Speaker 1: Look, it's only films to be buried with.
Speaker 2: Hello, and welcome to films to be buried with. My
Speaker 2: name is Brett Goldstein. I'm a comedian, an actor, a writer, director,
Speaker 2: a bowling pin, and I love films. As Rokwon once said,
Speaker 2: silence is its own kind of conversation, which is why
Speaker 2: I still think A Quiet Place should have ended with
Speaker 2: someone whispering fucking hell.
Speaker 1: That was stressful.
Speaker 2: Every week I'm invite a special guest over. I tell
Speaker 2: them they've died, and I get them to discuss their
Speaker 2: life through the films. The men the most of them.
Speaker 2: Previous guests include Barry Jenkins, Kevin Smith, Sharon Stone, and
Speaker 2: even Bled Blambles. But this week we have the Oscar
Speaker 2: winning playwright, screenwriter and author mister Peter Strawn. Head over
Speaker 2: to the Patreon at patroon dot com forwards slash pret Goldsting,
Speaker 2: where you get extra twenty minutes of chat with Peter.
Speaker 2: We talk secrets, beginnings and endings, and you get the
Speaker 2: whole episode uncut Adfrey, and there's a video. Check it
Speaker 2: out over at patreon dot com. Forward last break. So
Speaker 2: Peter Strawn, just one an Oscar for God's sakes, you
Speaker 2: might know him from writing Tinker Taylor, soldiers By or
Speaker 2: The Men Who Steric Goats or Frank or How to
Speaker 2: Lose Friends and Alienate People, or even the Oscar winning Conclave.
Speaker 2: I met Peter once before and then we recorded this
Speaker 2: on Zoom. We had a very lovely time, and I
Speaker 2: really think you're going to love this one. So that
Speaker 2: is it for now. I very much hope you enjoy
Speaker 2: episode three hundred and forty six of Films to be
Speaker 2: Buried With. Hello, and welcome to Films to be Buried With.
Speaker 2: It is I Berett Goldstein, and I am joined today
Speaker 2: by a writer, a screen writer, a director, a Missus Raccless, revolutioner,
Speaker 2: a man who loses friends and alienates people, a man
Speaker 2: who stares at ghats. He's a tinker, he's a tailor.
Speaker 2: He's a soldier, he's a spy, he's a snowman. He's
Speaker 2: a goldfish. And he is now an Academy Award winning
Speaker 2: screenwriter of Conclave, and he also has a brand in crisis.
Speaker 2: He's here. I can't believe he's here, fresh from his oscar.
Speaker 2: Will you please welcome to the show. It's the amazing writer.
Speaker 1: It's Peter Stroan, thank you.
Speaker 2: Broh Hi, Peter, how are you very well?
Speaker 1: Thank you? How are you? I'm good, thank you.
Speaker 2: We met once before because there was a live reading
Speaker 2: of your film Conclave, as part of the campaign to
Speaker 2: win the Oscars. I performed in that live reading, and
Speaker 2: then you won an Oscar. Coincidence, I don't think so.
Speaker 2: I thought it was brilliant and I love that film,
Speaker 2: and you are the first guest that I've had on
Speaker 2: the show this soon after winning an Oscar, and I'm
Speaker 2: very happy for you. It is very well deserved. But
Speaker 2: the kind of record I thought you were excellent. Your
Speaker 2: speech was excellent and very you know, subtle and funny
Speaker 2: and sweet. And I wondered, as someone who is not
Speaker 2: a performer, is there a part of you that dreads
Speaker 2: a fuck I've got to go up on that stage?
Speaker 1: Or were you very excited about How did all that
Speaker 1: actually feel? I was sick to my stomach, right, I
Speaker 1: was absolutely sick to my stomach. There was a point
Speaker 1: about two awards before mine where they helpfully announced and
Speaker 1: now we're being watched by a billion people around the world,
Speaker 1: and I just think, Oh, if you're an inter of
Speaker 1: it and you're simply going to have to get in
Speaker 1: a station of a billion people and a kind of
Speaker 1: white noise sort of buzzed in my ears, and then
Speaker 1: I was kind of on autopilot, you know, don't really
Speaker 1: remember saying anything.
Speaker 2: You looked very confident. That was just shock right, yeah, Dane,
Speaker 2: it was lovely. I was looking at your CV and
Speaker 2: it's a very very impressive CV, and it surprises me
Speaker 2: that it's always adaptations, right, You've always adapted other things.
Speaker 1: Is that true. There's a couple of originals, but it's
Speaker 1: mostly adaptations. And what is it?
Speaker 2: I mean, you're the best in the biz at it,
Speaker 2: and I'd love to know. Is it different with every project?
Speaker 2: Do you have a sort of system of working into
Speaker 2: something and also what makes you choose that as the
Speaker 2: thing you want to do?
Speaker 1: So there isn't really a system. It's quite instinctive. I'll
Speaker 1: get some something, I read it, and you know, you'll
Speaker 1: either kind of connect with it on an emotional level
Speaker 1: or you want and sometimes well this is interesting. So
Speaker 1: I always sort of feel like I don't necessarily know why.
Speaker 1: I mean, sometimes it just seems obvious to me that
Speaker 1: this is great. Sometimes it is just obvious it's great,
Speaker 1: you know, it's obvious with Tinker Tallers or just By
Speaker 1: that's just great book world fall, great book conclave, you know.
Speaker 1: But I think it's not just that they have to
Speaker 1: be good. It's that you have to find some sort
Speaker 1: of connection, like emotional connection with them. And what I've discovered,
Speaker 1: weirdly is I'm always really telling the same sort of story,
Speaker 1: even when it's with someone else's story, and it's other
Speaker 1: thing that I'm connecting with is a story that's about
Speaker 1: betrayal and loyalty. And it took me ages to realize
Speaker 1: that was what was going on. And I don't know
Speaker 1: why that's the story that I'm drawn to again again.
Speaker 2: I really want to work this out in the next hour.
Speaker 1: Yeah, so that's not well. The funny thing is I've
Speaker 1: been discovered that about myself. It makes no difference. It
Speaker 1: doesn't help me do them. It doesn't stop me from
Speaker 1: connecting with those stories, you know what I mean, It's
Speaker 1: going to happen anyway. But I sort of looked back
Speaker 1: over them and thought, oh, yeah. The Meny Stereo Goads,
Speaker 1: you know, which was a book by John Ronson about
Speaker 1: some wacky sort of experiments carried out in the US
Speaker 1: Army into the paranormal. But the sort of story we
Speaker 1: ended up focusing on was one of those who were
Speaker 1: loyal to this ideal of the sixties that had originally,
Speaker 1: you know, been the heart of it, and those who
Speaker 1: betrayed that ideal. And then obviously Tinker Taylor a spy
Speaker 1: is really about a traitor and those who are loyal
Speaker 1: to a cause. And then in wolf Hall, you know,
Speaker 1: we sort of focused very much on the story of
Speaker 1: him getting revenge on those who betrayed the Master that
Speaker 1: he was loyal to. And even yeah, you know that
Speaker 1: it's about those who are loyal to the pope who's
Speaker 1: died and those who are kind of betraying that legacy.
Speaker 1: So it's weird, isn't it. And I don't know why.
Speaker 2: Well, those that now you're saying that, I'm like all
Speaker 2: of your lead characters, not or maybe not all of them,
Speaker 2: but certainly in Tinker Taylor and in Conclave, probably in Wilfall,
Speaker 2: they're these kind of quiet, decent men who who have
Speaker 2: believed in a system that they are trying to uphold
Speaker 2: it with integrity whilst the world is infecting the system
Speaker 2: around them.
Speaker 1: Yeah, that's exactly right. Yes, exactly. I thought that Cordin, Lawrence,
Speaker 1: and Smiley have got a lot in common. I think
Speaker 1: Cromwell and Wolfall is slightly different because he's he goes
Speaker 1: on a longer journey and I think he changes in
Speaker 1: the course of the journey, but he would recognize and
Speaker 1: respect the loyalty of people like Lawrence or Smiling you know.
Speaker 1: So it's it's interesting and I don't know why. I
Speaker 1: don't know. I mean, I was broad up Catholic, and
Speaker 1: I don't know if the Judas thing, I don't know,
Speaker 1: if that's in the mix somewhere, I don't know.
Speaker 2: But is that how you feel about the world? Is
Speaker 2: that how you feel as a human like you want
Speaker 2: you're a man of decency surrounded by indecency?
Speaker 1: I don't know. I probably fear that I'd be one
Speaker 1: of the Judases that would be to everyone, But I
Speaker 1: definitely respond to kind of the quiet heroism as those
Speaker 1: people who you know remain loyal no matter what. Yeah, fascinating,
Speaker 1: you don't feel I've just wondered if I wondered how
Speaker 1: common it was for that to be a kind of
Speaker 1: core story that writers are telling different ships. Do you
Speaker 1: feel that about your writing?
Speaker 2: Yeah?
Speaker 1: I do.
Speaker 2: And also it's funny you tell me, I guess I'm curious,
Speaker 2: but maybe you've already answered it because you do adaptations
Speaker 2: rather than originals. But the other thing I find a
Speaker 2: I do thematically. I'm think talking about a similar thing.
Speaker 2: But it's also my point is sometimes it takes a while.
Speaker 2: You can be halfway through making a thing, you could
Speaker 2: even finish the thing where you go, Oh, that part
Speaker 2: of it was me and I didn't even know it
Speaker 2: whilst I was doing it, you know what I mean.
Speaker 2: I was like, yeah, that was about this piece of
Speaker 2: myself that I wasn't aware I was articulating.
Speaker 1: Do you have that well? I mean I think in
Speaker 1: a way this sort of story was definitely that that
Speaker 1: it took me so long, because once I started looking back,
Speaker 1: I thought it was kind of obvious that that was
Speaker 1: a story that was drawn me again again, but I
Speaker 1: didn't realize for a long long time. I mean I
Speaker 1: think I was like, was like woll forward before suddenly,
Speaker 1: So I find that kind of interesting how little we
Speaker 1: know ourselves sometimes. Yeah, and what what's coming out is
Speaker 1: coming out from a subconscious place, not always from the
Speaker 1: conscious mind. Yeah, there's a little bit of yourself fractured
Speaker 1: and sort of putting all of these other characters when
Speaker 1: you're writing. Interesting. I like that. It's funny because you
Speaker 1: sort of feel like one of the things that's nice
Speaker 1: about writing is you get to become other people for
Speaker 1: a little while when you're writing them. But I wouldn't
Speaker 1: if actually it's closer to what you just said, which
Speaker 1: is you kind of you get to put themselves to
Speaker 1: other people here, like whole crocks from a reportter. Yeah.
Speaker 2: So knowing that now having that away, is there any
Speaker 2: part of you that like as a challenge or something
Speaker 2: sort of what's to go or right, I'm going to
Speaker 2: write something that is not about loyalty.
Speaker 1: And it's interesting. I don't think any of us really
Speaker 1: unconscious control, you know. Yeah, it's like I can't make
Speaker 1: myself write you know, a really good commercial blockbuster. If
Speaker 1: I could, I would, you know, But the writing doesn't
Speaker 1: respond to that sort of command, does it. You know,
Speaker 1: there's only a certain areas it's going to work in,
Speaker 1: and you know, you look, if you've got an area
Speaker 1: it's going to work in, to be honest, most of
Speaker 1: the time, so don't mess with it.
Speaker 2: That's true. Having done all the Awards season that you
Speaker 2: just did. It's such a sort of mad world. How
Speaker 2: did you find that whole? Because it's long as well?
Speaker 2: Isn't it quite long?
Speaker 1: Yeah? I mean I guess it was. It was from
Speaker 1: January on for me because I had to get a
Speaker 1: easy to get in the States, so I wasn't doing
Speaker 1: stuff in the old to my the winter. Some chances,
Speaker 1: when I look back, I think it was only like
Speaker 1: six eight weeks, you know, it felt like a lot longer. Yeah,
Speaker 1: I felt like foret like years of my life. But
Speaker 1: what was nice about it? I mean, there's lots of
Speaker 1: things that are stressful and sort of frightening about it,
Speaker 1: especially if you know, if you're a bit of an intervit.
Speaker 1: What was nice about it was I was with a
Speaker 1: lot of the Conclave team and they were all great,
Speaker 1: and it sort of felt a bit like a little
Speaker 1: you know, doing it with family. So that was really
Speaker 1: that made it much more enjoyable. I take you to
Speaker 1: be doing it, which I guess must happen quite often
Speaker 1: if you're doing it on your own, or even if
Speaker 1: you're doing it with you know, people from a project
Speaker 1: that actually you don't like.
Speaker 2: Can you tell me, because I know it's different in film.
Speaker 2: Are you on set in Conclave? Were you there when
Speaker 2: they were making it? How much you I was?
Speaker 1: I was, And I'm not normally, to be honest, normally
Speaker 1: in the past, I've sort of just you know, you
Speaker 1: go on for a day and say hello, like a
Speaker 1: tourist and there's nothing really free to do. For some reason,
Speaker 1: Edward invited me and so I did go on set,
Speaker 1: and he kind of liked having me there and it
Speaker 1: was kind of useful. I mean for me personally, I
Speaker 1: really loved it. I really loved it. I've never been
Speaker 1: on set for the whole shoot before, and you kind
Speaker 1: of It's the first time I've properly felt like I
Speaker 1: was part of the crew, you know, and it was
Speaker 1: like when the way and enjoying the circus. Really loved
Speaker 1: it and we were shicking, so it felt, you know,
Speaker 1: in the cheat and stuff, so it felt very glamorous.
Speaker 1: Because I was there. I think we could make little changes.
Speaker 1: It'll sort of bespoke changes to scenes. You know, we'd
Speaker 1: rehearse and run through and you know, the way actors
Speaker 1: are really good. It just kind of instinctively feelings the
Speaker 1: rhythm of the line is wrong or yeah, you could
Speaker 1: just see when there were slightly you know, catching on
Speaker 1: the line, so we just do some little nips and
Speaker 1: took so we'd realized we could come into the scene
Speaker 1: later or out earlier. So that was great. I mean,
Speaker 1: it's great for me. I loved that.
Speaker 2: Yeah, I wonder with the film that that you have
Speaker 2: a book, you have the script, Like, I'm curious, it
Speaker 2: feels so tightly made and plotted, and you know, all
Speaker 2: the pieces fit very nicely, and I'm seeing the finished product.
Speaker 2: I'm wondering, is the finished product close to the shooting
Speaker 2: script that you started with or how much did it
Speaker 2: change in the edit and all of that, Like how
Speaker 2: far away from what you had done day one?
Speaker 1: I mean, you know, the whole thing. Obviously we inherited
Speaker 1: from the book from Robert Harris, which was really well
Speaker 1: put together and well built, you know, and we didn't
Speaker 1: mess that much with that really, so I would say,
Speaker 1: you know, like I don't know, seventy percent, it always
Speaker 1: stayed the same. And then we played with some things
Speaker 1: at the beginning, and we played with some things at
Speaker 1: the end. We added a couple of scenes, and then
Speaker 1: in the shoot we made some again smaller and smaller changes.
Speaker 1: You know, it did feel like I don't know why
Speaker 1: I'm saying this because I know nothing about Taylory, but
Speaker 1: how I would imagine it's like building a suit bay.
Speaker 1: You know, you kind of just you know that the
Speaker 1: measurements are getting more more precise.
Speaker 2: Do you to talk to Robert Harris? That was you
Speaker 2: and him part of the order to adapting adapting?
Speaker 1: Yeah? Yeah, I mean yeah, early on especially, I went
Speaker 1: you know, to his house and we had lunch and
Speaker 1: talk stuff through. And then you know, when I and
Speaker 1: as I was working on if I had questions, I
Speaker 1: would chat with him about it, or when we were
Speaker 1: going to make some changes, run them past him. He
Speaker 1: was great. I've really noticed that the really good experienced
Speaker 1: writers like him, or the Carrey or Hillary Mantel, you
Speaker 1: know he did, will fall. They're like the most relaxed
Speaker 1: and the most kind of open about the stuff you
Speaker 1: want to do. You know, I think often just because stick,
Speaker 1: but it's possibly just because why do they need to worry?
Speaker 1: Because the book's already great and no one's messing with
Speaker 1: the book. And often they've been through the adaptation process
Speaker 1: a lot, you know, so they kind of they know
Speaker 1: that a slavish copy isn't necessarily going to be the
Speaker 1: best film. So so he was one of those. He
Speaker 1: was great. He was really open, generous.
Speaker 2: That's cool. And what's next? What are you doing next?
Speaker 2: What are you doing next?
Speaker 1: To you? Man? The next thing shooting is a series
Speaker 1: called Berlin Noir, which is a sort of detective thing
Speaker 1: set in Berlin in nineteen twenty eight. Original or adapted
Speaker 1: no adapted from books Yeah, about loyalty and betrayal, of
Speaker 1: course it is. Yeah, it's a series of books by
Speaker 1: to see the books by Philip Kerr. Are you so
Speaker 1: running it? I am sure running it? Yeah? Oh wow, Okay, Yeah,
Speaker 1: I'm not entirely sure what that means, which is probably
Speaker 1: not a good sign in the showrunner. That means you
Speaker 1: actually fucking everything. That's that's what I figured it. Yeah,
Speaker 1: it reals actually fucking everything. Yeah, you're going to fuck
Speaker 1: up everything, that's what I forget. It meant. I can
Speaker 1: I give your calls I've been and then say I
Speaker 1: don't know what I'm doing? What do I do? Yeah?
Speaker 2: No, man, I'll hand you over to someone more experience.
Speaker 2: But yes, just sort of assume it's everything and you'll
Speaker 2: be fine.
Speaker 1: Okay, No, that's reassuring. Just do everything.
Speaker 2: It's just everything and then and never sleep and you'll
Speaker 2: be fine. Oh there is one thing I forgot to
Speaker 2: tell you though. Maybe I should have told you when
Speaker 2: we did that reading, but I don't know if it happened. Well,
Speaker 2: you've died, you're dead.
Speaker 1: Yeah, that was during the reading, I think, Yeah, yeah,
Speaker 1: I felt that happening. You were very good anyway. Yeah,
Speaker 1: I'm sorry. How did you die? So? Have you seen
Speaker 1: Death and Venice? Yes? I died. I died like bog
Speaker 1: at the end of Death and Venice because I live
Speaker 1: in I don't really know why I live in Brighton,
Speaker 1: and I've often thought I'll die in a death chair
Speaker 1: on the beach with this kind of sun in my eyes,
Speaker 1: people all around me, and no one will notice for
Speaker 1: quite a while that I've actually died. How long do
Speaker 1: you think it will take them? A couple of weeks,
Speaker 1: a few weeks, yeah, yeah, yeah, yeah. I don't move
Speaker 1: much anyway, so it would be a while. Are you
Speaker 1: alone on this day here? Yeah? I am here, possibly
Speaker 1: wearing the running mascara of Bogarde as well.
Speaker 2: How are you when you die? I'm going to go
Speaker 2: eighties eighty seven. Okay, I'll go seven if I've got
Speaker 2: the option.
Speaker 1: No, it's six. Yeah. Do you worry about death? I
Speaker 1: think about death. So I've gone from being someone who
Speaker 1: glibally did not think about death at all. And then
Speaker 1: sort of in the last you know, fifteen years or so,
Speaker 1: I've lost a lot of people. So I feel quite
Speaker 1: well acquainted with death. Now. I don't think it makes
Speaker 1: me fear my own death, but it's definitely there is
Speaker 1: a presence in life for me.
Speaker 2: And I had to ask this, and I hope it's
Speaker 2: like going to ask this in it having been acquainted,
Speaker 2: As you say, does it change the way you feel
Speaker 2: in your life? Do you feel a connection to it,
Speaker 2: as in, do you think there's anything after death? Do
Speaker 2: you feel anything that's that way?
Speaker 1: I don't. I don't know. I kind of wish I did.
Speaker 1: I tell what I have got, which is strange because
Speaker 1: it's comforting even though it's not a belief in the afterlife.
Speaker 1: But so, you know, my wife died, I sorry, thank you.
Speaker 1: And then and then sort of, you know, in the
Speaker 1: last sort of ten years, my parents had died, and
Speaker 1: in those lots, lot of in those died and stuff,
Speaker 1: so there was just there was a lot of death.
Speaker 1: And I remember when my mother died, I went for
Speaker 1: a walk along the beach. I live in Brighton, and
Speaker 1: I walked on the beach and the sun was was
Speaker 1: indeed does in my eyes, and there were sort of
Speaker 1: people in the water and on the beach, and I
Speaker 1: don't know why, but it sort of felt like a
Speaker 1: little image of an afterlife. You would go on to
Speaker 1: the beach and your people would be there waiting for you.
Speaker 1: And I still find that idea, almost like a Native American,
Speaker 1: I will go to be with my people. I find
Speaker 1: that kind of strangely comforting. I'm not strangely comforting. I
Speaker 1: guess it just is comforting. And I suppose that must
Speaker 1: come a point, you know, if you live long enough,
Speaker 1: whether there or more people on on that side of
Speaker 1: the line, as a word, and than on your side
Speaker 1: of the line. And I wonder, then if you know,
Speaker 1: death doesn't hold the fear, because there was a sense,
Speaker 1: even if only metaphorically, that I'm going to go and
Speaker 1: be with you know, my people.
Speaker 2: There's so many stories of people on the old older
Speaker 2: people when they're dying in their last moments, saying, oh
Speaker 2: there's there's thingy. There's thingy in the room with them. Yeah, well,
Speaker 2: so listen, you're right, that is what happens. You die
Speaker 2: and you guys heaven and it's the seaside and and
Speaker 2: all your people there and it's fucking lovely and you
Speaker 2: get to go and to see and you've got misca
Speaker 2: or not miscars up.
Speaker 1: To you and.
Speaker 2: Yeah, everyone's very excited to see you, and they want
Speaker 2: to talk about your life but through film, and there's
Speaker 2: an oscar in it.
Speaker 1: They think, they think you'll probably have a lot to
Speaker 1: say so and I'm still I've got the oscar. I
Speaker 1: haven't know in heaven I can probably I can probably
Speaker 1: hold it.
Speaker 2: You're not going anywhere about that, don't you. I'm assuming
Speaker 2: it's in your other hand right now.
Speaker 1: Yeah.
Speaker 2: So the first thing they ask is what is the
Speaker 2: first film you remember seeing? Peter Stroyan?
Speaker 1: And can this be on TV? It is enough to
Speaker 1: be at the cinema, it can be on TV if
Speaker 1: it's if it's the truth. I think the first film
Speaker 1: I remember seeing on TV and it would be either
Speaker 1: Christmas Day or Easter, and it was Journey to the
Speaker 1: Center of the Earth. Oh wow, do you remember that one?
Speaker 1: James Mason. I think I think it was a Disney
Speaker 1: film from the issue Mason. Yes, and that's all I remember.
Speaker 1: I would have been about four something like that. I
Speaker 1: think your brothers and sisters. I've got a brother and
Speaker 1: three sisters. Yeah, all older that. Wow, are you are
Speaker 1: you close to Sam? What was the first one at
Speaker 1: the cinema? Then? If you remember that? And the first
Speaker 1: film at the cinema was I'm pretty sure it was Beding,
Speaker 1: Robs and booms. Well, in my mind, it's bed Ups
Speaker 1: and Boomsticks, but I checked the date just before and
Speaker 1: it's nineteen seventy one. I thought, well, I was born
Speaker 1: in sixty eight, so unless it was a rerun later on,
Speaker 1: maybe that happened. But that's the that's the one in
Speaker 1: my head. Anyway, I'm watching bed Robs and Boomsticks and
Speaker 1: Cinema and it's an ABC I think remember ABC, And
Speaker 1: it was really kind of dusty and like half empty,
Speaker 1: and it was that kind of seventies you know when
Speaker 1: I think cinema is not going to survive, that kind
Speaker 1: of that kind of feel to it. Pre pre Star Wars,
Speaker 1: Lovely you were thinking as a three round, Yes, this
Speaker 1: isn't gonna last I thought, don't, don't, don't take up
Speaker 1: a career in film. This is not gonna survive.
Speaker 2: Interesting that the first film you saw was an adaptation
Speaker 2: of a classic book makes you think.
Speaker 1: Makes you think, doesn't it? And say, what's the film?
Speaker 1: What's the film that made you cry? The mice? Do
Speaker 1: you cryer Peterstown, I've been known to cry. Yeah, I've
Speaker 1: had my crying moments. Well, i'll tell you there's a few.
Speaker 1: I watched eight with my I went I went to
Speaker 1: a patch of watching sort of eighties films with my
Speaker 1: daughter who's he's just an early twenties who hadn't seen
Speaker 1: the first time around, and we watched Et and unexpectedly
Speaker 1: that made me cry. But I don't have to cry,
Speaker 1: but I missed it up definitely. That's a bit where
Speaker 1: it looks like Et is dying, he's on the operating table. Yeah, expectedly,
Speaker 1: it's the saddest film. I sort of thought I was
Speaker 1: made of tougher stuff in that, and I've seen it
Speaker 1: a million times, but I think I went straight back
Speaker 1: to you know, childhood as well with it. I guess,
Speaker 1: so that that got to me. I'll tell you another then.
Speaker 1: That always makes me grow a bit misty is and
Speaker 1: I know, sorry, everyone must bring up this film, so
Speaker 1: I do apologize. But Casablanca, when they start singing the
Speaker 1: French national anthem, always brings it at lump to my film.
Speaker 1: And there's a film called This is Loads, isn't it?
Speaker 1: So yes I am, I love it. There's a film
Speaker 1: called Random Harvest. I don't have seen a Random Harvests,
Speaker 1: an old black and white movie with Ronald Coleman and
Speaker 1: Bier Garson. And he's a firstful War soldier who has
Speaker 1: amnisia and he's looked after by this woman in a
Speaker 1: small town and they fall in love and they get married,
Speaker 1: and then he loses his memory for a second time
Speaker 1: and forgets about her and becomes it goes back to
Speaker 1: who he was before he lost his memory. And then
Speaker 1: when we's great sort of jump in the narrative where
Speaker 1: you find him now a successful politician, and his secretary
Speaker 1: comes in and it's the woman who he was in
Speaker 1: love with in his previous life before he lost his
Speaker 1: memory again and she knows it's him, and she's sort
Speaker 1: of just there to be close to him, but he
Speaker 1: doesn't realize he once was in love with this woman,
Speaker 1: and that always gets me every timely and then, but
Speaker 1: the last time I actually started to cry in the
Speaker 1: cinema embarrassingly was Broke Back Man, And it was the
Speaker 1: bit at the end with his share and it was
Speaker 1: just that line, It's like Jack, I swear, I swear,
Speaker 1: it's just when he's got the shirts every time. Yeah,
Speaker 1: that's a great film.
Speaker 2: It's a great film. It is a great last line. Yeah,
Speaker 2: it is good answers. All right, gave you ten points
Speaker 2: for that.
Speaker 1: I do you know what? I'm gonna take another year
Speaker 1: of your life for that? What is?
Speaker 2: Yeah, what is the film that's scared you the most?
Speaker 2: Do you like being scared?
Speaker 1: I do? I like not written as scary. When have
Speaker 1: you I haven't? You know, I would love to do
Speaker 1: a horror film, and I think I've tried a couple
Speaker 1: of times and I can't do them. That's what I
Speaker 1: mean about not going to kind of just wish your
Speaker 1: your ability into a certain genre, because I really like
Speaker 1: horror films, like I can. I can enjoy a crap
Speaker 1: horror film in a way that I can't enjoy a
Speaker 1: crap you know, a thriller or a crap comedy I
Speaker 1: would propily sit through, really mediocre horror films. I get that,
Speaker 1: but because I watch a lot of them, I don't
Speaker 1: get scared that often. You know, most of them, and
Speaker 1: most horror fims aren't really that scary of it. They're right,
Speaker 1: that's sort of just goryal or a bit predictable. But
Speaker 1: there have been a couple of occasions. I'll tell you
Speaker 1: what I think helps actually is if you're watching a
Speaker 1: horror film in the cinema with an audience, I think
Speaker 1: there's a much better chance of it's starting to feel
Speaker 1: a bit of it because you play, start to pick
Speaker 1: up on I remember this is not a film, but
Speaker 1: as an example, do you remember Ghost Story, which is
Speaker 1: to play Remember going to see that because I had
Speaker 1: a friend The friend was in it, and I went
Speaker 1: to see it. Wasn't next, I think very much. And
Speaker 1: the audience, it was a great full audience. It's really
Speaker 1: really good for a start, but also the audience, like
Speaker 1: from the get go were like slightly hysterical and jittery.
Speaker 1: You could feel like there was a lot of nervous laughter.
Speaker 1: And then the minutes something scary happened on stage, they
Speaker 1: screened their heads off and like whether you wanted you
Speaker 1: or not, you started to get like whipped up into
Speaker 1: this this terror yourself. So so a couple of times
Speaker 1: when it has that has happened for me has been
Speaker 1: in a cinema with an audience. And I remember going
Speaker 1: to see obviously every run of The Exorcist, which isn't scary,
Speaker 1: but the opening sequence, which is like in the Holy Land.
Speaker 1: I just remember he's walking and there's dogs sort of
Speaker 1: barking at him, and it's got this weird atmosphere, and
Speaker 1: it was the same thing where you could feel the
Speaker 1: audience getting sort of slightly jittery and lots of nervous laughter,
Speaker 1: and it was an odd kind of bunnize came upon
Speaker 1: us all which I really remember. And then you know
Speaker 1: when by the time we got spinning heads, it wasn't
Speaker 1: that scary anymore. But that beginning was that there was
Speaker 1: something genuinely unerving. I like that and blair Witch. The
Speaker 1: end in the blair Witch where the guys stand in
Speaker 1: the corner, I remember the hair sort of going up
Speaker 1: on the back of my neck. Yeah, and then it
Speaker 1: wasn't so much scary, But I remember Audition. Do you
Speaker 1: remember the Japanese film Audition?
Speaker 2: Yeah? I haven't watched audition. I imagine I wouldn't like that.
Speaker 2: From what I've read, you probably probably wouldn't. It's not
Speaker 2: only a sick person that would. I don't like, why
Speaker 2: do people get hurt? No, but don't watch the end
Speaker 2: of audition. That's that stayed with me in a not
Speaker 2: altogether happy way.
Speaker 1: Yeah.
Speaker 2: Yeah, I love horror films, but I don't like torture stuff.
Speaker 2: There was a kind and it's got this very quiet,
Speaker 2: calm and cool feel, which makes it even worse.
Speaker 1: Yeah. I mean it's a great film, but it's yes,
Speaker 1: deeply unsettling. Oh.
Speaker 2: Ghost Stories, by the way, I'm a huge fan of
Speaker 2: I think I like the play and I think the
Speaker 2: film was even better. I thought the film was more emotional,
Speaker 2: Like I was sort of impressed with how kind of
Speaker 2: moving the film was, Like, I think they added a
Speaker 2: layer to it that made it.
Speaker 1: Yeah, agreed, they absolutely did have that was really good.
Speaker 1: And I do like those stories in general. So, you know,
Speaker 1: a lot of my favorite I mean, none of it
Speaker 1: horror films are other things like the Orphanage, you know,
Speaker 1: or yeah, yeah, I guess it is. Yeah, but ghost
Speaker 1: ghost horror films rather than sort of go horror films.
Speaker 1: I really like me too. Yeah, yeah, what is the
Speaker 1: film that you love?
Speaker 2: It is not critically acclaimed, lots of people hate it,
Speaker 2: but you love it unconditionally, so it can it.
Speaker 1: Be a good film? Can it be a good film? Yeah?
Speaker 1: Well not really?
Speaker 2: I mean to you, yes, so a bad film but
Speaker 2: that you enjoyed, like, and I think this is the best,
Speaker 2: you know, and the best one's ever made. But for
Speaker 2: example of Greece too, lots of people seem to think
Speaker 2: Greece two isn't good. But those people are very wrong.
Speaker 2: You don't think that's the best film ever made? You big, like,
Speaker 2: I notic it's the best film. I think it's in
Speaker 2: the top fifty.
Speaker 1: Well, I'll tell you what it is, because I mean
Speaker 1: there's loads there's loads of like mediocre kind of horror
Speaker 1: like monster movies that I really love that I know
Speaker 1: that that ship, you know, like Avian versus Predator or whatever.
Speaker 1: I'm quite happy with that stuff. But I've got a
Speaker 1: little film club with a friend Polly that sort of
Speaker 1: once a week we watch a film and then just
Speaker 1: text so that as we're watching it and we taken
Speaker 1: turns to suggest what the film is. And she suggested
Speaker 1: Roadhouse the original Eighties, which I hadn't seen and which
Speaker 1: is a you know, it's a truly truly bad film,
Speaker 1: but she loves it, and there's something about how much
Speaker 1: she enjoyed it sort of infected me. So I ended
Speaker 1: up being but it's a mad it's a mad little
Speaker 1: of nonsense, really, But yeah, so I'll go with that.
Speaker 1: That's a really good answer. That's exactly in the area.
Speaker 2: Yeah, what about a film that you used to love
Speaker 2: that you have watched recently, You've rewatched it and you've
Speaker 2: got no, I don't like this anymore, and probably because
Speaker 2: you have changed rather than the film.
Speaker 1: Yeah, there is one. And I was really taken by surprise.
Speaker 1: So I was when I was watching films with my
Speaker 1: daughter that I had a lot of that you love
Speaker 1: this film kind of, you know, I love this film,
Speaker 1: you love this film kind And that didn't always work
Speaker 1: out well. But we watched Blays and Saddles. She loved
Speaker 1: it and I loved it. I thought, that's still really
Speaker 1: still great. And then I said, oh, we should watch
Speaker 1: it on Frankenstein because that's my favorite. I love Frankstang.
Speaker 1: And you know what, I didn't enjoy it. I don't know.
Speaker 1: I don't know what to change, but it felt a
Speaker 1: lot didn't feel his light on his feet as Blazed
Speaker 1: and Saddles, and there's a lot more out of sexist
Speaker 1: humor in it. Yeah it was. I was really surprised
Speaker 1: because I always remember that. Yeah, it was slower and
Speaker 1: just not funny basically. I mean, there were still some
Speaker 1: great moments in it or you know, Red like it. No,
Speaker 1: no she didn't. So she was right and I was wrong.
Speaker 1: But Based and Saddles were still great. I'm glad to
Speaker 1: hear that. Yeah, what about what is the film that
Speaker 1: means the most to you? Not necessarily the film itself
Speaker 1: is any good, but the experience you had seeing the
Speaker 1: film will always make it meaningful to you. Right, So
Speaker 1: this is The Big Lebowski, which is one of my
Speaker 1: favorite films. I'm a big con Butther's fan. I love
Speaker 1: the Cone Butthers And when I first started writing films,
Speaker 1: I think that was the biggest influence on me. So
Speaker 1: some of the first sort of scripts, like spec scripts
Speaker 1: that I wrote were very you know, there were just
Speaker 1: terrible copies of Cone. But it's basically that kind of
Speaker 1: you know, expect that kind of far go West black
Speaker 1: comedy and they weren't the things that ended up writing
Speaker 1: that got made. They ended up much more commercial. But
Speaker 1: what I wanted to do was stuff like the Guns.
Speaker 1: And I love The Big Lebowski. I think it's one
Speaker 1: of the happiest of their comedies. And the reason it
Speaker 1: means a lot to me is I've got a really
Speaker 1: clear memory of Bridget, my my girlfriend then who then
Speaker 1: became my wife. I just moved down to London to
Speaker 1: be with her and we went to the Camden Odion
Speaker 1: and there was a late night screening of The Big
Speaker 1: Lebowski that just come out. I think it was like midnight,
Speaker 1: you know, we used to do those midnight shows, and
Speaker 1: it was packed and just we all loved it, you know,
Speaker 1: just when it's when the whole audience is just loving
Speaker 1: the film. And I just really remember that atmosphere and
Speaker 1: it was like this, this is what's lovely about cinema,
Speaker 1: when we're all together having the same experience of a
Speaker 1: great film. Yeah. Really, Yeah, It's gonna really special place
Speaker 1: in my heart. That's very nice. What's your second favorite
Speaker 1: Time Brothers film? Fargo? What's your dad favorite? Miller's Crossing Great?
Speaker 1: I love Millis what we're gonna say about fargu well,
Speaker 1: Fargo for me, because I think I think Fargo might
Speaker 1: be the first one that I saw and I and
Speaker 1: I still think it's quite a particular tone even in
Speaker 1: the filumber that's kind of I hadn't seen that mix
Speaker 1: of darkness and comedy. And then I remember the bit
Speaker 1: at the end when Marge's driving the captured criminal and
Speaker 1: she says something like that, you know, there's a lot
Speaker 1: more to life than just money, Like you can't understand
Speaker 1: how he could have done this thing. It's the car
Speaker 1: in the snow, and that music's a fantastic music swells
Speaker 1: and it suddenly doesn't feel like a comedy at all.
Speaker 1: It feels actually quite profound and tragic almost, you know.
Speaker 1: And it's just there was something about that tone that
Speaker 1: I thought, God, if you can capture that, you can
Speaker 1: do anything, because you can do comedy with it, you
Speaker 1: can do horror with it. You know, you can do
Speaker 1: serious drama. It was just an incredible color that they
Speaker 1: managed to capture him and Fargo. That's nice. What is
Speaker 1: the filming most related to I find this quite tricky question.
Speaker 1: So this is how I've interpreted it, Okay, And you
Speaker 1: can just say no, that's not what it means it all.
Speaker 1: So film was a big part of my childhood in
Speaker 1: the sense that it was just on all the time.
Speaker 1: There's every mountain there there was a movie on, like
Speaker 1: a black and white movie or a western or a
Speaker 1: war film, and sometimes in the evenings as well, and
Speaker 1: we'd all watch things together as a family. So it
Speaker 1: was very much like what I associated with my family,
Speaker 1: and it was pretty It would have been you know,
Speaker 1: like thirties, forties and fifties American cinema largely. And then
Speaker 1: when I hit my teens, I remember kind of watching
Speaker 1: things that were to do I was supposed to be fair.
Speaker 1: There was like Star Wars and that kind of thing.
Speaker 1: When I was like a kid, you know, and the
Speaker 1: other kids at school we were into Star Wars and
Speaker 1: HELLI and I guess as well. But I remember Gregory's
Speaker 1: Girl and it wasn't This wasn't the sort of stuff
Speaker 1: I was watching with my family, and it was just
Speaker 1: what me and my friends got into. And you know,
Speaker 1: like if you've been listening to your parents' records or
Speaker 1: your older brother and sisters records, and then for the
Speaker 1: first time you get your own music and you and
Speaker 1: your friends are into and it's just yours. That was
Speaker 1: what Gregory's Girl felt like, I've got like this is
Speaker 1: just for us. It was a different kind of comedy
Speaker 1: and it was you know, it felt kind of cool,
Speaker 1: and I loved Claire. I was literally in love with
Speaker 1: Claire Grogan like everyone else I knew, you know, So
Speaker 1: that felt the first time whereas like all film can
Speaker 1: actually be you know, connected to my life as a
Speaker 1: young person rather than than kind of you know, the
Speaker 1: family world. That's a nice way of playing another one.
Speaker 1: Sorry I was a bit older, but it's definitely the
Speaker 1: same thing because it was when I went to university
Speaker 1: a little bit later, like I was twenty one or something,
Speaker 1: twenty two, and I remember we all got into with
Speaker 1: Neil Night and we like, we loved with Neil Light
Speaker 1: and we quoted with Nail Night endlessly. And that was
Speaker 1: another one where it was like, well, this is this
Speaker 1: is our film. You know, this isn't anyone else's film,
Speaker 1: This is ours. That one for sure, still love that, pet.
Speaker 1: What's the sexiest film we've ever seen? Well, I was
Speaker 1: quite young, but the one that I remember probably having
Speaker 1: the biggest impact on me, strangely was What's Up Doc?
Speaker 1: With Barbara streisand really yeah, and I didn't. I don't
Speaker 1: think I knew what to do with the feelings that
Speaker 1: this brought about in me in a bath. No, No,
Speaker 1: I was more slightly more kind of innocent and romantic
Speaker 1: than that. Like I really really felt like I was
Speaker 1: in love with her. And I remember we were we
Speaker 1: were decorating the living room and then scaped all the
Speaker 1: wallpaper off and I wrote on the wall I love
Speaker 1: Barbara streisand misspelled and then it got papered over. So
Speaker 1: that's probably still there. Ah, But I was just mad
Speaker 1: there from that film, but not in any other film,
Speaker 1: just just that film. Did you ever meet her in
Speaker 1: your in your travels? No, I never have a view. No,
Speaker 1: I don't met her. Well, if you do meet her,
Speaker 1: but if I do, I'm going to tell her, tell
Speaker 1: her I love her, but only in What's Up? Dog.
Speaker 2: But listen, it's quite commic, it's quite specific, But I've
Speaker 2: got the man wh is quite specific.
Speaker 1: You do need to be you're going to need to
Speaker 1: wear this car again and talk exactly like this. But
Speaker 1: other than that, what what what did? What's that term
Speaker 1: now for a particular kind of female character that men
Speaker 1: like manic MANI Pixy dream Girl. Yeah, I've got a
Speaker 1: feeling to my shame, probably that the character was the
Speaker 1: prototype for that. I'll just clear Grogan really and Gregory's girls.
Speaker 1: So I'm obviously prone to these who are finding that
Speaker 1: character attractive to a many pisure dream Girl well yeah,
Speaker 1: but now I feel cheap and manipulated. I don't know
Speaker 1: if that's true. And what's that we'd have to go
Speaker 1: back and watching in It's so supossible. She's just a
Speaker 1: very funny woman, is it. Yeah? And she is beautiful
Speaker 1: as well. Yeah, what is O?
Speaker 2: There's a subcategory, Peter, and I know you make classy
Speaker 2: things so obviously, but it's here is the question. It's
Speaker 2: in every episode. The subcategory is traveling by and is
Speaker 2: worrying why that's the film you found a rassing.
Speaker 1: I like, how incredibly embarrassed you look at You asked
Speaker 1: me that? Almost ashamed of yourself? Do you ask me that?
Speaker 1: Said every time?
Speaker 2: But it also the guests that there are some guess
Speaker 2: where I'm like, yeah, fuck it, and some guys I've
Speaker 2: known about it. And then there's people who make things
Speaker 2: like ticket Teer just fe concour like talking like talking.
Speaker 1: Yeah, here we go. Fuck. You know. So I don't
Speaker 1: know if quite discounts, but I think it should count
Speaker 1: because it feels inappropriate. In Alien, but we used to
Speaker 1: go to my friend's house at lunchtime from school and
Speaker 1: watch Alien on video and freeze frame the moments when
Speaker 1: to go on. Reba was in her underwear. Even though
Speaker 1: there's I blowed everywhere, and it seems kind of wrong
Speaker 1: to have found that arose in the midst of in
Speaker 1: the midst of the horror, but we definitely did.
Speaker 2: I mean, that's absolutely Listen, given your classy this, I'm
Speaker 2: going to allow that, even though no you get you're
Speaker 2: going to get that, I'm going to allow that.
Speaker 1: Okay, I survived by classing the third, isn't I Yeah
Speaker 1: you did, Thank God for that.
Speaker 2: What is objectively the greatest film ever made. It might
Speaker 2: not be your favorite, but it is the ultimate pinnacle cinema.
Speaker 1: Okay. I mean, you know it's a nonsense question, don't
Speaker 1: you know that? Yes, of course.
Speaker 2: That I would never answer any of these questions myself. Okay,
Speaker 2: So the one I would toss in the ring for
Speaker 2: this would be Barry Lindon. And that's partly because I
Speaker 2: think it deserves to be a better and part because
Speaker 2: I really love it personally, and partly because I think
Speaker 2: it sort of hits a sweet spot between art house
Speaker 2: and commercial cinema. I think, you know, in the way
Speaker 2: the Kubrick kind of does. He's kind of he's not
Speaker 2: like a full on artist. Nobody goes to see his
Speaker 2: film's director, but he's he's way more artist than most
Speaker 2: commercial directors. And why Barry Linden, of all his films,
Speaker 2: I guess it's the one that it's a little bit
Speaker 2: like Fargo.
Speaker 1: Actually, it's in the sense that it sort of starts
Speaker 1: as a comedy and it's funny at the beginning, and
Speaker 1: this seems full of life and a bit rumbunctious and
Speaker 1: like it's going to be, you know, a sort of
Speaker 1: picuresque series of adventures, and it just beautifully darkens and
Speaker 1: darkens until it's heartbreaking by the end. And again it's
Speaker 1: there's just a kind of tone that manages to carry
Speaker 1: all of those things at once, like like Fargo does
Speaker 1: it in a very different register, but Barrylnden has a
Speaker 1: kind of real grandeur and tragedy to it by the end,
Speaker 1: and it's beautifully made you know, in every level, just
Speaker 1: beautifully made and just great, great cinema. All right, am
Speaker 1: I right? Is it the best film ever made? Objectively?
Speaker 2: No, but I'm going to allow it because it's your episode.
Speaker 2: Well your claise, you close, you're in. What is the film?
Speaker 1: You could or have watched the mized Iver and Iver again.
Speaker 1: So there's loads and some of them are really I
Speaker 1: bet everybody says them Casa blank. I've seen hundreds of times.
Speaker 1: The Apartment. I've watched probably every year, at least once
Speaker 1: a year. I love The Apartment. Quite a few of
Speaker 1: the comfort films, I've got to say, farg I've seen
Speaker 1: hundreds of times, bigger bout kissing under of times. But
Speaker 1: then there's a thing that me and my daughter started doing,
Speaker 1: which so it probably isn't there yet, but definitely if
Speaker 1: I lived at eighty seven, it's definitely going to be there,
Speaker 1: which is once a year. We watched a Lord of
Speaker 1: the Rings trilogy. We've already done that for many years now,
Speaker 1: so that's going to definitely get there. Okay. And that's
Speaker 1: all of them, mind you, not just one oh the original,
Speaker 1: not the Hobbits, the original three, not the Hobbits now,
Speaker 1: but you're a fan of that sort of thing.
Speaker 2: I'm afraid to say that I'm not a fan of
Speaker 2: that sort of thing, but I respect it and I
Speaker 2: appreciate its existence.
Speaker 1: I can tell that your face you don't respect it.
Speaker 1: I just do not.
Speaker 2: You could barely keep a straight faces said that it's
Speaker 2: a computer game. Creatures walk along, have a fight, they
Speaker 2: walk along, have a bigger fight. They walk along, they
Speaker 2: fight the big boss.
Speaker 1: Yeah, are you talking about the TVC So are you
Speaker 1: talking about I watched them all.
Speaker 2: I did see them all at the Imax every Christmas.
Speaker 2: I went, and I admire the craft and the time
Speaker 2: management that went into making it.
Speaker 1: Okay, well, we are going to have to agree to
Speaker 1: different young men because I love them.
Speaker 2: Well, I do think, if I'm really genuinely, I don't.
Speaker 2: In all seriousness, I respect them. I think I get
Speaker 2: why people love them weirdly. I like science fiction. I
Speaker 2: like horror, I like puppets, I like like, I like Labyrinth,
Speaker 2: I like fantasy, but I don't I think I don't
Speaker 2: like muddy elf stuff.
Speaker 1: I thought I understood. I thought I understood what the
Speaker 1: distinction was going to be. But once you said you
Speaker 1: like Labynes but not muddy elf stuff. I thought, this
Speaker 1: is I think I loved the books when I was
Speaker 1: a kid, right, No, yeah, and then Lord of the
Speaker 1: Rings and I was a nerdy kind of fantasy reading kid,
Speaker 1: you know, so I think it's that's why they work
Speaker 1: for me if I've been a more robust child. Listen,
Speaker 1: I'm very much in the minority.
Speaker 2: That's okay. I respect your decision, thank you, and I'm genuine, genuine,
Speaker 2: genuinely know that it's good.
Speaker 1: It's just not for me. Is that fair? That's all right,
Speaker 1: that's absolutely fair. Okay, Why were we talking about that again?
Speaker 2: Because yeah, but genuine question then necessarily really does love
Speaker 2: those types of things? Well that specific thing. Is it
Speaker 2: moving to you? Lord of the Rings? Is it like
Speaker 2: what about it?
Speaker 1: Is it? Is it the camaraderie, is it the adventure?
Speaker 1: What is it? Or is it all of it? The
Speaker 1: whole thing? You know? What if you know? And I
Speaker 1: have never ever thought of this until just now when
Speaker 1: you ask the question, I suddenly thought, I wonder if
Speaker 1: it's the same bloody thing about those who are loyal
Speaker 1: and those because you know, they have to some GAMGI
Speaker 1: has to stay loyal and get them all the way
Speaker 1: to mortal and carry him on his back in the end,
Speaker 1: and he's he's another one of those kind of quiet
Speaker 1: but decent you know, same bloody story, isn't it.
Speaker 2: That's why? Okay, God, I like it. Well, now you
Speaker 2: told me it's conclave with mad madils me.
Speaker 1: You know as well, l's on muddy. So I don't
Speaker 1: know where you got that image from Hobbits. Hobbits there
Speaker 1: you go, not even they're not that muny, but they
Speaker 1: always in the mads. This lies of men in the mads.
Speaker 1: I think it's wrestling that you've been watching by a
Speaker 1: mistake and thinking it was the wings. Yeah, they keep going,
Speaker 1: I am Lord of the ring, and then fuck, you're right.
Speaker 2: I've ever seen a simple mistake to make? What is
Speaker 2: the worst film I've ever seen? Don't like to be
Speaker 2: too negative. All films are very hard to make. It's
Speaker 2: a tricky one.
Speaker 1: This isn't it? Yeah, for exactly that reason, Because I mean,
Speaker 1: I've probably been involved in some of the worst things
Speaker 1: I ever made, so I don't. I don't to pile
Speaker 1: on other people. So I think that's I think there's
Speaker 1: a big difference between and a missing a swing and
Speaker 1: a miss I think that's okay. And you know, we
Speaker 1: know there's a thousand ways for a film to go
Speaker 1: wrong and there's only one way for the go right. So,
Speaker 1: like I said, I don't want to, but I think
Speaker 1: there's maybe an area where I feel much less sympathy
Speaker 1: and tolerance. And that's where you feel there's a real
Speaker 1: cynical money making, you know, just empty like you could
Speaker 1: have done a good film, but you're just emptiy so
Speaker 1: and you could pick any of those franchises where you
Speaker 1: by the time you're on the fourth film, you think
Speaker 1: there is nothing of worth here. For my one example,
Speaker 1: just because it really stuck in my head, I remember
Speaker 1: it was Joe's The Revenge, which to go from such
Speaker 1: a perfect film as Joe's to this awful, empty, nonsense spy.
Speaker 1: You know, I don't know if it was a three
Speaker 1: or four. Do you know what it's interesting about?
Speaker 2: And I think this is the magic of film, because
Speaker 2: I think there is a film for everyone, and even
Speaker 2: the worst. Because Joe's the Revenge, which I know is
Speaker 2: objectively a bad film, I think that might be the
Speaker 2: first Jaws film I saw when I was like six
Speaker 2: or eight, and I love I thought, you know what
Speaker 2: I mean, so like, I know it's dreadful, but I
Speaker 2: have like a software in my heart, so I'm like,
Speaker 2: Jee's Wrende was so scary when I was like, I
Speaker 2: think it was I'd heard about Jews and I think
Speaker 2: that was the first one I saw.
Speaker 1: I'm going because you were only eight? Yeah, but did
Speaker 1: you eventually watch the actual George though, and then go
Speaker 1: oh no, this is great? No, I was like, god,
Speaker 1: they really ripped off the revenge. Where's Michael Knee? But yes?
Speaker 2: Oh, also, Frank, You're right, Frank, I really loved Frank. Beautiful,
Speaker 2: beautiful film. I love love the ending of that. I
Speaker 2: love that song at the end. I really like that film.
Speaker 2: Congratulations Anyway, there's a human that was the what's the
Speaker 2: film that made you laugh?
Speaker 1: The vice? Well, sorry, this is really dulln't because I'm
Speaker 1: just saying the same films again again. But if I'm
Speaker 1: going to be honest and tell the truth, The Big
Speaker 1: Labouts kid makes me laugh every time, even though I've
Speaker 1: seen somebody often and with nil and it makes me
Speaker 1: laugh every time. When they think Cole Monty's breaking into
Speaker 1: the house. That makes me laugh every single time. That's great, Monty, you,
Speaker 1: but for anyone who hasn't seen the film. He was
Speaker 1: quoting and not calling me.
Speaker 2: Peter Straw, you have been an absolute delight, an Oscar winner,
Speaker 2: if you will, you have been funny, fascinating, interesting, curious, deep. However,
Speaker 2: when you were eighty five years old, you were on
Speaker 2: a deck chair.
Speaker 1: I was I was only six.
Speaker 2: You lost year of result increased too. And because you
Speaker 2: your dat, you know, like your stories.
Speaker 1: Betrayed.
Speaker 2: You're in a deck chair by a beach. Yeah, yeah,
Speaker 2: I love your time. Put your scar on?
Speaker 1: Why not?
Speaker 2: And the son some's saying and in front of you
Speaker 2: you saw your people, your people were and you lay
Speaker 2: there and he attacking.
Speaker 1: He died. He didn't mention the ar attack.
Speaker 2: I'm telling you and everyone else in Brighton bee playing around,
Speaker 2: playing around, sun goes down sometimes up everyone playing around,
Speaker 2: Sun goys down. Sometimes everyone's about four weeks, five weeks.
Speaker 1: That's I mean, I'd be I'd be smelling quite badly
Speaker 1: after For.
Speaker 2: I'm walking along Brighton Beach and I go always smells
Speaker 2: of sewers down here and goes are you talking about
Speaker 2: everything's so nice? I'm like, something's up anyway. There's a bird, absolutely,
Speaker 2: there's birds all the seagulls just absolutely going at it
Speaker 2: with this body, and I go, that's kind of be
Speaker 2: a woin of.
Speaker 1: The show.
Speaker 2: Run there form they sucking out, and I go, come on,
Speaker 2: get out of you guys, And I like, that's the
Speaker 2: grimmest best scene you could possibly have painted for me?
Speaker 2: And too forward in indianther Jones in the last persade
Speaker 2: pumping away these birds get get away from him and
Speaker 2: I go, come on, guys, how long has he been here?
Speaker 2: And goes I was doing I was looking at my phone.
Speaker 2: I got you got to look up for your phones
Speaker 2: has been dead for five weeks. We get your limbs
Speaker 2: and get your things. You have to put you in
Speaker 2: the coffin. It's more of you than I was expecting.
Speaker 2: There was a bird's nest in there. There's three birds
Speaker 2: have made their home in you. Anyway, put you in
Speaker 2: the coffin. There's no room in there. There's only enough
Speaker 2: room to slip one DVD into the side for you
Speaker 2: to take across to the other side. And on the
Speaker 2: other side, it's movie night every night. What film are
Speaker 2: you taking to show your people in heaven at the
Speaker 2: seaside when it's your movie night?
Speaker 1: Peters st So this is a tricky one, but I
Speaker 1: have gone for Las filmed the Last Detail because it's
Speaker 1: stitches together lots of different things that we've been talking about.
Speaker 1: And as much as it was one of those seventies
Speaker 1: films I saw of my teens that made me think,
Speaker 1: I didn't know sendemacabill like this, I mean probably it's
Speaker 1: a It's a beautiful film. It's got that kind of
Speaker 1: same thing that combers do with a strange tone of being.
Speaker 1: It's quite sad, it's quite moving, it's funny, it's quite earthy,
Speaker 1: you know, it's quite down to earth. Prak Nicholson's fantastic
Speaker 1: in it. And also when I watched with my daughter
Speaker 1: films that I've loved when I was young, and I
Speaker 1: wanted her to love them, and I would thought she
Speaker 1: wouldn't like The Lust Detail because it's quite blokey and
Speaker 1: you know, foul mouths and it's got a bit of
Speaker 1: a down ending. And she really loved it, and I
Speaker 1: thought that's the power of a good film. It's sort
Speaker 1: of you know, generation to generation still works. He still
Speaker 1: speaks to us. So yeah, I'm going to go with
Speaker 1: the Lust Detail. Peter's Johan, thank you so much. For
Speaker 1: doing this.
Speaker 2: Would you like to tell anyone what to watch look
Speaker 2: out for? Read coming from you in the coming months.
Speaker 1: It might be a while because which is this year?
Speaker 1: But Berlin Noir?
Speaker 2: Okay, what would that be on? It'll be on Apple.
Speaker 2: I've heard of it, Okay, because I told you about
Speaker 2: it at the beginning. That's why you've heard of it.
Speaker 2: I you have heard of Apple.
Speaker 1: That's true. Yeah, if you are Apple.
Speaker 2: If people haven't seen Conclave yet, I highly recommended you.
Speaker 2: I also recommend you see Frank, which I really love.
Speaker 2: Peter Joan, thank you for doing this. What a lovely time.
Speaker 2: Good luck being a showrunner. It's really easy and you'll
Speaker 2: love it.
Speaker 1: Thank you very much. I have a wonderful death. I
Speaker 1: will stop the recording. Good day to you.
Speaker 2: So that was episode three hundred and forty six. Head
Speaker 2: over to the Patreon at patreon dot com for his
Speaker 2: last break Goal was Tamed. For the extra twenty minutes
Speaker 2: a chat, secrets and video with Peter. Go to Apple Podcast,
Speaker 2: give us a five star rating and rite about the film.
Speaker 2: It means the most of you and why it's a
Speaker 2: lovely thing to really really amas, we really appreciate it.
Speaker 2: Thank you very much thanks to everyone for listening. Thanks
Speaker 2: to Peter for giving me his time, thanks to his
Speaker 2: Gruby's Pippins Distraction, Pieces of Network. Thanks to Buddy Peace
Speaker 2: for producing it. Thanks to iHeartMedia and Wilfarwol's Big Money
Speaker 2: Players Network for hosting it. Thanks to Adam Richardson for
Speaker 2: the graphics and needs to lay them to the photography.
Speaker 1: Come and join me next week for another incredible episode.
Speaker 1: Thank you for listening, but that's it for now.
Speaker 2: In the meantime, have a lovely week, and please, now
Speaker 2: more than ever, be excellent to each others.
Speaker 1: Back back by backs as by a contact by bass.
Speaker 1: Back back backs as by back back back