Speaker 1: Look out. It's only films to be buried with. Hello,
Speaker 1: and welcome to films to be buried with. My name
Speaker 1: is Brett Goldstein. I'm a comedian, an actor, a writer,
Speaker 1: a director, a smoke signal, and I love films. As
Speaker 1: Gonzo the Great Ones said, it was the afternoon of
Speaker 1: Christmas Eve, and Scrooge was conscious of a thousand odors,
Speaker 1: each one connected with a thousand thoughts and hopes and
Speaker 1: joys and cares long long forgotten. He couldn't wait to
Speaker 1: watch muppy Christmas Carol again. Oh that's lovely. Thank you,
Speaker 1: Gonzo good shout. Every week I invite a special guest over.
Speaker 1: I tell them they've died. Then I get them to
Speaker 1: discuss their life through the films that meant the most
Speaker 1: of them. Previous guests include Kevin Smith, Sharon Stone, Ricky Gervais,
Speaker 1: Jamila Jamille, James McNicholas, and even Bed Bambles. But this
Speaker 1: week it's part two with the brilliant filmmaker and dream guests,
Speaker 1: mister Edgar Wright. This week, as a Christmas present to
Speaker 1: you all, I've included all of the Patriot section except
Speaker 1: for Edgar's secret, which I've kept safe only for the Patriots.
Speaker 1: If you want to find special bonus features, extra questions,
Speaker 1: videos and secrets for all the episodes, head over to
Speaker 1: patreon dot com. Forward slash Brett Goldstein And if you've
Speaker 1: not seen it yet, lovely time to watch it would
Speaker 1: be Christmas. You can watch the whole of season one
Speaker 1: of Ted Lasso on the Apple TV Plus app. Watch it,
Speaker 1: you'll laugh, you'll cry, you'll feel good. So last week
Speaker 1: or we left part one on a huge cliffhanger, so
Speaker 1: here we are to pick up exactly where we left off.
Speaker 1: That is if for now, I very much hope you
Speaker 1: enjoy episode one hundred and twenty seven, Part two of
Speaker 1: Edgar Wright's Films, to be Buried with the film that
Speaker 1: you used to love, really loved it, and you've watched
Speaker 1: it recently you don't love it anymore. It might not
Speaker 1: be because the film's bad. You just feel differently. You've changed,
Speaker 1: not the film. Well, there's to be heresy to some people,
Speaker 1: but these people need to hear it. The Goonies is
Speaker 1: maybe not a great movie. And I say that, let
Speaker 1: me say, Goonies when you're twelve years old is the best. Yeah,
Speaker 1: And when I saw that at the cinema in nineteen
Speaker 1: eighty six, so maybe it's ninety five. That's probably eleven
Speaker 1: or twelve. And I thought The Goonies was the best. Yeah,
Speaker 1: But then like you know, and it's that weird thing
Speaker 1: is obviously you come back to something like that with
Speaker 1: such nostalgia, and like you get the DVD And I
Speaker 1: remember once I tried to watch The Goonies with the
Speaker 1: cast commentary and having all of the Goonies talk, and
Speaker 1: in the movie, the Goonies are all talking at the
Speaker 1: same time, So anybody who's not twelve is going to
Speaker 1: get an immediate headache. Now imagine watching The Goonies with
Speaker 1: all of the casts talking and all of the carts
Speaker 1: talking on the cast commentary. I defy anybody to get
Speaker 1: through that without having to reach for the neurofen at
Speaker 1: the end. So I'll say this is The Goonies is
Speaker 1: the perfect movie for twelve. But sometimes when I see
Speaker 1: people who are any person over thirty five that has
Speaker 1: The Goonies in their top ten of all time needs
Speaker 1: to see a psychiatrist. Right, you're specifically talking about Matt Forward,
Speaker 1: who has done this podcast. Matt four, Please love Scoonies
Speaker 1: more than anything else. Please Matt forward more than you.
Speaker 1: For your kids, yes, but not for yourself. Pick an
Speaker 1: adult movie. Wow. Wow, that's the pool quote, Edgar. What
Speaker 1: is the film that means the most to you? Not
Speaker 1: necessarily the film special, but because of the experience you
Speaker 1: had around seeing the film that will always make it
Speaker 1: special to you. Well, I've already talked about Rumbling the Bronx. Yes,
Speaker 1: there's two quick answers to this. One of them, well,
Speaker 1: we'd lean up to follow immediately on from the Goonies,
Speaker 1: Let's talk about a film that I watch I was
Speaker 1: ten that does hold up. Gremlins Now, that film holds up,
Speaker 1: and that film I watched it the other day. That
Speaker 1: film holds up because it's so like especially now, especially
Speaker 1: if you watch it now that that movie got made,
Speaker 1: that movie would never get made in the same way. Now.
Speaker 1: It's so savage and it's so gleefully shooting down kids
Speaker 1: movies and Christmas movies and even like Amblin movies themselves,
Speaker 1: even though it is an Amblin movie. But when I
Speaker 1: saw Gremlins when I was ten years old, and it
Speaker 1: was a fifteen in nineteen eighty four, the Wells Regal,
Speaker 1: which is where I lived from eleven to eighteen in Somerset.
Speaker 1: So Gremlins, like because it's coming hot on the heels
Speaker 1: of et, Like there's toys for Gremlins, there's stickers for Gremlins.
Speaker 1: There's like a picture book for Gremlins. There's the novelization
Speaker 1: of Gremlins, and then Gremlin's in the US was a PG.
Speaker 1: And there were so many complaints about Gremlins and Indiana
Speaker 1: Jones and the Temple of Doom that they created the
Speaker 1: PG thirteen with Spielberg's blessing. I think Spielberg was involved
Speaker 1: in this decision, is like we have to have a
Speaker 1: new rating because there were so many complaints about Gremlins
Speaker 1: and Temple of Doom. They created the PG thirteen. Pot
Speaker 1: guys was before that, but that was a PG thirteen
Speaker 1: but then got rerated right anyway, So so part guys, Yeah,
Speaker 1: it was a PG was crazy, Yeah, fifteen in the UK.
Speaker 1: In the UK they until nine eighty nine with Batman,
Speaker 1: when they finally created the twelve. There was no interim thing.
Speaker 1: So Gremlins was a fifteen. Now this was after all
Speaker 1: of these like the one of those things that Panini stickers. Yeah,
Speaker 1: they had the kind of they they had the euro
Speaker 1: eighty six ones. So it was like Panini Gremlins stickers.
Speaker 1: I had like the stickers, I had read the novelization,
Speaker 1: I had the picture book. I didn't have any of
Speaker 1: the toys. But then it's like the film is a
Speaker 1: fifteen and this just seems like me and my brother
Speaker 1: were like personally affronted by this. It was like, how
Speaker 1: dare they? So we used to go to our like
Speaker 1: Saturday morning film club at the World's Evil and we
Speaker 1: went up to the manager with the novelization of Gremlin
Speaker 1: Gremlins in hand, and we went to the manager and said, please,
Speaker 1: can we come and see Gremlins today because we know
Speaker 1: it's the fifteen but we've read the novelization and we
Speaker 1: know what happens, so we won't be scared. And then amazingly,
Speaker 1: this manager says, come back at two o'clock, so he
Speaker 1: and then was then the tickets were like a pound,
Speaker 1: so we came back like for the matinee. The manager
Speaker 1: like turn a blind eye, we you know. And then
Speaker 1: the one the one bit of the one bit of
Speaker 1: like the charade we had to go through was hey,
Speaker 1: you had to go up to the ticket lady and say,
Speaker 1: like how old are you? And we go fifteen? That
Speaker 1: was enough? Back then later later maybe thirteen, trying to
Speaker 1: get into fifteens. I had this crazy idea trying to
Speaker 1: get into the Lost Boys. But did you ever have
Speaker 1: that thing where you put hair gel into your hair
Speaker 1: to make you look older. Yeah, And my mum had
Speaker 1: told me for some reason that fifteen years had one
Speaker 1: hand in their pocket, one hand in my pockets. So
Speaker 1: I saw Gremlin's ten years Old and like, oh my god,
Speaker 1: the most exciting screening of all time, not only because
Speaker 1: the film was great, yeah, but also I felt like
Speaker 1: I was going to get thrown out at any minute,
Speaker 1: so it made it so ridiculously exciting. The one other
Speaker 1: one I want to mention very quickly. A couple of
Speaker 1: years ago, I was at the TCM Festival in Hollywood,
Speaker 1: where they show a lot of like old movies, And
Speaker 1: it was the fiftieth anniversary screening of In the Heat
Speaker 1: of the Night with Sydney Poitier and fiftieth anniversary screening,
Speaker 1: and Norman Jewison was there, the director and Lee Grant,
Speaker 1: and they were on stage for a Q and A,
Speaker 1: and Sidney Poitier was also present, but not on stage,
Speaker 1: and I think maybe because I maybe he has Tomenture
Speaker 1: or something, or he was able to attend but did
Speaker 1: not want to do a Q and A. Okay, so
Speaker 1: he was there, and of course at the start and
Speaker 1: they say, ladies, a gentleman, Sydney Potier is in the house.
Speaker 1: So Sydney Potier is not on stage for a Sydney
Speaker 1: Potier classic, which one best picture in its day. But
Speaker 1: so he gets up and gets a standing Oh. But
Speaker 1: then during the movie, I'm like on the next block
Speaker 1: to him, and it's aid the Chinese theater, and at
Speaker 1: one point I go, I want to go to the toilet.
Speaker 1: In the middle of it, the bass rooms say Sydnesday
Speaker 1: and for the American. So I got up and I
Speaker 1: stopped dead because then I was looking at Sydney Quoitier
Speaker 1: looking at himself on the screen, and so Sydney Poier
Speaker 1: was massive on the screen. And then it was one
Speaker 1: of those things where you know in this day and
Speaker 1: age where like everybody takes a photo of everything, and
Speaker 1: that's just one of the things where you're stony, thinking,
Speaker 1: I guess I'm just going to have to remember this
Speaker 1: mental picture forever of Sydney Quoitier sitting forward in his
Speaker 1: seat with a silver screen like like eliminating his face,
Speaker 1: looking at a massive close up of himself and fifty
Speaker 1: years ago, and I just I was like, I had
Speaker 1: just stopped in the aisle for about thirty seconds because
Speaker 1: I just thought, I just have to soak this in,
Speaker 1: this magical moment. So that was very memorable to me.
Speaker 1: That's pretty great. What Edgar right is the film you
Speaker 1: most relate to? This is a This is a tricky
Speaker 1: one because I think I think when you're younger, you
Speaker 1: have films that you want to you want to believe
Speaker 1: that you're that person, but you're not. I'm sure when
Speaker 1: I was like twelve, I thought maybe I was fairrespueler,
Speaker 1: but of course not faerrespueler. I've never done anything that wild.
Speaker 1: I was maybe, if not a mischief maker at school.
Speaker 1: Definitely a bit of an entrepreneur in terms of I
Speaker 1: used to make like movies, when as soon as I
Speaker 1: was like fourteen, I was started making movies and stuff.
Speaker 1: So it's definitely a bit of an entrepreneur. But I
Speaker 1: wasn't like a trouble maker like and then also as
Speaker 1: you get older, you realize that first Bula is like
Speaker 1: a sociopath, as well, So there's people like that. When
Speaker 1: there's people in that regard like Max Fisher and Rushmore
Speaker 1: or Faerresbueler, you sort of like think you want to
Speaker 1: be that person, and then you get older you're thinking
Speaker 1: a or not that person, and maybe you shouldn't be
Speaker 1: that person. So I think it's probably like people like
Speaker 1: and like Gregory and Gregory's girl or something is like
Speaker 1: a day dreamer, hopeless romantic, like can't see the wood
Speaker 1: for the trees. I guess that you gravitate towards those people.
Speaker 1: But but honestly, to be perfectly honest, please, I think
Speaker 1: that some of the movies I've done, specifically Sean of
Speaker 1: the Dead and The World's End, you're writing films where
Speaker 1: you're you are putting yourself on screen because you've never
Speaker 1: seen specifically that person, right, So I think, But Shaun
Speaker 1: of the Dead there are like lines that both Sean
Speaker 1: says and Liz played by Kate Ashfield is sort of
Speaker 1: vocalizing things that I've literally said, right, And then in
Speaker 1: the World's End, I think that like the different characters
Speaker 1: are all amalgams of like me and Simon, like Gary
Speaker 1: King is an amalgam of me, and Simon. Like Nick's
Speaker 1: character Andy Knightley is amalgam of me and Simon. It's
Speaker 1: that thing where you know, there's a certain I think
Speaker 1: with Shaun of the Dead there was an element of
Speaker 1: making that film not to talk about myself, there was
Speaker 1: an element of like making that film where we hadn't
Speaker 1: seen people like that that were quite like ourselves on
Speaker 1: screen in the British movie. Maybe like a Mike Lean
Speaker 1: movie gets closest where there's like I wouldn't say like
Speaker 1: any of the characters in Life is Sweet, But when
Speaker 1: you see something like that at the cinema, are you thinking, oh,
Speaker 1: this is a bit more close to you know, but
Speaker 1: my dad is a bit like Jim Broadbent in Life
Speaker 1: is Sweet in terms of my dad and Jim Broadbent
Speaker 1: share the same thing of like claiming that their diy
Speaker 1: experts and they're never finishing anything. But I feel like
Speaker 1: if if I was I feel if you'd asked me
Speaker 1: when I was like fifteen years old and said, oh, yeah,
Speaker 1: I'm not first Bueler, but of course I'm not. Yes,
Speaker 1: or specifically, Kate Ashfield has dialogue in the opening of
Speaker 1: Shaun of the Dead that is literally me speaking because
Speaker 1: Simon and Nick used to be obsessed by this part.
Speaker 1: It's now called the Boogaloo, but it used to be
Speaker 1: called the Shepherds and news Flash. I didn't think the
Speaker 1: Shepherds was all that they thought. It was like they
Speaker 1: talked about it. They talked about it like they talked
Speaker 1: about the Winchester ensuring the dead right. And the thing is,
Speaker 1: in that period around the time of Space to hang
Speaker 1: out with Simon and Nick, you had to go to them.
Speaker 1: They would never dream of coming to me. They would
Speaker 1: never come to Anthington, They would very rarely come into town.
Speaker 1: It would be this period of it felt like a
Speaker 1: couple of years maybe more. Where'st like to see Simon
Speaker 1: and Nick you would have to go to Highgate and
Speaker 1: go to the Shepherds and then they would you know,
Speaker 1: and that that's where you would hang out. So when
Speaker 1: Kate Ashfield is talking at the start of the movie
Speaker 1: saying like, do we always have to come to the Winchester,
Speaker 1: you know? Is me talking to them? So I think
Speaker 1: that's probably it is that like you you went and
Speaker 1: they're thinking a way other like you make other movies
Speaker 1: in a similar way that I'm not first Bieler, You
Speaker 1: make movies like like you can live vicariously through other characters. Yes,
Speaker 1: so like I'm not a getaway driver, but you know,
Speaker 1: making baby Drivers as close to being a getting away
Speaker 1: drivers I could get. I like, I can never time
Speaker 1: travel to the sixties in London, but I can make
Speaker 1: Last Night in Soho and that is as close as
Speaker 1: I'm going to get, you know, And so you end
Speaker 1: up like I feel a big part of that and
Speaker 1: making movies is me actually getting to sort of like
Speaker 1: a bit of wish fulfillment in terms of like what
Speaker 1: the characters are actually doing. I love it. Hot Fuzz
Speaker 1: is like me causing complete that is shot in my hometown. Yeah,
Speaker 1: so it is me. It's like literally like a love
Speaker 1: hate letter to my hometown in terms of it's both
Speaker 1: I love that place and also there's part of me
Speaker 1: that wants to just kind of cause absolute mayhem, which
Speaker 1: is exactly what we did while shooting the Movie's great, right,
Speaker 1: what's the sexiest film ever made? For the record, one
Speaker 1: of my answers will be American Wealth in London. Well,
Speaker 1: I felt again American World of London was too on
Speaker 1: brand for me because I feel, like I said, I
Speaker 1: can answer it for every movie American Ralph London was
Speaker 1: definitely a thing, and so I got like, a here's
Speaker 1: one thing that's funny. It's like and I'm gonna really
Speaker 1: embarance my brother. Now, my brother Oscar, he's two years older.
Speaker 1: But you know, sometimes when do you ever have I don't.
Speaker 1: Do you have siblings? Yeah, I've got a sister two
Speaker 1: years older. I have a thing like with a sibling
Speaker 1: or a friend where they have done something. You're thinking,
Speaker 1: I can't believe that I didn't think of that first, right.
Speaker 1: My brother's two years older. We didn't really get a
Speaker 1: VHS in the house until we were like fifteen. I
Speaker 1: think actually I ended up paying for the VHS from
Speaker 1: radio rentals. My brother had made a video tapes of
Speaker 1: all the sexy bits from films onto one compilation thing,
Speaker 1: and snooping around in his bedroom, like the little accounts
Speaker 1: I am. I found his super curt I found it
Speaker 1: super curls. This is before super cuts existed now, and
Speaker 1: I found it. I felt like it was this thing.
Speaker 1: It was almost like it was so we obviously have
Speaker 1: the same sort of taste, because it was like it
Speaker 1: was like it was like finding something. It's a bit
Speaker 1: like lost highway something thing and the way did I
Speaker 1: make this or dream it? He did it? How did
Speaker 1: I not do this first? And he had made this
Speaker 1: tape and it is I mean, I think he's even
Speaker 1: I think I remember it more fundly than he does.
Speaker 1: I'm not sure my brothers ever thought about this tape
Speaker 1: for like decades, but I do. He had made this
Speaker 1: tape and it was like bits of movies, and they're
Speaker 1: all the bits like when you're young and kind of
Speaker 1: like adolescent and horny all the time. They're like not
Speaker 1: usually like sex sex movies, but like the sexy bits
Speaker 1: in movies like American Wealth in London is the perfect example.
Speaker 1: You have Jenny Agata as the sexy nurse. You've also
Speaker 1: got the two like sort of like bits of like
Speaker 1: fictitious porn films. See You Next Wednesday with Lindsay Drew,
Speaker 1: and I think there's somebody else as well, But like
Speaker 1: you just think about when you watch that now, it's
Speaker 1: thinking like John Landis was obviously having the way of
Speaker 1: a time in these fake pornos. Anyway, So it had
Speaker 1: America Wolf London. It also had clips of Bernadette Peters
Speaker 1: from The Jerk. Also, I was very impressed by this
Speaker 1: because I had maybe thought this one. I was watching it,
Speaker 1: but never thought to actually just clip these bits out.
Speaker 1: There's a Hammer movie called The Curse of the Werewolf
Speaker 1: where the only fifteen minutes which was this actress called
Speaker 1: I think her name is Yvonne Remain and like she's
Speaker 1: very like all Hammer, like all Hammer actresses, very voluptuous
Speaker 1: and like like all Hammer movies, there's a lot of
Speaker 1: cleavage in those clips. So this is a werewolf movie
Speaker 1: with Oliver Reed, and my brother had clipped out, you know,
Speaker 1: the kind of the key five minutes from that movie.
Speaker 1: On top of that clips of No Sex Please, We're
Speaker 1: British with Ronnie Corbett where there's like a scene with
Speaker 1: Valerie Leon and Margaret Nolan playing like escorts. Margaret Nolan
Speaker 1: who is in Last Night in Soho and sadly her
Speaker 1: final screen role, she's only does a tiny cameo in it.
Speaker 1: I didn't mention to her about the tape what else
Speaker 1: was on there. It was mostly those anyway, So I
Speaker 1: was so it was I think as I found this
Speaker 1: VHS and I was like, I can't believe that he
Speaker 1: has done this. It was like I'd done it and
Speaker 1: found had Anneza and found it. That's so funny, But
Speaker 1: that's not my answer, right. My answer is like a
Speaker 1: five minute bit and it's not even the star of
Speaker 1: the movie. But in the Bob Fossey musical Sweet Charity
Speaker 1: with Hirnie McClean, there was an amazing dance number called
Speaker 1: the rich Man's Frog, and the lead dancer in it
Speaker 1: I remember watching this particular. If you've ever seen that movie,
Speaker 1: you'll know exactly which seen I'm talking about as an
Speaker 1: incredible dance number in this Nightclub. I think it's called
Speaker 1: Vesuvius the Nightclub and it's the rich Man's Frog, and
Speaker 1: it's just like five solid minutes of dance. It's amazing.
Speaker 1: And the lead dancer, who I looked on IMDb and
Speaker 1: there was Susanne Charnie. I just remember watching it thinking,
Speaker 1: I think that the sexiest woman they've ever seen on screen.
Speaker 1: And so it's just this think of just like you know,
Speaker 1: like when somebody's just like the confidence of like you know,
Speaker 1: like an amazing like Broadway dancer, like he's like, oh
Speaker 1: my good God. So I kind of get weirdly fixated
Speaker 1: with like bits in other films, And that would be
Speaker 1: my answer. That will go in your super cap Yes,
Speaker 1: what did your brother say when you found Did you
Speaker 1: have a chat with your brother about finding the super
Speaker 1: I think I told him years later at the time, No,
Speaker 1: I just stole it from his room sometimes and then
Speaker 1: replaced it exactly where I left it. Then wait, wait, wait, wait,
Speaker 1: you know what thinking about it, and we didn't discuss
Speaker 1: until way later. I think he must have realized that
Speaker 1: I'd found it, because mysteriously it vanished forever, and I
Speaker 1: think he realized that I had found it, and then
Speaker 1: he put it in a new hiding place of which
Speaker 1: I could never find it. So at some point, after
Speaker 1: maybe me stealing it six or seven times, it then
Speaker 1: mysteriously vanished forever. But Oscar I apologized with ten in
Speaker 1: that story. But I'm just impressed that you did it. Listen,
Speaker 1: Oscar sounds like a real he was he was, he
Speaker 1: was the inventor of the super Cup. Yeah, he's way
Speaker 1: ahead of his time. Now. There is um a subcategory
Speaker 1: to this question, traveling bone is worrying. Why don't what
Speaker 1: film did you find a rousing but you thought perhaps
Speaker 1: you shouldn't. This is a tricky one, and we have
Speaker 1: most of the answers to this had probably been done
Speaker 1: because like I'm sure like every animated thing ever, like
Speaker 1: people have talked about and stuff. Yeah, can I mention
Speaker 1: the real if we were getting real slide back? Can
Speaker 1: I mentioned it a bit from a TV show? No,
Speaker 1: we're a wrong Heaven you've crossed the streams, Okay, I shouldn't.
Speaker 1: You could mention it. There was an episode of Mark
Speaker 1: and Mindy Well, like, um, it's an episode with Raquel
Speaker 1: Welsh and Mark is like I'm tortured in inverted commas
Speaker 1: by his strapped to this kind of slab and disembodied
Speaker 1: female hands. Come. This isn't even like, to be honest,
Speaker 1: this isn't even a strange one. It's just like a
Speaker 1: weird something that I've always remembered. And I think if
Speaker 1: I developed later in life any kink about having disembodied
Speaker 1: alien hands fondling me, it would be because of more
Speaker 1: I mean, to be fair, that's a good answer. But
Speaker 1: have you got a film work. I feel all of
Speaker 1: the things that I could think of, the filmmaker is
Speaker 1: obviously intending them to be sexy. Yeah, yeah, there's like
Speaker 1: sort of I didn't think there's anything I'm not sure
Speaker 1: that anybody puts anything in a film that they're not
Speaker 1: intending to be sexy in somewhere. I don't know. All
Speaker 1: of the things I think of are all things that
Speaker 1: people that go, well, yeah, of course, like dead dead
Speaker 1: Barbara Steel in Black Sunday. Is they're sexier than living
Speaker 1: Barbara Steele. I mean that's obvious. I guess it's like
Speaker 1: sex like people who are sexier with their zombie makeup
Speaker 1: on than off. Yeah, me, the troubling one because then
Speaker 1: you're getting into neck afhiliar territory. Yeah, that's a very
Speaker 1: good shout. Okay, I believe you've answered it right. What's
Speaker 1: the greatest film ever made? Objectively? Objectively made? Correct? I mean,
Speaker 1: I mean I could. I mean I've actually said this
Speaker 1: on Twitter before and I said subject, you know, because
Speaker 1: there's a big thing. It's like if you ever you
Speaker 1: and I've come under five for this a lot. I've
Speaker 1: put lists on the Internet of my favorite films, and
Speaker 1: people don't seem to understand the use of the word
Speaker 1: favorite whenever whenever you put a list up of favorite films,
Speaker 1: you'll immediately get And I put up a list of
Speaker 1: a thousand favorite films yea, and still got people saying no, Predator.
Speaker 1: I say, I'm sorry, it's not one of my favorite films,
Speaker 1: you know, Like so people never understand that favorite is subjective. Yes,
Speaker 1: so with all that said, objectively, the best film of
Speaker 1: all time is a miracle. I'm so glad that your answer.
Speaker 1: If I had to go for so that's the light
Speaker 1: talk about that everyone always says, God London is well listen.
Speaker 1: I mean. Also, it's the film that like grade at ten,
Speaker 1: grade at forty six, like scary, funny, male and female,
Speaker 1: need to tea sort of like moving, heartwarming, like great soundtrack,
Speaker 1: great used the location deva staying at the end small
Speaker 1: path of Rick Male He and the Godfather. No he isn't.
Speaker 1: I mean I fear if I was going for like
Speaker 1: if if if I was you know alone. I mean,
Speaker 1: that's the thing is that the BF. I do those lists,
Speaker 1: which I've been lucky to contribute to twice of like
Speaker 1: the top ten, and I do feel that when people
Speaker 1: get asked that question of like the best films of
Speaker 1: all times, they always go for that kind of like
Speaker 1: I said, the coffee Table, and there was there was
Speaker 1: a couple of movies that I watched over lockdown that
Speaker 1: we're in the BF I took my handred Now, I
Speaker 1: was like me, there was one. He's long, long dead,
Speaker 1: so I'm not sure I can catch too much fire.
Speaker 1: But gen Renoir's unfinished Day at the Country, Day in
Speaker 1: the Country rather forty minutes long, an unfinished movie, which
Speaker 1: is utterly charming and beautiful, but it's still like an
Speaker 1: unfinished movie. And you think, wait, that's better than The
Speaker 1: America Wealth in London or Rosary's Baby. It's maybe better
Speaker 1: than Predators, so sorry Predator fans. It's definitely better than
Speaker 1: the Goonies as a forty six year old. Is it
Speaker 1: better than the Goonies when you're twelve years old? No,
Speaker 1: my class. The answer to that, yeah is two thousand
Speaker 1: and one A Space Odyssey, which I do has now
Speaker 1: become the film that I have probably seen that the
Speaker 1: cinema is the most. That film comes under a lot
Speaker 1: of trouble on this podcast. I think it's great. I
Speaker 1: think it's a work of art. I think it's like
Speaker 1: it's like sort of where I mean, And the further
Speaker 1: you get away from it, the more astounding it is.
Speaker 1: Because it would never be made now, and if it was,
Speaker 1: it would never be made by a studio and a
Speaker 1: big budget. It's just absolutely confounding that that was like
Speaker 1: in the top ten of its year, because the further
Speaker 1: you get away from it, the more and more arty
Speaker 1: it feels. And it's almost like when whenever that movie
Speaker 1: is on, I go and see it on the big
Speaker 1: screen because it feels like going to like the opera
Speaker 1: or to see classical music being played, and it's like
Speaker 1: that really is that thing of like, Okay, this this
Speaker 1: is art and we just have to sit here and
Speaker 1: be an awe of the spectacle. What's the film you
Speaker 1: can or have watched the most over and over again?
Speaker 1: There's a number of them. I'm gonna say, because I
Speaker 1: watch it quite regularly. I'm gonna say, Brian the Parma's
Speaker 1: Carry Oh Where. But I've watched many, many, many times,
Speaker 1: and I think part of not any do I love it.
Speaker 1: But it's also a movie where there's a point in
Speaker 1: that movie where just before everything goes terribly wrong, when
Speaker 1: the bucket of blood falls on Carrie falls first on
Speaker 1: Tommy's head and then splatters carry of blood. I always
Speaker 1: feel the same thing when I watched that movie is
Speaker 1: I think, in maybe this time it will turn out
Speaker 1: all right? Yeah, which I always feel if you've seen
Speaker 1: the maybe many times, it's quite a profound feeling to
Speaker 1: watch it because it's not to choose your own adventure book. Yeah,
Speaker 1: you can't sort of say, flick to the ending where
Speaker 1: everything's okay. But that's the thing is I watched that
Speaker 1: movie and I always have that little hope that there
Speaker 1: might be a happy ending this time. That's interesting, Yeah,
Speaker 1: because you know what. I watched the Brand to Fun
Speaker 1: film the other day, the documentary. Oh no, I love that,
Speaker 1: But I watched Sisters, which I've never I love Sisters
Speaker 1: and I love Brand Department. And then sometimes, depending on
Speaker 1: my mood, sometimes I watches some of those films and
Speaker 1: I go, it's a shame like sometimes they feel some
Speaker 1: of them are like sort of fun exercises and sort
Speaker 1: of tricks and like rides, but that they lack a
Speaker 1: kind of emotional core and carry it is incredibly emotional. No,
Speaker 1: it's it's also are very rare and not a controversial
Speaker 1: statement for me, But people always say, what's the best
Speaker 1: Stephen King film? Everybody says a shining but it's not.
Speaker 1: It's Carrie Harry is the best Stephen King film? Because
Speaker 1: you really, I feel like the great thing about Carrie
Speaker 1: is that you it's an unusual horror film in the
Speaker 1: a you don't want anything bad to happen to the lead,
Speaker 1: but also be you really want to see her take revenge,
Speaker 1: So you're egging on. You're egging on the revenge that
Speaker 1: will also end her life, because it's like, I don't
Speaker 1: want anything bad to happen to her, but I also
Speaker 1: like her. I want everybody to die except for Betty Buckley,
Speaker 1: the pe teacher who is gets killed in friendly Fire.
Speaker 1: She thinks that everybody she's got her mum's words in
Speaker 1: her head, they're all going to laugh at you. That's
Speaker 1: one of the great That's the thing in that movie
Speaker 1: that really like makes it is that she's so angry
Speaker 1: she kills everybody, even the people that don't deserve it.
Speaker 1: That's interesting. So bear in mind everything we've said, what's
Speaker 1: the worst film you've ever seen? Well, again, I have
Speaker 1: the answer, but I also have a complicated it's gonna
Speaker 1: make us feel bad. It made me feel bad. So
Speaker 1: in the Wake of the Room, Tommy WIZO's film, Yeah,
Speaker 1: I'm not going to mention that film because I think
Speaker 1: there was a weird thing that happened there. Is. It
Speaker 1: felt like everybody was looking for the new room. And
Speaker 1: the thing with the Room that I find a bit
Speaker 1: difficult to get my head round is that it's obviously
Speaker 1: very entertainingly bad. But then when Tommy Wizo himself leans
Speaker 1: into the joke and says, oh, I meant it to
Speaker 1: be funny. You know that a he's lying yea, and
Speaker 1: be that he's trying to make the best of a disaster. Yeah. Yeah,
Speaker 1: but it makes me feel uncomfortable because I think like
Speaker 1: it makes me feel uncomfortable and I can't even though
Speaker 1: I actually went to one of those screenings at the
Speaker 1: Sunset five when that cult was really taking off. Yeah,
Speaker 1: I remember going to see that with like Paul Rudd
Speaker 1: and Jonah Hill and Michael Sarah and Kristen Bell, Like
Speaker 1: he went to see the Room and it was fun,
Speaker 1: but then it made me feel a bit uneasy. And
Speaker 1: then after my conversation about Ricky O and Toronto, that
Speaker 1: made me, like forever feel bad for laughing at films. Yeah.
Speaker 1: Then there was this place in the Los Angeles called
Speaker 1: the Cini Family, which doesn't exist anymore, and I feel
Speaker 1: there was like after the Room, everybody was looking to
Speaker 1: claim DIBs on the New Room and being the cinema
Speaker 1: that would show the New Room. Like contenders include that
Speaker 1: film Burdenic. And then there's this other director called Neil
Speaker 1: Breen I think his name is. Yes, I've seen trailers
Speaker 1: of Neil Breens well, like against my better judgment, given
Speaker 1: my feelings after the Rickio incident. Yeah, I went to
Speaker 1: see one of his film's Faithful Findings, Yes at the
Speaker 1: Cini family and because they had been so talked up
Speaker 1: by the people introducing it. And there's that something that
Speaker 1: kind of slightly thing that makes me fun easy, that
Speaker 1: slightly browy thing with film programmers going, oh my god,
Speaker 1: you guys, wait do you see this? Oh my god,
Speaker 1: this is the most insane. I mean, if you thought
Speaker 1: you'd if you thought the rumors in zane do you
Speaker 1: see anyway, So it was that kind of intro leading
Speaker 1: up to this movie. And then there's an annoying saying
Speaker 1: I think it's a particularly hipster thing where people are
Speaker 1: are laughing because they think they ought to, or there
Speaker 1: are people who are sort of having a competition in
Speaker 1: the crowd of who can laugh the hardest at anything. Yeah.
Speaker 1: Now the film is terrible objectively, it's a terrible movie,
Speaker 1: so there was that was the one thing that made
Speaker 1: me feel like comfortable was that the way that it
Speaker 1: was introduced as like sort of like inviting scorn. I mean,
Speaker 1: I knew I should have gone there. I shouldn't gone
Speaker 1: there in the first place, when they're saying it could
Speaker 1: be the new room findings, and I remember I went
Speaker 1: with my girlfriend at the time. And and then the
Speaker 1: other thing that complicated it. We were sitting on the
Speaker 1: back row. I thought. I decided to sit on the
Speaker 1: back row because I felt like if I didn't like it,
Speaker 1: I wanted to get the fuck out of there. But
Speaker 1: I couldn't immediately get out of there because Neil Breen
Speaker 1: himself I had turned up and was sitting on the
Speaker 1: end of our row. And then during the movie, yeah,
Speaker 1: I was looking between the movie and everybody like laughing. Also,
Speaker 1: that thing is like when something's like something's genuinely funny
Speaker 1: or just in it, and it just felt like people
Speaker 1: were like, yes, it's bad, but people were like trying
Speaker 1: way too hard to sort of like be the crowd
Speaker 1: that found the new room, you know. Anyway, I could
Speaker 1: not stop looking at Neil Breen's face and Neil Breen
Speaker 1: was sitting on the end of my row, and I
Speaker 1: could see the conflict in his face, because on one hand,
Speaker 1: the film is getting an uproarious reaction, and also it's
Speaker 1: a sellout, it's absolutely packed. On the flip side, they're
Speaker 1: all laughing at it, and like I think, then he
Speaker 1: did a Q and A afterwards, and I just couldn't
Speaker 1: stomach it, and I said, I said let's go, and
Speaker 1: I got out. I just couldn't. So it was terribly bad.
Speaker 1: What was like being asked a Q? I honestly, I
Speaker 1: just couldn't. I couldn't. I feel. I watched a little.
Speaker 1: I know he was there for the intro. He'd made
Speaker 1: a surprise appearance. He wasn't Bill to be there, right,
Speaker 1: he'd just shown up. But in his intro to the movie,
Speaker 1: you could tell that he was not necessary at peace
Speaker 1: with the idea of this being fantastic. So I was
Speaker 1: already feeling uneaty, and then watching his face, his contorted
Speaker 1: face during the movie. Yeah, I did not stay for
Speaker 1: the Q and A. I had to get out of here.
Speaker 1: Oh man, that breaks my heart. I feel. Yeah, that
Speaker 1: whole room thing and all of that is we're all
Speaker 1: one degree away. No, no, and you make a room.
Speaker 1: You can all make a room. And I'll say, you
Speaker 1: don't know. You think you know when you make a something,
Speaker 1: or you your instincts of this, you think you've got
Speaker 1: good instincts and good taste. You said, no, oh, God
Speaker 1: breaks my heart. The reality is it's the same amount
Speaker 1: of work like a good film in a bad film. No.
Speaker 1: I mean I think like the worst films, And I
Speaker 1: don't want to like to mention any because like I
Speaker 1: probably had to be worked on them. But like I
Speaker 1: think the worst films, like I said, of boring ones
Speaker 1: or completely cynical ones, like sometimes they are like Part
Speaker 1: five or something or like something like you know, like
Speaker 1: some franchises where every like two years they say, you know,
Speaker 1: like um, they've hired somebody new to do something to
Speaker 1: like I know, the Transformers franchise, And I'm like, guys, please,
Speaker 1: I mean again, I say that, like I shouldn't be
Speaker 1: going to see a Transformers movie in my forties. Like
Speaker 1: if I was ten years old, maybe I would Transformers
Speaker 1: movies amazing and they would be like the gooneys Worth
Speaker 1: for me at the time. But there's that thing where
Speaker 1: I feel, that's that thing is that I have a
Speaker 1: sort of complicated relationships, those things where there's like sometimes
Speaker 1: there's movies that I think it was a movie I
Speaker 1: saw at the cinema and I felt like I should
Speaker 1: have had a son like that be sitting I think
Speaker 1: there's something like the Lego Batman movie, which is a
Speaker 1: good movie. Movie. It's a good movie, but I still
Speaker 1: felt at the end of it, I was in my
Speaker 1: like fourties, and I sat there and thinking like, where
Speaker 1: are you, Like I'm watching this, I should have kids
Speaker 1: or something. I just felt like it's that thing. Sometimes
Speaker 1: it's like going to see like kids films as an
Speaker 1: adult without any real reason to be that, or watching
Speaker 1: them as an owl is like a weird thing. Sometimes
Speaker 1: something shifted. Yeah, I believe you feel like this would
Speaker 1: be a great movie. Like if I was sat there
Speaker 1: on my own at age forty six watching the Guineas
Speaker 1: at the cinema and you feel like I'd need like
Speaker 1: an ankle bracelet or something. It's just like, no, I mean, yes,
Speaker 1: if you were taking your ten year old nephew and saying,
Speaker 1: oh my god, you're gonna love this film. But if
Speaker 1: you're watching one name, please no, Matt Ford, stop don't
Speaker 1: do it. This is Matt Food. I'm so sorry that
Speaker 1: this is what what happened. You are funny, you have
Speaker 1: lots of comedies. A little side note, I think as
Speaker 1: we talked about this off podcast, but I think it's interesting,
Speaker 1: so I'd like to say it again and have you
Speaker 1: say it again if you don't mind. But in a
Speaker 1: really natural way is that we're talking about Space, which
Speaker 1: I love with all my heart. I've seen Space a
Speaker 1: billion times. When I had a weird job in Spain.
Speaker 1: We used to work notes and we had the DVD
Speaker 1: of Space, and when we come home at six in
Speaker 1: the morning we get stolen watch Space over and over
Speaker 1: and over and over and over. What was the weird job?
Speaker 1: I ran a strip club for my dash. Wow, I
Speaker 1: like this, this is the next sitcom? Yeah that yeah.
Speaker 1: But every night me and Beans the DJ, we'd come
Speaker 1: home like six in the morning and watch it. Space
Speaker 1: was the only DVD we had and we watched I
Speaker 1: mean a million times, we've seen it. Anyway, what we
Speaker 1: were talking about, and what I hadn't really thought about
Speaker 1: is Space is incredibly unusual as a sitcom, particularly British sitcom,
Speaker 1: in that it was a out sweet people who were nice,
Speaker 1: and it had a real sort of it was crazy
Speaker 1: and it was wild and it was inventive, and it
Speaker 1: was filmed in a way that hadn't been done before.
Speaker 1: But aside from all of that stuff, it was remarkably uncynical.
Speaker 1: I was suddenly like, what other British sitcom did that?
Speaker 1: That seems so that's kind of revolutionary and hasn't really
Speaker 1: been done since. No. I mean, we were talking earlier
Speaker 1: about I said that Lesso was like really genuine to serious,
Speaker 1: something that like really for a show that's set in
Speaker 1: Britain at least, just like like Anglo American show, but
Speaker 1: like it's unusual, I mean, anyway makes praise. I'm not
Speaker 1: sure how much of that was a concerted effort, but
Speaker 1: it definitely stands out because most of the big shows
Speaker 1: at the time, like classic shows, The Office, Alan Partridge,
Speaker 1: you know, Black Books, like sort of other like you
Speaker 1: know and go methic things that influence us. Even like
Speaker 1: The Young Ones, most of the characters are like grotesques
Speaker 1: and like kind of like assholes. Yeah, so I think
Speaker 1: it was maybe because Simon and Jess were essentially playing
Speaker 1: extentsis themselves that then they were so warm towards all
Speaker 1: of their creations. Let you get the occasional bad guy
Speaker 1: character like Dwayne Benzi, but most of the time, like
Speaker 1: everybody in it is nice, and even people who like Um,
Speaker 1: even people like reach As Smith's character like um, you
Speaker 1: know that he gets kind of folded in becomes one
Speaker 1: of the nice guys by the end. So I think
Speaker 1: that's just like Simon and Jess are inherently like very
Speaker 1: warm writers. And yeah, I don't remember that every being
Speaker 1: a discussion, but it is something that really marks it out,
Speaker 1: and you know, you just really want to spend time
Speaker 1: with those characters. Yeah, it's so unusual. Yeah, and again,
Speaker 1: hasn't shows that I believe is still a massive cult
Speaker 1: success hasn't really been emulated, like no has it? You know,
Speaker 1: with the way The Office sparked a lot of shows
Speaker 1: like The Office, I don't think there are a lot
Speaker 1: of shade like space. Are there? Am stupid? I guess.
Speaker 1: I guess sometimes you see things where there's elements of
Speaker 1: the style creep into other things, But you know, it's
Speaker 1: difficult to kind of claim any ownership of that when
Speaker 1: you see things like I don't know, like thirty Rock
Speaker 1: or Arrest of Development or even some of that fresh
Speaker 1: Meat that kind of have elements of space. But then
Speaker 1: we ourselves were like I mean I receee like bits
Speaker 1: of space that we were riffing on doing like a
Speaker 1: live action version of The Simpsons or like I used
Speaker 1: to really like Reggie Perrine, which had like all cutaways
Speaker 1: and like, and then you go back into cinema and
Speaker 1: it's like, oh, that stuff itself is like goes back
Speaker 1: to like Philly Liar or like. So it's not like
Speaker 1: and either things that people sort of do a rip
Speaker 1: off of space, you know, like we ourselves were influenced
Speaker 1: by other things, so you can't really kind of say, hey,
Speaker 1: you know, you ripped us off because like never quite
Speaker 1: the same thing and that, you know. And I mentioned
Speaker 1: two of those shows, thirty Rock and Arrested Development, and
Speaker 1: my absolute things I love those shows are blood. I
Speaker 1: mean they're very good. Oh my god. Thirty Rock is
Speaker 1: just like the sort of getting close to like Marks
Speaker 1: Brothers Speed, you know, yeah, yeah, like how many jokes
Speaker 1: can you cram into like twenty two minutes? It's quite incredible.
Speaker 1: I get I watched at thirty Rock too quick thick,
Speaker 1: and I felt disrespectful because I thought, there's so much
Speaker 1: amazing stuff in this and I'm just watching them one
Speaker 1: after the other, and it should be stopping after every
Speaker 1: twenty minutes and you know, paying paying respects, singling out jokes. Anyway,
Speaker 1: what is the reason I bring all of this up
Speaker 1: is what's the film that made you laughter most? Well?
Speaker 1: I could. There's several films that I've seen many many times,
Speaker 1: and I think most of them are going to be
Speaker 1: one of the people who mentioned before, like Spinal Tap
Speaker 1: or Airplanes. So I'm going to go for a slightly
Speaker 1: deeper cut in the same direction. I'm gonna say nine
Speaker 1: eighty four's Top Secret, which is a film where that
Speaker 1: film sort of was a flop at the time, partly because,
Speaker 1: like ands they analyze themselves zach At Abraham Zacha. The
Speaker 1: reason that they thought it didn't like completely land, it's
Speaker 1: because it's all jokes and no story. However, the jokes
Speaker 1: are so I just said, sort of, I guess the
Speaker 1: film I'm sort of obsessed with because I was so
Speaker 1: in awe of the execution of some of the jokes
Speaker 1: and the level of like production, and it's like, so
Speaker 1: there's so many like big jokes, little jokes, very silly jokes.
Speaker 1: So I feel like, maybe because that film is like
Speaker 1: less loved than Airplane and Naked Gun, I feel more
Speaker 1: ownership over a Top Secret. And I've watched it many, many,
Speaker 1: many times. And I actually I did a Q and A.
Speaker 1: I used to program at the New Beverly in Los Angeles,
Speaker 1: the cinema that Tarantino now owns, and I did a
Speaker 1: double bill of I think it was a Top Secret
Speaker 1: in Bananas and Top Secret. We were trying to get
Speaker 1: like Jim Abrahams and David Zucker to come down and
Speaker 1: do the Q and A, and Jim Abrahams said yes
Speaker 1: because he said him and his son really loves the dead.
Speaker 1: And David Zucker said, no, I'm not going to come
Speaker 1: for the top secret. If you show Airplane or Naked Gun,
Speaker 1: I'll come the Top Secret as a flop and I've
Speaker 1: never seen it since. Oh wow. So I was like wow,
Speaker 1: and I sort of like go and touch them. And
Speaker 1: I said, well, listen, I said, if you come, you're
Speaker 1: going to have the most partisan crowd for Top Secret ever,
Speaker 1: and I swear everybody there will know every line and
Speaker 1: you might surprise yourself. So he changed his tune and
Speaker 1: he came. Now, Jim Abrahams, I met him before the
Speaker 1: movie started. That was great. And then David Zucker said,
Speaker 1: I can't be there at the start. I'll be there
Speaker 1: for the Q and A. But then David Zucker sort
Speaker 1: of turned up, and then I was sitting in the
Speaker 1: room in front of him, and I could hear Jim
Speaker 1: Abrahams and David Zucker howling all the way through it.
Speaker 1: And then the nice time the first time I met
Speaker 1: David Zucker because I went up to him as the
Speaker 1: crowds were rolling and he looked at me and he goes,
Speaker 1: he goes, that's a funny movie. I said, I know,
Speaker 1: I told you it was, but that movie is like
Speaker 1: that movie. It's like sort of petchy, and you could
Speaker 1: see why it wasn't a hit at the time. But
Speaker 1: oh my god, the Highs are so funny. I love
Speaker 1: it so much. My favorite joke in it is a
Speaker 1: really dumb joke when Val Kilmer's been sent to prison
Speaker 1: and it cuts to like a scene where he stay, um,
Speaker 1: you know, writing up on the all the sort of
Speaker 1: chork marks on the wall like that, what do you
Speaker 1: call the five? I'm already murdering this joke, but twenty
Speaker 1: five like choke marks up on the wall or like
Speaker 1: there's you know, and he says like, oh, thank you,
Speaker 1: and then his lawyer comes in. I've already completely murdered
Speaker 1: this joke. Let me trying to explain. It's a vision joke.
Speaker 1: Let listen, I just imagine that I didn't try and
Speaker 1: explain it. Basically, the punchline is the lawyer comes in
Speaker 1: and he says, thank god you're here. I've been here
Speaker 1: twenty minutes already. Now listen, it is so much funnier
Speaker 1: in the movie. And I don't want you to think
Speaker 1: the movie is not always watching because I completely as
Speaker 1: much as I screwed up the like my shark joke earlier. Anyway,
Speaker 1: top secret is my answer, right, do do do do? Do Do?
Speaker 1: Do do do do? Welcome Ah to the Patriot sex Ah,
Speaker 1: look out look where you are. You're in the fantasy
Speaker 1: bit stressing at this point when we get into the
Speaker 1: you know the Patreon yes you know, is that it's
Speaker 1: also gone completely dark and spark. This is quite magical
Speaker 1: this part for you Know subscribers. This is the the
Speaker 1: the magical dusk magic hour. Whenever I hear the word
Speaker 1: Patren It always makes me think of like tequila or something. Yeah,
Speaker 1: some of them, some of them do. Patrone, patron. That's
Speaker 1: why my mind always goes to Patrone. Well, so that's
Speaker 1: the first thing you're acknowledging to the patrons as you
Speaker 1: have a drink problem. It's something you'd like to say
Speaker 1: to the PA. To be honest, when anybody says anything
Speaker 1: I think of portraying you're right now. You tell me
Speaker 1: you had you'd really thought about this one. What's the
Speaker 1: film that changed your perspective on something? Well, I guess
Speaker 1: during lockdown, I've actually been watching with everything that's happening
Speaker 1: in the world right now, especially with the rise of
Speaker 1: fashism again. Yeah, I guess there's a sort of part
Speaker 1: of me where you start. I started watching films that
Speaker 1: were like kind of World War two films or documentaries,
Speaker 1: like sort of out of genuine interest, but also in
Speaker 1: that way that when people say this is happening again,
Speaker 1: you know, don't like sort of like, let's learn from
Speaker 1: the lessons of the past, which people seeming did. I
Speaker 1: guess I started watching a lot of World War two films,
Speaker 1: like in terms of trying to understand you know, when
Speaker 1: you when you think about World War Two, you think
Speaker 1: the Holocaust from you know kind of like eighty years on,
Speaker 1: eighty years on, seventeen eighty years on. You know, you
Speaker 1: have to try and understand how did we get here?
Speaker 1: So I did watch a lot of World War two
Speaker 1: movies over like The Lockdown as particularly, like some really
Speaker 1: great ones that I'd already seen when I was young,
Speaker 1: and I watched them again, like the Roberto Russelini War trilogy, Rome,
Speaker 1: Open City, Paysan, and Germany Year Zero, the last one
Speaker 1: in which I'd never seen, but those are all like
Speaker 1: watching them as an adult were like really striking in
Speaker 1: terms of just seeing I guess that's that just that
Speaker 1: seeing like these these cities like still like what is
Speaker 1: like Rome like in nineteen forty five? What is Berlin
Speaker 1: like inety five? Like real like sort of just um
Speaker 1: incredible time capsules of like not just the time, but
Speaker 1: also how does how does the city come back from that?
Speaker 1: It's sort of incredible to watch. And I also watched
Speaker 1: again like one of those movies that like is uh,
Speaker 1: I watch Shower, which is obviously like documentary, an hour
Speaker 1: documentary about the Holocaust, And that was a sort of
Speaker 1: shattering thing because I think like when you actually watch
Speaker 1: those things as to see people talking about it in
Speaker 1: such a matter of fact way, it's all talking, yeah,
Speaker 1: and there's no archive in it at all. It's all
Speaker 1: people talking talking survivors, not just survivors, but also Nazi guards,
Speaker 1: like so of the interview Nazis in it as well.
Speaker 1: And also they interview people who were bystanders, people who
Speaker 1: were in the towns, who weren't in the camps, who
Speaker 1: were like wow, you know, in the kind of the
Speaker 1: Polish village of the village and stuff. So that was like,
Speaker 1: I mean a real eye know in terms of where
Speaker 1: you want to try and understand something from the perspective
Speaker 1: of the people who were there. That's the non fun answer.
Speaker 1: But it's like I actually actually talked to David Badel
Speaker 1: afterwards because I watched David Bedel's documentary about Holocaust denial right,
Speaker 1: which was incredible, and I told him my watch show,
Speaker 1: and David Bill says, I've never actually watched the whole
Speaker 1: ten hours. You actually did it, So he admitted that
Speaker 1: he you know, he said that, like I didn't think that.
Speaker 1: I think people say they've done that, you know, but yeah,
Speaker 1: I get the gist so there was an I did
Speaker 1: it quite a lot of that ever, a lockdown, and
Speaker 1: there was some other like great. There's two great French
Speaker 1: movies by Jean Pierre Melville, who is in the French
Speaker 1: resistance himself. And there's his first film called A Silence
Speaker 1: de Lamaire, which is about a a Nazi officer who
Speaker 1: stays with the French family during the occupation and they
Speaker 1: basically do not talk to him for the entirety of
Speaker 1: his state, so he's talking to himself for the entire movie.
Speaker 1: And it's it's actually really like great, like World War
Speaker 1: two film that has no battle scenes in it at all,
Speaker 1: it's just about they're like um rebellion of complete silence.
Speaker 1: And then the other one, which you if you've ever
Speaker 1: seen his Army of Shadows, which is the great French
Speaker 1: resistance film. It's amazing and so like brutal. Anyway, that's
Speaker 1: the non fair answer, Okay, I mean, I guess not
Speaker 1: the more fantaser. But who do you say like about
Speaker 1: a film that change your perspective on it in terms
Speaker 1: of you couldn't think the same way about the subject. Yeah,
Speaker 1: I'd say like Boogie Nights by Paul Thomas Anson, which
Speaker 1: is a one of my favorite films, would beg you
Speaker 1: could never think about Pawn in the same way again
Speaker 1: after seeing that movie, because that so brilliantly showed you
Speaker 1: the unglamorous and disturbing behind the scenes that like, you
Speaker 1: could never think of it in the same regard. I mean, obviously,
Speaker 1: since then, there's been like a ton of like documentaries
Speaker 1: that have like a you know, exposed the sort of
Speaker 1: the you know, everything from Louis Throux to like that
Speaker 1: documentary Hot Girls Wanted All that horribly disturbing documentary and
Speaker 1: Channel four called I think it's called Felicious Journey. I
Speaker 1: was like, oh my god. Anyway, but before that, I
Speaker 1: remember saying Boogie Nights and it was that thing where
Speaker 1: some thing that you maybe like you want to believe
Speaker 1: that people are having fun and you realize that ninety
Speaker 1: percent of the time they are not. And like, I
Speaker 1: just thought that film was just I just did it.
Speaker 1: That's one of those things where like nobody else could
Speaker 1: have made that. You would have Paul Summer sense and
Speaker 1: lived in that area. He'd grown up around it. It
Speaker 1: was like an obsession for him since he was like
Speaker 1: eleven and he'd just been in those places. So I
Speaker 1: feel like, I mean, I love Paul's work so much,
Speaker 1: but it's still my favorite film appears just because it
Speaker 1: feels so lived in and it feels that this amazing
Speaker 1: thing of having something to say on a subject that
Speaker 1: everybody's curious about, and like you can never think of
Speaker 1: like it, like Pup seen the same way after having
Speaker 1: seen that film, I love being you know, it's a film,
Speaker 1: but I always think it's a film that family. Yes,
Speaker 1: like all these films are that family, I think, and
Speaker 1: that one is entirely but it's a family, but in
Speaker 1: a sad way, and there's a thing of like they've
Speaker 1: only got each other, Yes, only they would understand what, Yeah,
Speaker 1: they're going through. I realized, oh, I know where we
Speaker 1: are in the dark Greece, slightly going around the circles,
Speaker 1: but we're going this way, I promise the detail that's
Speaker 1: where we're heard live in Regent's Block because we really are.
Speaker 1: What is the greatest opening sequence? Okay um, and I'll
Speaker 1: tell you what Baby Driver would be on a list somewhere.
Speaker 1: That's very nice, thank you. And I definitely thought of
Speaker 1: it in that regard of like I would say those
Speaker 1: two films like I think i'll straight off the top
Speaker 1: of my head. I mean, all of the ones that
Speaker 1: people mentioned, I'm not going to mention. So I'm gonna
Speaker 1: go for I hopefully two films that nobody's ever mentioned.
Speaker 1: Number one, nineteen seventy seven Suspiria, Ary Argenti's film. Right,
Speaker 1: that film starts like most films end, and the poster
Speaker 1: but I haven't the US poster for Spiria right in
Speaker 1: my place in la And the tagline for Suspiria is
Speaker 1: the only thing scarier than the only thing scarier than
Speaker 1: the last ten minutes of this film are the first eighty.
Speaker 1: That's great. Now, the thing is about that, Actually it's
Speaker 1: not quite that. It's actually something like sort of. The
Speaker 1: only thing scarier than the last ten minutes of this
Speaker 1: film are the first like ninety two. That's what it is, right,
Speaker 1: So two things about that tagline. One is you're admitting
Speaker 1: the end is not as good as the rest of it,
Speaker 1: and that would be correct. And I love that film,
Speaker 1: it's amazing, But the opening of that movie nothing really
Speaker 1: tops it. Maybe the bit where the lady lands in
Speaker 1: the razor wire, that's an amazing sequence, But the opening
Speaker 1: of Suspiria it starts like most movies in and it's
Speaker 1: extraordinary the first ten minutes of that movie. The other
Speaker 1: thing about the tagline of Suspiria is that the running
Speaker 1: time is wrong on the tagline because the running time
Speaker 1: of the movie is like ninety two minutes, and they
Speaker 1: say it's like you know, like a d so like
Speaker 1: there's ten minutes, like not account it for. It's very strange.
Speaker 1: But anyway, the opening of that movie is extraordinary, and
Speaker 1: it's something like it's an interesting thing to do, is
Speaker 1: like to sort of like hit a high of like
Speaker 1: hysteria and terror and shock that you can't quite like
Speaker 1: get to that point again in the movie they almost do.
Speaker 1: I mean, I love that movie. My other answer John
Speaker 1: Wou's Hard Boiled, which opens with an action scene that
Speaker 1: again is like better than the climax of like ninety
Speaker 1: five percent of other action movies. Now in the Hard
Speaker 1: Boil case, they do top it like it just goes
Speaker 1: further and further. But the opening like ten minutes of
Speaker 1: that movie is extraordinary. And once I was programming Brown
Speaker 1: Simmer Hot Fuzz, I was programming in Los Angeles and
Speaker 1: I programmed this triple bill. Yeah, I think it was
Speaker 1: a Hot Fuzz point break and Hard Boiled, and we
Speaker 1: did a Q and A for Hot Fuzz. I introduced
Speaker 1: a point break and then and then I was sticking
Speaker 1: around to introduce Hard Boiled, and I remember and by
Speaker 1: this time Simon Nick had long gone. It was just
Speaker 1: me introducing Hard Boiled. And then was about maybe a
Speaker 1: third of the crowd left for hard Board, the third movie.
Speaker 1: This is maybe a like starting at midnight, and I
Speaker 1: did this intro. I probably had a couple of g
Speaker 1: and ts by this point. I did this intro to
Speaker 1: hard Board, where I was really digging it up, saying
Speaker 1: like hands up, who's never seen this movie before? Like
Speaker 1: eighty percent of the hand about and saying, oh my god,
Speaker 1: you're in for such a ride. This is the greatest
Speaker 1: actually movie of all time, Like you're not going to
Speaker 1: regret having stuck around for this one. It is extraordinary
Speaker 1: and like sort so I really really really bigged it up.
Speaker 1: And then I went to leave because I was just introducing,
Speaker 1: and as always leaving a couple I walked out and
Speaker 1: I stopped them. I said wait, I said, you waited
Speaker 1: for my intro and you're not going to watch the movie,
Speaker 1: And they said, ah, we really wanted. But we're saying,
Speaker 1: just watched the first ten minutes. I'll come back in
Speaker 1: with you. So I frog marked this couple back into
Speaker 1: the cinema and I sat with them, holding them down.
Speaker 1: Such a kind of film Nazi. I sat with them
Speaker 1: to make sure they watched it, and but I basically
Speaker 1: like walked them back in and sat down and watched
Speaker 1: the only sinks from just to say, come on, isn't
Speaker 1: that the greatest opening ever? Which it really is, and
Speaker 1: that I run into that person since and they did.
Speaker 1: They did stay and watch the whole thing. That's right,
Speaker 1: But that still gives you the idea of how sort
Speaker 1: of like, um, you know, kind of annoying I am
Speaker 1: to watch film. Well, that's why I wanted to check.
Speaker 1: I mean, that's good. I mean, I think I I mean,
Speaker 1: I absolutely respect that. What's the greatest ending to a film?
Speaker 1: The good, the band, the ugly like? Because that I
Speaker 1: just actually that was I went to see that in
Speaker 1: lockdown at the cinema because the NFT reopened and they
Speaker 1: were showing a morricone season and I took three people
Speaker 1: who had never seen the movie, and we all actually
Speaker 1: that cinema. They took out every other seats, so we're
Speaker 1: all like sitting separately from each other. But it's that
Speaker 1: movie where like it's already great and then the last
Speaker 1: fifteen minutes just like sort of like pushes it over
Speaker 1: the edge into sort of like you know, eternal status.
Speaker 1: It's like the final duel with like um like to
Speaker 1: Cony cues in a row, the Ecstasy of Gold and
Speaker 1: then the que called the Trio like you're already in
Speaker 1: like just like it's just like like Nirvana. It's just
Speaker 1: a so extraordinary and also it's so simple. It's just
Speaker 1: three people standing in a triangle in a circle, but
Speaker 1: it's like the greatest scene ever. Yeah, two people just
Speaker 1: really hard. Three people. Three people were doing hard stairs. Yeah.
Speaker 1: And it relates to Baby Driver because any America Cone
Speaker 1: wrote the music before they started shooting the movie, so
Speaker 1: Sergione could play that music and on set, so when
Speaker 1: Lee van Cleef and Eli Wallack and Plantswood is standing there,
Speaker 1: they are they are hearing that music. Because if they
Speaker 1: weren't hearing that music, they probably would have said, are
Speaker 1: we standing here too long? Are you sure this is
Speaker 1: going to work? But in fact music is playing, you
Speaker 1: feel like, oh I could stand here for ninety seconds
Speaker 1: and just stand here, and it's the most thrilling thing ever.
Speaker 1: People standing still, their hands very slowly moving towards the
Speaker 1: hostess that what's your favorite film? My favorite film, Raising
Speaker 1: Arizona great. It's one of those movies that, like that,
Speaker 1: along with Evil Dead two, the movies I saw when
Speaker 1: I was like maybe like fifteen that really like just
Speaker 1: jump started I was already interested in being a director
Speaker 1: or like, but those are the movies that really made
Speaker 1: me like pick up the cameras, like I have to
Speaker 1: do this, and like Raising Arizonas were like such a
Speaker 1: confounding movie, is like a comedy fan because it's so
Speaker 1: well short and put together, and I feel that that
Speaker 1: maybe more than anything just like inspired, like you know,
Speaker 1: kind of trying to spots at that level execution. It's
Speaker 1: like I think it's something that I'm not even sure
Speaker 1: the Comb brothers know how good it is. Yeah, they
Speaker 1: never like, they never like. It's like it's such an
Speaker 1: extraordinary movie and so well put together and so like
Speaker 1: dense in terms of like dialogue, camera shots, the way
Speaker 1: it's edited. Just like it's just incredible that movie and
Speaker 1: sort of all in the service of like what is
Speaker 1: that thing of like elevating material that in anybody else's
Speaker 1: hands would end up being like a release, like silly
Speaker 1: throwaway movie. But they somehow take like these kind of
Speaker 1: like you know, trailer park rednecks and make it into
Speaker 1: something like like they give van It's amazing, Right, you've
Speaker 1: been phenomenal as expected. I appreciate all your time have
Speaker 1: for taking me around. Reasons part however, when you had
Speaker 1: been bad mouthing yours and the sharks right, but you
Speaker 1: forgot you've done that, but they were listening. Sharks never forget, famously,
Speaker 1: and you decided to face your fears and go and
Speaker 1: swim deep sea in Italy, the famous famous of Italy.
Speaker 1: He went to Italy, had a swim, thinking nothing could
Speaker 1: happen here, it's Italy. And then two of the sharks
Speaker 1: from Georgia Events who had been watching you and waiting,
Speaker 1: and they followed you all the way to Italy, and
Speaker 1: one of them took the front end, one of them
Speaker 1: to the back end. We're doing half like a Christmas cracker.
Speaker 1: And there jokes inside, yeah, yeah, one one joke about
Speaker 1: lines on the prison wall, and one about being eaten
Speaker 1: by sharks like a Russian doll. Yeah, my death. My
Speaker 1: death was your cracker jacks. The joke inside was what
Speaker 1: what's yellow? What's yellow? And deadly shark infested cut did right? Yes?
Speaker 1: That was the Christmas Yeah. So I've been looking for you.
Speaker 1: I went to Italy because let's call it stalking whatever,
Speaker 1: and I've gone to Italy to see you. You're there,
Speaker 1: do you know where to be fun? Maybe I'll give up,
Speaker 1: just enjoy the weather. So I'm on the beach and
Speaker 1: washed up to the beach is your beloated see swollen
Speaker 1: carcass in various bits mashed up in the sand, the
Speaker 1: other bits from the Jaws ball game, like the others,
Speaker 1: you know, fish, fish bones maybe yeah, a wheel, a
Speaker 1: ship's wheel, yes, and a mouth organ yes. And anyway,
Speaker 1: I'm like fuck it, ohgar, oh mate. Anyway, I've been
Speaker 1: going to goffin with me as elf and Dick and
Speaker 1: it was the right size for you. But I didn't
Speaker 1: expect you to have swollen in the see there's a ship.
Speaker 1: I was just like, this ain't gonna fit. So I
Speaker 1: have to get end up actually getting one of your
Speaker 1: own bones and smashing it into you, trying to carve
Speaker 1: you up into smaller bits. I managed to get you
Speaker 1: down too, smaller bits. Press it all into this coffin,
Speaker 1: but I could probably go for a child's coffin save
Speaker 1: some money. Said, I wish you'd said that. I wish
Speaker 1: you said that before I invested in this one. And
Speaker 1: it's very heavy. Anyway, I've got you all in there.
Speaker 1: Stuff to you all in. There's no room in this
Speaker 1: coffin now. There's only enough room that I could slide
Speaker 1: one DVD into the side, and you can take that
Speaker 1: DVD to the other side, and on the other side.
Speaker 1: It's movie night every night. One night, it's your movie night.
Speaker 1: What movie are you showing everyone? When it's your movie night?
Speaker 1: In heaven? I'm going to cheat slightly, but it's just
Speaker 1: still one light package. There's a Warner Brothers box set, Yeah,
Speaker 1: Buzzby Berkeley Movies. It's like four movies, so it's not
Speaker 1: that big. You could probably fit it in the coffin,
Speaker 1: especially if like my if I've been bitten in two,
Speaker 1: you could literally have my top half my bottom half
Speaker 1: and this box set would fit. Okay, well, I'll pick one.
Speaker 1: I can do that, Okay, I'll say the box set
Speaker 1: features are forty seconds straight Footlight Parade, Gold Diggers of
Speaker 1: nineteen thirty three and Dames. So if I'm only allowed one,
Speaker 1: I'm gonna go for Dames and taken Dames to the
Speaker 1: other side. Yes, And it also feels a little bit
Speaker 1: like like almost like being buried with a Buzzby Berkeley DVD.
Speaker 1: He feels like sort of some kind of like very
Speaker 1: late period coming out, you know, like sort of like
Speaker 1: you know, just like like if you're buried with a
Speaker 1: liber Archie album or something. It's like, oh, I didn't know. Anyway.
Speaker 1: I love Buzzby Berkeley. They they are like movies that like,
Speaker 1: just like those movies, his sequences in those movies could
Speaker 1: not be made today, Like you would never be able
Speaker 1: to like have those big sets, that many dances, that
Speaker 1: level of like execution. I always confounded when you watch
Speaker 1: old movies and you think nobody would let you do
Speaker 1: that today, and then Buzzby Berkeley always like blows my mind.
Speaker 1: And my favorite sequence from Dames is the I Only
Speaker 1: Have Eyes for You sequence, which is just extraordinary if
Speaker 1: you've never seen it, just like like treat yourself. It's
Speaker 1: just so extraordinary. Like that sequence features like Ruby Keeler
Speaker 1: and like fifty other dancers, dresses, Ruby Keeler, and then
Speaker 1: every shot in that sequence is something that you've seen
Speaker 1: ripped off in another movie or another commercial. And so
Speaker 1: when you actually get to the kind of like the headstream,
Speaker 1: thinking oh, this is where this comes from, Like he's
Speaker 1: just one of those people who was just so late,
Speaker 1: so like light years ahead of his time, that you
Speaker 1: always stunned when you actually watched the sauce and it's like, Wow,
Speaker 1: this movie from Many thirty four could not be equal today.
Speaker 1: So that would be my pick. Is there only you'd
Speaker 1: like to tell people to look out for in the
Speaker 1: graveyard somewhere a copies of Footlight Parade, Gold Diggers of
Speaker 1: ninety six three and forty seconds three that he wasn't
Speaker 1: allowed to put it into yet, So if you if
Speaker 1: you get down there fast enough, they might still be
Speaker 1: there by the gravestone and adam end of your own stuff.
Speaker 1: So what's the next two things coming out for people
Speaker 1: to look out for? Last Night in Soho coming to cinemas.
Speaker 1: I've called him one Night in Soho at the beginning
Speaker 1: of this podcast and it's been haunting me ever since
Speaker 1: last night. So sticking with last Night and also a
Speaker 1: documentary about Sparks Yea which is coming next year as well,
Speaker 1: called The Sparks Brothers Enjoy egg Right. Thank you for
Speaker 1: doing this, have a lovely time on the opisode Happy
Speaker 1: death Day. Thank you so so. That was episode one
Speaker 1: hundred and twenty seven. Head over to the Patroon section
Speaker 1: for his shocking absolutely I mean he's disgusting secret and
Speaker 1: all kinds of treats for all the other episodes at
Speaker 1: patron dot com. Forward to least Brett Goldstein. Go to
Speaker 1: Apple Podcast, give us a five star rating and tell
Speaker 1: us about the film that means the most to you.
Speaker 1: So that Mauren can have a lovely Christmas and all
Speaker 1: of you, I want to say, have a wonderful Christmas.
Speaker 1: I hope you will have a lovely time together or
Speaker 1: a part on zooms however you're doing it. Thank you
Speaker 1: also to Edgar for doing such a long walk with me.
Speaker 1: Thanks for Scrubious Pipper the Distraction Pieces Network. Thanks to
Speaker 1: Buddy Piece for producing it. Thanks to ACAS for hosting it.
Speaker 1: Thanks to Adam Richardson for the graphics, at least Aliden
Speaker 1: for the photography. Come and join me next week. It'll
Speaker 1: be New Year's Eve, I think I'll put out something good.
Speaker 1: Don't you worry about it. So that is it for now.
Speaker 1: All of you have a wonderful Christmas, and please, as always,
Speaker 1: be excellent to each other. Mary Christmas, Merry Christmas everyone,
Speaker 1: God bless us one and all. As was as back
Speaker 1: back