Speaker 1: Look out. It's only films to be buried with. Hello,
Speaker 1: and welcome to films to be buried with. My name
Speaker 1: is Brett Goldstina. I'm a comedian and actor, a writer,
Speaker 1: a director, a Chile, and I love films as a
Speaker 1: Naias Nin once said, we write to taste life twice
Speaker 1: in the moment and in retrospect, and we watch Vertigo
Speaker 1: twice once to experience it, then twice to break down
Speaker 1: its themes and work it out. It's actually quite a
Speaker 1: complicated plots and the first time you sort of like
Speaker 1: what's going on, then you need to watch it again
Speaker 1: to go, oh no, really, it's about men and women
Speaker 1: in sort of sex with desire. It's quite a voyeuristic,
Speaker 1: quite strange study of sort of human sexuality. And anyway, wow, yeah,
Speaker 1: that is profound in Nias, that is a classic film,
Speaker 1: for sure, demands a rewatch, certainly, thank you. Every week
Speaker 1: I invite a special guest over, I tell them they've died.
Speaker 1: Then I get them to discuss their life through the
Speaker 1: films that meant the most of them. But this week
Speaker 1: it is the very special, very timely film of twenty
Speaker 1: twenty one Special with Nis Kumar Part two find out
Speaker 1: our top tens and all sorts of stuff. There's a
Speaker 1: Patreon to the show at patreon dot com forward slash
Speaker 1: Breck Goldstein, where you get extra long episode secrets from
Speaker 1: the guests and whole episodes uncutting hand free. You can
Speaker 1: check it out over at patreon dot com forward slash
Speaker 1: Breck gold Steam. But this week I am including the
Speaker 1: Patreon section in the mains, because why not give you
Speaker 1: a treat every now and then? Jamine, lovely people, you're listening.
Speaker 1: I appreciate you. So this is it the second and
Speaker 1: last part of me and nis Kumar going over the
Speaker 1: films of the year twenty twenty one. I loved recording here.
Speaker 1: I love hanging out with this. He's fucking brilliant. Love
Speaker 1: recording these. Wish there were more years that we could do.
Speaker 1: So that is it for now. I very much hope
Speaker 1: you enjoy episode one hundred and ninety nine of Films
Speaker 1: to be Buried with. What was your most special experience
Speaker 1: watching a film this year? That year being of course,
Speaker 1: it's a film that I'm delighted to talk about because
Speaker 1: I think it's really really great and I hope more
Speaker 1: people go and see it. Black Bear, So last year,
Speaker 1: very kindly, the Glasgow Film Festival invited me to watch
Speaker 1: another film that I really really loved, Minari. They were like,
Speaker 1: we're doing a virtual premiere, would you like to watch it?
Speaker 1: I said absolutely, I love watch Manari, absolutely loved it.
Speaker 1: The good thing. And this is a shameless plea to
Speaker 1: film distriviewers. If you give me one free thing, I
Speaker 1: will almost certainly pay you money in something else. So
Speaker 1: having gone into the kind of online port which was
Speaker 1: really nice, it was nice that film festivals did this,
Speaker 1: and that's got a great job of like building an
Speaker 1: online film port so it felt like you were participating
Speaker 1: in a festival while we were all in lockdown. And
Speaker 1: so I watched the premiere of Minari. That was the
Speaker 1: kind of opening night at the festival screening. And then
Speaker 1: I sort of scrolled down to the menu of films
Speaker 1: available and I saw a black bear and a huge
Speaker 1: aubruply a fan as every right thinking person should be.
Speaker 1: And I watched the trailer and I thought, oh, interesting,
Speaker 1: seems to be a bit more of a dramatic tone,
Speaker 1: but you know, she's still going to be funny in it.
Speaker 1: And it's this done the other one. It seems to
Speaker 1: be this kind of fraught, almost like a play with
Speaker 1: three characters in it, and I didn't know anything else
Speaker 1: about it. It's quite it's a difficult film to talk about,
Speaker 1: and it's a difficult film specifically to talk about with
Speaker 1: the experience of it. But the sheer thrill of realizing
Speaker 1: that you have no idea what this film is about
Speaker 1: to do to you and where the film is about
Speaker 1: to go, and the turn it takes halfway through, it
Speaker 1: made me feel so glad and excited, and it made
Speaker 1: me think, I fucking love movies, and I don't love
Speaker 1: I don't love movies. You know, there are things that
Speaker 1: films can do, and it isn't just about, you know,
Speaker 1: a monster eating a building or something. There are things
Speaker 1: that films can do because they have a strict running
Speaker 1: time that a television series just can't do. And Black
Speaker 1: Bear is an example of something that cinema can do,
Speaker 1: which is completely flip the narrative, the structure and the
Speaker 1: content of a film on its head. Halfway through, there's
Speaker 1: just a moment and again I wouldn't want to give
Speaker 1: too much away, but there's a moment where I suddenly
Speaker 1: realized I didn't know what this film was, and I've
Speaker 1: been watching it for half an hour, and it's a
Speaker 1: film about the act of filmmaking and storytelling, and there
Speaker 1: are times where I find that kind of meta commentary exhausting.
Speaker 1: But I think the reason that this film works, and
Speaker 1: I think her performance is extraordinary. It's really two performances
Speaker 1: and they're both absolutely incredible, and I think it's such
Speaker 1: a wonderful sort of showcase for her as a performer,
Speaker 1: particularly because she really is in almost every frame of
Speaker 1: this film, and she has to do a lot, and
Speaker 1: she has to make us care about something that could
Speaker 1: easily have disappeared up its own ass and become essentially
Speaker 1: an essay about storytelling. But the fact that it is
Speaker 1: something more visceral, I think is hugely because of her
Speaker 1: performance in it. And it just made me think, I
Speaker 1: just fucking love movies. You're a clever boy, aren't you
Speaker 1: a clever boy? He's right clever? This one I think
Speaker 1: as I had too, But I think the one they'll
Speaker 1: go because it was a very lovely thing, particularly because
Speaker 1: most people there hadn't been to the cinema in since
Speaker 1: the pandemic. And it was Brendan Hunt, who plays Coach Beard.
Speaker 1: It was his partner's birthday, and we were in America's
Speaker 1: and there's a place called the Alami Drafthouse, which is
Speaker 1: a particular kind of cinema I always read about, an
Speaker 1: always dreamed to go into where they sort of have
Speaker 1: tables and service. You get service, which I'm not keen
Speaker 1: because I don't want to be interrupted, but anyway, at
Speaker 1: least it's a nice idea. And you know, they'd hired
Speaker 1: this small screen room for the day of West Side
Speaker 1: Story where West Side Story came out. Wow, And so
Speaker 1: I don't know, forty of us went, and so it
Speaker 1: was her birthdays. That was nice. We were all together
Speaker 1: and we watched day one of West Side Story and
Speaker 1: what was particularly like it was a it was lovely
Speaker 1: all being together and having that experience. And then we
Speaker 1: all came out like dance, you know, doing impressions of
Speaker 1: jets why they walk? And then but like what was
Speaker 1: really funny, kind of funny about it is for some
Speaker 1: reason everyone was skeptical about West Side Story. I've forgotten this,
Speaker 1: but everyone because the original is a near masterpiece and
Speaker 1: everyone loves it. And it was like, why is he
Speaker 1: making this? And then from the opening ten seconds of
Speaker 1: the film, You're like, oh, yeah, I've completely forgotten Steven
Speaker 1: spielwak is really good at banking films. He's oh, of course,
Speaker 1: he's one of the greatest filmmakers of all time. And
Speaker 1: why on earth did we doubt this. It's such a
Speaker 1: good film, so well made, and the script I think
Speaker 1: is brilliant. I think all the updates they did to
Speaker 1: the script Tony Kushner did, I'm very smart, and it's
Speaker 1: just prettiant. It's a really, really, really good film and
Speaker 1: funny that we ever were worried that Steven Spielberg might
Speaker 1: not buy very good one, worried that it would be
Speaker 1: very good. Yeah, but also like I love I love
Speaker 1: what Spielberg has done with the Cush. Love the Kush. Yeah,
Speaker 1: love the Cush. Yeah, I love love Lincoln, love Bridges, Spies,
Speaker 1: love Munich, love what and love the fan that he
Speaker 1: has this relationship with the Cush where he sort of
Speaker 1: goes and does you know, like ready play one or something,
Speaker 1: and then he cut and then he's like, Okay, now
Speaker 1: we get serious, a serious idea. Come on, come on, Cush,
Speaker 1: we got serious one brewing. No, no, no, it's not
Speaker 1: it's not video game ship we're brewing a serious one. Cush,
Speaker 1: I've got another, another serious one, right right, yeah, yeah, yeah,
Speaker 1: I can feel I can feel a serious one come
Speaker 1: and get ready, Cush get get the pen out, Cush,
Speaker 1: get the pen out, Coosh get their heavy pets. Spielbo's
Speaker 1: a serious one on the bro. So I didn't see
Speaker 1: what the point was of getting Cushioner to do. And
Speaker 1: again you're like, why would Tony Kushner do. Neither Tony
Speaker 1: Cushioner nor Steven Spielberg needs to do this. As soon
Speaker 1: as you start watching, you like, the updates are so smart.
Speaker 1: It's great because you know, I love the original is incredible.
Speaker 1: It is incredible. It is great that they haven't just
Speaker 1: pop some boot polish on some Greeks. Yeah. It's really lovely.
Speaker 1: It really does. It really is lovely. It's really nice
Speaker 1: to see Hispanic performers. Arianna Debose is great. I really
Speaker 1: love I Know You Know So Somewhere, which is like
Speaker 1: one of my least favorite songs in the show, which
Speaker 1: I always think is quite boring. Having Risomeranna sing it
Speaker 1: I thought was brilliant. It was so Yeah, it was
Speaker 1: just so good. And I also love the fact that
Speaker 1: Anita is the jugger for ladies. It's the part. It's
Speaker 1: the part you've got to play to women. Oscar you
Speaker 1: want to ask it? Are you a man? Pop yourself
Speaker 1: in the okay? Are you a lady? Anita? Special shout
Speaker 1: out for Mike Faced, the leader of the Jets, who
Speaker 1: is fucking brilliant. And I don't the way he wasn't
Speaker 1: nominated for all sorts. Yes, yeah, he was great, so yeah,
Speaker 1: really really good. And Rachel Ziegler Zegler, Rachel Zegler, Ziegler,
Speaker 1: Rachel Zegler. Yeah, who is brilliant. And also they as
Speaker 1: they also got awards, give them all the awards. Yeah,
Speaker 1: I hope people watch it. I mean, the only thing
Speaker 1: that I would say is because it's now on Disney plus,
Speaker 1: it's very available to people. But he's good watching at
Speaker 1: the cinema. That the opening shots, you know, the kind
Speaker 1: of there's like crane shots and you know, the all
Speaker 1: of the dance sequences, and it's yeah, that's great, that's
Speaker 1: very good. Steven Spielberg can make films, guys, He's quite
Speaker 1: good at directing films. So keep it anyway, keep an
Speaker 1: eye out for him. I think he is I'm really
Speaker 1: excited to see what he's going to do next. Black
Speaker 1: Bear and Steven Spielberg, what's the sexiest film of the
Speaker 1: year twenty twenty one? Brett Here is something I never
Speaker 1: thought I would find myself saying. I never thought I
Speaker 1: wouldn't have the word sexy and Wes Anderson. But let
Speaker 1: me tell you, French Dispatch, you know very worthy, You're
Speaker 1: very clever, good old li as I do. She's a
Speaker 1: very attractive lady. And you know what do I like
Speaker 1: Brett A mean French lady, Just a mean French lady. Yeah,
Speaker 1: she's very sexy in it, and just a mean French lady.
Speaker 1: I liked it a lot. My sexiest film, I believe
Speaker 1: is Driving My Car. In the first part of Driving
Speaker 1: My Car, the Husband and Way, there is a sexy
Speaker 1: scene of a sexual nature in which she tells him
Speaker 1: a story about being a lamp pre and yeah and
Speaker 1: sort of sort of is a lamp pre on him.
Speaker 1: And it's very sex very sexy, and it's very complicated
Speaker 1: because he's he knows she's having had an affair. Yeah,
Speaker 1: I hadn't said anything, and she's she's I mean, it's afraid.
Speaker 1: It's a great scene that's nothing about that. That's a
Speaker 1: sexy scene, right, that's that's nothing troubling about that. Yeah, yes,
Speaker 1: she's a lamprey. I didn't know what I want, but
Speaker 1: then the film tells you so, and then you see,
Speaker 1: I didn't think that was troubling. A lovely, Yeah, lovely, sexy, sexy,
Speaker 1: lovely film. Now everyone's favorite category, traveling bone is worrying.
Speaker 1: Why don't You're always very good at this? So I'll
Speaker 1: tell you, Brett, I'll be frank with you. Christian Stewart
Speaker 1: as Diana. It's a movie, Spencer. Is a film about
Speaker 1: a lady being sad. Yeah, I don't know what the
Speaker 1: film A lot of a film about sad lady. I
Speaker 1: don't know what to tell you. Princess Iano was a
Speaker 1: great beauty in my youth. I was very young. I
Speaker 1: was very young. I was She's a beautiful woman of
Speaker 1: my youth that before I really knew that I was
Speaker 1: attracted to people. She made a really impression on me.
Speaker 1: And Christian Stewart as Diana. It all worked for me,
Speaker 1: and I don't feel good about it. Okay, that's my
Speaker 1: quote for Spencer. It all worked for me, and I'm
Speaker 1: feel good about it. You are very good at this question.
Speaker 1: Say what you like about this cool, Yes he does politics,
Speaker 1: Yes he's very clever, but he's very honest about a
Speaker 1: traubling boder. You can't take that away from him. Well done.
Speaker 1: That is a traveling worker, because there's also absolutely nothing
Speaker 1: in the film of a sexual nature. It's mostly a
Speaker 1: very unhappy woman's very stressed and believe it. So, yeah,
Speaker 1: all sorts of problems going on there this, and I'm
Speaker 1: glad we doubled up and you, true to form, did
Speaker 1: your homework properly to get an A grade. I've got
Speaker 1: one trouble. It's not a troubling I was actually I've
Speaker 1: forgotten this one should have also been in the Sexy
Speaker 1: because there's nothing troubling about this. And then I'll give
Speaker 1: you the traveling wind. The film A Net. Have you
Speaker 1: seen a Net? It is the smart musical Leo Carricks,
Speaker 1: and it has Adam Driver and Money and Cuder and
Speaker 1: it's fucking brilliant and weird and mad and I really
Speaker 1: loved it. And within it Adam Driver there's a duet
Speaker 1: between and Driver and Mary and katiad where he sings
Speaker 1: into her vagina whilst holding absolutely nothing to talking about it.
Speaker 1: He sings, and what he's singing is we love each
Speaker 1: other so much, lovely, nothing nothing more romantic then singing
Speaker 1: into a woman's vagina. We love each other so much.
Speaker 1: And for me that was not only the most romantic
Speaker 1: moment in film, but also the sexiest and worth watching.
Speaker 1: Just is that? Is that the best bit of the film. No,
Speaker 1: there's even more to see, And this is what you're
Speaker 1: offering as a troubling boler Brett. I'm sorry, Yeah, I'm not.
Speaker 1: Then then I would, then I would put the entire
Speaker 1: film to Tane. Yeah, now we're talking. Now we're talking.
Speaker 1: Now Muhammad Ali has come up against Joe Frazier as
Speaker 1: opposed to about Hammad Ali fighting a literal baby. Now
Speaker 1: we're talking. Titane a French film where a woman has
Speaker 1: sex with a car on a car and through a
Speaker 1: car and becomes a car and it sort of gets
Speaker 1: off with someone that could be her dad and kills
Speaker 1: lots of it's I mean, it is one. The film
Speaker 1: could also be called traveling bone Air with Yeah, it
Speaker 1: is the traveling bon Air, say say Raymond, Traveling a
Speaker 1: very traveling boner of a film from from from start
Speaker 1: to finish and a very good film, Yeah, very good,
Speaker 1: but and gleeful in its embrace of its troubling bone
Speaker 1: status as well. It's screaming from the rooftops. Yeah, it's
Speaker 1: saying come on in loose fitting. I think I remember
Speaker 1: s being a picture like the script, this sort of
Speaker 1: an image from the film of her like in a bikini,
Speaker 1: sort of riding on a car when it when it
Speaker 1: was released, it can and I remember clearly seeing that
Speaker 1: origin going that's troubling bonus or not since Cameron Diaz
Speaker 1: in The Counselor, has someone, yeah, really gone for it
Speaker 1: with a car? That's your double feature greatest programming season.
Speaker 1: You should program a series of Troubling Bonus if you
Speaker 1: could double program The Counselor and to ten, what is
Speaker 1: the greatest film? Maybe not your favorite, but the way
Speaker 1: you think it's the greatest is so hard for me.
Speaker 1: For me, Brett, it's a it's a tough one. It's
Speaker 1: a tough one for me. It's potentially drive my car, Okay,
Speaker 1: I mean, but it's a It's a hard one to
Speaker 1: pick because again, as always, which stuck between great and
Speaker 1: favorite and which one to be distinguished between the two
Speaker 1: of them. I'll tell you what, I'll safe drive my
Speaker 1: car for favorite. I've just said it now, but I'll
Speaker 1: set up the greatest film. I'll say petite Mamo. There's
Speaker 1: see Chiama movie, which good choice? I I just thought,
Speaker 1: what extraordinary film couldn't be more different in so many
Speaker 1: ways from Portrait of a Woman on Fire. I just
Speaker 1: thought that it also seventy minutes. It's only seventy minutes,
Speaker 1: and so much gets covered in it. And I mean
Speaker 1: it's presented through the eyes of a child who thinks
Speaker 1: that while she's staying, she thinks she's made a friend.
Speaker 1: There is an element that this friend may be a ghost,
Speaker 1: it may be a memory that's been brought to life.
Speaker 1: It gets into stuff like wouldn't we all like to
Speaker 1: meet our parents as young people, to see what they
Speaker 1: were like and how they became the people that they
Speaker 1: had wanted to become. So there's a kind of wish
Speaker 1: fulfillment that I think every child goes through at some
Speaker 1: point in their adolescence. It's a beautiful film about grief.
Speaker 1: It's a beautiful film about mothers, but it's a beautiful
Speaker 1: film about kids interacting with each other. And the kids
Speaker 1: are great and it's fun watching them muck around with
Speaker 1: each other, so there's a real like joy and playfulness
Speaker 1: to it. It also features I think probably one of
Speaker 1: the single heaviest exchanges of dialogue I've ever seen in
Speaker 1: a film, So for all there's like real beauty and
Speaker 1: there's warmth and real likeness to it. There's a point
Speaker 1: where a child is saying to a mother of their
Speaker 1: recently died grandmother. She says, the last goodbye wasn't good
Speaker 1: because I didn't know, and the mother says she didn't
Speaker 1: know either, and then the kid says, we can't know,
Speaker 1: and then the mother says, you're right, we can't know.
Speaker 1: And I remember watching that at the cinema thinking, well,
Speaker 1: mercy by Coops Alene, I'm going to go and think
Speaker 1: about that for the rest of my fucking life. We
Speaker 1: can't we can't know. Awful, awful. But what a beautiful
Speaker 1: father lines yea truly truly a parent's double bill, the
Speaker 1: Father and Petit Mammal. But what a beautiful film, and
Speaker 1: what a lovely piece of you know, a ghost story
Speaker 1: that's also a family drama, and just what what a
Speaker 1: beautiful piece of work. There's a really really good thing
Speaker 1: about it. Like I was thinking as a as a
Speaker 1: lesson for writers and directions to the idea of people
Speaker 1: being nice to each other. You hear lots of people
Speaker 1: say what makes me cry as people being kind to
Speaker 1: each other rather than yeah, tragedy or whatever, you know,
Speaker 1: sad things you go there's there's just a thing that
Speaker 1: tells Spider Man, those are the people being nice to
Speaker 1: each other, cruel Spider Man's yeah. But the opening of
Speaker 1: the film tells you so much about this kid and
Speaker 1: she's she says goodbye to everyone in the care home
Speaker 1: as she leaves, and then you're on the mum who
Speaker 1: is driving the car, and there's no dialogue, really, I
Speaker 1: don't think, and this hand keeps coming to frame from
Speaker 1: the back seat and the kid is just handing sweets
Speaker 1: to the mum like hands are sweet and then sweet
Speaker 1: and it's such a just a good bit of storytelling
Speaker 1: and tells you about the character like it's kind of
Speaker 1: funny and it's very very sweet, and the kid knows
Speaker 1: that the mum is sad and it's hurling to the mom.
Speaker 1: It tells you so much in just one shot. It's
Speaker 1: fucking brilliant, great, great, and it's all from the kids
Speaker 1: perspective as well, and so you don't you sort of
Speaker 1: lose that, you know, the mom kind of disappears because
Speaker 1: she's going she's working her own stuff out anyway, beautiful.
Speaker 1: What was the ar greatest film? I got? Three song
Speaker 1: gonna make one of my favorites, So let's say that
Speaker 1: special mentioned very close was the Power of the Dog
Speaker 1: to really loved It's proper. Film felt like a book.
Speaker 1: Film that felt like a book, like, you know, it
Speaker 1: felt like a novel, really developed. Yeah, yeah, yeah, I
Speaker 1: think you say novelistic is very different from quotes. It
Speaker 1: felt like a book, like a book. Oh god, everyone
Speaker 1: was talking to what is this a book? It felt
Speaker 1: like so many words? Really good, really good film? You
Speaker 1: liked it? No, I just felt I felt all of
Speaker 1: those things as I was watching it, whereas like good
Speaker 1: good stuff, good stuff stuff in that way where you're
Speaker 1: like sort of secretly not really connecting with the movie,
Speaker 1: and then it ends, and then it ends and you go, fuck, yeah, Campion,
Speaker 1: you little piece of shit. You've done it, Like yeah,
Speaker 1: it's it is so good. It is because it just
Speaker 1: puts the whole film into a completely different perspective. I
Speaker 1: saw it without really knowing too much about it a gain,
Speaker 1: which I think is it is a good movie. But
Speaker 1: it is a good movie for not knowing a huge
Speaker 1: amount going in. I thought it was great, Yes, very
Speaker 1: good film. It's a very late contender. I saw it
Speaker 1: very late, and I put off seeing it because I
Speaker 1: will say, hand on heart, it sounded boring it. I
Speaker 1: thought that's going to be a heavy, boring film, and
Speaker 1: I put off singing it couldn't quite understand anyway. The
Speaker 1: film is passing and I think it's fucking brilliant and
Speaker 1: it's quite late, and I was like, oh, this is
Speaker 1: an amazing film. This is an excellent film, and why
Speaker 1: haven't we been talking about it? It's so stylish. It
Speaker 1: is directed by Rebecca Hooll. It is in black and white.
Speaker 1: It is about two old friends, both black, but one
Speaker 1: of them is passing for white and she bumps into
Speaker 1: her friend. And it is very what's the word ambiguous?
Speaker 1: There's so much ambiguity going on. There's an awful lot
Speaker 1: that is unsaid. There is so much too that is
Speaker 1: about what is not being said. It's about longing. There's
Speaker 1: a thing that Tessa Thompson does again. This is another
Speaker 1: example of there was a lot of talk of Ruth
Speaker 1: Nagger in the other role. It's like, Oh, she's amazing,
Speaker 1: She's amazing, and she is amazing, But I think there
Speaker 1: wasn't enough to talk about Tessa Thompson, who because she's
Speaker 1: doing the quiet performance. But what Jesse Thompson is doing
Speaker 1: for most of the film is watching. She's we are
Speaker 1: watching her watch, and she's fucking brilliant. And the film
Speaker 1: has so many things to say. It says very subtly.
Speaker 1: It leaves you with a lot to question. It's kind
Speaker 1: of so much about longing from every angle. It's about
Speaker 1: longing and belonging and this idea of wanting something to
Speaker 1: be a way that it isn't and being proud of
Speaker 1: something else. I think it's really good, and it stayed
Speaker 1: with me much longer than a film that I really
Speaker 1: liked when I saw it and haven't thought about since
Speaker 1: The passing I'm about and that's why I'm like, I
Speaker 1: think that might be my word, and because it's so
Speaker 1: kind of small it's at nineteen minutes, I think, but
Speaker 1: very ambitious and so stylish, and the acting is very stylized.
Speaker 1: Everything about it's stylized, but not in a way that's shit.
Speaker 1: It feels like an old film. It's really good thoughts.
Speaker 1: Absolutely agree. I wish that I had seen it in
Speaker 1: the cinema. I would say, of course, you know, which
Speaker 1: is true of everything. But very beautifully photographed, and it
Speaker 1: would have been nice to see. And the music or
Speaker 1: the music a film fell in love with the music.
Speaker 1: Listen to it, but for walks listening to that music.
Speaker 1: Great film, yeah, yeah, good film. Well done, Rebecca Holly, Rebecca,
Speaker 1: well done, because that's a really good film. I called
Speaker 1: it the greatest. Am I mad he does. We'll find out.
Speaker 1: So while we're here, what's the We don't like to
Speaker 1: be negative. I really don't like to be negative. I
Speaker 1: do have an answer. I guess we'll do it. What's
Speaker 1: the worst film? Let me tell you something. It gives
Speaker 1: me absolutely no pleasure to say this, and I think
Speaker 1: it surprised me. But I really did not like The
Speaker 1: Suicide Squad at all, the new version of Suicide Squad.
Speaker 1: And that surprised me a lot, because I really like
Speaker 1: James Gunn a lot, and denied like comic book films,
Speaker 1: I like the conceit of the Suicide Squad. I just
Speaker 1: thought that this film. I felt that it was too
Speaker 1: self consciously trying to distance itself from superhero movies. By
Speaker 1: it just felt like watching somebody every so often go
Speaker 1: does that offend you? Are you shocked by that this
Speaker 1: bloke just got eaten by a shark? Does that shock you?
Speaker 1: I just felt that it was it sort of. I
Speaker 1: felt that the entire enterprise collapsed under the weight of
Speaker 1: its desire to subvert your expectations of a comic book
Speaker 1: film at the expense of just doing a film. It's
Speaker 1: sort of full of charismatic actors, but none of that
Speaker 1: came through. I thought it was boring, which I think
Speaker 1: is sort of unforgivable for those films. And maybe maybe
Speaker 1: also I am just oversaturated with comic book films and
Speaker 1: this was the one that tipped me over the age.
Speaker 1: So I'm also open to the idea because I know
Speaker 1: everyone else I know like this movie, and I wonder
Speaker 1: whether I've just whether I've just been overexposed to them.
Speaker 1: But I just felt that it was it was trying
Speaker 1: a little bit too hard to buck the conventions around it,
Speaker 1: and you know, just somebody just saying fuck is not
Speaker 1: a joke? Like it reminded me of watching and doing
Speaker 1: very much better career and that Harry, it's charming when
Speaker 1: you do it. I thought that it was. It reminded
Speaker 1: me of stand up sets that I have watched and
Speaker 1: done as a young comedian, where you sort of forget
Speaker 1: that actually have to write jokes and it's not just
Speaker 1: enough to go, oh, p dost you you walking on
Speaker 1: stage at the playhouse and going, I guarantee you that's
Speaker 1: a fucking audience laugh. You don't get it at all?
Speaker 1: That is funny. Peter's Yeah. I mean, listen, I'm perfectly
Speaker 1: willing to accept that it might just be that I've oversaturated,
Speaker 1: and I'm very excited for Guns of the Galaxy three.
Speaker 1: I like James Gunn a lot. I think that this one,
Speaker 1: I just think that maybe I just think that maybe
Speaker 1: everybody just needs to just take a chill pill and
Speaker 1: maybe just he's up on the old comic else. I
Speaker 1: think I think he's It was fun, And I do
Speaker 1: like James gun and he likes violence a lot more
Speaker 1: than I like violence. But at least when I watch
Speaker 1: his violence, I go, well, you're taking so much joy
Speaker 1: in this film. Yeah, yeah, it's clearly clearly really having fun,
Speaker 1: and it does to play even to someone who doesn't
Speaker 1: like seeing people will be hurt. It's like, well, you're
Speaker 1: having a lot of funnier. Yeah, there's always joy in
Speaker 1: his films and whatever. My worst film, I hate to
Speaker 1: say that. I love everyone about blah blah blah and
Speaker 1: this is Me, This is me, this House of Gucci,
Speaker 1: which was one of the hardest films to get through.
Speaker 1: But how can you said that this was a bad feeling?
Speaker 1: But I didn't understand. Yeah, I didn't understand. I was like, what, listen,
Speaker 1: here's the thing. This is why it's odd that this
Speaker 1: should be my most film. I love weird, mad films.
Speaker 1: I love a film that is weird and mad and
Speaker 1: has a Gucci. It's definitely weird and mad, but it's
Speaker 1: also fucking boring, and that to make it. To make
Speaker 1: a film that weird and mad that is boring is
Speaker 1: sort of something's gone wrong, because it should just be
Speaker 1: like wow, I don't know what anyone is doing or
Speaker 1: what this is. Yeah, you know what the tone of
Speaker 1: this is. I don't get it. I don't get the characters.
Speaker 1: The characters changed, you know, I don't drive a suddenly
Speaker 1: it's a completely different character forty minutes in. I don't
Speaker 1: understand anything that is happening, and everyone's being very weird,
Speaker 1: and it feels like I believe the word is camp,
Speaker 1: but I've never fully understood the where I use it,
Speaker 1: but as in it kind of feels deliberately bad, like
Speaker 1: there's something yeah, right right, kind of what is it?
Speaker 1: Is it camp? Like it's sort of shit. It's kind
Speaker 1: of like it's deliberately You can you can easily conceive
Speaker 1: of a version of that film that's great and was
Speaker 1: directed by John Waters. Yes, yes, exactly, so it's got that,
Speaker 1: but then it's also goes on forever. I guess if
Speaker 1: I guess if i'd known what the ending was like,
Speaker 1: that that's where it was heading to, maybe that would
Speaker 1: have helped, because that would have been like, oh, when's
Speaker 1: that thing? And happened? Because I didn't know anything about it,
Speaker 1: I was just like, fucking hell now more. Now she's
Speaker 1: joining up with this fucking guy. And I thought I
Speaker 1: shouldn't say this. I won't say who or what. There's
Speaker 1: two characters in it that I thought were played by
Speaker 1: the same actor, and one of them was a boy
Speaker 1: and one of them was a girl. And I thought
Speaker 1: someone's in prosthetics playing this other character. What do you
Speaker 1: think it was like the clumps, Yeah, which packed me
Speaker 1: up for a bit. I was like, Okay, this has
Speaker 1: gone really mad, and then I found out that it
Speaker 1: was actually just a different actor. It's I don't But
Speaker 1: I also was like, maybe if you're into fashion and
Speaker 1: I don't know, maybe that's why I don't want to
Speaker 1: say I'm in the wrong here. I didn't get it,
Speaker 1: but I'm so bored not getting it. Sometimes I don't
Speaker 1: mind not getting it if I'm like that was just wild,
Speaker 1: but this was like, yeah, fucking out two and a
Speaker 1: half hours, get on with it. I don't know what's
Speaker 1: going on. I think you have to. I think he's
Speaker 1: fine to put all the caveats in, but I definitely
Speaker 1: think if there's a point where, especially someone who watches
Speaker 1: films in as closer detail as you thinks, two characters
Speaker 1: are being played by the same actor, like Eddie Murphy
Speaker 1: in The Nighty Professor, that is a failure of the filmmaking.
Speaker 1: I really thought, oh, okay, so that's the twist, like
Speaker 1: it's their brother and sister, but they were two different
Speaker 1: You're watching it hoping for a norbit and being disappointed
Speaker 1: when you don't get one. What's the funniest film of
Speaker 1: the year. I think that there are sort of probably
Speaker 1: two answers to that question. I think in terms of
Speaker 1: the film that made me laugh the most, it would
Speaker 1: probably be Bar and Stargo to Vista del mart which
Speaker 1: is I have subsequently discovered somewhat of a divisive film conversation,
Speaker 1: I think collecting the anecdotes conversationally. But I thought it
Speaker 1: was really I could have watched Annie Mumolow and Christen
Speaker 1: Wigg do that for hours and hours and hours. Reba
Speaker 1: McIntire turns up as a mermaid, Jamie Dornan singing a
Speaker 1: sort of Jamie Dornan's fucking great in it. It's just
Speaker 1: the opening sequence with that little kid doing his paper
Speaker 1: around is It's just it reminded me of even though
Speaker 1: this one, in spite of Christen Wig's background, was not
Speaker 1: based on an S and L sketch, it reminded me
Speaker 1: of something like a Waynes World, where it's a sort
Speaker 1: of character beat that's been pulled out and done for
Speaker 1: two hours, and I was absolutely delighted by it. I
Speaker 1: think probably the best comedy film of the year is
Speaker 1: probably Palm Springs. Yeah, I think that that was Springs. Yeah,
Speaker 1: I think that was probably I thought I just I
Speaker 1: thought that was a really you know again, it's like,
Speaker 1: how do you spin a ground It's funny to me
Speaker 1: that groundhog Day is now a genre of film. Yeah,
Speaker 1: Like it is really interesting that, you know, because there's
Speaker 1: the Happy death Day and Happy Thansday to You, which
Speaker 1: I'm moving a huge fan of both of those movies.
Speaker 1: It's very fun that groundhog Day a film has now
Speaker 1: just become a genre of movie and we do just
Speaker 1: call it a groundhog day, you know, it's like it's
Speaker 1: a groundhog day. But I thought that in the context
Speaker 1: of that, I thought it was spun out very nicely.
Speaker 1: I think Christine him a lot is great. I think
Speaker 1: Andy Soundberg is absolutely brilliant. I just think he's great.
Speaker 1: And I just think I really hope people sort of
Speaker 1: did get into this movie. I believe it seemed like
Speaker 1: a lot of people watched it, and especially because it
Speaker 1: came out here during another lockdown, that idea of the
Speaker 1: grinding repetition of waking up in the same place, like,
Speaker 1: it felt like it had an extra resonance for people.
Speaker 1: But I do think it's really good. I love home
Speaker 1: screens and I'm glad you brought it up because I
Speaker 1: would if you hadn't. I think it's brilliant. I wanted
Speaker 1: to give a special shout out to Free Gay. Yeah,
Speaker 1: but so is that your answer? It's free That is
Speaker 1: not my answer. That's my funniest film, which is really surprising.
Speaker 1: Didn't expect it to be as funny as it is
Speaker 1: Riders of Justice, which is right Danish film with Mad's Mickelson,
Speaker 1: and it's fucking funny. It's really really funny laughs per
Speaker 1: per minute. That's the film. Yeah. And it's deep and
Speaker 1: it's serious and it's everything and it's definitely worth seeing.
Speaker 1: It's a very interesting film, but proper, proper funny and
Speaker 1: maybe very maybe funny because you're not expecting it to
Speaker 1: be such a comedy because it is a drama. But
Speaker 1: you know, big laughs in that one. It's the opposite
Speaker 1: of it's the opposite of another round and like the
Speaker 1: other great Mad's mikels a movie of the year, yeah,
Speaker 1: which you know it's like start off, well, it's a comedy. Yeah,
Speaker 1: it's a comedy. Prop I think the great thing about
Speaker 1: that movie is I would love to like just read
Speaker 1: the like seat like get the beach sheet of the
Speaker 1: scene by scene, because I think it perfectly mirrors the
Speaker 1: arc of a heavy night out. Because it starts out
Speaker 1: really fun, really exciting, it gets more fun, really exciting,
Speaker 1: and then slowly it just gets darker and darker. Yes,
Speaker 1: that's true. That film is the per effect the experience
Speaker 1: of a night of heavy drinking. Let's do a Patreon section.
Speaker 1: Fuck it, here we go. Doo doo doo doo doo.
Speaker 1: Welcome to the Patrion section. You again, come on in,
Speaker 1: thanks for the extra money. Patriot. Tell us a secret,
Speaker 1: tell us a fucking secret. Oh, it's quite scary in
Speaker 1: the Patroon. It's quite scary of the Patreon. I mean, listen,
Speaker 1: My secret, which I don't think I even told you,
Speaker 1: is that I woke up in the middle of the the
Speaker 1: night to see if you'd won an Emmy. A genuinely
Speaker 1: true I like got up on that specific name, specific night. Yeah, yeah,
Speaker 1: every night on that specific night, I had gone to sleep,
Speaker 1: and my body woke me up with a start and
Speaker 1: was like, have a little look. And I had a
Speaker 1: little look and he'd won an Emmy And it was great,
Speaker 1: and it was absolutely great, and I do not regret it.
Speaker 1: In what the interrupted night sleep in any way, shape
Speaker 1: or form your body was like Sundy, Yeah, I think
Speaker 1: it was because I was really thinking about it before
Speaker 1: I went to bed, Like I was really being like God,
Speaker 1: record winning it like record winning and Emmy tonight, and
Speaker 1: you're very sweet and that's why I've had to me
Speaker 1: and and so I think that's why my my brain
Speaker 1: popped up. I mean, take from this what you will.
Speaker 1: But I also had the very similar emotional experience around
Speaker 1: Paul Thomas Anderson winning Best Original Screenplay because I thought
Speaker 1: that was going to happen, So my body also won't
Speaker 1: be up. Fortunately, it won't be up just after Will
Speaker 1: Smith and slap Chris Rock. So I did get to
Speaker 1: see the fallout of that in the room anyway. No what,
Speaker 1: I woke up literally after it happened. So shifty. Yeah,
Speaker 1: why really bad? You know what I mean? If you've
Speaker 1: been to enough gigs where at points you are the
Speaker 1: cause of said atmosphere, even on the Telly, you could go,
Speaker 1: something's really off. Yeah, yeah, you're really good? You know
Speaker 1: what is here? We go? Some good good ones here?
Speaker 1: I've got what about you? What's the best good ones?
Speaker 1: Opening to a film? This year? Three words, Brett, three
Speaker 1: words drive my Car, because the opening of Driving My
Speaker 1: Car is a whole film that happens for forty minutes.
Speaker 1: You were talking, Yeah, that happens for forty minutes, and
Speaker 1: then the opening credits appear, and I watched it in
Speaker 1: it completely I think almost sold out screening at the
Speaker 1: Prince Charles and people laugh at the sheer audacity of
Speaker 1: having the credits appear at forty minutes, and I thought
Speaker 1: it was just absolutely brilliant. Just what's your what's your best?
Speaker 1: My best opening? I've realized that nearly I think all
Speaker 1: of my answers to these are musical based. My best
Speaker 1: opening is a net. Net starts similar to the film
Speaker 1: Jesus Christ Superstar in a way. I was just realizing
Speaker 1: that a net starts with it goes, may we start,
Speaker 1: May we Start, and you're in a studio in a
Speaker 1: music studio, and a gooes, so may we start? And
Speaker 1: then this song begin, and the song that pretty much
Speaker 1: repeats the lyric may we start, May we Start, And
Speaker 1: then the actors from the film appear, and then it's
Speaker 1: all sort of done in one take, and then the
Speaker 1: camera goes out into the street, and then the cast
Speaker 1: and crew of a net appear and then may we start,
Speaker 1: May we start? May we start the film And the
Speaker 1: lyrics are sort of very aware and they go, you know,
Speaker 1: we're nervous and we haven't got enough budget, but may
Speaker 1: we start and building and building, and then and driver
Speaker 1: gets on his motorbike like spy to his friends in
Speaker 1: the cards, like I'm off to start the film. He
Speaker 1: and he goes off and it's fucking great love. That's
Speaker 1: a good actor. That best set piece in a film,
Speaker 1: not at the beginning of the ending suwhere in the middle,
Speaker 1: what are you gonna go forth? Can I have two yes?
Speaker 1: One is the I Am a revolutionary scene from Dude
Speaker 1: to Black Messiah. Oh you know what? And I'm a
Speaker 1: classic film that came out very early in the year
Speaker 1: in the UK and got left off a lot of
Speaker 1: best of the list. Fucking great movie and that speech. Yeah,
Speaker 1: And I've heard a story of like Dankalio doing that
Speaker 1: when they went to get financing for the film, I believe,
Speaker 1: and he did that in the room and they went
Speaker 1: take all that manage like yeah, yeah, he is fucking brilliant,
Speaker 1: and that scene is yeah, like you are completely swept
Speaker 1: having at you as audience are like yes, I yeah,
Speaker 1: like yeah, yeah, it's fucking brilliant. It's that thing where
Speaker 1: like it's the hardest thing when you know when you're
Speaker 1: watching something, when you're watching something happen that's supposed to
Speaker 1: be people reacting to either phenomenal charisma or even singing
Speaker 1: talent anything like that, it's such a difficult thing because
Speaker 1: you're supposed to you know, you completely reliant on the
Speaker 1: performance in that moment. You know, there's nothing you can do,
Speaker 1: there's nothing even like you can definitely enhance it with
Speaker 1: the filmmaking, but there is something about you can't fake
Speaker 1: that level of charisma. It's incredible. And you know, Fred
Speaker 1: Hampton is like at twenty three, I think, you know,
Speaker 1: he's this prodigious talent who was so smart and so
Speaker 1: driven and had so many important significant ideas about race
Speaker 1: and economics, but was also this incredible communicator. And I mean,
Speaker 1: it's that scene is Wolf. What is my other My
Speaker 1: other favorite set piece is last Night in Soho the
Speaker 1: yes middle, the sequence when she goes to sleep for
Speaker 1: the first time and is taken back in time and
Speaker 1: it happens in one shot and there is a dance
Speaker 1: that happens where within the camera special effects wise, no
Speaker 1: special effects, as in it all happened live. The actors
Speaker 1: switch as they spun around on the dance floor. They
Speaker 1: switch in and out, and it reminded me of seeing
Speaker 1: Our House, my favorite show, with the way they did
Speaker 1: quick changes with casting that. I love that sort of thing.
Speaker 1: And it's so thrilling that whole sequence of her going
Speaker 1: back in time on this young long steady can with
Speaker 1: and there's that nice shot of her walking down yeah, downstairs,
Speaker 1: and it's the reflection Yeah, as a as a set piece,
Speaker 1: just that sequence alone, I was like, that is the
Speaker 1: best thing Edge writes done. I think that that piece
Speaker 1: is fucking brilliant. You could watch it a hundred times.
Speaker 1: Is still and I've watched the thing where he explains
Speaker 1: how they did it, and I still don't. It's like
Speaker 1: watching Penantelic because you're like, yeah, you say that, but
Speaker 1: how the fuck do you do that? You know what
Speaker 1: I mean? It's really good. And also I think there's
Speaker 1: something magical about you're watching something live basically because the
Speaker 1: camera person is having to be part of this dance,
Speaker 1: the actors, everyone has to do their bit at exactly
Speaker 1: the right moment with everything has to be perfect for
Speaker 1: a shot like that to work, and so there's something
Speaker 1: thrilling about it. You experience that that's something that's hard
Speaker 1: to capture, the thrill of live performance. You sort of
Speaker 1: get a feel for it in that shot. I think
Speaker 1: maybe that's what makes it so exciting. Yeah, what's your
Speaker 1: best set piece? Well if it still feels cheap to
Speaker 1: call this a set piece in a way, but it's
Speaker 1: the bit in Summer of Soul. Yeah, yeah, it feels
Speaker 1: weird to call it a set piece. But it's when
Speaker 1: Mahaila Jackson invites Maybe's Staples on stage to sing Martin
Speaker 1: Luther King's favorite Him, to sing the him that Martin
Speaker 1: Luther King and Jesse Jackson comes out and tells the
Speaker 1: story of doctor King, suggesting that they play a precious
Speaker 1: Lord take my hand the moment before he is shot dead.
Speaker 1: And then and so like that, you know that's enough,
Speaker 1: like that, like already this is the most extraordinary piece
Speaker 1: of footage you've ever seen. But then Mahla Jackson comes
Speaker 1: on stage and then you hear Maybe's Staples talk about
Speaker 1: how she idolizes Mahaila Jackson, and then Mayla Jackson invites
Speaker 1: says that she's not feeling and you can see her
Speaker 1: sort of talking to Staples on stage. But you're hearing
Speaker 1: all of this in movies. It was recounting of it.
Speaker 1: So there's that double thrill of watching it and having
Speaker 1: somebody reflect on it and their emotional state as it's happening,
Speaker 1: you know, like everybody's because j Jackson has just described
Speaker 1: Miley the King's death. He uses the phrase the bullet
Speaker 1: had severed despite you know, it's so visceral, and then
Speaker 1: Maila Jackson says that she's just isn't feeling up to it.
Speaker 1: It's this feels like it might also be this kind
Speaker 1: of passing at the torch moment, and it's lovely because
Speaker 1: maybe Staples, it's her hero is asking her to come
Speaker 1: and perform, so it's all so loaded. And then maybe
Speaker 1: Saples and Mila Jackson singing Precious Little Take My Hand
Speaker 1: is just just I couldn't believe what I was watching.
Speaker 1: I just couldn't believe what I was watching. One of
Speaker 1: the most fortunate things in a fairly I think we
Speaker 1: would say incredibly fortunate life is I saw maybe Staples
Speaker 1: sing live, I saw her do the way live in
Speaker 1: like in a television studio and voice is just it
Speaker 1: just cuts right through you, and the film catches that
Speaker 1: incredibly and so just just as the performance that Mahela
Speaker 1: Jackson mos stables to do is extraordinary enough, but the
Speaker 1: circumstances and the preamble by Jesse Jackson, I mean, it's
Speaker 1: the most extraordinary thing I saw in any film last year.
Speaker 1: Excellent answer, excellent. Every minute of that film is just like, ah, yes,
Speaker 1: it's unbelievable, Yeah, unbelievable that the answer to that question
Speaker 1: could have been about five sequences, all from some result.
Speaker 1: Because I also think the bit when he sees Stevie Wonder,
Speaker 1: he's sort of playing his old stuff, but he's plugged
Speaker 1: the wah wah pedal into the electric keyboard, into the
Speaker 1: electric piano, and you go, oh, he's discovered the sound
Speaker 1: of superstition. He doesn't know it yet. Like you're watching somebody,
Speaker 1: you very rarely get to see a talent in midstep,
Speaker 1: like you either see that you either have the footage
Speaker 1: of the early stage or you have the complete thing.
Speaker 1: And what you're watching is Stevie Wonder like about to
Speaker 1: discover talking book songs in the Key of Life. You're
Speaker 1: seeing somebody as they're stepping into a whole different phase
Speaker 1: of their creativity. You know that whole movie is I
Speaker 1: believe it's very good. What is the best ending closing
Speaker 1: sequence to a film? Anyway? It had to be part
Speaker 1: of the dog for me, just because again I watched it,
Speaker 1: felt that I was watching a very well made thing,
Speaker 1: felt the acting was lovely, felt that it was really
Speaker 1: all well mounted, but wasn't necessarily hitting me on a
Speaker 1: visceral level. Then the film ends, you realize you've watched
Speaker 1: a completely different film. It completely hoodwinked me, and I
Speaker 1: just thought it was extraordinary. I just you know, I
Speaker 1: thought it was great and you know what, really brilliant ending.
Speaker 1: But the first line of the film tells you how
Speaker 1: the film was going away and I somehow missed it
Speaker 1: and it played a trick on me. Great to see
Speaker 1: Cumbers doing some full because I mean, he's done Sherlotte,
Speaker 1: magic Sherlock, racist Sherlock. He's you know, do you know
Speaker 1: what I mean? Like racist Sherlock, Dominic Cummings. I think
Speaker 1: we probably have to whack it allegedly on there. Okay, well,
Speaker 1: let me bree phrases. We've seen cuvers We've seen Cuvers
Speaker 1: do Sherlock. We see him do dogs a strange magic Sherlock.
Speaker 1: We see him do Dominic Cummings Brexit Sherlock. We've seen
Speaker 1: him do even his Alan turing his computer Sherlock. But
Speaker 1: like when you the courier spy Sherlock, but para the
Speaker 1: dock that dude, I mean that yeah, yeah, yeah, yeah,
Speaker 1: But it was great because he didn't all of his
Speaker 1: stuff was all of his Sherlocky Sherlock is ms were
Speaker 1: all turned off. He was. I mean, man, that's a
Speaker 1: hell of a performance. But they I mean they're you know,
Speaker 1: cust and Dunce, Jesse Pleman's Cody smithment feed. They're all extraordinary.
Speaker 1: But yeah, the ending just completely changes the complexion of
Speaker 1: the movie and cover batches sucking incredible. What's my best
Speaker 1: ending is Another Round, Another Round? Oh yes, yeah, and
Speaker 1: again it's a musical way. It makes you think perhaps
Speaker 1: I just like things with songs in but it is,
Speaker 1: it's like a book with songs. But the end of
Speaker 1: Another Round, Another Round is such an interesting film because
Speaker 1: if you don't know what's bad, it's about a group
Speaker 1: of middle aged men sort of having a middle crisis
Speaker 1: who decide to do an experiment to be a little
Speaker 1: bit drunk all the time. And it is like a
Speaker 1: sort of high concept comment that you can see a
Speaker 1: sort of Will Ferrell version of that film. It's really
Speaker 1: hard to wa Yeah, it's actually quite subdued and melancholy,
Speaker 1: and what is odd about it is it's also fairly ambiguous.
Speaker 1: Like it also you would assume it's also it's an
Speaker 1: anti alcohol film, and it isn't. Really. It's sort of
Speaker 1: kind of guys, yeah and no, it doesn't really come
Speaker 1: down either way. And then this end, which is Mad's
Speaker 1: Michelson dancing dancing at a graduation as sort of aroundsom
Speaker 1: kids who are graduating and just kind of drinking again
Speaker 1: and having an amazing dance and then jumping in the city.
Speaker 1: It's fucking great, and it's all, what does it mean?
Speaker 1: What does any of it mean? There's a very sad
Speaker 1: I'm sure you know this, but the director's daughter very
Speaker 1: sadly died like three days into filming that film, and
Speaker 1: they know they stopped filming for a good few months
Speaker 1: and then came back together to do it. And I
Speaker 1: think maybe this is just reading stuff into it, but
Speaker 1: that sense of kind of sadness and melancholy is all
Speaker 1: over the film, And I don't know if the film
Speaker 1: would have been the same had that not happened. Maybe
Speaker 1: the original was much more raucous. And I don't know,
Speaker 1: I really don't know. That's all. It's all guesswork in it.
Speaker 1: But it's quite a lovely, odd film. It never around
Speaker 1: and that ending is great. But it's sort of like
Speaker 1: all of our relationship if you're if you're not teetotal,
Speaker 1: it's sort of is your relationship with alcohol really is that?
Speaker 1: If you'll neither teetotal nor an alcoholic, your relationship with
Speaker 1: alcohol is you sort of just keep doing it, and
Speaker 1: as you get older and older you realize it's a
Speaker 1: bad thing, but you still keep doing it, you know,
Speaker 1: like that's that, And you watch it, you sort of
Speaker 1: if you're fortunate enough not to have addition problems yourself,
Speaker 1: you will, you just won't avoid seeing firsthand how it destroyed.
Speaker 1: And it does, you know, it does consume one of
Speaker 1: the characters in the film, and it does kill him
Speaker 1: in the end, and but mad te Mickelson at the
Speaker 1: end is back drinking, and that's It's difficult because it
Speaker 1: just is a lot of us done the way that
Speaker 1: we've lived. Do you want do your top ten? There?
Speaker 1: What do you do? Top ten? Top ten? Yeah? Yeah,
Speaker 1: I've got my top ten. Can we have eleven? Yeah?
Speaker 1: Go for it. You go first, Okay, I'll try and
Speaker 1: make a ten, but it depends on what your tender. Well, okay,
Speaker 1: I'll do ten, and then if if you feel that
Speaker 1: we have to have a bonus eleventh, I will also
Speaker 1: add a bonus eleventh. So my top ten number ten,
Speaker 1: Spider Man, No Way Home, number nine, Summer of Soul
Speaker 1: number eight, Black Bear number seven, The Father number six,
Speaker 1: Power of the Dog Please number five, Judas and the
Speaker 1: Black Messire number four, number four, Minari Yeah, number three,
Speaker 1: Pettit Mammal number two come on, come on, and number
Speaker 1: one drive my car. Fascinating list. Do you think it's
Speaker 1: interesting we haven't talked about it. Why is no mad
Speaker 1: Land not on that list? I am very interested in
Speaker 1: having this conversation. One, it is very interesting that nomad
Speaker 1: Land is not, and I do think nomad Land is
Speaker 1: a good move. It's very interesting because also we haven't
Speaker 1: actually ended up talking about the last two Best Picture winners,
Speaker 1: and they were both twenty twenty one releases. So Nomad
Speaker 1: Land and Coda. So Coda, which one the twenty twenty
Speaker 1: two Best Picturosca, was also a twenty twenty one release.
Speaker 1: And yeah, and I mean, the thing that I would
Speaker 1: say about Coda is it's very well performed. It sort
Speaker 1: of feels like a film from the nineteen nineties, you know,
Speaker 1: in the way that it feels like it has story
Speaker 1: beats from a kind of nineteen nineties movie, and it
Speaker 1: reminded me of its structurally is quite similar to Bend It,
Speaker 1: like Beckham, and I thought that with a lot, as
Speaker 1: with a lot of that movie, it was we want.
Speaker 1: I wanted to stay with the death performance because I
Speaker 1: thought they were the really interesting thing in that film.
Speaker 1: And actually, when she's singing in the school, you're like, oh,
Speaker 1: you know, I can't be bothered with it, you know,
Speaker 1: like the mom and dad and the dynamic between her
Speaker 1: and the mom and dad is the interesting thing in
Speaker 1: that movie. And every time we pull away from it,
Speaker 1: we're back in quite a boring nineties high school movie.
Speaker 1: But with No mad Land, I mean, I thought it
Speaker 1: was really good. I thought No mad Land was really good.
Speaker 1: But for whatever reason, and maybe it's suffered from the
Speaker 1: fact that because it's so beautifully photographed. Maybe it's suffered
Speaker 1: from the fact that I didn't see it in the cinema,
Speaker 1: and that's maybe White Hand stayed with me in the
Speaker 1: same way. But I did think it was a really
Speaker 1: good movie. It was just a very strong year for films. Yeah,
Speaker 1: I'm gonna I'm gonna put I think that Land is
Speaker 1: great again. It's a film that isn't quite the film
Speaker 1: I expected it to be, as in a sort of
Speaker 1: thought it would be more depressing than it is, and
Speaker 1: it's yeah, lovely again and has sort of quit and
Speaker 1: she's she's just got very mischievous on screen presence. Yeah,
Speaker 1: you know, like this, so it and it does stop
Speaker 1: it from becoming just a sort of it could be
Speaker 1: quite one note and quite miserable, but she it would
Speaker 1: definitely be my eleventh movie, and it does just I
Speaker 1: do think that it I do think that it isn't
Speaker 1: as miserable as it could have been, because I think
Speaker 1: Francis McDorman really just is just has this kind of
Speaker 1: very cheeky energy. This is a nightmare, isn't it. Looking
Speaker 1: at my list, I wanted Manari on it, and I
Speaker 1: don't have it because at least had Manari, so at
Speaker 1: least we've acknowledged. Yeah, well, we're all like Manari, all right.
Speaker 1: Manari is very good, really great, great great kid. Another
Speaker 1: great kid performance, great kid. You don't act like a
Speaker 1: real grandma. I really liked that film, and I really
Speaker 1: you know what else I really like in that film.
Speaker 1: I liked and I don't know how they did it.
Speaker 1: Seeing the farm grow over the course of yea, the
Speaker 1: actual sort of mechanics of the farm. Yeah, I like
Speaker 1: all that stuff. And when you talk about a really
Speaker 1: really amazing analogy, like the idea of the Manari, the
Speaker 1: weed that you can sort of plant anywhere and it
Speaker 1: will grow as a kind of metaphor for immigrant communities,
Speaker 1: it is really beautiful and really really lovely. Yeah, I'm
Speaker 1: putting that. I'm putting that back in now. Okay, then
Speaker 1: I've lost No mad Land. Look, I really like No
Speaker 1: man Lad. I think it's great, right, Sorry, it's normal. Yeah,
Speaker 1: we'd love Love Mad Lad. We love No We love
Speaker 1: No man Lad. I don't know why we're making sense
Speaker 1: to think of it. We love No Mad Lad. It's
Speaker 1: just there are other films we also love. All right,
Speaker 1: I'm not sure about this order all right at eleven,
Speaker 1: Minari at ten a Net at nine, Summer of Soul.
Speaker 1: I'm not sure about this. Have I missed something? Hang on,
Speaker 1: what how have I done for eleven? At eight eight
Speaker 1: Pig Yeah? At seven, The Lost Daughter, which we haven't
Speaker 1: talked about. Yeah, we'll talk about that actually, at six,
Speaker 1: Petty Mammon at five, West Side Story at four, Power
Speaker 1: of the Dog, at three, Judas in The Black Messire
Speaker 1: at two promising young women, and at one passing difficult Decisions.
Speaker 1: I'm not even sure about any of him anymore. Yeah,
Speaker 1: it's it's interesting. I'm not sure we've had a year.
Speaker 1: I guess it's testament to how many good movies came
Speaker 1: out in twenty twenty one. But I'm not sure we've
Speaker 1: had a year where our number one films weren't in
Speaker 1: each other's list at all. The Lost Daughter, let's briefly
Speaker 1: talk about it. You've seen it, No, tell me about it? Well,
Speaker 1: another similar to Tessa Thompson in Passing a Now the
Speaker 1: great bit of a character watching so much of the
Speaker 1: film as Olivia Colman watching this other family and why
Speaker 1: the Lost One of the reasons Last Day is great
Speaker 1: is because you don't see characters like this in films.
Speaker 1: She's a very tricky, unlikable, difficult character. And there's a
Speaker 1: moment in it that maybe would be in my horror
Speaker 1: where is so shocking and it's such a small kind
Speaker 1: of social thing that I was just like, oh my god,
Speaker 1: this is the most disturbing thing. Where Olivia Colman's on
Speaker 1: the sunland just she's on other day and this family
Speaker 1: turned up, this quite noisy family. She's sort of on
Speaker 1: her own on this beach. There's noisy family turn up
Speaker 1: on their holiday and they're like setting up deck chairs
Speaker 1: and they're having it's clearly a birthday. And one of
Speaker 1: them comes over to a livy hum and says, would
Speaker 1: you mind we're all together? Would it be possible for
Speaker 1: you to move to that deck? You know that deck? Yea,
Speaker 1: then we can all be together. And the livhumba says, now,
Speaker 1: I don't want to move, and it's so like you're like,
Speaker 1: oh my god, what are you doing? Just move and
Speaker 1: they and the person goes, oh, you know, it just
Speaker 1: it's just because we're all together. It be because I
Speaker 1: don't want to move, and it's so tense and you're like,
Speaker 1: just fucking move. Oh my God, why are you fighting this?
Speaker 1: That's the most stressful scene in cinema history. It's a
Speaker 1: British nightmare. It's a British nightmare. Just get off the
Speaker 1: fucking sad Langer. Anyway, that's a very interesting film and
Speaker 1: it and again I would compare it weirdly to like
Speaker 1: uncut gems where you're I'm god jabs, where you're likes
Speaker 1: like I haven't. I haven't seen a film with these
Speaker 1: sort of characters in, you know what I mean, Like,
Speaker 1: even if you're not like on board on side with them,
Speaker 1: you guys, this is this is this is like, this
Speaker 1: is These people are in the world and we don't
Speaker 1: see them in. It's a very interesting film. I'm good.
Speaker 1: I like it anyway. Anything else we haven't discussed I
Speaker 1: feel very strongly about. I actually rewatched Drive My Car
Speaker 1: to make sure that it was number one. It's number one, baby.
Speaker 1: It did a lot of stuff to me. That movie.
Speaker 1: Like it. For whatever reason, he did a thing that
Speaker 1: I really like that I think we talked about a
Speaker 1: few years ago, whenever we talked about the Portrait of
Speaker 1: a Woman on Fire, the idea of like reclaiming high
Speaker 1: art from being something really boring because like, I studied
Speaker 1: check Off at university and I was bored as hell
Speaker 1: by it. And the first thing that I thought when
Speaker 1: I came out of this movie is I got to
Speaker 1: read some check Off because that that guy knew some
Speaker 1: shit it. But I just found I found the restraint
Speaker 1: in all of the characters incredibly moving. I thought that
Speaker 1: there was a there's a sequence where there's a mute
Speaker 1: character in the film through he casts in his play,
Speaker 1: and there's a scene where they just go and have
Speaker 1: a nice dinner at her and her husband's house, and
Speaker 1: it's and the girl who is driving him around. You know,
Speaker 1: he doesn't want to be driven. She's driving him around.
Speaker 1: He's grieving his last wife, who dies in the first
Speaker 1: forty minute short film that starts the film, and she's
Speaker 1: just playing with a dog and it's just a really nice,
Speaker 1: sweet scene in the middle of the film. But what
Speaker 1: I felt was incredibly depressing film. There is something very
Speaker 1: hopeful and beautiful about the ending of that movie, and
Speaker 1: the idea that you could sort of love somebody even
Speaker 1: though you didn't really know parts of their character, and
Speaker 1: that sometimes you have to forgive yourself for doing things
Speaker 1: that you did to survive of a particular situation, and
Speaker 1: then that that kind of last monologue that precedes the
Speaker 1: code or of the movie, you know, the final monologue
Speaker 1: of his kind of rewritten version of Uncle Vanya. I
Speaker 1: just think he's one of the most moving things I've
Speaker 1: ever seen in a film, and it's delivered by the
Speaker 1: mute character in sign language, and that it's it's it's.
Speaker 1: I thought, it's just a show stopper of a moment.
Speaker 1: And this idea, this line, the line where she says
Speaker 1: we've lived through the long, long days. I just think
Speaker 1: that there was something so beautiful and optimistic, but real,
Speaker 1: realistic optimism, you know, an optimism that understands that things
Speaker 1: are going to happen. People are going to let you down.
Speaker 1: You're going to let people down. There are moments that
Speaker 1: you're not going to be able to reason with the
Speaker 1: things that have happened to you and to people around you.
Speaker 1: But you know, it's just an unlikely moment of union
Speaker 1: between two very different in films, because ultimately, the message
Speaker 1: of driving my car and the message of come on,
Speaker 1: come on, is whatever happens sometimes you do just have
Speaker 1: to come on, come on and live through the long
Speaker 1: long days. And I think there's something so really, really
Speaker 1: beautiful about a film that is about such messy and
Speaker 1: complicated characters who choose optimism, and the way that it's
Speaker 1: expressed is so beautiful, cinematic, and you know, in complete silence,
Speaker 1: you're just watching sign language. It's I just thought it
Speaker 1: was extraordinary, just absolutely flawed me, you know it was.
Speaker 1: It was just a sort of gut punch of a
Speaker 1: film at the end, you know, to choose to be
Speaker 1: hopeful just feels like such a something so radical after
Speaker 1: what the characters have been put through. That movie. Very good,
Speaker 1: You're very good. You're very good. Yeah, I mean it's way,
Speaker 1: it's way, it's way. You keep coming back, keep coming back.
Speaker 1: It works if you work it. What is what is
Speaker 1: your favorite film? Has to be drug Buck? What's your
Speaker 1: favorite film? Don't know? Anyway, I think it's promising young women.
Speaker 1: But I like all the films that we've talked about.
Speaker 1: So let's say, you know, I get I get the
Speaker 1: sort of I understand that there are like real concerns
Speaker 1: and stuff going straight to streaming and you know, some
Speaker 1: non franchise or non action movies, you know, being I
Speaker 1: understand there are very legitimate reasons to be concerned about
Speaker 1: the future of cinema, but like, definitely when you look
Speaker 1: at the films that came out in twenty one, like, oh,
Speaker 1: the quality of the films is definitely not the issue here,
Speaker 1: you know, like the quality and variety of films being made. Yeah,
Speaker 1: it's distribution and it's it's getting people to see them.
Speaker 1: But like people are making such like cool and interesting
Speaker 1: and varied stuff. You've been wonderful as always. Now when
Speaker 1: you complimented me on winning an award and I checked
Speaker 1: you to death with my bare hands and then just
Speaker 1: he choked it till he died because I couldn't take it.
Speaker 1: And then I was stood right there and I had
Speaker 1: a coffin with me, you know, I'm like and I
Speaker 1: was like, oh, I've just killed it. I sort of
Speaker 1: came out of the fog. Why did I kill I
Speaker 1: love this? Why I did I remember? Oh, yeah, he
Speaker 1: tried to say something nice to me. I don't regret it.
Speaker 1: And I stuff you in the in the coffin that
Speaker 1: I had with me. Anyway, I mean, that should have
Speaker 1: been a warning so I don't start trying to say
Speaker 1: something nice to me. I'm carrying a coffin, but you
Speaker 1: in smash. You all in there, and there's more than
Speaker 1: I was expecting. I don't know why because I hadn't
Speaker 1: seen you in awhile and you've been you were you
Speaker 1: were wearing your whacking phoenix. Think, come on, come mind
Speaker 1: for buddy sick. There's only enough room for me to
Speaker 1: put one DVD and decide if you to take across
Speaker 1: the other side. Then on the other side, it's movie
Speaker 1: night every night. What film will you take to show
Speaker 1: everyone when they say this, show us a film from
Speaker 1: twenty twenty one, please, It's it's so hard because it
Speaker 1: could be. Certainly, it could easily be any of the
Speaker 1: top three that I picked. Petite mammon, come on, come on,
Speaker 1: or drive my car. I will say, just today how
Speaker 1: I'm feeling, And it's possibly because I've seen it again
Speaker 1: most recently, but I will say, drive my car. Okay,
Speaker 1: I would take Summer of Salt because I know how
Speaker 1: to show people a good day. But yeah, what's really funny.
Speaker 1: What's really funny about that speech is that the premise
Speaker 1: of that speech is life is really hard, but then
Speaker 1: you get to heaven and you understand that the suffering
Speaker 1: was all worth it, and you feel okay about it.
Speaker 1: But then if you get to heaven and I'm making
Speaker 1: you one drive my car, a Jesus, it wasn't worth
Speaker 1: living long days, nis Kuma, what a pleasure and a
Speaker 1: joy we've done over two hours? Will this beit a
Speaker 1: two part two? Probably? Well? Dan listen. If you fancy
Speaker 1: coming to CITB on tour, the tickets are at nishka
Speaker 1: dot com dot UK. If you live in New York,
Speaker 1: there are tickets available for the shows on the nineteenth, twentieth,
Speaker 1: twenty first, and twenty third, anything else New York City Baby.
Speaker 1: Apart from that, no, niche, I love you, thank you
Speaker 1: for your love you brat, and I will see you
Speaker 1: tomorrow or the next day. It's well, it's nearly time
Speaker 1: for us to record the best at twenty. I don't
Speaker 1: want to call it. It's too early to call it,
Speaker 1: but I've already called it. It's mass. But it's so early,
Speaker 1: it's May. So it's nice to put this year. It's
Speaker 1: nice to put this time staff down. We can see
Speaker 1: and we can see where we where we wind up.
Speaker 1: All right, well done, good day, We lived through the
Speaker 1: long long days forever, Good Day to sea. So that
Speaker 1: was episode one hundred and ninety nine. Head over to
Speaker 1: Patreon dot com forward slash Breck Goalstein for the extra chat,
Speaker 1: secrets and videos. Don't forget to get your tickets for
Speaker 1: the live show at the Hackney Empire Do You Live
Speaker 1: Second tickets at Hackney Empire dot co dot uk or
Speaker 1: Plosive dot co dot uk. Thank you so much to
Speaker 1: Nis for giving me his time. Thanks to Scrubius Pit
Speaker 1: and the distraction pieces and network. Thanks to Buddy Peace
Speaker 1: for producing it. Thanks to a Gas for hosting it,
Speaker 1: Thanks to Adding Richardson for the graphics and Least livem
Speaker 1: for the photography. Come and join me next week for
Speaker 1: episode two hundred What are we going to do? We've
Speaker 1: made it to two hundred? What are we going to do?
Speaker 1: I've got a plan, but I'm not going to tell
Speaker 1: you it. I guess you'll have to tune in then.
Speaker 1: Thank you all for listening. I really hope you will.
Speaker 1: And you know that's it for now. But in the meantime,
Speaker 1: have a lovely week and please be excellent to each other.
Speaker 1: Backstays of Backpack Back