, yeah,
Speaker 3: I got my answer three words, Brett, Ticket to Paradise,
Speaker 3: Ticket to Paradise, and yes I will. I will admit
Speaker 3: to you, Brett. The plot is very predictable. Yes, it's
Speaker 3: shot like a mid range travel agency YouTube advert. There
Speaker 3: were definitely points where I was expecting Skip had to
Speaker 3: appear in the corner of the screen. But on the
Speaker 3: other hand, I give you Brett. Movie stars, fucking movie stars, Clooney, Roberts,
Speaker 3: Caitlin Diver as well playing the daughter who I think
Speaker 3: is a future movie star. But Clooney and Roberts. This
Speaker 3: is it is charisma. These are people who they couldn't
Speaker 3: have worked in McDonald's. You can't put Julia Roberts and
Speaker 3: McDonald's be distracting for everybody. You've got to put her
Speaker 3: on the biggest screen possible, and her and Clooney are
Speaker 3: having such a good time, and it's just one of
Speaker 3: those things where all of their charisma translates on camera,
Speaker 3: and there's point that in the end during the credits
Speaker 3: there's like bloopers, and a lot of the bloopers, just
Speaker 3: the extras are mainly just like step like thrilled to
Speaker 3: be in the company of George Clue and Julia Roberts,
Speaker 3: and I just I loved it. I was completely charmed
Speaker 3: by it. I thought that it was really funny. I
Speaker 3: thought that even though the plot doesn't it's bad, it's
Speaker 3: quite bad, and even though it's the twooting of it,
Speaker 3: it's quite shit. I had an absolutely like great time
Speaker 3: for whatever it is nineteen minutes to two hours, I
Speaker 3: had an absolutely great time. I was thrilled to see
Speaker 3: proper cinematic charisma I was. I loved it. I absolutely
Speaker 3: loved it.
Speaker 2: What's Yours Mine is three thousand years of Longing, which
Speaker 2: I don't know what happened to that film. It was
Speaker 2: George Miller. When George Miller made the film you fucking listen, Yeah,
Speaker 2: you turn up. It sort of came.
Speaker 3: Sometimes you're like, well that's Happy Feet. Okay, well I
Speaker 3: guess I'm seeing that now.
Speaker 2: Listen. The man made Happy Feet. He made Babe Babe
Speaker 2: Pig in the City. He made Mad Max. He made
Speaker 2: Mad Max all the Mad Max and Mad Fury.
Speaker 3: Rode Mad Meat. He made mad MEAs that's what Mad Max.
Speaker 2: He's a fucking artist. And then I had somehow missed
Speaker 2: this film. I watched it on a plane, which is
Speaker 2: not the idea way to watch it. I had no
Speaker 2: idea what it was about. It's fucking mad. What it's
Speaker 2: about is Till the Swinton. I mean, if you told
Speaker 2: me this, I'd have been there opening night. Till the
Speaker 2: Swinton finds a lamp and rubs it, and Indrice Elbow
Speaker 2: pops out as a genie and they're in a hotel
Speaker 2: room or a little apartment, and she's got three wishes
Speaker 2: and she's trying to outthink him. And while she asked
Speaker 2: him questions about previous people he'd done, Wishes it's almost
Speaker 2: like a sort of one thousand and one nights.
Speaker 1: Is that what it's called? Arabian Night?
Speaker 3: Arabian Nights?
Speaker 2: Yeah, yeah, yeah, like as in so many short stories
Speaker 2: from the Genies past and from her past, and it's
Speaker 2: about love and it's about sex, and it's got like
Speaker 2: it's like fairy tales.
Speaker 1: And it's great. I mean, it's fucking great.
Speaker 2: And it's also I like that he made Mad Mad
Speaker 2: Max Females and then he made a film bat it's
Speaker 2: fucking Genie.
Speaker 1: It's lovely.
Speaker 3: You can't pin this man's filmography down to one thing.
Speaker 2: That's what I love. You're like, what's he going to
Speaker 2: do next? I don't know, couldn't guess. Yeah, full full
Speaker 2: on musical musical set in in Hell starring mice. You'd
Speaker 2: be like, okay, yeah.
Speaker 3: George Miller's back with an all mouse musical set in
Speaker 3: the bowel of Hades itself.
Speaker 1: Or he do like die Hard seven? Do you know
Speaker 1: what I mean?
Speaker 3: Yeah? Right, yeah, yeah, you don't know, you just down. Yeah.
Speaker 2: I think it was great, very entertaining, sweet, sexy, fine hot.
Speaker 2: Pilis Winton who doesn't love it? Just me who doesn't
Speaker 2: love it?
Speaker 3: Yeah, Well this is very much my argument with Yeah,
Speaker 3: cluding Roberts.
Speaker 2: What is the film that surprised you the most as
Speaker 2: you thought you'd hate it, but you loved it.
Speaker 3: Okay, so this is going to sound a bit weird,
Speaker 3: but Banshee's of inn A sharing well, and I'll tell
Speaker 3: you why it was a bit weird. I did not
Speaker 3: get on with Three Billboards at all, to the extent
Speaker 3: that it made me quite angry. And the thing is,
Speaker 3: I really loved Martin McDonough. Like I saw the Left
Speaker 3: Tent of Finish More when I was like eighteen in
Speaker 3: a small theater because I was there on like a
Speaker 3: fun school trip, and like this. I think the second
Speaker 3: act of that play opens with just like blood and
Speaker 3: limbs on the stage and obviously we're just like, this
Speaker 3: is fucking brilliant. And I remember loving in Bruges, and
Speaker 3: I watched a bit of in Bruges after I saw
Speaker 3: Three Billboards because I was and I was like, oh,
Speaker 3: I don't like this anymore. I don't like in Bruges anymore.
Speaker 3: And so there was a part of me that slightly
Speaker 3: worried that I'd grown out of Martin McDonough and his thing.
Speaker 3: But I thought Banshee's was great. I thought was absolutely brilliant.
Speaker 3: I thought it was really funny. I thought it was
Speaker 3: really sad. I thought it was brilliantly performed. I think
Speaker 3: obviously Pleasing and Farrell are brilliant. I also think, man, listen,
Speaker 3: if you need a creepy little fucker, you call Kegan,
Speaker 3: you call Barry Keegan. I'm not sure I'm pronouncing his
Speaker 3: name correctly, but I'll be honest with you. I'm too
Speaker 3: creeped out by the guy. I'm too creeped out by
Speaker 3: the guy Barry Barry We I mean, the nice thing
Speaker 3: about this is the creepy there's there's a real depth
Speaker 3: to it, and he brings a lot of depth for
Speaker 3: that part. But like man between like Killing of Killing
Speaker 3: of Sacredea and Green Knight, like he is a massive
Speaker 3: rogues gallery of fucking little creeps. And I'm sure he's
Speaker 3: a very nice man, but he creeps me the fuck out.
Speaker 3: In fact, I know that he's a nice someone I
Speaker 3: know is work with him, and he says, no, he's
Speaker 3: a really nice guy, and I was like, sure he
Speaker 3: is fucking creepy little Yeah, he's a nice guy. Then
Speaker 3: you catch him later and he's snacking on someone's toenails. Horrible,
Speaker 3: creepy guy. And Carry Condon was great as well. Yes,
Speaker 3: really good.
Speaker 2: Well I'm going to talk about that film from my
Speaker 2: side In an upcoming question, I said, film that's surprised me.
Speaker 2: The most that I thought I'd hate was The Souvenir
Speaker 2: Part two because as you.
Speaker 1: Know, Wow, boy did I struggle with the part? Boy?
Speaker 1: Oh boy?
Speaker 2: Would I describe that as beyond homework?
Speaker 3: The the eye set you service?
Speaker 1: Fuck me? Fuck me? That was? That was like, yes,
Speaker 1: this is good.
Speaker 2: Really struggled with the part to the extent that I
Speaker 2: was like, I don't have to see part two?
Speaker 1: Do I have done? You know what I mean, I've
Speaker 1: eaten my greens? Let me go? Was it you do?
Speaker 1: You beg me?
Speaker 3: I really begged you to see too.
Speaker 1: And you know what, I fucking liked it really good.
Speaker 1: I liked it.
Speaker 2: Yeah, I really liked it. And how come you like
Speaker 2: that one? I'd argue, it's partly because stuff happens.
Speaker 1: Would be my main one and two do you like
Speaker 1: things happening in a film? Then what's the second one?
Speaker 3: I'm genuinely a most They didn't use that as a
Speaker 3: poll quote and I'd be shocked if that's not what
Speaker 3: they used in future. I loved Part one. I loved
Speaker 3: Part two, Portrait of an Artist as a young woman,
Speaker 3: loved it. Loved the ending where it pulls out to
Speaker 3: reveal the crew and you hear I guess Joanna Hogg
Speaker 3: call cut and the whole thing has kind of come
Speaker 3: full circle. I love the whole package. I love Richard
Speaker 3: i Addy smoking two cigarettes at the same time. I
Speaker 3: love the fact that Joanna Hogg has made room for
Speaker 3: him to just be sort of do his thing in
Speaker 3: these films. I think he's great. I love Souvenir one.
Speaker 3: I was thrilled to see Souvenir two. I think it's better.
Speaker 3: I think that the two parts constitute a very significant
Speaker 3: achievement in modern British cinemar. But that's me.
Speaker 2: But I'm being a cheeky boy because one is brilliant.
Speaker 2: One is brilliant, but it's not easy. I can't say
Speaker 2: that it's not easy.
Speaker 1: But two easier. Yeah, that's what that's what I want.
Speaker 2: I really like too, I really I was really like, oh,
Speaker 2: I think about half an hour and I was like,
Speaker 2: I'm enjoying this. I'd also like to give a shout,
Speaker 2: and not that I thought it would be ship or
Speaker 2: that people didn't like it. It's just sort of breezed
Speaker 2: by and didn't get as much love as I'm just
Speaker 2: giving this an honorable mention, which is she said, which
Speaker 2: kind of came and went.
Speaker 3: I totally agree.
Speaker 1: Yeah.
Speaker 2: I watched it and I was like, this is fucking great. Yeah,
Speaker 2: it's great. It's weirdly because it's so recent news and
Speaker 2: all of that, but it's quite thrilling. It's quite exciting,
Speaker 2: and it's kind of pasty and interesting, and and there's
Speaker 2: the just the sort of basics so of I don't
Speaker 2: want to sound like a right on kind of guy,
Speaker 2: but I do think it's interesting that kind of structurally
Speaker 2: it's kind of like all the President's men and stuff
Speaker 2: like that is two journalists trying to sort of crack
Speaker 2: a case, and it is just interesting the reality of
Speaker 2: these two journalists were women and they had children, and
Speaker 2: they had margined them just the same scenes but with childcare.
Speaker 2: Just kind of like, oh that's interesting. Yeah, it's a
Speaker 2: whole different level that it just feels new and interesting.
Speaker 3: Yeah, I totally agree. I thought I thought it was
Speaker 3: absolutely great, and also I thought it did something really
Speaker 3: interesting that you can do in a film, which is
Speaker 3: take quite a big question that people have, which is
Speaker 3: often like, well, why don't these women come forward or
Speaker 3: why is there a gap? And why is there a
Speaker 3: gap between you know, we heard these rumors, then it
Speaker 3: took years before and it actually showed you like it's difficult.
Speaker 3: These people have armies of lawyers that get people to
Speaker 3: sign MDAs, and they operate almost like he's like Harvey
Speaker 3: Winstein's kind of a sort of massive Also the choice
Speaker 3: to not really show his face. I thought it was
Speaker 3: brilliant and really smart. But he operates like a kind
Speaker 3: of mafia don like it's an atmosphere of fear. And
Speaker 3: also journalism is really hard, Like you know, tweeting something
Speaker 3: is really easy, but like actually putting it out in
Speaker 3: print and getting it to a mass audience and clearing
Speaker 3: the legals of it and making it is really hard.
Speaker 3: And I thought it was a good I thought it
Speaker 3: was a really good process movie about journalism.
Speaker 1: Yeah.
Speaker 2: Great, what was the most meaningful experience that you had
Speaker 2: this year?
Speaker 3: Well, there's two answers to this, I mean what I mean, look,
Speaker 3: look right, obviously it was very meaningful to see you
Speaker 3: turn up in a Marvel film like, of course that
Speaker 3: was hugely meaningful for me. Of course that that was
Speaker 3: incredibly meaningful. Russell Crow to turn around me like, are
Speaker 3: you ready Hercules, Yeah, I fucking am dead. I'll get him.
Speaker 3: Ah fucking nail the caunt. I'll kill him and I'll
Speaker 3: ask him about what films he liked.
Speaker 1: Store getting a fucking get a coffin.
Speaker 3: Fucking listen for you're playing up front with Jamie tart
Speaker 3: So on a personal level, that was very meaningful for me.
Speaker 3: It's very exciting and I was very proud of you.
Speaker 3: I think that in terms of like I kind of
Speaker 3: experienced that, like I had that left something on me personally.
Speaker 3: I think watching Flea definitely did that. I just thought,
Speaker 3: you know, especially like I don't mean to lean into
Speaker 3: the worst characters of myself, but if I could briefly
Speaker 3: talk about the government's refugee policy, yeah, I just think
Speaker 3: that like in a climate where casual demonization of refugees
Speaker 3: and also you know this, this is this idea constantly
Speaker 3: now that they casually demonize them for political points and
Speaker 3: then they flip flop into saying, well, we're actually trying
Speaker 3: to protect them from people traffickers, and when you see
Speaker 3: a thing like Flea, you see the extent to which
Speaker 3: that government policy and people traffickers are just two sides
Speaker 3: of the same shitcoin mistreating these people. And I thought,
Speaker 3: Flee he really left a mark on me. Also, it
Speaker 3: really reminded me of Walts of Bashir, which is another
Speaker 3: one of my favorite films. And like, when you take
Speaker 3: difficult and complicated stories and you're hopping in and out
Speaker 3: of people's memories, animation is such a brilliant tool to
Speaker 3: do that. I thought that as a piece of filmmaking,
Speaker 3: I thought it was incredibly impressive and brilliantly put together.
Speaker 2: I completely agree with you, and I really love that film,
Speaker 2: and I haven't analyzed it, Like why is it Do
Speaker 2: you think that by animating it it sort of makes
Speaker 2: it makes it sort of more palatable or something, or
Speaker 2: is it the slight distancing of animation makes it.
Speaker 3: I wonder if. I also wonder if it just it
Speaker 3: allows you to really feel like you're watching a film
Speaker 3: set inside someone's consciousness. You know, so much of this
Speaker 3: film is memory, and so much of it is about
Speaker 3: the act of remembering, and animation allows you almost to
Speaker 3: set a film inside somebody's brain, and Wolsabashia definitely does that.
Speaker 3: And again it's and I wonder if there is something
Speaker 3: to it, because Boltsibashi is also about it's you know,
Speaker 3: it's about Israeli soldiers who have sort of been given
Speaker 3: a kind of post from my extress and have sort
Speaker 3: of got amnesia because of the strain of their own
Speaker 3: participation in massacre. And like, I just wonder whether there
Speaker 3: is something too. If you animate something, it gives you
Speaker 3: one layer of distance that allows you to really show
Speaker 3: some pretty horrific things. But I also just think it's
Speaker 3: a great way of showing memory and showing the kind
Speaker 3: of slipperiness of it. And they do something very clever
Speaker 3: where they incorporate news footage just into spur the film
Speaker 3: with news footage, and the overall effect I thought was
Speaker 3: just was brilliant. You really, you really felt like you
Speaker 3: were being taken down somebody's really really traumatic and difficult memories.
Speaker 3: But also it was humanizing and it was you know,
Speaker 3: it was you saw, I mean, who's the narrator of
Speaker 3: the film and whose life is about. You've got sense
Speaker 3: of him as a person, and you know he was
Speaker 3: also struggling with like his sexuality, and he had these
Speaker 3: kind of personal concerns that were going alongside how am
Speaker 3: I going to survive the day because these people traffickers
Speaker 3: have like locked us in a boat with no air
Speaker 3: in it.
Speaker 1: You know.
Speaker 3: It's yeah, I just thought it's It's a film that
Speaker 3: really left a mark on me.
Speaker 1: What was yours? I mean, it's an excellent one.
Speaker 2: Mine was probably the bandities of in this area and
Speaker 2: talk about well, it made me really really sad.
Speaker 1: It really really affected me. That film.
Speaker 2: I think it's brilliant and I think that it really
Speaker 2: sort of made me think about the fact that what
Speaker 2: the story that one way of reading the story is
Speaker 2: that it is about a breakup, but it's about Brendan
Speaker 2: Gleason has decided that life is short, has suddenly realized
Speaker 2: life is short and he's an artist and he needs
Speaker 2: to focus on his art at all costs, and that
Speaker 2: he needs to sort of cut the dead weight of
Speaker 2: his social life so that he can really make his
Speaker 2: art before he dies.
Speaker 1: And as someone who.
Speaker 2: Very much has a very bad work life balance and
Speaker 2: constantly makes decisions on the basis of well we did soon,
Speaker 2: I did watch it going am I Brendan Gleeson just
Speaker 2: fucking cutting my fingers off, chucking them love.
Speaker 3: I could not agree with you more strongly.
Speaker 1: Well, yes you are, Yes you are.
Speaker 3: No. I just like I'm interested in the way that
Speaker 3: people write about that movie. They were like Colin Farrell's
Speaker 3: just like do first, and you're like, no, it's a
Speaker 3: story of two idiots. Like I think the key line
Speaker 3: in that whole movie is when Carrie Condon says, you're
Speaker 3: all fucking boring, like all of you men are fucking boring,
Speaker 3: and you're like, it's like it's Laurel and Hardy, Like
Speaker 3: it's two idiots. I mean they sort of even look
Speaker 3: like Laurel, and like the outlines of them look like
Speaker 3: Laurel and Hardy, And you know, it's like one of
Speaker 3: them is an idiot, but at least he knows he's
Speaker 3: kind of an idiot. The other one is as big
Speaker 3: an idiot because he's got He's like, he's I've got
Speaker 3: to commit myself to my arm. Why you live on
Speaker 3: a fucking island the BDD of nowhere? Yeah, and no
Speaker 3: no one cares the sort.
Speaker 2: Of stupid only of like who wants to make this
Speaker 2: beautiful FIDLM music? But it keeps cutting off his fingers
Speaker 2: the thing.
Speaker 3: Yeah, I just wonder whether that's like, I wonder whether
Speaker 3: that's true of a lot of people who work or
Speaker 3: have devoted a lot of their are like life to
Speaker 3: making pieces of culture. And now maybe now maybe watch
Speaker 3: that movie and we're like, maybe Colin Farrell was right,
Speaker 3: Like maybe we were wrong, And.
Speaker 2: Colin Farrell is like, it's also the thing of the
Speaker 2: the sort of life versus work, Like, yes, Colin Farrell
Speaker 2: is boring, but he's also love's love, and so what
Speaker 2: if you're going to tell you about his taste every day?
Speaker 2: Like it's kind of funny, you know what I mean, Like,
Speaker 2: it's not that that's that has its place.
Speaker 3: I found an unpleasant experience to relate to both characters
Speaker 3: because I think I've there's times in my life where
Speaker 3: I've cut my fingers off and thrown them at love.
Speaker 3: And there's times of my life where I've also been
Speaker 3: the guy going, come on, let's be friends, come and
Speaker 3: look at a donkey. Oh it's death. Very good film,
Speaker 3: very very film, very good film. Best film is made.
Speaker 3: Absolutely all right, here we go.
Speaker 2: The sexiest film of the year, the sexiest film. Oh
Speaker 2: what a Cliffhanger. So that was episode two hundred and
Speaker 2: forty four. Head over to the Patreon at patreon dot
Speaker 2: com Forward Slash Brett Goldstein for all the extra stuff
Speaker 2: and the video with Nish. You can watch Shrinking and
Speaker 2: ted Lasso, half of ted Lasso, all of Shrinking all
Speaker 2: on Apple TV plus. I mean, what else do we
Speaker 2: need to know? I think that's it in it. Thank
Speaker 2: you very much for listening. I hope you're enjoying this
Speaker 2: so far. Part two is fucking hell. We get deep,
Speaker 2: I'll tell you that son anyway. Thank you so much
Speaker 2: to Nish. You know I love him, I love talking
Speaker 2: to him, love doing this. I hope you enjoyed it too.
Speaker 2: Thank you so much to Scrubyus Pittman the distraction Pieces
Speaker 2: of Network. Thanks to Buddy Peace for producing it. Thanks
Speaker 2: to ACAS for hosting it. Thanks to Adam Richardson for
Speaker 2: the graphics at Least Alighting for the photography. Come and
Speaker 2: join me next week for part two, The way ahead
Speaker 2: of Schedule when you think about it. End of the
Speaker 2: Year Special Films of the Year twenty twenty two with
Speaker 2: mister Nis Kumber.
Speaker 1: I hope you're all well. Thank you for listening.
Speaker 2: That's it for now having a lovely week, and in
Speaker 2: the meantime, please now more than ever, be excellent to
Speaker 2: each other.