Speaker 1: Look how it's only films to be buried with the resurrection. Hello,
Speaker 1: and welcome to films to be buried with the Resurrection.
Speaker 1: My name is Brett Goldstein. I'm a comedian, an actor,
Speaker 1: a writer, a director, a Cinnamon crunch, and I love films.
Speaker 1: As Madeline Miller once said, And perhaps it is the
Speaker 1: greater grief after all, to be left on earth when
Speaker 1: another is gone. But there is no greater flowing of
Speaker 1: tears than the ending of Big Fish. Yes, hard agree.
Speaker 1: Every week I invite a special guest over. I tell
Speaker 1: them they've died. Then I get them to discuss their
Speaker 1: life through the films that meant the most of them.
Speaker 2: But not this week. This week I.
Speaker 1: Use my newly acquired shamanic powers to bring a beloved
Speaker 1: guest back from the dead. And this week it's the
Speaker 1: amazing writer and director mister Edgar Wright. Head over to
Speaker 1: the Patreon at patreon dot com forward slash Brett Goldstein,
Speaker 1: where you get an extra twenty minutes with Edgar. He
Speaker 1: tells me a secret. We discussed the best beginnings and endings.
Speaker 1: There's a video you get the whole episode uncut and
Speaker 1: ad free, and all the other episodes as well, check
Speaker 1: it out over at patreon dot com forward slash Brett Goldstein.
Speaker 1: You can watch ted Lasso episodes one to nine of
Speaker 1: season three now on Apple TV Plus, and also all
Speaker 1: of Shrinking season one head over Apple's ev Plus.
Speaker 2: Hope you enjoyed them.
Speaker 1: So Edgar right, you know Edgar right, he did a
Speaker 1: two party back in the day, and now he's back
Speaker 1: to be resurrected. When we recorded the last one, he
Speaker 1: was about to make last night, and soho. So we
Speaker 1: get to talk about that, having had it made and
Speaker 1: I've seen it. We talk about all sorts of things.
Speaker 1: He's fucking brilliant. You know him, you love him. I
Speaker 1: think this is a brilliant when we recorded it the
Speaker 1: other day over zoom, and I really think you're gonna
Speaker 1: love it.
Speaker 2: So that is it for now.
Speaker 1: I very much hope you enjoy episode two hundred and
Speaker 1: forty seven of Films to be Buried with the Resurrection. Hello,
Speaker 1: and welcome to Films to be Buried with the Resurrection.
Speaker 1: It is I Brett Goldstein, and I am joined again
Speaker 1: by a actor, a writer, a podcaster, a panelist, a
Speaker 1: q and a a writer, an editor, a producer, a creator,
Speaker 1: and one of the all time great film directors and
Speaker 1: TV directors of all time. Please welcome back from the dead.
Speaker 1: It's only him here he is. Can you believe it?
Speaker 1: I sulk, I'm looking at him. It's mister record right.
Speaker 3: Thank you for having me. I always feel weird when
Speaker 3: you start with actor. It just feels wrong. Well, you know,
Speaker 3: I'm working up and working up. Yeah, these are all
Speaker 3: technically true. I'm carving out this weird side hustling doing
Speaker 3: animated voiceovers. I just did Andy Sandberg's Digman show, and
Speaker 3: he asked me to do it, and it's like, yeah,
Speaker 3: why not, right, But then that's funny thing where it's
Speaker 3: like on my credits it has like duct tails sing
Speaker 3: sing to dig Man.
Speaker 2: That's a great fucking CV.
Speaker 1: Now listen right, last time he did the show, it
Speaker 1: was a few years back, and we went for a
Speaker 1: walk and you were talking about last night and so,
Speaker 1: which you hadn't hadn't yet come out. I hadn't seen it.
Speaker 1: I've now seen it. It's fucking brilliant. You came to
Speaker 1: the premiere. I came to premier in la It was
Speaker 1: actually like one of the first sort of big outings
Speaker 1: after Lockdown, Like it was a proper. It felt like
Speaker 1: it was the first time. It felt like a big
Speaker 1: event in terms of people came, and you know, I mean.
Speaker 3: It was the first premiere in the Academy Museum, which
Speaker 3: is a beautiful cinema at that museum, and ours was
Speaker 3: the first premiere in there, which.
Speaker 2: Was kind of amazing. Yeah, it was a very it
Speaker 2: was a very great night.
Speaker 3: It was a great night, and it was one of
Speaker 3: those nice premiers where the cast stuck around because usually
Speaker 3: when you're younger and you and me, when you go
Speaker 3: to a premiere party, the last people there would be
Speaker 3: the stars of the film and then it's like the
Speaker 3: stars of the film are nowhere to be seen. They're
Speaker 3: off somewhere else. And so it was really nice with
Speaker 3: the last night, second premier because thomasin and Anya you know,
Speaker 3: kind of like shut the place down. And I was like, well,
Speaker 3: that's nice because that doesn't happen at premiere parties.
Speaker 2: That's a good say.
Speaker 1: We've talked about it privately, but I would like to
Speaker 1: talk about publicly. There's a set piece in it which
Speaker 1: I think is one of the all time great set pieces,
Speaker 1: and it's a long one shot goes down some stairs.
Speaker 1: She's kind of seeing and your tailored joy in the mirror.
Speaker 1: Then there's this musical dance sequence where they keep swapping
Speaker 1: and it's all done practical and real. I love it
Speaker 1: so much and I'm really interested in, like I have
Speaker 1: a thing about you know, one shots, long shots that
Speaker 1: are done in one take. Sometimes they're amazing, and sometimes
Speaker 1: I'm like, I'm not quite sure why this is happening
Speaker 1: other than kind of it's kind of technically impressive and
Speaker 1: the filmmakers going, look what I can do. And I
Speaker 1: find that kind of often an audience doesn't notice that.
Speaker 1: You would if you said to them, you know, that
Speaker 1: was all one take, they'd be like, oh, I didn't notice.
Speaker 2: I didn't care.
Speaker 1: And sometimes I sometimes think is it an artistic choice
Speaker 1: or is it just a kind of showing off, look
Speaker 1: what I can do? And in that sequence in in
Speaker 1: your film, I think is like real proof of when
Speaker 1: it's fucking brilliant and when it's for all the right
Speaker 1: reasons and there's something about it.
Speaker 2: This is my take on it, if you tell me
Speaker 2: if I'm wrong.
Speaker 1: The fact that it's it's a real like high wire act,
Speaker 1: like it's a real, genuinely impressive like the choreography of
Speaker 1: the actors having to move in and out of shot,
Speaker 1: having to swap places mid dance, these the cinematographer having
Speaker 1: to move exactly at a moment to make sure he's
Speaker 1: not capturing the other person as they flip it from
Speaker 1: a spin. There's something about the genuine jeopardy of that
Speaker 1: shot that I think translates into the watching of it,
Speaker 1: that there's something about that sequence that as an audience
Speaker 1: you're like.
Speaker 2: Ohh, it's really like thrilling.
Speaker 1: And I think it is partly that it's the energy
Speaker 1: of this is fucking risky and live, and everyone is
Speaker 1: so so focused on getting this exactly right. I think
Speaker 1: that that kind of comes off the screen, agree or disagree.
Speaker 3: I think the reason we did it, and you asked
Speaker 3: the question, you know, what is it there for other
Speaker 3: than is it just showing off? But in the sake
Speaker 3: of that, because you're asking the viewer to buy into
Speaker 3: this idea that when thomasin McKenzie dreams that she's in
Speaker 3: the past, she sees herself as Annie Taylor Joy. So
Speaker 3: very quickly we gravitated towards shots that were like optical illusions,
Speaker 3: things that you could actually see with the naked eye,
Speaker 3: although you can't necessarily figure out exactly how they're done.
Speaker 3: You know, just before the dance scene is the first
Speaker 3: mirror gag, where like thomasin scenes and you're in the mirror.
Speaker 2: And that was we came up.
Speaker 3: With this whole idea of rather than just using special effects,
Speaker 3: which is in a weird way, it's just it's not easy,
Speaker 3: but it's definitely a crutch for a lot of filmmakers.
Speaker 3: Is like, ah, the VFX people will figure it out.
Speaker 3: We sort of designed the shots so we could do
Speaker 3: it in one which involved a sliding mirror and identical
Speaker 3: twins and double sets, and then that continued into the
Speaker 3: dance sequence, where I think what happened is that we
Speaker 3: it was always written in the script that and was
Speaker 3: going to turn into thomasin in the dance, and we
Speaker 3: had a VFX version of it. And then we didn't
Speaker 3: really know whether the VFX version was going to work
Speaker 3: because I did want to use motor control and I
Speaker 3: didn't want it to be a green screen shot. So
Speaker 3: as a standby, our amazing choreographer Jen White, had worked
Speaker 3: out some other ideas and she showed me these other ideas,
Speaker 3: and because I was in the rehearsal room with a handicam.
Speaker 3: You just shoot them from a single point of view,
Speaker 3: and usually with those tricks they can only be shot
Speaker 3: from one angle. But then as you're doing them, you
Speaker 3: start to think, hey, what if we did all six
Speaker 3: of these? So there's like six texta switches in a row.
Speaker 3: And so it is that it is a high wire
Speaker 3: act because by falling the eye and falling the audience,
Speaker 3: you're also getting them to buy into the magic trick
Speaker 3: that's in the movie is that these these two actors
Speaker 3: are going to become interchangeable. But weirdly, there was something
Speaker 3: that happened where I made a decision the night before
Speaker 3: which I think made the sequence, and if I had
Speaker 3: stuck with my original idea, I think it would have
Speaker 3: ruined it. Because originally, in the conception of that scene
Speaker 3: when they start dancing and it's Anya and Matt Smith
Speaker 3: dancing and then suddenly thomasin is dancing as well instead
Speaker 3: of Anya, originally she was going to be in Anya's
Speaker 3: dress and Anya's hair and makeup and hair had done
Speaker 3: Thomas McKenzie in the dress and in the blonde hair.
Speaker 3: But then I realized, I remember I had shown my
Speaker 3: girlfriend a rehearsal video that we'd done with some dance doubles,
Speaker 3: you know, because you have dance that wasn't We'd done
Speaker 3: a rehearsal of the shop and the dance doubles were
Speaker 3: a blonde and brunette. And I remember when I was
Speaker 3: showing this, Oh, apple Watch has decided to chip in them.
Speaker 2: And what I said, you know the other day secret
Speaker 2: Apple Watch.
Speaker 3: I was in like one room of the house and
Speaker 3: I shouted out to my girlfriend in the other room
Speaker 3: thebe and the apple Watch said this is all I
Speaker 3: could find out, and it had the synopsis for Babe,
Speaker 3: the Big film. But all I said was, Babe, question mark,
Speaker 3: it's a masterface.
Speaker 2: Thank you Apple. It didn't do it now.
Speaker 3: So what happened though, is because I remember I'd shown
Speaker 3: this test footage to my girlfriend and when the first
Speaker 3: time they did a transition and it went from.
Speaker 2: Blonde to brunette and back again, she was.
Speaker 3: Like, whoa, whoa, whoa, whoa, whoa, whoa whoa Show me
Speaker 3: that again, Show me that again. What just happened there?
Speaker 3: I don't understand. And then you explain it. And when
Speaker 3: we did, I think we did one like rehearsal, and
Speaker 3: when I saw Thomasin, I thought, if they're both blonde,
Speaker 3: this is going to be so slick that people won't
Speaker 3: even notice what's happening. Yeah, and so the only tough
Speaker 3: call about that was to tell hair and makeup and
Speaker 3: costume that they're hard work getting the dress for Thomasin
Speaker 3: and their hair for Thomasin was not going to be
Speaker 3: on camera. And I was like, guys, you're gonna hate me,
Speaker 3: but I think Thomasin should have her brown hair and
Speaker 3: her pajamas and not be in this dress. And if
Speaker 3: I had gone the other way as I originally attended,
Speaker 3: I think it would be a far, far lesser shot.
Speaker 1: I think you're right. That's fascinating. Wow, that's so cool. Well,
Speaker 1: I love it. Oh, No, one question. One more question
Speaker 1: about that sequence. How how many takes? How many takes
Speaker 1: was it and which take is in the film.
Speaker 3: I don't think it was too many takes on that one.
Speaker 3: I think it was probably about ten takes. I mean,
Speaker 3: we rehearsed it on a Saturday. And the key thing is,
Speaker 3: like the heroes of that sequence, apart from Matt Smith
Speaker 3: and you, Taylor joined Thomasin. McKenzie is not just a
Speaker 3: choreographer gen White, but also and you mentioned the director
Speaker 3: of photography Chunk Jong Hun is a master, a genius.
Speaker 3: But then the other man of the match, the MVP,
Speaker 3: is the camera operator. And Chris Baines, who was the
Speaker 3: steadycam operator, he had to be there at every rehearsal
Speaker 3: because without him having the muscle memory to know where
Speaker 3: to be and when and memorize the dance as much
Speaker 3: as the actors are. Without him being able to do that,
Speaker 3: you're fucked because the whole the whole thing succeeds or
Speaker 3: fails on him being on the right mark at the
Speaker 3: right time. And that's always a thing that's like usually
Speaker 3: if you do dance sequences, and I'd learned this from
Speaker 3: the days of low budget music videos, that if you
Speaker 3: come up with a great dance sequence, but the operator
Speaker 3: is seeing it on the day for the first time,
Speaker 3: you've like you've.
Speaker 2: Lost so much kind of time.
Speaker 3: And so it was always the thing of like Chris
Speaker 3: Bain's the steadycam operator has to be their in rehearsals,
Speaker 3: and so he was. He was working as intensively on
Speaker 3: it as the actors were.
Speaker 1: You know, how if you could for this, I'm just curious.
Speaker 1: It's such an impressive sequence in every way. How many
Speaker 1: days was it to make in terms of rehearsing the actors,
Speaker 1: rising the camera appropriate and then filming Those ten takes
Speaker 1: were one day? Right, you did the whole thing in
Speaker 1: one day.
Speaker 3: Yeah, I think we did more than that in that day. Actually,
Speaker 3: I think we actually we actually kind of got very
Speaker 3: unusually for me, got ahead of ourselves. I think the
Speaker 3: baby the take, the scene that there's lot of baby
Speaker 3: driver when Ansel walks to the coffee shop and back
Speaker 3: all in one take. That was twenty eight takes. And
Speaker 3: the thing is we had to take twenty one, which
Speaker 3: was good except Bill Pope, the DP had one issue
Speaker 3: with it, and he said, get one more for safety,
Speaker 3: and then takes twenty two to twenty eight. It got
Speaker 3: progressively worse to a point where by take twenty eight
Speaker 3: then you're saying, do you think we can say take
Speaker 3: twenty one, and he goes, yeah, I can probably fix
Speaker 3: it in the grade. Like I think the exposure Poul
Speaker 3: was late by like a split second, and that's the
Speaker 3: take this in the movie. He was able to fix
Speaker 3: his problem with it, and that's the take this in
Speaker 3: the movie. I think this was like ten takes and
Speaker 3: then we actually got something else done that day as well,
Speaker 3: Like but so how much prep was there?
Speaker 2: You know?
Speaker 3: And the thing is also is that it's like you
Speaker 3: you just like the workshop stuff is stuff.
Speaker 2: That you, you know, kind of do before the actors
Speaker 2: get there.
Speaker 3: And then I think Annie was still shooting Emma right
Speaker 3: up until I think she wrapped Emma, and then two
Speaker 3: days later she's shooting that scene. I think it was
Speaker 3: something crazy like that, or she was at least rehearsing
Speaker 3: that scene. I remember that we had to We had
Speaker 3: to rehearse with her on a Saturday while she was
Speaker 3: still shooting Emma, which is obviously a big strain for her,
Speaker 3: but there was no other way of doing it.
Speaker 2: We didn't We didn't have any other time.
Speaker 3: So God bless her for pulling a seven day week
Speaker 3: or whatever it was that week.
Speaker 1: Sad question, Are you emotionally good the st within that
Speaker 1: story You've told you had to like let down the
Speaker 1: hair and make up and costume people who've been working
Speaker 1: really hard. Are you good at that side of it
Speaker 1: or does that upset? Are you like, oh God, I
Speaker 1: feel so shit about this, or you like films the
Speaker 1: film baby.
Speaker 3: No. I mean, if I was bad at it, I
Speaker 3: wouldn't even talk to them at all. You get one
Speaker 3: of your underlings to do it, or you say, you'd
Speaker 3: be a complete coward. You'd be a complete coward and
Speaker 3: say tell them, tell them, you know. So, I think
Speaker 3: hopefully the key to being a good director is that
Speaker 3: you're kind of open and transparent and communicative. I'm sure
Speaker 3: like other people would like just like get somebody else
Speaker 3: to tell them, and they'd be like, wait, we're not
Speaker 3: doing the blonde hair and the dress, what's going on?
Speaker 3: Like so at least I think I told them what
Speaker 3: we were doing and why and tried to break it
Speaker 3: to them easily, gently, gently good man.
Speaker 1: And one last thing is the nything you can tell
Speaker 1: us about what you're cooking up next, if anything, maybe
Speaker 1: or another day, maybe you're retired. I don't know, it's
Speaker 1: none of my business.
Speaker 3: No, there's lots of writing going on at the moment.
Speaker 3: I think there's a couple of things that are in
Speaker 3: a good shape. And you know, I think it's the
Speaker 3: way of the business at the moment is like sands
Speaker 3: are shifting very kind of quickly and stuff, so you
Speaker 3: tend to kind of like look at things in terms
Speaker 3: of schedule and practicalities and what you could get kind
Speaker 3: of like, you know, kind of made you know. So
Speaker 3: there's a few things. I'm always superstitious about talking about
Speaker 3: it because I think I've, you know, in the past,
Speaker 3: been foolish enough to give interviews about films that then
Speaker 3: I didn't end up making, and I've always regretted it
Speaker 3: until you're actually there on the day. And then obviously
Speaker 3: in this day and age, you could you could make
Speaker 3: a whole movie and then a studio and not just
Speaker 3: decided not to release it. So I feel like I
Speaker 3: just very superstitious about that. So hopefully there'll be some
Speaker 3: news soon, but no breaking news on this episode. I
Speaker 3: will say I did since the last episode, I sort
Speaker 3: of had my tail between my legs because me saying
Speaker 3: that The Goonies was the film that I am as
Speaker 3: an adult I didn't like so much anymore came back
Speaker 3: to haunt me in two forms.
Speaker 2: Number One, I went to dinner with Key K Kwon.
Speaker 3: I was terrified, who of courses the nicest guy ever?
Speaker 3: And I mean, I absolutely love Temple of Doom. I
Speaker 3: was very happy to hear Adam Scott singing the praises
Speaker 3: of Temple of Doom because I agree, and so you know,
Speaker 3: I had an amazing dinner with him, and then you know,
Speaker 3: I feel, oh God, I hope he hasn't heard Bread's podcast.
Speaker 3: Although I want to qualify what I was saying is
Speaker 3: that would be the objectively the greatest film of all time.
Speaker 3: If you're if this is your right to replay, if
Speaker 3: you're eleven, like not at forty nine, you know. Then also,
Speaker 3: I ran into Matt Ford on a radio show and
Speaker 3: apologize to him as well.
Speaker 2: Well go, I don't know if he got over it.
Speaker 2: I hope he's all right.
Speaker 3: But I stand by though, if you're over, if you're
Speaker 3: over forty and you're watching that film and a cinema
Speaker 3: on your own, you should be wearing an ankle bracelet.
Speaker 1: I mean, you've just apologized and then doubled down.
Speaker 3: Let me said, if I was like showing that to
Speaker 3: my kids, I think it's the thing. It's like it
Speaker 3: is a thing with kind of like kids films. It's
Speaker 3: like there's a number of things here. Is like if
Speaker 3: you're introducing it, if you have kids and you're introducing
Speaker 3: it to them, it's a lot more of a question
Speaker 3: of like, why why are you watching?
Speaker 2: I don't know.
Speaker 3: Maybe let me stop talking about it. No, I apologize.
Speaker 3: You're allowed to watch gooonies whenever you.
Speaker 1: Like, Matt enjoy your life, Edgar right. I have brought
Speaker 1: you back to life because I like you. You get
Speaker 1: a second chance. But what point in your life will
Speaker 1: you come back to. What will you change? What will
Speaker 1: you keep the same?
Speaker 3: I have a recurring fantasy about being back in school
Speaker 3: and having a bit more sense of what I should
Speaker 3: be listening to. I think I had a thing where
Speaker 3: I didn't wear glasses at school because I didn't know
Speaker 3: that I had bad eyesight and I never had my
Speaker 3: eyes tested as a child. And years and years later,
Speaker 3: when I realized I had glasses, it suddenly came back
Speaker 3: to me that I couldn't read the blackboard at school,
Speaker 3: and as such, I used to tune out of lessons
Speaker 3: a lot, and I sort of wish I could go
Speaker 3: back and sort of pay attention a bit more. I mean,
Speaker 3: I have that fantasy is that if you had if
Speaker 3: you had the time all over again, it would just
Speaker 3: be that it would be just extensions of what you're
Speaker 3: already doing. But like read more like listen, like this
Speaker 3: stuff is important, and I have a particular thing that
Speaker 3: I think I did really well in my GCSEs. And
Speaker 3: then when I was in my A levels, when I'd
Speaker 3: started to make amateur films, my interest in my studies
Speaker 3: like really dropped off. And there was like a massive
Speaker 3: like because I was already like starting to think about
Speaker 3: making like movies and fucking around with a super eight
Speaker 3: camera and a video camera. But as such as like
Speaker 3: you know, English literature, my grades like nosedived, and I just,
Speaker 3: you know, wish I could go back and you know,
Speaker 3: be a better student.
Speaker 2: And then do all of this again.
Speaker 1: You'd you'd make all these films, all these things, but
Speaker 1: they'd be clever.
Speaker 3: Here's the problem with time travel. You only want to
Speaker 3: do again the things you did badly. You do not
Speaker 3: want to have to do again the things you did well.
Speaker 3: So that's that's that's the problem. It's such a problem.
Speaker 1: You'd have to pretend, you'd have to act a lot,
Speaker 1: you'd have to try and remember what you said. I
Speaker 1: think you'd cause all kinds of problem, especially you're going
Speaker 1: back as a kid with all this knowledge and you're
Speaker 1: the one whose things it's uncomfortable to watch the goonies.
Speaker 1: I mean, the whole thing's a mess.
Speaker 3: Well, I think the thing is also if you were
Speaker 3: doing a back to the future too thing and then
Speaker 3: you could kind of win lots of things at the bookies.
Speaker 2: I would be terrible.
Speaker 3: At anything sports wise, like the Grand National or like
Speaker 3: the FA Cup or anything. I could remember the Christmas
Speaker 3: number one every year, so that would be my thing.
Speaker 3: If I went back in time, it would be like, oh, yes,
Speaker 3: of course this was number one in like nineteen ninety two,
Speaker 3: and put an enormous amount of pocket money on it.
Speaker 2: But any sports thing.
Speaker 3: I'd be terrible at that, you know, or even like
Speaker 3: trying to avert disasters, you know, apart from a couple
Speaker 3: of obvious ones. That would be the curse of going
Speaker 3: back in time. God, yeah, that would be really stressful.
Speaker 3: But I could win money on the Christmas number ones. Also,
Speaker 3: if you're a kid for people, don't do this. No
Speaker 3: one's going to believe you. Yeah, go and tell us
Speaker 3: about Christmas number words. I was just gonna say, Christmas
Speaker 3: number one is not really a thing in the States
Speaker 3: for your American listeners, but it is a thing in
Speaker 3: the UK.
Speaker 2: Big thing, The biggest is bigger than the coronation.
Speaker 3: Although I guess maybe like the kind of betting on
Speaker 3: the Christmas number one has dropped off since lad Baby
Speaker 3: have got the Christmas number one for the last ten
Speaker 3: years with some sausage roll song. Edgar right, Welcome back
Speaker 3: the Living, Please to see you. But they want to
Speaker 3: discuss films. Their first thing they ask is what was
Speaker 3: the last film you saw?
Speaker 2: Edgar Right? You watched a lat of films.
Speaker 3: I watched with my girlfriend who had never seen it,
Speaker 3: and I think maybe like had thought she wouldn't really
Speaker 3: like this kind of thing, and then really did like
Speaker 3: this kind of thing is We watched the nineteen eighty
Speaker 3: seven version of RoboCop. I hadn't watched for a long time,
Speaker 3: and she had never seen it, and she loved it.
Speaker 3: And I had a fucking blast watching that.
Speaker 2: Again, that's great one hundred and two minutes. One hundred
Speaker 2: and two minutes long.
Speaker 3: RoboCop think about everything and it packs into that running time.
Speaker 1: It really freaked me out when I was litteral and
Speaker 1: I saw that the romano from When He Gets Acid?
Speaker 2: Did that really upset me? I think it really traumatized
Speaker 2: me that bit.
Speaker 3: What's funny is you say Romano from Er, but whenever
Speaker 3: I see him in something else, they say, oh, it's
Speaker 3: a meal from Robocod, like when he's in Alan Parker's Fame.
Speaker 2: I'm like, hey, it's a meal. Who do you think
Speaker 2: should play you in the film of your life?
Speaker 3: I'm going to give you a little choice here, and
Speaker 3: I'm not sure if I can share a photo or not.
Speaker 2: Maybe I don't know how to do that. Maybe it
Speaker 2: won't work. I'd like you to.
Speaker 3: Can you see that? Maybe you can put it up?
Speaker 3: Who is that?
Speaker 2: That's me?
Speaker 3: That's you, that's me, aged like seventeen of it. Yeah,
Speaker 3: get out of it. That's not you, shut up, that's
Speaker 3: not you. It is me on BBC's Going Live. Wow.
Speaker 3: So answer your question, he would play me from my life?
Speaker 3: I'll tell you about a couple of people over the years.
Speaker 3: The first time ever that somebody at school said I
Speaker 3: looked like somebody And this might be before your time, Britt.
Speaker 2: Do you remember a show called Press.
Speaker 3: Gang, Oh, with Dexter Fletcher and Safik Yes, exactly, but
Speaker 3: they're not Dexter Fletcher. There was an actor in it
Speaker 3: called Paul Reynolds who played Colin. And I remember this
Speaker 3: girl that I fancied from school said you look like
Speaker 3: Colin from pres Gang. So I think then to impress her,
Speaker 3: I started dressing like Colin from Press Gang to really
Speaker 3: like just try and see all the deal. So I
Speaker 3: don't know that that's a very specific reference for Brits
Speaker 3: of a certain age, but Colin from Press Gang. And
Speaker 3: then the photo that you just saw, which is me
Speaker 3: ongoing live age seventeen. I remember I showed this to
Speaker 3: John Hamm and he said, you.
Speaker 2: Look like Rebecca Hall. Oh my god, I mean I
Speaker 2: don't look like Rebecca.
Speaker 1: Rebecca All is an absolutely wonderful actor, a beautiful, wonderful actor. Okay,
Speaker 1: that's a wonderful choice.
Speaker 3: More recently, and this this is bollocks, but sometimes on
Speaker 3: Instagram when I post on thinking usually if I got
Speaker 3: longer hair and I'm wearing like a dark suit and
Speaker 3: a dark shirt, invariably somebody in the comments saying, is
Speaker 3: that John Wick? Now? The thing is, so I'd love
Speaker 3: to believe that Keanu Reeves could play me. And I
Speaker 3: actually met him recently and he looked exactly like John
Speaker 3: Wick when I saw him, which was very funny. But
Speaker 3: he's like, you know, several feet taller and with you know,
Speaker 3: kind of ten years on me, a lot lot fitter
Speaker 3: and a lot lot more handsome. So in my dreams,
Speaker 3: Keanu Reeves are playing me, but he'd have to be
Speaker 3: squashed and put on some way.
Speaker 1: I mean, I would vote for Rebecca absolutely. She's just
Speaker 1: a phenomenal actor and a brilliant I think that you'd
Speaker 1: be very great.
Speaker 3: I know Rebecca, and if I tried to even paraphrase
Speaker 3: what we've been talking about, I think she'd be very disturbed.
Speaker 1: What is the most romantic thing we've ever seen? My
Speaker 1: vote for this and some other things I might have
Speaker 1: mentioned have been mentioned on the podcast already.
Speaker 3: I think somebody recently talked about out of Sight, So
Speaker 3: I'm not going to pick that. But let's go back
Speaker 3: to the forties. My vote for most romantic film is
Speaker 3: Alfred Hitchcock's Notorious with Carry Grant and Ingrid Bergmann.
Speaker 1: Very classy choice, young man, What a classy little choice.
Speaker 3: It's a really sexy film, romantic film because to some
Speaker 3: extent it's it's not like it's unrequited. But the premise
Speaker 3: of that movie is that Carry Grant is a government
Speaker 3: agent who has enlisted Ingrid Bergmann to spy on a
Speaker 3: group of Nazis in Brazil, and they're falling in love
Speaker 3: during the mission, but then the mission is complicated by
Speaker 3: the fact that Ingrid Bergmann's character is asked to proposed
Speaker 3: to by one of the Nazis and to go under
Speaker 3: cover she has to marry him, So carry Grant and
Speaker 3: Ingrid Bergmann's you know, growing affection for each other is
Speaker 3: then complicated by what she has to become in her
Speaker 3: undercover mission to spy on the Nazis. So when Carrie
Speaker 3: Grant and Ingrid Bergman do get together, it's great because
Speaker 3: it's like a double whammy of that they're already in
Speaker 3: this espionage drama where if either of them get found out,
Speaker 3: they're going to get killed, but also she's on paper
Speaker 3: married to Claude Raines. And also because it's a forties film,
Speaker 3: it's not explicit in any way, and it suggests things
Speaker 3: happening off screen that you don't see, but that just
Speaker 3: makes it more romantic. I think it's like and I
Speaker 3: think they're sort of charisma and that chemistry, whatever the
Speaker 3: reality of it was, is just like burning up the screen.
Speaker 3: So I always think Notorious is a really romantic movie.
Speaker 1: The excellent right, what is the best film you ever
Speaker 1: saw that you never want to see again.
Speaker 3: Well, I can't say Irreversible, because I have watched it twice,
Speaker 3: because I did see I did, I did see it.
Speaker 3: And then then my girlfriend really wanted to watch it,
Speaker 3: and I kept warning her that it was one of
Speaker 3: the most hardcore films of all time, and she goes, no,
Speaker 3: I want to see it, and then you know, and
Speaker 3: then we watched it, and then she she kept doing
Speaker 3: that thing where she sort of was walking out of
Speaker 3: the room and coming back because she was terrified of
Speaker 3: the of the big central centerpiece scene, which is rightly
Speaker 3: notorious and really hard to watch. But we did watch
Speaker 3: the whole thing, and actually, when it got to a
Speaker 3: certain point, and you know what that film is like,
Speaker 3: I said, we have to watch it to the end.
Speaker 3: Now we have to watch it to the end. Bizarre Bizarrely,
Speaker 3: this film has a happy ending.
Speaker 1: The second the second half is quite beautiful. But I
Speaker 1: don't have any even made it to that.
Speaker 3: Well that's that's that is the heinous element of that
Speaker 3: film is that it actually, obviously because it's going backwards,
Speaker 3: it ends on the most romantic, sweet scene.
Speaker 2: So I can't say you're reversible.
Speaker 3: I can't say Funny Games because I think I have
Speaker 3: seen that more than once, and I watched the the
Speaker 3: original one and the remake. So yeah, I don't think
Speaker 3: that I'd be watching a film like Snowtown again anytime soon,
Speaker 3: although maybe if somebody said let's watch Snowtown, I wouldn't
Speaker 3: say no. So my answer to this is Pasolini's Sallow
Speaker 3: or the One hundred and twenty Days of Sodom, which
Speaker 3: I watched and I appreciated, but I would not be
Speaker 3: in a rush to see it ever again.
Speaker 2: Now.
Speaker 1: I have read many things about that film and I
Speaker 1: have never watched it, and every time I read about it,
Speaker 1: I'm like, I just don't see it happening in my lifetime.
Speaker 1: Can you tell us what it is that makes that
Speaker 1: it's a considered a classic people, you know, it's always
Speaker 1: on a list, But whenever I read like what it is,
Speaker 1: I'm like, I don't know if I need to sit
Speaker 1: through this.
Speaker 3: I mean, it's it's very powerful, and it's it's setting
Speaker 3: fascist Italy in World War Two, and it's basically these powerful, wealthy,
Speaker 3: horrible aristocrats torturing these young people in various levels of
Speaker 3: sexual degradation, and I I guess the entire thing is
Speaker 3: like both something that happened in reality and also just
Speaker 3: a metaphor for corruption itself. But the thing that's tough
Speaker 3: for watching it is actually the thing that made me
Speaker 3: the most kind of queasy was not the actual sort
Speaker 3: of sexual deprivation on show. Now, the thing that haunts
Speaker 3: me about that film, and anybody who's seen this film
Speaker 3: I know exactly what I'm talking about, is the cutaways
Speaker 3: of the dirty old men enjoying it is somehow worse
Speaker 3: than the acts themselves. And I remember when I watched it.
Speaker 3: I watched it and didn't see it at the cinema,
Speaker 3: and in fact, name drop a look. Quentin Tarantina said
Speaker 3: to me, he said, if you didn't watch Sallo in
Speaker 3: the cinema, you haven't seen it at all. So he
Speaker 3: said that to me, So maybe I have to do
Speaker 3: that to finally be at peace with Sallow, actually watching
Speaker 3: the cinema and see people walking out. But I watched
Speaker 3: it at home and it was one of the only
Speaker 3: films where I was watching it during the day and
Speaker 3: I had like blackout curtains and everything that I stopped
Speaker 3: it halfway through and went for a walk in the sunshine.
Speaker 2: I think I.
Speaker 3: Walked around the block and before I continued watching it
Speaker 3: to finish it. I still have the DVD, but like,
Speaker 3: I can't imagine watching that again in a rush unless
Speaker 3: my girlfriend, absolutely, for some bizarre reasons, said I must
Speaker 3: watch Sallow it's for work.
Speaker 2: Or I don't know.
Speaker 3: I would say, I would say watch it once. I
Speaker 3: would say it's one of those films that you got
Speaker 3: to watch once. And according to Quentina, here's the thing. Okay,
Speaker 3: next time it's on the cinema, we're in the same city.
Speaker 3: You're going to break your Sallow cherry. And I'm going
Speaker 3: to do what Tarantina said and watch it in a
Speaker 3: cinema because apparently I haven't seen it because I watch
Speaker 3: it at home.
Speaker 2: So then it's a it's a win win for us.
Speaker 2: It's a win win for us.
Speaker 1: Whenever it cuts to the people enjoying it, I'm going
Speaker 1: to look across at you and Grid.
Speaker 3: What we should do is we should we should do
Speaker 3: like one of those penn Andella things, whereas audience participation
Speaker 3: is every time it cuts to one of the old
Speaker 3: gentlemen enjoying it, we should stand up and clas or shout, shout,
Speaker 3: Sallow at the screen like it's a touchdown, Sallow.
Speaker 2: What is the best action film you've ever seen? Right?
Speaker 3: So okay, here's honorable mentions before we get to the
Speaker 3: ultimate pic, Mad Max two, Mad Max Fury Road, Hard Boiled,
Speaker 3: John Wu a Better Tomorrow too, that's a more deep
Speaker 3: cut John WI one. But if you haven't seen that film,
Speaker 3: oh my good god. That's the film they're watching in
Speaker 3: True Romance, which has an incredible ending, die Hard Aliens
Speaker 3: Raiders of the Lost Dark, which is mentioned too many
Speaker 3: times on this podcast, but it is classic the Driver.
Speaker 2: Walter Hills film.
Speaker 3: But the actual answer is like, because I've seen it
Speaker 3: with an audience and I love this film and it's
Speaker 3: never not fun to watch. This is the Crowd is
Speaker 3: Jackie Chan's police story, the first one from nineteen eighty five,
Speaker 3: which has the climax to beat all climaxes, which is
Speaker 3: like twenty five minute beat them up sequence in a
Speaker 3: shopping mall with more broken glass than you can possibly imagine,
Speaker 3: more henchmen being thrown through broken glass and more Jackie
Speaker 3: Chan getting the shit picked out of him, and people
Speaker 3: being thrown down escalators and motorcycles in malls and then
Speaker 3: climaxing in the famous you know, sliding down an electrified
Speaker 3: pole like at the end of it, like Police Story
Speaker 3: all the way through. Also, Police Story starts like most
Speaker 3: films end. It has that opening sequence with the kind
Speaker 3: of car chase through the shantytown, which kind of Michael
Speaker 3: bay rips off in My Bad Boys too, but like
Speaker 3: that opening sequence, and then it turns into the chase
Speaker 3: with the double decker bus. That's all in the first
Speaker 3: five minutes. So that movie just keeps kind of upping
Speaker 3: the ante. And I think it was because Jackie Chan
Speaker 3: had been to Hollywood and not quite succeeded with Cannibal
Speaker 3: Run one and two in the film called The Protector,
Speaker 3: and The Protector I think was particularly like a bruising
Speaker 3: Hollywood experience for him. So when he then made Police Story,
Speaker 3: he kind of like just goes for it, and it's
Speaker 3: just I mean, that film with an audience is extraordinary
Speaker 3: and I would happily watch that any time. So that's
Speaker 3: my pick for the greatest action film all time. Very
Speaker 3: nice of all the films. If you had to, which
Speaker 3: film do you think you could have made? And why
Speaker 3: this is a tough one for me to answer because
Speaker 3: I am a film director, so I don't want to.
Speaker 2: I don't and I don't.
Speaker 3: Want to answer this in the sense of that I
Speaker 3: could have made these films better, because I couldn't. So
Speaker 3: I can think of three that when in my younger days,
Speaker 3: when I wasn't a film director, or I hadn't made
Speaker 3: Sean of the Dead yet, like when films that made
Speaker 3: me so envious that I thought like, I want to
Speaker 3: make I want to be making movies like that, probably
Speaker 3: like a big one, when as a teenager it would
Speaker 3: have been something like Evil Dead too, where you just like,
Speaker 3: my eyes are popping out of my sockets, like what
Speaker 3: is this? How can I be a part of this?
Speaker 3: I want to do that. Whatever this is, I want
Speaker 3: to do it. And then later when I was I'd
Speaker 3: already made a film, a very low budget film starring
Speaker 3: your lasso buddy James Lance, who I ran into in
Speaker 3: the street the other day.
Speaker 2: Did you know that he's in my first movie? I
Speaker 2: did not know that. I didn't remember that. No. I
Speaker 2: loved that man, What a wonderful man.
Speaker 3: He is the only member of the cast of a
Speaker 3: Fisciler Fingers nineteen ninety five to have been in a
Speaker 3: White House press briefing.
Speaker 2: It's less. It's less that, do you think.
Speaker 3: The next one with I think when I saw Wes
Speaker 3: Craven's Scream at the cinema in like nineteen ninety six
Speaker 3: or maybe it was early ninety seven, that was another
Speaker 3: film that just made me like envious because I it
Speaker 3: was before it was after I'd done Fisical Fingers, but
Speaker 3: way before A Space or Short of the Dead, and
Speaker 3: I just watching that film just kind of like clawing
Speaker 3: at the seats like, oh God, I want to make
Speaker 3: a film like that. And then the other one, the
Speaker 3: big one as well, which was after Space and before
Speaker 3: She the Dead, was the German film Run Lola Run,
Speaker 3: the Tom Twiper movie. It just it just like had
Speaker 3: me literally frothing over at this point, done, Oh my god,
Speaker 3: they're going to make a movie. So the thing is,
Speaker 3: I would say one of those, but then I couldn't
Speaker 3: better them, you know, So what's the answer.
Speaker 2: I don't know, but you tell me.
Speaker 1: I think I think run, Loan and Run is your answer,
Speaker 1: because I can see I could see you making that.
Speaker 3: Well, make I'll make a British one and it'll be
Speaker 3: the title be go on, girl, God, that's great and
Speaker 3: it's a fucking great film.
Speaker 2: I forgot about that film.
Speaker 1: Oh eighty two minutes long, Yes, as it should be.
Speaker 1: What is the film you have pretended to like to
Speaker 1: impress people?
Speaker 3: I would like to think that I haven't done too
Speaker 3: much of that in the sense of press somebody. I
Speaker 3: don't know whether I've ever done that, because usually, especially recently,
Speaker 3: I'm pretty kind of open about what I like or
Speaker 3: not or don't like, or.
Speaker 2: What I haven't seen.
Speaker 3: When I was I think the first girlfriend I ever
Speaker 3: had when I was a teenager, I definitely pretended to
Speaker 3: like films that she liked in a way of like
Speaker 3: just you know, kind of trying to ingratiate myself, I guess,
Speaker 3: And she was like totally besotted with Patrick Swayze, and
Speaker 3: so I think I watched Dirty Dancing with her more
Speaker 3: than once and definitely pretended to like it.
Speaker 2: More than I did, because.
Speaker 3: You know, you don't want to be a complete I
Speaker 3: can say this isn't for me, So you know that
Speaker 3: thing where you kind of just you just kind of
Speaker 3: like you open yourself way up to you know, you're pretending,
Speaker 3: and it's not like I didn't like it. It's how it's
Speaker 3: a very amazing but I but I didn't love I
Speaker 3: didn't love it. It's not it's it's not for me, and
Speaker 3: I didn't love it. But I definitely I definitely pretended
Speaker 3: that I loved it, so just to kind of like,
Speaker 3: you know, play off that I did like Roadhouse and
Speaker 3: I do love Point Break. So it's okay. I've got
Speaker 3: nothing against ways. You've got a good score.
Speaker 1: H What is the film you've never seen that you
Speaker 1: think it's mad you've never seen it?
Speaker 2: Brett.
Speaker 3: I come prepared for this because I'm now going to
Speaker 3: embarrass myself as somebody who's very open about what they've
Speaker 3: seen haven't seen. I'm going to give you a whole
Speaker 3: list of films, and I've done this very scientifically.
Speaker 2: I'm going to give you a list of films.
Speaker 3: And then you're going to tell me what the maddest
Speaker 3: one is that I haven't seen, and I'll explain why.
Speaker 3: So I have like different lists than the first list
Speaker 3: I have here. This is the box Office Mojo list
Speaker 3: of the highest grossing films of all time adjusted for inflation.
Speaker 2: You know what that means.
Speaker 3: That means that gone with the wind is number one
Speaker 3: because it's adjusted for inflation, So I have to go
Speaker 3: all the way down to thirty five, and they're going
Speaker 3: to rattle these off. At thirty five, I have not
Speaker 3: seen Sleeping Beauty of forty one, I have not seen
Speaker 3: I've seen Love Story fifty two. I've not seen the Robe,
Speaker 3: but I don't think you've seen the robe either, fifty five.
Speaker 3: I've not seen Bambi at fifty eight. I've not seen
Speaker 3: the Bells of Saint Mary seventy. I've never seen the
Speaker 3: Passion of the Christ ninety six. I've never seen Swiss Family.
Speaker 3: Robinson and now, okay, this is just list number one. Brett,
Speaker 3: get ready and I have you're making notes. Yeah, so
Speaker 3: we'll double back on what you think is the most
Speaker 3: egregious one. Now, this is not adjusted for inflation, so
Speaker 3: this is the current like box office top one hundred
Speaker 3: at nineteen, I've never seen Frozen two.
Speaker 2: Twenty eight.
Speaker 3: I've never seen Hunger Games Catching Fire forty three. I've
Speaker 3: never seen Spider Man Far from Home, which is strange
Speaker 3: because I saw the first one and the third one,
Speaker 3: but not the middle one. I think it was ino y.
Speaker 3: That was the summer that I was making last night
Speaker 3: in Soho. So that's my excuse there. Total okay fifty three,
Speaker 3: The Secret Life of Pets fifty four, Despicable Me Too
Speaker 3: fifty eight, Guy Richie's Aladdin sixty four, Hunger Games, Mocking
Speaker 3: j Part one sixty six, Minions sixty seven, Minions, Rise
Speaker 3: of Grew seventy one, Alice in Wonderland, The Tim Burton one,
Speaker 3: seventy eight, Shrek the Third eighty nine, Pirates of the
Speaker 3: Caribbean at World's End, which I think is the third one.
Speaker 2: Right ninety six.
Speaker 3: Yes, the Twilight Saga Eclipse. We'll double back on that
Speaker 3: one because there's more to that. Now, this is where
Speaker 3: it gets even. This is maybe more embarrassing.
Speaker 1: Now.
Speaker 3: These are the IMDb Top movies, the IMDb Top one
Speaker 3: hundred of all time and the first one. My girlfriend goes,
Speaker 3: you haven't seen that thirty three. I have not seen
Speaker 3: Roman Polanski's The Pianist forty four, I have not seen
Speaker 3: the French film Untouchable forty five. I've never seen Harry
Speaker 3: kiriy forty six. This will drive some of your listeners, mad.
Speaker 3: I have not seen Graver of the Fireflies. I do
Speaker 3: have it on Blu Ray. So it's by the time
Speaker 3: this comes out, I might have seen it. Said, I'm
Speaker 3: really embarrassed about this one. Seventy seven, I've never seen
Speaker 3: Death Boot, seventy nine, I've never seen Princess Minoke, Monoke
Speaker 3: still on anime, I've never seen eighty three Your Name,
Speaker 3: And then this one, this one is called Three Idiots.
Speaker 3: I have not seen that film, but it is at
Speaker 3: eighty seven in the IDB Top one hundred. And then finally, finally,
Speaker 3: this is short the top two hundred and fifty most
Speaker 3: popular on letterboxed, Perks of being a Wallflower, Black Widow,
Speaker 3: House Moving Castle, and finally at Man, at which I
Speaker 3: am credited as a writer and executive producer. So out
Speaker 3: of all of those ones, I just threw it at
Speaker 3: the wall. And I'm sure some of your listeners are screaming, like,
Speaker 3: how have you not seen House Moving Castle?
Speaker 2: Yeah? What do you think is the craziest one?
Speaker 1: The one I'm most surprised about is Passion of the Christ,
Speaker 1: only because it was huge, and you you have mentioned
Speaker 1: quite a lot of horrific films which are like torture point.
Speaker 1: Passion of the Christ is just two hours of a
Speaker 1: man being tortured. I feel like you'd probably love it,
Speaker 1: and it surprised me you haven't seen it.
Speaker 3: My reasoning there, you know why it came out the
Speaker 3: same week as Shaw of the Dead and so bizarrely, or.
Speaker 2: Maybe it came out a couple of weekends.
Speaker 3: The weekend that Sean and Dead came out, which was
Speaker 3: just before Easter, Sean of the Dead was at number
Speaker 3: three and we had knocked Passion of the Christ down
Speaker 3: to number four. So there was that thing when Sean
Speaker 3: and the Dad came out and we were at number three,
Speaker 3: it was like we beat Jesus.
Speaker 2: But the real shocker is Bambi. Well I have I
Speaker 2: have a good point about that.
Speaker 3: So there's quite a few Disney ones on here, and
Speaker 3: I'll explain why. So Disney ones, what did I have
Speaker 3: like Sleeping Beauty, Sleeping Beauty, Frozen two? Well, Frozen two
Speaker 3: is that's we're in matt Ford Territory there As a
Speaker 3: forty nine year old man, I can't really go and
Speaker 3: see Frozen two at the cinema unless I have kids.
Speaker 2: Agreed, agreed to disagree. But what was it? Bambie?
Speaker 3: And then also there was another one as well, right, Sleeping.
Speaker 2: Sleeping Beauty Bambi's the one though.
Speaker 3: So I'm of the age where I saw some of
Speaker 3: the Disney films at the cinema, and quite a few
Speaker 3: of them. In fact, I saw like snow White, I
Speaker 3: saw or Dumbo, I saw Pinocchio, I saw The Fox
Speaker 3: and the Hound, I saw The Black Cauldron. But I'm
Speaker 3: of the age that by the time they started releasing
Speaker 3: him on VHS, which was in the late eighties, I
Speaker 3: had sort of aged out of it, like I've never
Speaker 3: seen the Little Mermaid, and people say, you've never seen
Speaker 3: a Little Mermaid.
Speaker 2: And I was.
Speaker 3: But you know what, when The Little Mermaid came out,
Speaker 3: I was fifteen and I was watching Taxi Driver on VHS.
Speaker 3: The Little Mermaid was of no concern to me. But
Speaker 3: also there used to be a TV show on the
Speaker 3: BBC and maybe this is before your time, breat called
Speaker 3: Disney Time, which would be on every Bank holiday, and
Speaker 3: it would have clips from the Disney films. And in
Speaker 3: those clips you'd see like Bamby Lady in the Tramp,
Speaker 3: you know, the Aristocrats. You'd see all those clips. So
Speaker 3: in my head I feel like I have seen them,
Speaker 3: And then when I stopped to think about it, I think, oh,
Speaker 3: maybe i'd never seen the whole film, but I.
Speaker 2: Agree with you.
Speaker 3: Probably Bambi is the one. I think, like, it's amazing
Speaker 3: that I've never seen Baby Yeah, because it's it's like reference.
Speaker 1: It's like a sort of ultimate reference. So the sad
Speaker 1: thing that people will always go on it's like Bambi.
Speaker 1: I feel like you should see Bamby I will.
Speaker 2: I mean this says everything about me.
Speaker 3: I've never seen Bambie, but I did see the Black
Speaker 3: Caldron at the cinema four times.
Speaker 2: That really does that really does explain. I just I
Speaker 2: just I just missed.
Speaker 3: I just missed out that re release because remember, like
Speaker 3: the Disney films in the days before Disney Plus, before DVDs,
Speaker 3: before the VHS is, they would go into the Disney
Speaker 3: vaults and they would only be re released every like
Speaker 3: five years. So if you missed that re release slot,
Speaker 3: it wasn't going to be on TV and like tough shit.
Speaker 3: So and then, like I said, by the time they
Speaker 3: came out on VHS, I was too old to really
Speaker 3: be watching Bambi.
Speaker 2: But you know what, I'll watch bamb before. Yeah. Okay,
Speaker 2: that is mad.
Speaker 1: What is the film you love that you don't expect
Speaker 1: anyone else to like.
Speaker 3: I've been scientific about this as well, because, as you
Speaker 3: probably know, I made a list of my top one
Speaker 3: thousand favorite movies, and I looked at it on at
Speaker 3: a box.
Speaker 2: Somebody had done this list.
Speaker 3: I changed the setting so it said lowest rating first.
Speaker 3: So the three the four lowest rated movies. Actually one
Speaker 3: of them you have to give a pass to Glenn l.
Speaker 3: Glender was the lowest rated one, but Glenn or Glender
Speaker 3: by ed Wood is a very enjoyable movie. The next
Speaker 3: three I would stick up for, but if somebody didn't
Speaker 3: like them, I wouldn't be mad at them for not
Speaker 3: liking them. Number one is a Disney film, The black Hole.
Speaker 3: Disney's The black Hole, and so I am quite a
Speaker 3: few people I know, including my brother Joe Cornish and
Speaker 3: name Dropp alert Christopher Nolan, are all somewhat obsessed with
Speaker 3: The black Hole because The black Hole is It's not
Speaker 3: a perfect film. It's got flaws, but there's enough things
Speaker 3: in it that make it a very intriguing prospect. And
Speaker 3: there's a lot of great things about it. Amazing John
Speaker 3: Barry score, incredible matte paintings and miniature effects, and a
Speaker 3: decidedly trippy Heaven or Hell ending, which when I was
Speaker 3: five years old and saw at the cinema, scared the
Speaker 3: fucking shit out of me, Like.
Speaker 1: Yeah, don't they all die in a black hole at
Speaker 1: the end of the black Hole?
Speaker 3: No, Well, what it seems to be saying, although it's
Speaker 3: never really clear, is that the goodies go to Heaven
Speaker 3: and the baddies go to Hell because Maximilian Shell gets
Speaker 3: trapped inside his own robot also called Maximilian just to
Speaker 3: could be confusing. And then the final image of him
Speaker 3: is he's in this hieronymous bosh hellscape, trapped in his
Speaker 3: own robot with like the fires of Hell beneath him.
Speaker 3: And it's an extraordinary way to end a movie, is
Speaker 3: like the baddies have gone to Hell through the black hole. Yeah,
Speaker 3: the other two ones that were down at the bottom.
Speaker 3: And this is a film I do love and like
Speaker 3: I always like, it's a film you either go with
Speaker 3: it or you don't. But the horror film The Ruins
Speaker 3: about the deadly super intelligent plants at the Mayan Temple.
Speaker 3: Have you ever seen that movie?
Speaker 2: No, I've never seen that movie. I recommend it.
Speaker 3: It has a plot point in it where you could
Speaker 3: tell in the cinema that people are either with the
Speaker 3: movie or not with the movie. A similar film is
Speaker 3: that film Splic which also when I saw that, when
Speaker 3: the audience you could tell that the audience was about to riot.
Speaker 3: And the Ruins has a thing where there's a plot
Speaker 3: point in it where basically it's about these tourists that
Speaker 3: go to Mexico and they go to this Mayan temple
Speaker 3: and the locals are sort of like shouting them not
Speaker 3: to step on the temple, and they get scared and
Speaker 3: they end up running up the temple. And what they've
Speaker 3: done is that they as soon as they're on the temple,
Speaker 3: they have kind of walked into sort of a cursed
Speaker 3: earth because the plants, the vines that surround the Ruins
Speaker 3: are alive and they're like super intelligent, deadly, flesh eating plants.
Speaker 2: I don't know if I want to spoil.
Speaker 3: Should I spoil the big plot point, which is either
Speaker 3: where you're with the Mavie or not.
Speaker 2: Yes, little spoiler.
Speaker 3: There's a thing where they're trying to find their friend
Speaker 3: who has falling down the temple and they can hear
Speaker 3: her cell phone and then they they get down into
Speaker 3: the temple into the dark, and it's creepy as hell
Speaker 3: to find their friend because they can hear her cell phone.
Speaker 3: And when they get down, you see that the plants
Speaker 3: are mimicking the noise of the cell phone, so the
Speaker 3: plant to basically toying with them to the plants have
Speaker 3: learned how to kind of bleep and are basically impersonating
Speaker 3: the cell phone ring. And like, I was just when
Speaker 3: that happened in the movie, I was like, I love
Speaker 3: this fucking movie.
Speaker 2: I love this movie The Ruins. It goes for it.
Speaker 3: It's like big crazy ideas and like I'm in so
Speaker 3: I like that film a lot, and I always think
Speaker 3: it's praising. If I find a fellow Ruins fan, I'm like, yes,
Speaker 3: we are together. But if somebody said to me that
Speaker 3: film is shit, I wouldn't say you're wrong, it's I
Speaker 3: think you would like it. And the one other film
Speaker 3: that was on this list, I'm going to pick The Ruins,
Speaker 3: but is Michael Crichton's Looker from nineteen eighty one.
Speaker 2: I don't know if you've ever seen that movie. No,
Speaker 2: I haven't even heard of that movie.
Speaker 3: It is a bonkers movie starring Albert Finney, and it
Speaker 3: is like my Michael crit thing's way ahead of its
Speaker 3: time because it is about their scanning fashion models at
Speaker 3: their peak in inverted commas of like I Know, twenty four,
Speaker 3: and then they're killing them so they can keep their
Speaker 3: digital avatars forever. So the plot of the movie is
Speaker 3: fashion models are being scanned to appear in advertising and
Speaker 3: then being killed so they can exploit their likeness forever,
Speaker 3: which weirdly sounds like we're not too far away from that.
Speaker 2: Yeah.
Speaker 3: And it also involves Albert Finney. He's a plastic surgeon
Speaker 3: in Beverly Hills. And there's also these baddies who have
Speaker 3: this gun, this light gun that can make you jump
Speaker 3: forward in time. So there's a lot of crazy stuff
Speaker 3: going on in that movie. But I highly it's bonkers,
Speaker 3: and I wouldn't say it's subjectively great, but my god,
Speaker 3: is it a great watch and way ahead.
Speaker 1: Of its time. I love Albert Vinnie as well, love
Speaker 1: him under three points on a letterbox?
Speaker 2: What is I mean? This is past?
Speaker 1: What is the film you would show a lover as
Speaker 1: a test to see if you should be together?
Speaker 2: And fuck me? Was it irreversible?
Speaker 1: No?
Speaker 3: But I think if I watched Raising Arizona with somebody
Speaker 3: and they really hate it, I'm not sure that we
Speaker 3: have that much of a future. But you could say
Speaker 3: that about most favorite films. It's like if they really
Speaker 3: really hated it, or like, I mean, listen, it's a
Speaker 3: weird thing to do because I think it sounds quite
Speaker 3: browie to be like sort.
Speaker 2: Of like watch good films and if you don't like it,
Speaker 2: you're out.
Speaker 3: But it's more like this kind of sense of humor
Speaker 3: stuff or something that's like life and funny is if
Speaker 3: they find no joy in it, then it's like, oh,
Speaker 3: I don't know whether I can be with this person.
Speaker 3: So I probably say raising Arizona is a good litmus
Speaker 3: test because I love that movie and if somebody I'm
Speaker 3: not expecting them to love it as much as I do,
Speaker 3: how could you? But if they found it completely without it,
Speaker 3: if it held no interest, then whatsoever? I had the
Speaker 3: question the relationship.
Speaker 2: I think that's right.
Speaker 1: I think if it's I think you're right, it's either
Speaker 1: a sense of humor or emotion. I think if I
Speaker 1: said someone in a film I found very moving and
Speaker 1: they were completely like it did nothing to them, then
Speaker 1: I'd be like, oh, maybe there's something off here.
Speaker 3: I mean it should be called the singing The Singing
Speaker 3: in the Rain test is if somebody watched Singing.
Speaker 2: In the Rain, it's shit. It's like, get get out, now,
Speaker 2: get out.
Speaker 1: What is the film that made you the most uncomfortable?
Speaker 1: Edgar right, I mean you've you've gone pretty.
Speaker 3: Hard for well, there's lots of answers of things that
Speaker 3: I've watched on my own, but this was a very
Speaker 3: particular situation with people that I knew that I was
Speaker 3: at the premiere is at the premiere. It was the
Speaker 3: kind of BFI premier, maybe the UK premier of Paddy
Speaker 3: Constein's Taranosaur. And Paddy directed the movie a very tough movie,
Speaker 3: and Olivia Coleman stars in it, and Paddy and Olivia
Speaker 3: met on the set of Hot Fuzz and almost like
Speaker 3: her kind of transition into being a drama actress on
Speaker 3: top of being like a national treasurer in comedy was
Speaker 3: the film Taranasaur. And I always thought it was amazing
Speaker 3: that Paddy was the person who met Olivia on Hot
Speaker 3: Fuzz and saw something in her beyond just.
Speaker 2: The comedy that she'd done.
Speaker 3: So it's a credit to Paddy and Olivia always said
Speaker 3: this that is like he's the person who saw something
Speaker 3: in me that I didn't necessarily know that I had.
Speaker 3: So all of that's amazing. But then the actual film
Speaker 3: and Eddie Marsan, who I didn't know so well at
Speaker 3: that point, but I do know now because I work
Speaker 3: with him afterwards, watching the scenes with Olivia and her
Speaker 3: abusive husband played by Eddie Marsann, knowing Olivia and what
Speaker 3: a lovely person was.
Speaker 2: It's a very powerful film.
Speaker 3: And I remember sitting in the screening like with my
Speaker 3: hands over my faith because even though I knew it
Speaker 3: was make believe, I just kind of couldn't help get
Speaker 3: wrapped up in you know, I know these people, I
Speaker 3: know the director. I know that it's a film, but
Speaker 3: it's so powerful and so uncomfortable a watch, and you know,
Speaker 3: a devastating movie that I found myself just breaking out
Speaker 3: in hives watching it. And then that was the immediately
Speaker 3: like kind of solved by getting to have a drink
Speaker 3: with him all afterwards, you know, But the watching of
Speaker 3: that movie, the intensity of it, knowing that they were
Speaker 3: all in the room, was just like off the charts
Speaker 3: to me. I mean, I think it's a really great movie,
Speaker 3: and I hope Paddy directs more as well, because I
Speaker 3: think it's incredible that film, but it was tough to watch.
Speaker 2: It's tough to watch with the.
Speaker 3: People in the room, which which should make it easier
Speaker 3: knowing that it's all make believe and they're all here
Speaker 3: and Eddie mas Eddie mars Ann is not a terrible
Speaker 3: abuser and it is actually a really nice guy. He
Speaker 3: actually said something in The Q and A which made
Speaker 3: me cast him in the World's End. You know, like
Speaker 3: the Q and A, somebody said, Eddie, you've done some
Speaker 3: really You've played some really dark characters in your time,
Speaker 3: and he said he says, yeah, I'm ashamed to say
Speaker 3: I've never had a consensual sex scene. And I just
Speaker 3: and then in the World's End he plays the nicest
Speaker 3: one of the group, and I was like, I've got
Speaker 3: a puffy. I want you to play a really nice
Speaker 3: guy in the next one.
Speaker 2: Oh my god, what a thing for the CV.
Speaker 1: If you could show a child here we go, this
Speaker 1: is your area. If you could show a child one film,
Speaker 1: what would.
Speaker 3: It as a sup to Matt Forward if they were eleven,
Speaker 3: I've showed them the Goonies. But here's my real answer,
Speaker 3: because This is a movie that I saw when I
Speaker 3: was a kid, and I think it's a film when
Speaker 3: you show it to kids, there's no kid watching it
Speaker 3: that doesn't want to be in the movie. And that's
Speaker 3: Alan Parker's Bugs Him Alone, Like, because any kid watching
Speaker 3: that who's of the age of the actors, they're like,
Speaker 3: I want to do that. I want to be in
Speaker 3: that movie. I want to have a splurge gun. I
Speaker 3: want to have a pedal car chase. I want to
Speaker 3: be in that pie fight. I want to be singing
Speaker 3: and dancing at Batsam's. And like, I just think it's
Speaker 3: one of those movies that like for kids of a
Speaker 3: certain age that they're seeing themselves on the screen. And
Speaker 3: you know, there's things about that movie is he probably
Speaker 3: wouldn't get away with it today because it's like kids
Speaker 3: with guns now fair enough, they're not shooting bullets, but
Speaker 3: they still have guns. You know, like Jody Foster playing like,
Speaker 3: you know, Tallula like a sort of a good time girl.
Speaker 3: As a way of saying it in vert commas ironically,
Speaker 3: I know that Jodi Fosters shot tach d only two
Speaker 3: weeks after rapping and sorry, she shot Bugs Him Alone
Speaker 3: only two weeks after wrapping Taxi Driver. So imagine that
Speaker 3: she plays Iris in Taxi Driver flies to London and
Speaker 3: she's buggs him Alone, which is that's whiplatch. It's gotta
Speaker 3: be Yeah, but that would be my answer. I think
Speaker 3: it's one of those films it's just like for as
Speaker 3: a thing of like getting kids interested in acting.
Speaker 2: I think I had that experience when I saw it.
Speaker 2: I was just like, put me in coach. I want
Speaker 2: to be in that movie. And I did it at school.
Speaker 2: I did do it at school when I was twelve.
Speaker 3: It was a school production of Bugs Him Alone, and
Speaker 3: I got to be in Fat Sam's Gang and sing
Speaker 3: bad Guys. And then way way later in Baby Driver,
Speaker 3: Paul Williams is in the movie.
Speaker 2: You know, the composer of all of those songs.
Speaker 1: Paul Williams, who also composed My Christmas Carol is in
Speaker 1: Baby Driver.
Speaker 3: Of course, yeah, he plays He plays the butcher, he
Speaker 3: plays the arms dealer. In the scene in the warehouse,
Speaker 3: he's wearing a little white suit and he's like, that's Williams.
Speaker 3: And in fact, when we were shooting that scene, I
Speaker 3: said to Jamie Fox, I said, you know who Paul
Speaker 3: Williams is right, and Jamie Fox just answered by saying.
Speaker 2: Why are there so many songs rainbows?
Speaker 3: And then and then Jamie sang Rainbow Connection in Kermit's
Speaker 3: voice in front of Paul Williams, which was something I
Speaker 3: wish I had on video, but I don't.
Speaker 1: Oh man, oh boy, Edgar Wright, you have been great,
Speaker 1: and so you know what.
Speaker 2: I've decided to let you live for the time being.
Speaker 1: However, before we go, you must pick one DVD you
Speaker 1: will leave in the will.
Speaker 2: For when you die again, and that day could be soon,
Speaker 2: young man.
Speaker 3: I'm gonna pick it for this is tough for me,
Speaker 3: but I'm going to pick a film that I think
Speaker 3: I didn't talk about on the last podcast because I
Speaker 3: felt like I always talk about it and so I
Speaker 3: didn't make any of my picks. And I know it's
Speaker 3: on your list of like don't mention this, everybody mentioned this,
Speaker 3: but I'm just gonna leave it there. Why not let
Speaker 3: future generations enjoy John Lannis's American Wealth in London.
Speaker 1: Yeah, it's a fucking it is such a great film.
Speaker 1: You can have it.
Speaker 2: It's a belt.
Speaker 3: It's a belt ninety two minutes long.
Speaker 1: Two It's that film's perfect in it. That's a perfect film.
Speaker 3: It is a perfect film. It's also perfect even in
Speaker 3: its abruptness. Like I remember reading the Leonard Moulton review
Speaker 3: which gave it like three stars, and it said like
Speaker 3: dynamite horror comedy, only marred by abrupt ending. And I
Speaker 3: was thinking, amazing, the ending is amazing, and it's like
Speaker 3: the abruptness of it, the tragicness of it. And that
Speaker 3: cut to the song blooming by the Marcels is just
Speaker 3: like doing the Chef's Kiss.
Speaker 1: It's perfect, perfect film, perfect perfection. Edgar right, thank you
Speaker 1: so much for doing this again. I was going to
Speaker 1: ask what do people look out for? But you're superstitious,
Speaker 1: so it mustn't. You mustn't say no.
Speaker 3: I mean something soon, I mean like later in the year.
Speaker 3: And I'm only like an executive producer on it, but
Speaker 3: I have been enjoying it as it's coming together.
Speaker 2: But there'll be the anime animal.
Speaker 3: I'm not an anime version of Scott Pilgrim. The Scott
Speaker 3: Pilgrim anime series, which is neither neither like a straight
Speaker 3: adaptation of the books or a straight adaptation of the film,
Speaker 3: but something else that you will enjoy with the entire
Speaker 3: original cast back. So that is not something that I
Speaker 3: am writing or directing, but I am an executive producer
Speaker 3: on it. So I've sort of been watching it come
Speaker 3: together and get to enjoy it as a punter, and
Speaker 3: I know other people are going to like, especially if
Speaker 3: you're a Scott Pilgrim or an anime fan.
Speaker 2: It's going to flip your lid.
Speaker 3: And then whatever my next film is, you'll be the
Speaker 3: first to hear about it.
Speaker 1: Brett, Yeah, right, what's it? Absolute pleasure. Thank you so
Speaker 1: much for doing this. I'm glad we found the time.
Speaker 1: Have a wonderful life, and I will speak to you soon.
Speaker 1: Good day, Speak to you soon. Apologies to mat Forward.
Speaker 1: So that was episode two hundred and forty seven. Head
Speaker 1: over to the Patreon at patreon dot com. Forward slash
Speaker 1: Brett Goldstein for the extra video chat and secrets with Edgar.
Speaker 1: Head over to Apple Podcasts. Give us a five star review,
Speaker 1: but don't write about the show.
Speaker 2: No one cares about that.
Speaker 1: Just write about the film that means the most to
Speaker 1: you and why it's a lovely thing to read.
Speaker 2: People like reading it.
Speaker 1: I like reading it, therefore make me cry, and it's
Speaker 1: very much appreciated.
Speaker 2: Thank you.
Speaker 1: Head over to Apple tv Plus and What's ted LASSA
Speaker 1: Season three, episodes one to nine and all of Shrinking
Speaker 1: season one. I hope you're all well. Thank you very
Speaker 1: much for listening. Thank you so much to Edgar for
Speaker 1: doing the show. Thanks to Scruby's pipp and the Distraction
Speaker 1: Pieces of Network. Thanks to Buddy Peace for producing it.
Speaker 1: Thanks to iHeartMedia and Will Ferrell's Big Money Players Network
Speaker 1: for hosting it. Thanks to Adam Richardson for the graphics
Speaker 1: and leads alay Them for the photography. Come and join
Speaker 1: me next week for another brilliant guest. So that is
Speaker 1: it for now. In the meantime, have a good week
Speaker 1: and please be excellent to each others.
Speaker 3: Back back back backs of contacts and contact by backs
Speaker 3: and backs, back back bas backs and contact by back
Speaker 3: back back back