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Speaker 1: What kind of a show you guys putting.

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Speaker 2: On here today?

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Speaker 3: You're not interested in art?

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Speaker 1: Now?

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Speaker 3: Oh look, we're going to do this thing. We're going

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Speaker 3: to have a conversation from Chicago. This is Film Spotting

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Speaker 3: celebrating our twentieth year. I'm Josh Larson and I'm Adam Kempinar.

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Speaker 3: There were so many a dead, infected and non infected alike.

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Speaker 1: That's why our whole is so precious.

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Speaker 2: The rage zombies are back, and so are director Danny

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Speaker 2: Boyle and screenwriter Alex Garland. We've got a review of

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Speaker 2: twenty eight years.

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Speaker 3: Later, plus the top five Danny Boyle characters with Danny

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Speaker 3: Boyle himself.

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Speaker 1: So I would start with Kerry Fox in Shallow Gray.

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Speaker 1: Let me get this straight.

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Speaker 4: This affair that you're not having, is it not with

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Speaker 4: a man or not with a woman?

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Speaker 5: That?

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Speaker 3: And more?

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Speaker 2: You know, this is film Spotting. Do we qualify as

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Speaker 2: Danny Boyle characters?

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Speaker 1: It's a fairly straightforward question.

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Speaker 3: After twenty years, sure ahead on film Spotting.

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Speaker 2: Welcome to Film Spotting and to any relative newcomers. Yes,

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Speaker 2: Danny Boyle is aware of film Spotting, and yes he

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Speaker 2: has threatened to sue us at least twice. I think

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Speaker 2: he was joking both times.

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Speaker 3: Josh, let's hope third time isn't the charm, and we

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Speaker 3: hear from his lawyers again.

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Speaker 4: Yeah.

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Speaker 2: Later in the show Boyle himself twenty seventeen era, Boyle

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Speaker 2: anyway joins us for the top five Danny Boyle characters.

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Speaker 2: That was a fun one. We did that back. Corresponding

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Speaker 2: with the release of T two Train Spotting, We've also

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Speaker 2: got a new poll which asks you to make your

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Speaker 2: pick for the film of the year so far. And

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Speaker 2: we'll spend a few minutes on the new movie Familiar Touch,

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Speaker 2: which opens in Chicago this weekend and won three awards

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Speaker 2: at the Venice Film Festival last fall. We'll give you

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Speaker 2: a little bit of a hint as to whether or

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Speaker 2: not we're positive or negative on it. We think it's

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Speaker 2: worth your time. Radio listeners, you're hearing an edited version

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Speaker 2: of the show. For the full episode, listen to Film

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Speaker 2: Spotting dot net or wherever you get your podcasts.

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Speaker 3: But first twenty eight years later, twenty four years after

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Speaker 3: two thousand and two, twenty eight days later, and eighteen

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Speaker 3: after its sequel twenty eight weeks later, Director Danny Boyle

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Speaker 3: and screenwriter Alex Garland are back with the first film

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Speaker 3: in a planned trilogy, exploring a world laid waste by

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Speaker 3: the Rage virus and its ensuing army of bloodthirsty rage zombies.

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Speaker 3: Can you leave, he can come back.

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Speaker 1: If you don't come back, no one has permitted to.

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Speaker 5: Go and find you.

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Speaker 3: No tar in the war.

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Speaker 1: Are the loriskis are all exceptions will on that mainland,

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Speaker 1: You're on your own.

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Speaker 3: The setting is Lindisfarn, an isolated community off the coast

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Speaker 3: of the United Kingdom which has imposed strict rules of quarantine.

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Speaker 3: The cast includes Ray Fines, Jody Comer, and Aaron Taylor Johnson. Now,

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Speaker 3: Adam I said that this isolated island community is the setting,

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Speaker 3: but that's really only the case for the first third

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Speaker 3: or so of the movie. This is where we meet

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Speaker 3: Taylor Johnson as a father training his twelve year old

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Speaker 3: son played by a fresh faced Alfie Williams, in the

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Speaker 3: ways of zombie defense after a father's son hunting trip

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Speaker 3: to the UK mainland. I think those bulbous wallowing worm

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Speaker 3: eters that they hunt their zombies. I think maybe you

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Speaker 3: could help me with that later, Adam. The movie then

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Speaker 3: opens up and heads in a variety of directions I

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Speaker 3: won't detail them all to avoid spoilers for the moment,

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Speaker 3: but basically another section focuses on the boy named Spike

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Speaker 3: and his mother played by Comer. Then we meet Fines,

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Speaker 3: a former doctor who has decided to take on some

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Speaker 3: new responsibilities. This is a film that also has distinct

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Speaker 3: bookend scenes that are only tangentially related to the story proper.

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Speaker 3: Is there a story? Proper? I counted at least five

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Speaker 3: different movies in twenty eight years Later. It's almost as

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Speaker 3: if Boyle and Garland had nearly twenty eight years of

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Speaker 3: their own to generate ideas and then ended up smooshing

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Speaker 3: them all into a single film. Did you have a

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Speaker 3: similar experience with the movie, Adam, And if so, did

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Speaker 3: one of the plot threads engage you more than the others?

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Speaker 3: Or did twenty eight years Later register as a more cohesive,

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Speaker 3: holistic narrative, perhaps the best of the three rage zombie

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Speaker 3: movies we've gotten thus far.

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Speaker 2: Well, I wouldn't go that far. I still think I

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Speaker 2: prefer twenty eight days Later, though I haven't seen that movie,

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Speaker 2: probably since about the time it came out, which is unfortunate.

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Speaker 2: If we reviewing this having just walked out of the theater,

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Speaker 2: a still processing review, as we used to call it.

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Speaker 2: We occasionally used to have to do that. I'd probably

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Speaker 2: see it more the way you're describing it, Josh, which

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Speaker 2: is funny because last week, of course, we talked about

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Speaker 2: two movies where my reaction was more negative. The more

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Speaker 2: I thought about them this time, the more processing I've done,

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Speaker 2: the more I appreciate the film. I see your point,

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Speaker 2: But for me, the story is cohesively anchored around one

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Speaker 2: central story and performance. That's Alfi Moore as Spike, and

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Speaker 2: the way I'd characterize it is his journey to manhood,

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Speaker 2: and rather than see it as disparate units or subplots,

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Speaker 2: I really view it as two parts. We do spend

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Speaker 2: a fair amount of time early on in that village,

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Speaker 2: but really Part one is from the village to the

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Speaker 2: mainland on his father Jamie's terms, and part two, and

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Speaker 2: I think they might even be divided kind of in

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Speaker 2: half in terms of the runtime. Part two is from

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Speaker 2: the village to the mainland, and we do spend most

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Speaker 2: of the time on the mainland from the village to

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Speaker 2: the mainland with his mother Ailah on his terms. On

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Speaker 2: that journey, you could argue that he meets another potential

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Speaker 2: father figure, Ray finds his character. What's inarguable is that

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Speaker 2: he meets a man who holds an antithetical view of

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Speaker 2: life than his father and death not for nothing. On

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Speaker 2: that journey he meets another younger man, and if we're

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Speaker 2: putting the older man, Ray finds his character on the

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Speaker 2: let's say, left of the masculinity spectrum, and Spike's father

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Speaker 2: Jamie on the right or to his right. This guy

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Speaker 2: Eric is probably even further right than Jamie. I'll try

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Speaker 2: to dig into that more cogently as we go, But

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Speaker 2: Spike's metaphor journey beyond his literal one is what connected

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Speaker 2: everything together for me, which made it cohesive and satisfying,

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Speaker 2: and the more I think about it, even provocative enough.

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Speaker 2: I'd summarize it this way if you feared Boil and

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Speaker 2: Garland might play it safe with their now seemingly precious IP.

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Speaker 2: Twenty eight years later sufficiently proves otherwise. There's enough creative

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Speaker 2: gristle to chew on and more than enough to stoke

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Speaker 2: curiosity for what's next. And by creative gristle, I don't

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Speaker 2: just mean style, which of course it being Boil. There's

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Speaker 2: that in spades. I mean storytelling too, the chances it

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Speaker 2: takes the ideas it wants to wrestle with, and that

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Speaker 2: does feel like the key question for me, and at

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Speaker 2: least a good place for me to stop and for

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Speaker 2: you to jump in. Any way, ignoring for a second

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Speaker 2: the specific question of how you feel about the absolutely

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Speaker 2: bonkers epilogue you referred to the framing, right, we have

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Speaker 2: a prologue and we have an epilogue here. Admittedly, maybe

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Speaker 2: you can't separate them, because that epilogue, after all, is

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Speaker 2: there specifically to set up the second installment in this trilogy,

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Speaker 2: which I believe is going to be called The Bone Temple.

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Speaker 2: And as we are recording this, or as people will

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Speaker 2: be hearing this, it's supposed to come out twenty seven

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Speaker 2: weeks from now, or twenty eight weeks after this movie

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Speaker 2: was released. So did this movie, its characters? I'll throw

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Speaker 2: this back to you, Josh. Did this movie, its characters,

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Speaker 2: its central idea or ideas, even its style make you

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Speaker 2: want to see The Bone Temple? And I don't mean

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Speaker 2: just begrudgingly out of duty as a critic or out

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Speaker 2: of duty to the franchise, as someone who has loved

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Speaker 2: and written quite extensively about the first two films in

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Speaker 2: this series. My answer before the epilogue wasn't an enthusiasm.

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Speaker 4: Yes, but it was a yes.

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Speaker 2: The yes actually got a little stronger once I figured

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Speaker 2: out what was truly going on in the epilogue. If

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Speaker 2: you were monitoring me in real time, it went way

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Speaker 2: down and then shot up once I figured it out.

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Speaker 2: Maybe we'll get into that more. As I sit before

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Speaker 2: you right now, it is a more enthusiastic yes, So

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Speaker 2: where are you?

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Speaker 3: Yeah? I had the opposite experience with the epilogue. I

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Speaker 3: probably didn't need it to be excited about another installment,

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Speaker 3: and it almost felt like, I don't want to say cheap,

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Speaker 3: but an unnecessary way to goose that excitement for me.

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Speaker 3: This world that they've expanded and created in a lot

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Speaker 3: of ways, there's so much new stuff here. I was

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Speaker 3: ready to spend more time in. And maybe that's partly

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Speaker 3: because of my affection for this series, But yeah, they

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Speaker 3: had me before the epilogue, and then the epilogue felt

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Speaker 3: a little I'm trying to not use the word cheap,

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Speaker 3: just the way that it recalled how so many franchises

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Speaker 3: do something similar. That association made it maybe a little

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Speaker 3: less engaging for me, even as I recognize the thrill

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Speaker 3: of what we do see, there are we should note

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Speaker 3: it is directly connected to the prologue. So there's a

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Speaker 3: cleverness there that I do think pays off to see

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Speaker 3: how there are some of those through lines. And you know,

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Speaker 3: there are absolutely through lines in this film, despite my

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Speaker 3: experiencing being more that they are separate and not quite

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Speaker 3: as connected. It makes complete sense that the more you

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Speaker 3: stew on this movie, and I've had about a week

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Speaker 3: myself to sit on it, that it warms up to

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Speaker 3: you because what you tend to recall our yes, specific

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Speaker 3: scenes and esthetic elements, I'm sure, but also you're mulling

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Speaker 3: over the ideas that the movie has been moulding over

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Speaker 3: more and there are so many ideas in this film,

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Speaker 3: and I think that's to its credit, while at the

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Speaker 3: same time I think it it bedevils the movie in

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Speaker 3: a way that I found frustrating, in the way I

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Speaker 3: found something like Garland's Annihilation, which he directed, something like Sunshine,

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Speaker 3: another Boil film which he wrote, and I'd say even

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Speaker 3: maybe Dev's the Fxhulu series that he presided over that

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Speaker 3: we talked about. I think on a bonus show. Adam,

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Speaker 3: and you know, we are both huge admirers of Garland's

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Speaker 3: work overall, but I do run into these bumps on

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Speaker 3: occasion with some of his projects where I feel like

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Speaker 3: the ideas get ahead of the storytelling. And what I

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Speaker 3: mean by that is there's just so much provocative material

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Speaker 3: and potential in these stories that he has invented, and

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Speaker 3: in many cases Boyle has brought to life on the

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Speaker 3: screen that the movies get lost in those rather than

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Speaker 3: in being more cohesive narratives. And I do feel like

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Speaker 3: that is some that holds, twenty eight years later back

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Speaker 3: a little bit. It's these This is a movie that

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Speaker 3: knows very much what it wants to be about, what

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Speaker 3: it wants to explore. But for me, you could maybe

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Speaker 3: use a little more finesse in how it goes about

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Speaker 3: exploring all those ideas and connecting them to each other.

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Speaker 3: Now that being said, every little mini movie that I

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Speaker 3: feel like we get in this big movie is brazen.

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Speaker 3: It's not safe. It is bizarre. It is grotesque and

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Speaker 3: compelling in its own way. So I had no complaint

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Speaker 3: in that any individual sequence was letting me down. It's

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Speaker 3: more like, let's go to your masculinity question, which I

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Speaker 3: agree is a through line if you consider the Ray

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Speaker 3: Finds character. There's definitely a connection there. You're right, But

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Speaker 3: I was so engrossed in this early section about this

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Speaker 3: intensely hyper masculine father trying to train his son, who

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Speaker 3: seems to have a softer demeanor just naturally, he seems

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Speaker 3: skeptical about what he's being indoctrinated in, essentially, and this

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Speaker 3: community that has also established it's sort of a quasi

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Speaker 3: religious community around this militant expression of survival. And so

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Speaker 3: this hunt they go on, You're wondering, what is this

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Speaker 3: all about? These those creatures or those people. We don't

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Speaker 3: really find out, which I think is okay. What they

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Speaker 3: are that they're hunting for practice raises questions of what

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Speaker 3: and who do we have the right to kill. And

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Speaker 3: here's the provocative part, Adam, this is the third movie.

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Speaker 3: Now we know this community has every right to be

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Speaker 3: at this level of paranoia fear. They are in the

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Speaker 3: right to want to protect themselves. But all of a sudden,

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Speaker 3: we're starting to get questions of what are the personal

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Speaker 3: or moral costs of feeling quote unquote safe. Couldn't be

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Speaker 3: more relevant right now? Makes this almost as political a movie,

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Speaker 3: as I've long argued twenty eight weeks later is political,

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Speaker 3: and I felt more of a like once that I

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Speaker 3: won't say dropped, because to your point, I do think

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Speaker 3: elements are carried through, but once it gets left behind

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Speaker 3: and we leave the community and go to explore that

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Speaker 3: next section with Spike and his mother, which raises a

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Speaker 3: whole new host of interesting ideas, I feel that disconnect of, oh,

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Speaker 3: but what about all that great stuff that you were

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Speaker 3: really poking us with, like keep poking me, don't start

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Speaker 3: poking me in a new way. So there was just

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Speaker 3: a little bit of a little bit of left down in.

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Speaker 4: That interesting yeah.

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Speaker 2: Yeah, And for me, that central story it was still

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Speaker 2: all focused on Spike and in the moment those stakes,

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Speaker 2: but then dwelling on it, I'm thinking about how that

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Speaker 2: story with his mother still connects to the larger story

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Speaker 2: that you're talking about that I was talking about in

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Speaker 2: terms of masculinity, the relationship with his father, how it

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Speaker 2: connects back to the village and all of these big

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Speaker 2: questions about like what does it mean fundamentally to be

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Speaker 2: a man? And I want to dig into this a

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Speaker 2: little bit more because that is really the question. There

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Speaker 2: are so many ideas here, like what do they have

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Speaker 2: on their minds? What do Garland and Boyle really want

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Speaker 2: to get into. It's kind of the big question that

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Speaker 2: surrounds any kind of sequel, right, you mentioned it recently.

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Speaker 2: I don't remember what film we were talking about, but like,

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Speaker 2: is what is its reason for being? Is it just

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Speaker 2: about new visual techniques and ways to depict zombies and

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Speaker 2: zombie attacks, or is it, you know, from a thematic standpoint,

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Speaker 2: is it mining more or less the exact same ground

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Speaker 2: as the other films, or is it just bigger and louder?

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Speaker 2: And how they go about exploring some of these ideas

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Speaker 2: I thought was really fascinating. As I said, I haven't

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Speaker 2: seen twenty eight Days Later in quite some time, but

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Speaker 2: I don't think about it at all, like I think

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Speaker 2: about twenty eight weeks later, or as I think about

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Speaker 2: this movie and twenty eight weeks later. As you know,

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Speaker 2: Josh is a movie I recently rewatched for a film

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Speaker 2: spotting family bona show. We had a conversation about that

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Speaker 2: with our producer Sam and that movie, like this one,

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Speaker 2: is very focused on family. You could even say they're

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Speaker 2: both focused on son, mother father relationships. And in both,

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Speaker 2: to varying degrees, the fathers are kind of shits right.

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Speaker 2: For the record, I'm way more team Aaron Taylor Johnson

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Speaker 2: than Robert Carlyle if we're comparing, though, you know, both

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Speaker 2: dudes are human and in awful circumstances, and in Carlile's defense,

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Speaker 2: he's in worse circumstances. Deception is also a key factor

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Speaker 2: in both. That all said twenty eight weeks later is

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Speaker 2: about invading governments and military occupations. To your point about

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Speaker 2: its political overtones, it's about the fundamental fear of families

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Speaker 2: being separated and personal guilt and shame. And twenty eight

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Speaker 2: years later, this one, while covering some of that same ground,

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Speaker 2: explores a few different things. And we talked about masculinity,

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Speaker 2: but it also becomes I think this direct lie ties

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Speaker 2: I'm going to try to tie it to this idea

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Speaker 2: of masculinity. It becomes a meditation on death that I

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Speaker 2: can't imagine anyone walking into the theater expected. I don't

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Speaker 2: know what impact it had on you or not, but

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Speaker 2: I guarantee you, twenty eight years later earned more than

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Speaker 2: a few sniffles from audiences around the country. I held back,

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Speaker 2: but I did find it to be genuinely moving. Now,

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Speaker 2: some of the philosophizing that Ray finds his character did

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Speaker 2: in the scene leading up to it, explaining his let's

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Speaker 2: call it his art project in the moment, I'll say,

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Speaker 2: was a little bit lost on me. But again, as

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Speaker 2: I've reflected on it, the impetus for it, I'll get

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Speaker 2: really pretentious here. It's raison detra I think is legitimately profound.

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Speaker 2: And the reason why is because, and maybe unfortunately I

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Speaker 2: can't fully make my case because I don't want to

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Speaker 2: spoil it. The reason why is because it asks us

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Speaker 2: to contemplate something. His art project asks us to contemplate something.

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Speaker 2: I think the movie is fundamentally asking us to contemplate

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Speaker 2: that I can't recall any other zombie movie asking us

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Speaker 2: to contemplate before, and that does lead directly to this

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Speaker 2: next point. On the way home, I was with my

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Speaker 2: daughter Sophie Rpa and Sam and Dave were in town

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Speaker 2: visiting producer Sam and his son Dave, So we all

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Speaker 2: saw the movie together and we were kind of picking

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Speaker 2: the movie apart a little bit. I was being a

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Speaker 2: little critical, and I asked, what was the point of

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Speaker 2: the alpha zombie character, and the hints the movie was

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Speaker 2: dropping that the zombies were evolving, and it felt to

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Speaker 2: me in the immediate aftermath of the movie like that

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Speaker 2: was a case where the movie was trying to come

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Speaker 2: up with some new wrinkle.

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Speaker 4: Let's just make the bigger, badder.

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Speaker 2: Zombie who rips people's heads off with their spinal chords

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Speaker 2: still attached. Isn't that gruesome and cool?

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Speaker 3: Right?

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Speaker 2: And we can get some footage of deer being ripped

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Speaker 2: apart and stape not stapled, but you know what I mean,

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Speaker 2: attached to trees, and it'll be an infrared lighting. Won't

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Speaker 2: that be cool? But there again, the more I thought

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Speaker 2: about it, the more I realized that those things are different,

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Speaker 2: the alpha part and the evolution part, and I think

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Speaker 2: they're both important elements. The evolution element specifically ties to

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Speaker 2: another major subplot. What I think this trilogy fundamentally has

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Speaker 2: to be about is how these zombies are going to

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Speaker 2: end up not just being a metaphor like they traditionally

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Speaker 2: are holding a mirror up to us to make us

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Speaker 2: reflect on our humanity or lack thereof. These zombies are

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Speaker 2: actually human, or they're going to become human enough that

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Speaker 2: distinguishing between them and what should be done with them

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Speaker 2: will become a considerably foreignier moral and ethical question. And

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Speaker 2: it takes you back to a scene on that first

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Speaker 2: journey with Jamie and Spike early in the film, where

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Speaker 2: the Dad is trying to teach him a lesson and

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Speaker 2: he says to him something like, if they can't think,

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Speaker 2: they have no soul, so just kill it. He's basically saying,

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Speaker 2: there's no reason to flinch, there's no reason to be

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Speaker 2: emotional about it, just shoot the thing. Well, I think

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Speaker 2: most of us in that moment could go along with

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Speaker 2: the Dad's reasoning, even if we might flinch a little

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Speaker 2: bit like the sun does. We could go along without reasoning.

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Speaker 2: What happens when they start thinking that's the question?

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Speaker 3: Yeah, it's yeah? And I think he says, doesn't he

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Speaker 3: say it that during that same speech, something about after

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Speaker 3: the first kill, it becomes easier.

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Speaker 4: Right?

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Speaker 3: You know exactly which kind of is connecting to the

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Speaker 3: reading I was having of that is, you know, in

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Speaker 3: this increasingly fear mongering world, you know, what are the

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Speaker 3: justifications we give? And this connects with the idea, this

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Speaker 3: idea you're touching on, Adam, of how should we treat zombies?

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Speaker 3: I think it is a focus of this film. It's

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Speaker 3: also it has been, you know, a staple, not a

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Speaker 3: staple of the genre, but something I'm trying to remember.

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Speaker 3: There was a comedy maybe fifteen years ago, I think

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Speaker 3: it was called Fido that was all about I think

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Speaker 3: a woman might marry I saw it. It's fine, I

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Speaker 3: think a woman marries a zombie in it, if I'm

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Speaker 3: recalling correctly. But that was the central even idea of

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Speaker 3: that horror comedy, right, is like, yes, zombies, they began

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Speaker 3: as these ghoulish creatures that must be stopped at all costs.

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Speaker 3: But now, let's keep thinking about it. They were human once.

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Speaker 3: What part of their humanity remains? This is you know,

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Speaker 3: sean of the dad digs into this right when he's

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Speaker 3: got his friend he still has in the backyard. Sure,

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Speaker 3: And so I do think that's a provocative question, interestingly

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Speaker 3: and newly explored here in some different ways by this evolution,

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Speaker 3: and those worm eaters are probably a part of that

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Speaker 3: in some way, And so I think I think we're

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Speaker 3: in agreement on the intellectual theft in this movie. For me,

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Speaker 3: it's a little bit more like I saw that question

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Speaker 3: as enough to sustain both of those questions enough to

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Speaker 3: sustain their own films, and then we get, you know,

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Speaker 3: the masculinity element on top of it, we get the

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Speaker 3: I saw the Finds thing as somewhat separate, though it's

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Speaker 3: certainly connected to the masculinity question. But his meditation on death,

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Speaker 3: this idea of momentumory that he brings up, you know,

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Speaker 3: face the fact that you are dead. I found that

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Speaker 3: whole section to be the one that I will always

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Speaker 3: remember when someone says, what you know ten years from now, well,

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Speaker 3: the Garland you know boil zombie movies, what'd you think

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Speaker 3: of twenty eight years later? And I'll have to like

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Speaker 3: quick mental flip card, Oh that's the one with fines

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Speaker 3: and all the skulls. Because that was something to me

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Speaker 3: that was exploring a you know, a zombie question that

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Speaker 3: has been explored in terms of death and mortality and

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Speaker 3: what does it mean to be dead. That's the central

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Speaker 3: fear of these zombies movies to me is that we're dead,

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Speaker 3: but we're not when we get attacked. That's why a

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Speaker 3: loved one always gets attacked, because that puts that question

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Speaker 3: front and center. It's easy when it's some person you've

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Speaker 3: never met in your life. Who's coming after you, and

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Speaker 3: you know, you just shoot him in the head and you're, Okay,

401
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Speaker 3: what's going to happen when it's your daughter? In going

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Speaker 3: back all the way to night for living Dead? Right now?

403
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Speaker 3: What does that mean? And the thing that the fine

404
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Speaker 3: section adds and I want to be careful so I

405
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Speaker 3: don't add spoilers, but let's just say in his art project,

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Speaker 3: he has found a way to honor, if I'm reading

407
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Speaker 3: what he's doing correctly, both those who have died as

408
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Speaker 3: zombies and those who have just died as a result,

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Speaker 3: he's honoring the dead for their deaths. And there's a

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Speaker 3: level of the experience that I found very fast when

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Speaker 3: I'm referring to and Yeah, and also the way it

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Speaker 3: connects and here I won't go into more detail, but

413
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Speaker 3: to Spike's immediate experience is I think that section elevates

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Speaker 3: this movie where it applies a genre that is all

415
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Speaker 3: about death in a way that anyone can come out

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Speaker 3: of and think about death profoundly, helpfully and to your point, like,

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Speaker 3: who would have thought that going in? And so I

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Speaker 3: think that's one of those risks that this movie takes

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Speaker 3: that absolutely pays off.

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Speaker 2: Yeah, that's where I'm at, and that's where I'm definitely

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Speaker 2: giving the filmmakers here a lot of credit. And that

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Speaker 2: leveling you're talking about, I think has some symmetry with

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Speaker 2: this life and death conversation generally. I don't think it's

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Speaker 2: by accident that we have a character like Jamie Aaron

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Speaker 2: Taylor Johnson's character who is very cavalier about taking life,

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Speaker 2: and he also is very afraid of death. We get

427
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Speaker 2: a story where we hear about him coming across. Ray

428
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Speaker 2: finds his character and what does he want to do.

429
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Speaker 2: He wants to run away from having to con that idea.

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Speaker 2: He's also not confronting what is really happening in his

431
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Speaker 2: home life right whereas his son is willing to actually

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Speaker 2: confront those things. And then what else do we learn about?

433
00:25:23,400 --> 00:25:26,199
Speaker 2: Ray finds his character. He's a doctor, and though he

434
00:25:26,280 --> 00:25:31,240
Speaker 2: has opportunities to kill zombies, he doesn't take those lives.

435
00:25:31,240 --> 00:25:34,600
Speaker 2: So if you're going to value life, that means you

436
00:25:34,640 --> 00:25:37,439
Speaker 2: also have to value death. These are interesting ideas that

437
00:25:37,480 --> 00:25:39,040
Speaker 2: are in the core of this film, or that this

438
00:25:39,160 --> 00:25:43,160
Speaker 2: movie builds to that here. Again, I didn't even necessarily

439
00:25:43,240 --> 00:25:45,880
Speaker 2: expect coming into this film, even though it's a Garland

440
00:25:45,920 --> 00:25:49,359
Speaker 2: and Boyle film, or at least an Alex Garland film.

441
00:25:49,359 --> 00:25:53,320
Speaker 2: And I can't imagine most moviegoers walking into a zombie

442
00:25:53,359 --> 00:25:56,879
Speaker 2: horror film had in mind. But there's more in terms

443
00:25:56,960 --> 00:26:03,280
Speaker 2: of then how they can some of these ideas with masculinity, right,

444
00:26:03,320 --> 00:26:05,919
Speaker 2: and these questions about what happens when they start thinking

445
00:26:05,920 --> 00:26:08,320
Speaker 2: and who are we and what lines will we draw?

446
00:26:08,640 --> 00:26:11,440
Speaker 2: And I'm speculating about what the next two movies will cover.

447
00:26:11,520 --> 00:26:14,720
Speaker 2: I also think, based on the epilogue, this will form

448
00:26:14,760 --> 00:26:18,040
Speaker 2: the foundation of what will be the central conflict between

449
00:26:18,119 --> 00:26:20,919
Speaker 2: the two main characters who are featured in the epilogue.

450
00:26:21,160 --> 00:26:24,120
Speaker 2: But you know, again, what's unique and interesting here, Even

451
00:26:24,160 --> 00:26:26,480
Speaker 2: if you don't find it terribly effective, I thought it

452
00:26:26,520 --> 00:26:28,720
Speaker 2: worked for the most part. You have to at least

453
00:26:28,720 --> 00:26:32,600
Speaker 2: acknowledge the boldness of it, the way they connect the

454
00:26:32,640 --> 00:26:36,719
Speaker 2: boy's right of passage, the village's celebration of that right

455
00:26:36,800 --> 00:26:41,080
Speaker 2: of passage, and this old world barbaric hunt or be

456
00:26:41,240 --> 00:26:44,440
Speaker 2: hunted mentality with British imperialism.

457
00:26:44,640 --> 00:26:47,440
Speaker 3: Yeah. Yeah, incredible sequence.

458
00:26:47,119 --> 00:26:50,720
Speaker 2: Shots of even like Olivier's Henry the Fifth and as

459
00:26:50,760 --> 00:26:53,560
Speaker 2: they did in the trailer using the sound of Rudyard

460
00:26:53,640 --> 00:26:57,640
Speaker 2: Kipling's boots, which is about monotony and what else repetition.

461
00:26:58,320 --> 00:27:01,520
Speaker 2: You pointed out that great line saying, well, just repeat

462
00:27:01,560 --> 00:27:03,760
Speaker 2: the act of killing. You'll get used to it. It

463
00:27:03,840 --> 00:27:08,560
Speaker 2: becomes easy. The dehumanization of war. You will become a

464
00:27:08,720 --> 00:27:14,440
Speaker 2: killing machine. All the different wartime footage and sounds when

465
00:27:14,480 --> 00:27:17,640
Speaker 2: it comes to war, when it comes to survival, you

466
00:27:17,680 --> 00:27:21,679
Speaker 2: can revert to or retreat to, depending on how you want.

467
00:27:21,520 --> 00:27:22,040
Speaker 4: To look at it.

468
00:27:22,640 --> 00:27:29,040
Speaker 2: The basist version of ourselves, the horror is becoming unthinking,

469
00:27:29,359 --> 00:27:32,680
Speaker 2: unfeeling quote unquote soldiers. And that's where the alphas, I think,

470
00:27:32,720 --> 00:27:35,480
Speaker 2: come in. Right, the alpha has become this representation. It's

471
00:27:35,520 --> 00:27:37,880
Speaker 2: a great name for it. It's so perfect, right, yeah,

472
00:27:37,920 --> 00:27:42,960
Speaker 2: these pure rage alpha exactly, these pure rage monsters. And

473
00:27:43,440 --> 00:27:47,280
Speaker 2: here the dad's lies, his embellishment of the truth of

474
00:27:47,320 --> 00:27:49,600
Speaker 2: what happened out on the hunt is such a perfect

475
00:27:49,680 --> 00:27:54,640
Speaker 2: representation of wartime propaganda. Just keep propping up idealistic versions

476
00:27:54,920 --> 00:27:58,600
Speaker 2: of masculinity as these unflinching in the heat of battle,

477
00:27:58,720 --> 00:28:01,640
Speaker 2: killing machines tell the people at home exactly what they

478
00:28:01,720 --> 00:28:04,359
Speaker 2: want to hear about, how their boys are fighting the

479
00:28:04,400 --> 00:28:07,359
Speaker 2: good fight, so they can continue to have their freedoms

480
00:28:07,520 --> 00:28:11,199
Speaker 2: and celebrate and it's funny because another one of my

481
00:28:11,520 --> 00:28:14,879
Speaker 2: immediate criticisms as I left the movie was that it

482
00:28:14,960 --> 00:28:17,560
Speaker 2: wasn't clear enough. You dug into this and you got

483
00:28:17,560 --> 00:28:20,360
Speaker 2: it right, and I'm gonna eventually get to getting it right.

484
00:28:20,440 --> 00:28:24,480
Speaker 2: But my immediate thought was it wasn't clear enough why

485
00:28:24,520 --> 00:28:27,199
Speaker 2: they were going to the mainland at all in that

486
00:28:27,240 --> 00:28:30,679
Speaker 2: first part of the movie. Either I miss something, or

487
00:28:30,720 --> 00:28:34,280
Speaker 2: I was just being dumb, or the filmmakers unintentionally didn't

488
00:28:34,320 --> 00:28:38,240
Speaker 2: make it clear enough, or they unintentionally withheld it knowing

489
00:28:38,320 --> 00:28:41,640
Speaker 2: it would become clearer later. At various points in that

490
00:28:41,680 --> 00:28:46,560
Speaker 2: first half, I was convinced it was all three. Eventually

491
00:28:46,720 --> 00:28:48,840
Speaker 2: I was sure it was option C, because when they

492
00:28:48,880 --> 00:28:52,040
Speaker 2: do return, the celebration is all about how he got

493
00:28:52,040 --> 00:28:55,800
Speaker 2: his first kill or kills, and that does jive with

494
00:28:56,440 --> 00:28:59,520
Speaker 2: what everyone is saying to him on his way out

495
00:28:59,640 --> 00:29:01,920
Speaker 2: of the game and stuff. They're all kind of urging

496
00:29:01,960 --> 00:29:05,560
Speaker 2: him on right to get some blood, is what it

497
00:29:05,560 --> 00:29:09,080
Speaker 2: feels like. I did feel like I needed to better

498
00:29:09,160 --> 00:29:13,440
Speaker 2: understand why his father would put himself and his son,

499
00:29:13,640 --> 00:29:15,560
Speaker 2: who's only twelve, by the way.

500
00:29:15,480 --> 00:29:17,440
Speaker 3: Yeah at younger said they usually.

501
00:29:17,120 --> 00:29:19,680
Speaker 2: Are younger than The movie makes a point of that

502
00:29:20,240 --> 00:29:25,960
Speaker 2: at such risk, not because somebody in the village has

503
00:29:26,040 --> 00:29:29,360
Speaker 2: to regularly go out and pillage and look for some

504
00:29:29,440 --> 00:29:35,320
Speaker 2: kind of fuel or food or tools, something to sustain life.

505
00:29:36,080 --> 00:29:39,320
Speaker 2: I was blaming the screenplay for the fact that my

506
00:29:39,480 --> 00:29:44,960
Speaker 2: brain couldn't comprehend that they're perfectly safe, Josh, on their

507
00:29:44,960 --> 00:29:48,240
Speaker 2: little island. They have no reason to leave, They can

508
00:29:48,480 --> 00:29:52,800
Speaker 2: sustain their lives. It was all just so he could

509
00:29:52,800 --> 00:29:56,680
Speaker 2: go out and prove his manhood by taking lives, by

510
00:29:56,760 --> 00:29:59,720
Speaker 2: killing zombies. It's not the screenplay's fault, though, it's my

511
00:29:59,720 --> 00:30:02,760
Speaker 2: fault because of course that is the only reason Spike

512
00:30:02,840 --> 00:30:05,320
Speaker 2: and his dad we're going out. That's what the entire

513
00:30:05,440 --> 00:30:09,440
Speaker 2: movie is about, putting it very simply, how society defines

514
00:30:09,480 --> 00:30:11,400
Speaker 2: what it means to be a man and where killing

515
00:30:11,920 --> 00:30:14,200
Speaker 2: fits into that. And of course the fact that the

516
00:30:14,240 --> 00:30:16,760
Speaker 2: fact that I believe we're supposed to infer that Spike

517
00:30:17,320 --> 00:30:20,640
Speaker 2: was born into this zombie world. Of course, right, of

518
00:30:20,760 --> 00:30:23,040
Speaker 2: course he was, for sure, right twenty eight years later,

519
00:30:23,320 --> 00:30:24,480
Speaker 2: he's only twelve years old.

520
00:30:24,480 --> 00:30:25,200
Speaker 3: It's always known.

521
00:30:25,640 --> 00:30:28,640
Speaker 2: It's always known, and they named him Spike, you know, so,

522
00:30:29,000 --> 00:30:31,920
Speaker 2: which also goes back to this notion of him being

523
00:30:31,960 --> 00:30:35,320
Speaker 2: this tough you know, gristled man or that's what he's

524
00:30:35,360 --> 00:30:37,560
Speaker 2: going to eventually become, they hope.

525
00:30:38,000 --> 00:30:41,239
Speaker 3: Yeah, And what I like the complicating factor of this,

526
00:30:41,320 --> 00:30:44,840
Speaker 3: as I mentioned earlier, but I like how Garland and

527
00:30:44,880 --> 00:30:49,160
Speaker 3: Boyle are smart enough to complicate this. Their fear is justified,

528
00:30:49,360 --> 00:30:52,640
Speaker 3: like this is like the father grew up during the

529
00:30:52,720 --> 00:30:57,280
Speaker 3: first outbreak, Right, so you know if this guy's head

530
00:30:58,000 --> 00:31:00,360
Speaker 3: is a little wonky, yeah, you kind of get it.

531
00:31:00,440 --> 00:31:02,280
Speaker 3: And no, yeah, I know. I'm just saying that to

532
00:31:02,600 --> 00:31:05,840
Speaker 3: point out that this is the movie complicates things in

533
00:31:05,880 --> 00:31:09,200
Speaker 3: good and challenging ways rather than like the villagers are

534
00:31:09,240 --> 00:31:13,000
Speaker 3: the bad guys, right, we completely understand why they've come

535
00:31:13,120 --> 00:31:16,040
Speaker 3: to start to live this way. But then that's a

536
00:31:16,040 --> 00:31:19,440
Speaker 3: good question back on us the audience, is if we

537
00:31:19,600 --> 00:31:23,400
Speaker 3: ever feel fearful for some reason, like where are we

538
00:31:23,440 --> 00:31:26,080
Speaker 3: going to draw the line in terms of our humanity

539
00:31:26,160 --> 00:31:30,800
Speaker 3: and who else we see as human? That's the question

540
00:31:30,880 --> 00:31:35,600
Speaker 3: that I found most relevant and applicable right now, as

541
00:31:35,800 --> 00:31:39,520
Speaker 3: we're under a supposed siege. To your point, this island

542
00:31:39,520 --> 00:31:41,200
Speaker 3: community is not under any seae.

543
00:31:41,200 --> 00:31:42,160
Speaker 4: They're not under attack.

544
00:31:42,280 --> 00:31:43,440
Speaker 3: There are not under attack.

545
00:31:43,640 --> 00:31:45,720
Speaker 2: How easy is it to point the finger at the

546
00:31:45,760 --> 00:31:47,320
Speaker 2: other and who is the other.

547
00:31:47,640 --> 00:31:50,120
Speaker 3: But supposedly, in a time of being under siege, now

548
00:31:50,360 --> 00:31:53,400
Speaker 3: what humanity are we willing to strip away so that

549
00:31:53,480 --> 00:31:56,760
Speaker 3: we feel quote unquote safe. And so I think that's

550
00:31:56,800 --> 00:31:59,520
Speaker 3: absolutely one of the more provocative elements of twenty eight

551
00:31:59,560 --> 00:32:01,680
Speaker 3: Years Later. I want to talk a little bit more.

552
00:32:01,720 --> 00:32:03,640
Speaker 3: I want to go back to that sequence you talked

553
00:32:03,640 --> 00:32:06,720
Speaker 3: about the use of Kipling's The Boots in voiceover and

554
00:32:06,960 --> 00:32:10,800
Speaker 3: these intercuts of archival footage, and yeah, the Henry the

555
00:32:10,800 --> 00:32:16,480
Speaker 3: Fifth film, because here's where Boyle in particular is not

556
00:32:16,800 --> 00:32:20,520
Speaker 3: resting on his laurels as a filmmaker, and there are

557
00:32:20,560 --> 00:32:24,240
Speaker 3: a lot of techniques that are familiar from his previous movies.

558
00:32:24,600 --> 00:32:28,720
Speaker 3: Working with editor John Harris, here the insert shots, the

559
00:32:28,800 --> 00:32:33,080
Speaker 3: quick edits. They're frequently assaulting the screen in effective ways.

560
00:32:33,440 --> 00:32:35,880
Speaker 3: We've seen that to some degree before, including in some

561
00:32:35,960 --> 00:32:38,160
Speaker 3: of the you know in twenty eight Days Later, but

562
00:32:38,320 --> 00:32:42,360
Speaker 3: here also working again with cinematographer Anthony Dodd Mantle. You know,

563
00:32:42,440 --> 00:32:46,080
Speaker 3: twenty eight Days was kind of a flashpoint for digital cinematography,

564
00:32:46,680 --> 00:32:49,600
Speaker 3: and here they've just uped the ante this time. They

565
00:32:49,720 --> 00:32:53,800
Speaker 3: use they employed iPhones that they adapted for this particular purpose.

566
00:32:53,960 --> 00:32:58,440
Speaker 3: And what I like about that is it's in the

567
00:32:58,440 --> 00:33:02,240
Speaker 3: tradition of the first film. But also this isn't like

568
00:33:02,320 --> 00:33:07,040
Speaker 3: cutting edge technology. This is you know, it's it's perfectly

569
00:33:07,120 --> 00:33:11,320
Speaker 3: slightly dated. So this jittery imagery we get. The use

570
00:33:11,360 --> 00:33:14,360
Speaker 3: of freeze frames like that reminded me of you know,

571
00:33:14,400 --> 00:33:16,800
Speaker 3: when you take a photo now on an iPhone, it'll

572
00:33:16,840 --> 00:33:19,239
Speaker 3: be like a live photo and then you'll see like

573
00:33:19,280 --> 00:33:22,000
Speaker 3: fourteen versions of the one photo. That's what Some of

574
00:33:22,040 --> 00:33:25,200
Speaker 3: these freeze frames reminded me of plucking one of those out,

575
00:33:25,760 --> 00:33:28,840
Speaker 3: and that is all to me. It suggested the technology

576
00:33:29,360 --> 00:33:31,959
Speaker 3: of the recent past, which is perfect for where this

577
00:33:32,000 --> 00:33:32,960
Speaker 3: story is set.

578
00:33:32,880 --> 00:33:35,920
Speaker 2: And matches twenty eight days later to an exactly was

579
00:33:36,120 --> 00:33:38,440
Speaker 2: the state of the art technology. It added to the

580
00:33:38,480 --> 00:33:42,080
Speaker 2: sense that something is dated, something is off, something is

581
00:33:42,200 --> 00:33:43,080
Speaker 2: eerie about this.

582
00:33:43,400 --> 00:33:46,320
Speaker 3: Absolutely, It's one of the things when I first wrote

583
00:33:46,320 --> 00:33:48,160
Speaker 3: about back in two thousand and two, I said that

584
00:33:48,200 --> 00:33:50,280
Speaker 3: it's as if the movie was made with the only

585
00:33:50,320 --> 00:33:53,719
Speaker 3: functioning equipment left in London, and that was so perfect

586
00:33:53,720 --> 00:33:56,440
Speaker 3: for that movie, and to find a new way to

587
00:33:56,520 --> 00:34:00,640
Speaker 3: recreate that here I think is effective as well. So, yeah,

588
00:34:00,640 --> 00:34:03,239
Speaker 3: this is a filmmaker, you know, with I don't know

589
00:34:03,240 --> 00:34:08,319
Speaker 3: how many seventeen maybe features under his belt. And I'm

590
00:34:08,360 --> 00:34:10,600
Speaker 3: not saying that you always have to keep upping the

591
00:34:10,640 --> 00:34:14,480
Speaker 3: anti esthetically if you're a filmmaker with that much experience,

592
00:34:14,800 --> 00:34:17,960
Speaker 3: but it is exciting to see someone, when the story

593
00:34:18,040 --> 00:34:21,040
Speaker 3: calls for it, step up to the plate in this way.

594
00:34:21,120 --> 00:34:23,560
Speaker 3: And I think Boil and his collaborators absolutely have.

595
00:34:23,960 --> 00:34:27,319
Speaker 2: And overall, I think you articulated well how it does

596
00:34:27,400 --> 00:34:31,560
Speaker 2: call for it, but specifically the quick cutting and the

597
00:34:31,960 --> 00:34:35,320
Speaker 2: overall editing approach, how is it demployed here. It's mainly,

598
00:34:35,640 --> 00:34:40,360
Speaker 2: or based on my recollection, almost exclusively applied to the violence.

599
00:34:40,840 --> 00:34:44,640
Speaker 2: It's about heightening the brutality. It's not just about showing off.

600
00:34:44,680 --> 00:34:48,040
Speaker 2: It's about heightening the brutality, which fits into the scheme

601
00:34:48,560 --> 00:34:52,920
Speaker 2: and all of the ideas we've been discussing throughout this review.

602
00:34:53,120 --> 00:34:56,520
Speaker 2: The only time, and this is why I like it,

603
00:34:56,719 --> 00:34:58,879
Speaker 2: we may not dig into it as much as I'd

604
00:34:58,960 --> 00:35:02,400
Speaker 2: like because we would get into spoiler territory. The only

605
00:35:02,480 --> 00:35:07,719
Speaker 2: time the quick cutting is utilized to show violence gleefully

606
00:35:08,360 --> 00:35:11,360
Speaker 2: is in the epilogue, and that is by design. Oh sure,

607
00:35:11,480 --> 00:35:15,440
Speaker 2: and you get it. You understand why it's being employed

608
00:35:15,600 --> 00:35:16,000
Speaker 2: that way.

609
00:35:16,320 --> 00:35:19,000
Speaker 3: Yet to your point, The freeze frames, from what I recall,

610
00:35:19,160 --> 00:35:22,680
Speaker 3: are almost always at a point of violent impact on

611
00:35:22,719 --> 00:35:25,680
Speaker 3: a zombie, and I agree. I don't think that is

612
00:35:25,719 --> 00:35:28,200
Speaker 3: like a thrill kill, which is absolutely, you know, a

613
00:35:28,200 --> 00:35:30,560
Speaker 3: part of horror cinema. I don't think that's a thrill

614
00:35:30,680 --> 00:35:36,080
Speaker 3: kill move. I think that's a These aren't necessarily disposable monsters.

615
00:35:36,280 --> 00:35:40,200
Speaker 3: Look at what your act is literally doing to their bodies,

616
00:35:40,760 --> 00:35:44,279
Speaker 3: and those shots to me counter what the father has

617
00:35:44,320 --> 00:35:46,960
Speaker 3: been telling his son, which is that this will be

618
00:35:47,040 --> 00:35:49,920
Speaker 3: easy to do and it means nothing. The Freeze frames

619
00:35:50,440 --> 00:35:51,960
Speaker 3: show you that it means something.

620
00:35:52,360 --> 00:35:55,200
Speaker 2: Twenty eight years later is currently playing in wide release.

621
00:35:55,280 --> 00:35:57,960
Speaker 2: If you see it and agree or disagree with us,

622
00:35:58,040 --> 00:35:59,960
Speaker 2: we would love to hear from you feedback and film

623
00:36:00,160 --> 00:36:01,280
Speaker 2: spotting dot net.

624
00:36:02,640 --> 00:36:04,600
Speaker 5: I'm not one of those elderly people you have to

625
00:36:04,640 --> 00:36:09,279
Speaker 5: watch constantly, of course. My name is Ruth Goldman. I

626
00:36:09,400 --> 00:36:12,960
Speaker 5: was born on six March nineteen thirty seven. My house

627
00:36:13,080 --> 00:36:16,680
Speaker 5: is at thirteen fifty six Flatbush Avenue. Could somebody who

628
00:36:17,160 --> 00:36:23,279
Speaker 5: had you know what, have told you that? Now? Who

629
00:36:23,320 --> 00:36:25,320
Speaker 5: the hell are you?

630
00:36:25,320 --> 00:36:28,480
Speaker 3: You said you wanted to be here, you chose this place.

631
00:36:29,360 --> 00:36:32,319
Speaker 2: That's a bit of the trailer for Familiar Touch, a

632
00:36:32,440 --> 00:36:35,479
Speaker 2: new movie playing and limited release, including at the Gene

633
00:36:35,480 --> 00:36:39,399
Speaker 2: Siskel Film Center in Chicago. I hadn't seen this movie yet,

634
00:36:39,440 --> 00:36:42,400
Speaker 2: but it was actually put on my radar by you, Josh,

635
00:36:42,440 --> 00:36:45,320
Speaker 2: when we did a little film spotting family bonus content

636
00:36:45,719 --> 00:36:48,840
Speaker 2: recently and we were sharing our favorite performances of the

637
00:36:48,920 --> 00:36:53,239
Speaker 2: year so far. You highlighted both h John Benjamin and

638
00:36:53,800 --> 00:36:57,839
Speaker 2: the actress whose voice we just heard, Kathleen Chalfont, who

639
00:36:58,280 --> 00:37:00,960
Speaker 2: is a face that I reckoon and I'm sure a

640
00:37:01,000 --> 00:37:04,759
Speaker 2: lot of people recognize from her TV work, whether or

641
00:37:04,800 --> 00:37:08,520
Speaker 2: not you could specifically place her to a certain role,

642
00:37:08,640 --> 00:37:11,800
Speaker 2: and she's the star of this film. Obviously you like

643
00:37:11,880 --> 00:37:14,680
Speaker 2: both performances if you were highlighting them. How do you

644
00:37:14,719 --> 00:37:16,200
Speaker 2: feel about the film overall?

645
00:37:16,560 --> 00:37:20,640
Speaker 3: I've been describing this film as special, and then I

646
00:37:20,719 --> 00:37:23,719
Speaker 3: add the word and tough, because I don't want this

647
00:37:23,840 --> 00:37:29,440
Speaker 3: to be seen as something that's a sentimental exploration of

648
00:37:29,680 --> 00:37:33,000
Speaker 3: experiencing dementia, especially if you're a family member. You know,

649
00:37:33,280 --> 00:37:36,640
Speaker 3: Benjamin plays the main character's son. Ruth is the main

650
00:37:36,719 --> 00:37:40,279
Speaker 3: character here, played by Chelfont, And you know, it was

651
00:37:40,360 --> 00:37:44,160
Speaker 3: my sense that writer director Sarah Friedland was determined to

652
00:37:44,239 --> 00:37:47,640
Speaker 3: avoid sentimentality, and so I want to honor that intent

653
00:37:47,719 --> 00:37:49,279
Speaker 3: because I think it is one of the strengths of

654
00:37:49,280 --> 00:37:52,440
Speaker 3: the films. Now, this is not rubbing your nose in, no,

655
00:37:52,719 --> 00:37:55,320
Speaker 3: the awfulness of experiencing that, but I think it wants

656
00:37:55,360 --> 00:37:58,520
Speaker 3: to honor the reality of the experience. I ended up

657
00:37:58,560 --> 00:38:01,280
Speaker 3: seeing this at the Chicaug Critics Film Festival and Friedland

658
00:38:01,320 --> 00:38:03,200
Speaker 3: was there. Chelfont was there as well. They did a

659
00:38:03,239 --> 00:38:06,359
Speaker 3: Q and a after and Friedland talked about her experience

660
00:38:06,440 --> 00:38:10,359
Speaker 3: working in a memory care facility, obviously influencing the way

661
00:38:10,440 --> 00:38:13,839
Speaker 3: she wanted to make this film. So, yeah, I do

662
00:38:13,880 --> 00:38:16,359
Speaker 3: think this is something special. Where were I think going

663
00:38:16,400 --> 00:38:18,040
Speaker 3: to give it a nod for Golden Brick as it

664
00:38:18,080 --> 00:38:20,919
Speaker 3: is a debut and it has a unique I think

665
00:38:21,040 --> 00:38:24,360
Speaker 3: this honesty is part of its unique voice that Friedland

666
00:38:24,400 --> 00:38:27,279
Speaker 3: brings to it. But that toughness is there too. Did

667
00:38:27,280 --> 00:38:27,959
Speaker 3: you find the same.

668
00:38:28,360 --> 00:38:32,239
Speaker 2: Yeah, I think that's a really good way to explain it.

669
00:38:32,239 --> 00:38:34,359
Speaker 2: It's very balanced. It's a film that is showing the

670
00:38:34,440 --> 00:38:39,080
Speaker 2: reality of a very tough scenario. Fortunately, this is a

671
00:38:39,160 --> 00:38:43,600
Speaker 2: situation I haven't had to experience, but I'm sure it

672
00:38:43,600 --> 00:38:46,839
Speaker 2: will be familiar to many people. But it is also

673
00:38:47,080 --> 00:38:50,400
Speaker 2: not a disturbing film or one where I feel like

674
00:38:50,600 --> 00:38:54,480
Speaker 2: it is trying to be overly challenging at the same time.

675
00:38:54,600 --> 00:38:58,040
Speaker 2: And it premiered at the Venice Film Festival. I want

676
00:38:58,040 --> 00:39:00,720
Speaker 2: to note that Chelfont was honored there with the Best

677
00:39:00,719 --> 00:39:01,640
Speaker 2: Actress prize.

678
00:39:01,640 --> 00:39:02,640
Speaker 4: This was last fall.

679
00:39:03,120 --> 00:39:06,320
Speaker 2: Also, you know, I suppose this might be a bigger

680
00:39:06,360 --> 00:39:10,200
Speaker 2: honor than our Golden Brick Award the Line of the Future.

681
00:39:11,080 --> 00:39:14,359
Speaker 2: The Luigi de Laurentis Award for a Debut Film went

682
00:39:14,440 --> 00:39:18,000
Speaker 2: to Familiar Touch and Sarah Friedland, but she also won

683
00:39:18,160 --> 00:39:20,600
Speaker 2: I don't know how often this happens. She gets the

684
00:39:20,640 --> 00:39:24,800
Speaker 2: Debut Film award. She also won Best Director for this film.

685
00:39:24,840 --> 00:39:27,319
Speaker 2: So yeah, we both like it and we are going

686
00:39:27,400 --> 00:39:29,720
Speaker 2: to throw it in the mix for our Golden Brick Award,

687
00:39:29,719 --> 00:39:33,880
Speaker 2: which goes to a new or emerging director for their

688
00:39:34,239 --> 00:39:39,839
Speaker 2: first or sometimes second film. As the title Familiar Touch suggests,

689
00:39:40,480 --> 00:39:46,720
Speaker 2: there's a visual emphasis on tactility and physicality. Friedland's conceit

690
00:39:47,200 --> 00:39:53,040
Speaker 2: pays off with quiet power, revealing how the body remembers

691
00:39:53,160 --> 00:39:55,960
Speaker 2: even when the mind no longer holds on.

692
00:39:56,440 --> 00:39:57,759
Speaker 4: And I say quiet.

693
00:39:58,280 --> 00:40:01,120
Speaker 2: I am a sucker for movies as much as I

694
00:40:01,160 --> 00:40:05,160
Speaker 2: do love a good score and sometimes love a great soundtrack.

695
00:40:05,800 --> 00:40:08,520
Speaker 2: I am also sometimes a sucker for a movie that

696
00:40:08,600 --> 00:40:12,439
Speaker 2: has no music except for the occasional use of diegetic music.

697
00:40:12,560 --> 00:40:13,640
Speaker 3: Yeah, great choice here.

698
00:40:13,760 --> 00:40:16,280
Speaker 2: Otherwise, I think that adds to that sense of everything

699
00:40:16,360 --> 00:40:21,560
Speaker 2: just kind of unfolding in a very realistic, unadorned manner.

700
00:40:21,560 --> 00:40:24,719
Speaker 2: To your point, and I understand why you highlighted h

701
00:40:24,840 --> 00:40:27,799
Speaker 2: John Benjamin's performance. He doesn't have a lot of screen time,

702
00:40:28,000 --> 00:40:30,799
Speaker 2: but I get it. He makes an impression, and they're

703
00:40:30,840 --> 00:40:35,880
Speaker 2: both so natural and understated but affecting. There's a tough moment.

704
00:40:36,480 --> 00:40:42,160
Speaker 2: It's really the close out moment of that opening sequence

705
00:40:42,200 --> 00:40:45,480
Speaker 2: where Ruth says to him his character's name is Steve,

706
00:40:46,239 --> 00:40:48,320
Speaker 2: that she's a little bit defiant.

707
00:40:48,360 --> 00:40:49,000
Speaker 4: In this moment.

708
00:40:49,080 --> 00:40:53,160
Speaker 2: She says, I want you to be unconcerned, and that's

709
00:40:53,200 --> 00:40:55,400
Speaker 2: what he and I imagine a lot of sons and

710
00:40:55,480 --> 00:41:00,359
Speaker 2: daughters have to play, have to perform in these real

711
00:41:00,440 --> 00:41:03,319
Speaker 2: life moments, and I really like the moments where Chalfont

712
00:41:03,640 --> 00:41:06,279
Speaker 2: gets to play and gets to perform a little bit.

713
00:41:07,160 --> 00:41:11,719
Speaker 2: She's in one of her appointments with the doctor, a

714
00:41:12,000 --> 00:41:17,479
Speaker 2: character named Brian who's played by Andy McQueen, and he's

715
00:41:17,800 --> 00:41:22,120
Speaker 2: having her do different tests. In this case, she's just

716
00:41:22,120 --> 00:41:24,799
Speaker 2: supposed to repeat certain lines, and obviously that's what the

717
00:41:24,840 --> 00:41:28,960
Speaker 2: test is about, just cognitive functioning. Just repeat what I say,

718
00:41:29,280 --> 00:41:31,120
Speaker 2: and she does the first one, and then he gives

719
00:41:31,120 --> 00:41:34,200
Speaker 2: her a second line, and I think the line is

720
00:41:34,239 --> 00:41:37,640
Speaker 2: something like and the cat would always hide under the

721
00:41:37,680 --> 00:41:40,560
Speaker 2: couch when the dog was around, which is a long one, right,

722
00:41:40,880 --> 00:41:43,320
Speaker 2: And so it's a case where you get the sense

723
00:41:43,400 --> 00:41:45,680
Speaker 2: that she wants to show off a little bit. She

724
00:41:45,840 --> 00:41:49,919
Speaker 2: still has that defiance where she doesn't necessarily totally want

725
00:41:49,960 --> 00:41:53,680
Speaker 2: to accept that she's just like everyone else at this home.

726
00:41:53,960 --> 00:41:56,360
Speaker 2: And we know that she used to be a cook,

727
00:41:56,560 --> 00:41:59,800
Speaker 2: not a chef. She stipulates, but she has some creative flare.

728
00:42:00,120 --> 00:42:02,680
Speaker 2: She wants to show how sharp her mind still is.

729
00:42:03,040 --> 00:42:04,960
Speaker 2: So what does she do with that line. She doesn't

730
00:42:05,000 --> 00:42:08,120
Speaker 2: just repeat it back. She says it four times, and

731
00:42:08,400 --> 00:42:10,600
Speaker 2: each time she says it like an actress giving a

732
00:42:10,640 --> 00:42:13,440
Speaker 2: director a completely different take. And it's just such a

733
00:42:13,480 --> 00:42:19,360
Speaker 2: lovely moment. Talk about a subtle performance. Every shift between states,

734
00:42:19,640 --> 00:42:22,960
Speaker 2: and she is often shifting between states right, kind of

735
00:42:23,760 --> 00:42:29,239
Speaker 2: present and past and confusion and clarity, But there are

736
00:42:29,239 --> 00:42:32,920
Speaker 2: no dramatic shift. It's all registered. You know it though

737
00:42:32,960 --> 00:42:35,480
Speaker 2: as a viewer, but it's all I think, just registered

738
00:42:35,480 --> 00:42:36,040
Speaker 2: with the eyes.

739
00:42:36,280 --> 00:42:38,399
Speaker 3: Yeah, that lack of score you mentioned, I think that's

740
00:42:38,440 --> 00:42:42,399
Speaker 3: part of the strategy to avoid sentimentality. You know, there's

741
00:42:42,560 --> 00:42:44,920
Speaker 3: no there's no temptation to use the music in that

742
00:42:44,960 --> 00:42:46,840
Speaker 3: way at all, because it's just not there. And I

743
00:42:46,880 --> 00:42:50,239
Speaker 3: think the choice also to not move the camera very

744
00:42:50,320 --> 00:42:54,600
Speaker 3: much is effective in that way because camera movement can

745
00:42:54,640 --> 00:42:57,279
Speaker 3: prompt emotion. That's often why it's used, right, And so

746
00:42:57,920 --> 00:43:02,400
Speaker 3: these are patients stretches that are often just on these

747
00:43:03,080 --> 00:43:06,239
Speaker 3: interior compositions that I think have been thoughtfully. I mean,

748
00:43:06,239 --> 00:43:07,640
Speaker 3: there's a lot of thought about what's going to be

749
00:43:07,640 --> 00:43:09,439
Speaker 3: in the frame because the camera's going to be looking

750
00:43:09,440 --> 00:43:11,560
Speaker 3: at it for a while. And to your point also

751
00:43:11,600 --> 00:43:14,439
Speaker 3: about the touch idea. In the title, there are these

752
00:43:14,960 --> 00:43:17,520
Speaker 3: images of Ruth's aging body, and that's part of the

753
00:43:17,560 --> 00:43:20,680
Speaker 3: toughness too, to the reality of that. The camera takes

754
00:43:20,680 --> 00:43:23,799
Speaker 3: in the reality of that even as we're understanding this

755
00:43:23,880 --> 00:43:28,480
Speaker 3: is part of Ruth's experience too, is confronting the reality

756
00:43:28,960 --> 00:43:31,480
Speaker 3: of that. So yeah, I think those are just a

757
00:43:31,520 --> 00:43:34,400
Speaker 3: couple of other ways that mark this movie as distinct

758
00:43:34,560 --> 00:43:37,480
Speaker 3: and as you're talking about, you know, moving in and

759
00:43:37,520 --> 00:43:41,440
Speaker 3: out of perhaps memories. There is an interesting use of

760
00:43:41,560 --> 00:43:44,560
Speaker 3: sound when she's undergoing a form of therapy in the pool.

761
00:43:44,960 --> 00:43:48,520
Speaker 3: Yeah something, Yeah, And we hear just these waves on

762
00:43:48,560 --> 00:43:53,920
Speaker 3: a beach and some voices, and this isn't further explained.

763
00:43:54,160 --> 00:43:58,759
Speaker 3: My guess was perhaps Ruth is remembering or reliving a

764
00:43:58,840 --> 00:44:00,920
Speaker 3: visit to the beach as a child or something like that.

765
00:44:01,000 --> 00:44:03,120
Speaker 3: It doesn't matter what exactly it is. But again to

766
00:44:03,120 --> 00:44:05,880
Speaker 3: your point about the subtlety, it's just a little piece

767
00:44:05,920 --> 00:44:10,719
Speaker 3: of filmmaking to get us inside what time might mean

768
00:44:10,800 --> 00:44:12,960
Speaker 3: right now for Ruth. And so I thought that was

769
00:44:13,000 --> 00:44:13,799
Speaker 3: a nice touch too.

770
00:44:14,000 --> 00:44:15,160
Speaker 4: Well. I love that moment.

771
00:44:15,160 --> 00:44:19,200
Speaker 2: I almost brought it up when you mentioned the camera

772
00:44:19,880 --> 00:44:23,719
Speaker 2: and how straightforward it is, I suppose, because that's a

773
00:44:23,760 --> 00:44:26,960
Speaker 2: moment where we get maybe the most ostentatious shot in

774
00:44:27,000 --> 00:44:29,160
Speaker 2: the film, and it's not even that ostentatious. It's just

775
00:44:29,200 --> 00:44:32,800
Speaker 2: a point of view shot when Ruth opens her eyes

776
00:44:33,600 --> 00:44:35,760
Speaker 2: in the water and we get a point of view

777
00:44:35,920 --> 00:44:39,120
Speaker 2: shot of her looking up at Vanessa, who's the nurse

778
00:44:39,120 --> 00:44:41,920
Speaker 2: who does most of the caretaking, who she refers to

779
00:44:42,000 --> 00:44:47,120
Speaker 2: as her friend. And so it's Vanessa's face in extreme

780
00:44:47,200 --> 00:44:50,960
Speaker 2: close up looking down at her, but she has gone

781
00:44:51,040 --> 00:44:54,000
Speaker 2: from what is clearly a memory. And I say clearly

782
00:44:54,040 --> 00:44:56,719
Speaker 2: only because when Vanessa says to her that it's time

783
00:44:56,760 --> 00:44:59,000
Speaker 2: to get out of the pool, I think Ruth says

784
00:44:59,040 --> 00:45:01,759
Speaker 2: something like I need a few more minutes. Mom Oh,

785
00:45:01,800 --> 00:45:05,160
Speaker 2: that's something something we've all said to our parents right

786
00:45:05,239 --> 00:45:07,319
Speaker 2: when we were kids, that we don't want to get

787
00:45:07,360 --> 00:45:08,840
Speaker 2: out of the bathtub yet, or we don't want to

788
00:45:08,840 --> 00:45:11,720
Speaker 2: get out of the water yet, right, And what Vanessa

789
00:45:11,760 --> 00:45:15,400
Speaker 2: does is really interesting. The way Friedlan renders that moment

790
00:45:16,000 --> 00:45:19,600
Speaker 2: is Vanessa says okay, something like okay, you don't have

791
00:45:19,640 --> 00:45:23,520
Speaker 2: to get out yet, But then she doesn't give Ruth

792
00:45:24,120 --> 00:45:27,680
Speaker 2: like another minute or two or five. She just gives

793
00:45:27,719 --> 00:45:30,479
Speaker 2: her another moment or two and then says it's time

794
00:45:30,520 --> 00:45:33,160
Speaker 2: to get out again. And then when Ruth opens her eyes,

795
00:45:33,640 --> 00:45:35,920
Speaker 2: it's it's Ruth in the moment, in the present, not

796
00:45:36,000 --> 00:45:38,319
Speaker 2: in the past, and we get that wonderful shot that

797
00:45:38,360 --> 00:45:43,120
Speaker 2: represents that she recognizes Vanessa. So it's all done just

798
00:45:43,160 --> 00:45:45,400
Speaker 2: with that point of view shot that we understand and

799
00:45:45,440 --> 00:45:49,280
Speaker 2: with our eyes opening that she's back, so familiar touch

800
00:45:49,480 --> 00:45:52,719
Speaker 2: is currently out as I said in select cities. If

801
00:45:52,719 --> 00:45:54,800
Speaker 2: you're in Chicago, you can't see it at the Gene

802
00:45:54,840 --> 00:45:57,320
Speaker 2: Siskel Film Center. We'd love to know your thoughts about it.

803
00:45:57,360 --> 00:45:58,719
Speaker 2: If you get a chance to see it, you can

804
00:45:58,719 --> 00:46:00,839
Speaker 2: email us feedback at film spotting dot net.

805
00:46:01,239 --> 00:46:03,120
Speaker 3: Listening is the number one thing you can do to

806
00:46:03,160 --> 00:46:06,520
Speaker 3: support an independently produced show like ours. A couple more

807
00:46:06,560 --> 00:46:08,440
Speaker 3: things you can do. Take a minute to give us

808
00:46:08,480 --> 00:46:12,120
Speaker 3: a rating or review on Apple Podcasts or Spotify. Doesn't

809
00:46:12,160 --> 00:46:14,319
Speaker 3: matter if you are brand new to the show or

810
00:46:14,320 --> 00:46:17,200
Speaker 3: you've been around for twenty years. Every new review helps

811
00:46:17,280 --> 00:46:20,280
Speaker 3: us reach new listeners. We want to thank listener Ryan

812
00:46:20,360 --> 00:46:24,240
Speaker 3: Droddy for this recent review on Apple Podcasts. I've listened

813
00:46:24,280 --> 00:46:26,439
Speaker 3: to Film Spotting off and on for the last few years,

814
00:46:26,440 --> 00:46:28,959
Speaker 3: but I always return because it's such a comfort show

815
00:46:29,000 --> 00:46:32,000
Speaker 3: for cinophiles. The top five lists appeal to my innate

816
00:46:32,040 --> 00:46:35,120
Speaker 3: love for countdowns, and the end of year roundtables are

817
00:46:35,160 --> 00:46:38,239
Speaker 3: a fantastic overview of each year in film. With that

818
00:46:38,320 --> 00:46:41,200
Speaker 3: episode alone, you can ensure that your annual blind spots

819
00:46:41,239 --> 00:46:43,759
Speaker 3: will be taken care of. And outside of that show,

820
00:46:43,840 --> 00:46:47,640
Speaker 3: the marathons and madness brackets give listeners continual rooting interests

821
00:46:47,640 --> 00:46:49,880
Speaker 3: from week to week. I always feel inspired to keep

822
00:46:49,920 --> 00:46:54,040
Speaker 3: watching and discovering new movies after I listen. Thank you

823
00:46:54,280 --> 00:46:55,520
Speaker 3: so much for that, Ryan.

824
00:46:55,560 --> 00:46:56,080
Speaker 4: Thanks Ryan.

825
00:46:56,400 --> 00:46:58,719
Speaker 3: There's another way to support us beyond those reviews. You

826
00:46:58,760 --> 00:47:02,960
Speaker 3: can join the film spot family over at Filmspottingfamily dot com.

827
00:47:03,040 --> 00:47:06,560
Speaker 3: Quick thanks to family member Jake Scubish here in Chicago.

828
00:47:06,920 --> 00:47:10,040
Speaker 3: If you'd like to follow Jake on letterbox, you'll find

829
00:47:10,080 --> 00:47:15,640
Speaker 3: him at Scooby Underscore Movies. That's skoob Y Underscore Movies.

830
00:47:15,920 --> 00:47:16,520
Speaker 4: Jake writes.

831
00:47:16,680 --> 00:47:18,640
Speaker 2: I began listening to Film Spotting in two thousand and

832
00:47:18,680 --> 00:47:21,400
Speaker 2: nine when I got an iPod Touch for Christmas. In

833
00:47:21,440 --> 00:47:23,720
Speaker 2: the process of learning what a podcast was, I searched

834
00:47:23,719 --> 00:47:25,799
Speaker 2: for movies and saw an episode come up featuring my

835
00:47:25,840 --> 00:47:29,120
Speaker 2: hometown critic Michael Phillips the Film Spotting year end Top

836
00:47:29,160 --> 00:47:32,680
Speaker 2: ten list. I've been listening ever since. A favorite review

837
00:47:32,760 --> 00:47:35,480
Speaker 2: or segment. Well, he's a Film Spotting Madness fan as well.

838
00:47:35,520 --> 00:47:38,320
Speaker 2: Even though all the work I put into my prediction brackets,

839
00:47:38,360 --> 00:47:40,480
Speaker 2: Jake says, has not done much for me so far.

840
00:47:40,800 --> 00:47:43,520
Speaker 2: I also had the privilege of attending episode five hundred

841
00:47:43,600 --> 00:47:46,520
Speaker 2: live at the Music Box when Ryan Johnson called in

842
00:47:46,640 --> 00:47:49,479
Speaker 2: he skyped into that one on the big screen, which

843
00:47:49,560 --> 00:47:52,720
Speaker 2: was a lot of fun. What review did we get wrong?

844
00:47:53,120 --> 00:47:54,759
Speaker 2: I'm not sure it got a full review on the show,

845
00:47:54,760 --> 00:47:58,360
Speaker 2: but looking at letterboxed, I hope you both revisit Women Talking,

846
00:47:58,760 --> 00:48:01,360
Speaker 2: especially given your prior love for Sarah Polly. It is

847
00:48:01,400 --> 00:48:03,840
Speaker 2: easily one of the most moving and vital movies of

848
00:48:03,880 --> 00:48:06,000
Speaker 2: the decade for me so far.

849
00:48:06,200 --> 00:48:08,360
Speaker 3: Yeah, that was a tough one. Hurt it hurt. It

850
00:48:08,400 --> 00:48:12,399
Speaker 3: did hurt right because we are films. Maybe maybe you're

851
00:48:12,440 --> 00:48:14,920
Speaker 3: right do for a revisit there, Jake.

852
00:48:15,120 --> 00:48:18,680
Speaker 2: This is a Letterbox top four I can really get behind,

853
00:48:18,800 --> 00:48:22,359
Speaker 2: especially considering my love for the first two, which you

854
00:48:22,360 --> 00:48:24,560
Speaker 2: you don't love quite as much as me. I know

855
00:48:24,600 --> 00:48:26,520
Speaker 2: you're a fan at least of the second title here.

856
00:48:26,560 --> 00:48:28,359
Speaker 2: I don't remember where you fell on the first one,

857
00:48:28,360 --> 00:48:30,920
Speaker 2: but the titles are the Worst Person in the World,

858
00:48:31,400 --> 00:48:34,719
Speaker 2: Little Women, Eternal Sunshine of the Spotless Mind, and The

859
00:48:34,800 --> 00:48:35,800
Speaker 2: Royal Tenet Bombs.

860
00:48:35,840 --> 00:48:37,240
Speaker 3: No qualms about that list.

861
00:48:37,480 --> 00:48:41,719
Speaker 2: Okay, favorite movie Jake revisited recently. Well, we'll see what

862
00:48:41,760 --> 00:48:45,400
Speaker 2: we have as far as qualms here. Tenant another masterpiece

863
00:48:45,440 --> 00:48:47,160
Speaker 2: you both got wrong, Jake says.

864
00:48:47,120 --> 00:48:49,960
Speaker 3: Masterpiece, throwing the piece word own.

865
00:48:50,040 --> 00:48:53,960
Speaker 2: Okay, yeah, here's a good one too. Random film or

866
00:48:54,040 --> 00:48:57,399
Speaker 2: filmmaker that you love. Olivia Wilde, who is two for two.

867
00:48:57,840 --> 00:49:01,600
Speaker 2: I have a residence on Don't Worry Dark Island alongside

868
00:49:01,719 --> 00:49:04,920
Speaker 2: Josh see on the beach tonight, Jake, I hear rental

869
00:49:04,920 --> 00:49:08,960
Speaker 2: properties really cheap? There, really cheap? A movie you credit

870
00:49:09,000 --> 00:49:12,200
Speaker 2: with becoming a sinophile. One flew Over the Cuckoo's Nest.

871
00:49:12,280 --> 00:49:14,800
Speaker 2: That's a good one. And a film we have plans

872
00:49:14,840 --> 00:49:19,719
Speaker 2: to discuss as a Sacred cow pantheon project conversation coming

873
00:49:19,760 --> 00:49:22,319
Speaker 2: up pretty soon. And finally, a book about movies or

874
00:49:22,440 --> 00:49:25,399
Speaker 2: movie making that he loves. I am really curious about

875
00:49:25,440 --> 00:49:28,360
Speaker 2: this one. Aunt Kind by Charlie Kaufman, a book partially

876
00:49:28,400 --> 00:49:31,359
Speaker 2: about a film, but also an exercise in witnessing the

877
00:49:31,360 --> 00:49:35,240
Speaker 2: dizzying imagination of one of our great screenwriters.

878
00:49:35,680 --> 00:49:36,839
Speaker 4: Thank you, Jake.

879
00:49:37,200 --> 00:49:39,720
Speaker 2: Thank you to all of our film Spotting Family members.

880
00:49:39,800 --> 00:49:42,880
Speaker 2: If you would like to join and get access to

881
00:49:43,560 --> 00:49:47,960
Speaker 2: the film Spotting archive here, bonus episodes like our favorite

882
00:49:47,960 --> 00:49:52,000
Speaker 2: performances of twenty twenty five so far and more, you

883
00:49:52,040 --> 00:49:55,040
Speaker 2: can learn more at film Spotting Family dot com.

884
00:49:55,280 --> 00:49:58,560
Speaker 3: Well, no worm Eaters among our top five Danny Boyle characters.

885
00:49:58,560 --> 00:50:01,160
Speaker 3: I'm afraid as we made our list back in twenty seventeen,

886
00:50:01,480 --> 00:50:03,920
Speaker 3: but we did have Boyle himself as a guest, So

887
00:50:03,960 --> 00:50:06,279
Speaker 3: we're going to revisit that show when we come back.

888
00:50:06,520 --> 00:50:15,000
Speaker 3: Stay with us Universal Pictures Present.

889
00:50:17,040 --> 00:50:17,320
Speaker 1: Fright.

890
00:50:17,880 --> 00:50:21,600
Speaker 4: I can't get Jurassic Park back online. An adventure sixty

891
00:50:21,719 --> 00:50:23,760
Speaker 4: five million years in the making.

892
00:50:25,920 --> 00:50:31,160
Speaker 2: You're listening to film spotting Happy Birthday nineties kids. Somehow

893
00:50:31,200 --> 00:50:36,959
Speaker 2: it's really happening. Yes, we are planning a Sacred Cow

894
00:50:37,080 --> 00:50:41,200
Speaker 2: review of nineteen ninety threes, a Sacred Dinosaur review of

895
00:50:41,320 --> 00:50:44,520
Speaker 2: nineteen ninety threes, Jurassic Park.

896
00:50:44,680 --> 00:50:45,200
Speaker 3: It's time.

897
00:50:45,840 --> 00:50:49,520
Speaker 2: With Jurassic World Rebirth coming to theaters fourth of July weekend,

898
00:50:50,040 --> 00:50:53,120
Speaker 2: we did realize how crazy it was that we have

899
00:50:53,239 --> 00:50:58,200
Speaker 2: never given Spielberg's film a proper review and no settle down.

900
00:50:58,480 --> 00:51:01,920
Speaker 2: This doesn't mean that a hook Sacred Cow is coming

901
00:51:02,160 --> 00:51:02,919
Speaker 2: anytime soon.

902
00:51:03,360 --> 00:51:06,080
Speaker 3: That would probably be unwise. I don't think anyone would

903
00:51:06,120 --> 00:51:09,200
Speaker 3: come away happy with the results of that. But yeah,

904
00:51:09,320 --> 00:51:12,719
Speaker 3: Jurassic Park, I mean, I think here's what I'm gonna

905
00:51:12,719 --> 00:51:14,520
Speaker 3: try to do, Adam. It's a film I like, we

906
00:51:14,560 --> 00:51:16,520
Speaker 3: both like, we don't We just don't we don't like

907
00:51:16,560 --> 00:51:18,000
Speaker 3: it enough for the nineties kids.

908
00:51:18,080 --> 00:51:21,640
Speaker 2: Yeah, and it's gonna go the defining like Spielberg movie.

909
00:51:21,719 --> 00:51:23,479
Speaker 3: For well, this is what I was gonna say. Yeah,

910
00:51:23,520 --> 00:51:27,319
Speaker 3: I'm gonna try a mind experiment. I'm gonna go into

911
00:51:27,400 --> 00:51:28,480
Speaker 3: Jurassic Park.

912
00:51:28,320 --> 00:51:30,200
Speaker 4: And pretending raiders exist.

913
00:51:30,520 --> 00:51:32,640
Speaker 3: I was gonna say Jaws because for me, it's like

914
00:51:33,080 --> 00:51:37,680
Speaker 3: it's always been like, oh, this is fun, but Jaws.

915
00:51:38,560 --> 00:51:41,919
Speaker 3: I mean, Jaws is out there, and I'm gonna watch

916
00:51:41,960 --> 00:51:44,200
Speaker 3: it as if Jaws isn't. And we'll see how high

917
00:51:44,680 --> 00:51:47,480
Speaker 3: though I'm gonna have fun with this selective amnesia, We'll

918
00:51:47,520 --> 00:51:50,760
Speaker 3: see how high that elevates Jurassic Park in my esteem.

919
00:51:50,760 --> 00:51:51,640
Speaker 3: I think it'll probably Hi.

920
00:51:51,719 --> 00:51:55,200
Speaker 2: I am still mystified by this whole thing because you,

921
00:51:55,360 --> 00:51:57,239
Speaker 2: Josh know this, And the only other person in the

922
00:51:57,360 --> 00:51:59,480
Speaker 2: entire world that knows what I'm about to say is

923
00:51:59,560 --> 00:52:05,319
Speaker 2: producer Sam. Two weeks ago, this whole thing is unthinkable.

924
00:52:05,680 --> 00:52:08,320
Speaker 2: Not only did we not have a Jurassic Park Sacred

925
00:52:08,320 --> 00:52:13,640
Speaker 2: Cow conversation on the docket, but Sam, as a smart producer,

926
00:52:13,760 --> 00:52:18,480
Speaker 2: I guess, was trying to convince us that Jurassic Park

927
00:52:18,640 --> 00:52:23,560
Speaker 2: Rebirth was a big enough summer movie that we needed

928
00:52:23,600 --> 00:52:26,840
Speaker 2: to review it, that we couldn't skip it, and we

929
00:52:27,200 --> 00:52:31,080
Speaker 2: pretentious movie critics that we are apparently were sticking to

930
00:52:31,160 --> 00:52:34,200
Speaker 2: our guns and saying, Nope, nope, we're not putting it

931
00:52:34,239 --> 00:52:36,920
Speaker 2: on the calendar, no interest, We're not talking about it.

932
00:52:36,960 --> 00:52:41,600
Speaker 2: And then somehow fast forward one week our last production meeting,

933
00:52:41,960 --> 00:52:45,800
Speaker 2: not only did we agree to this Jurassic Park conversation,

934
00:52:45,960 --> 00:52:49,440
Speaker 2: we agreed to review Jurassic Park see and review Jurassic

935
00:52:49,480 --> 00:52:54,240
Speaker 2: Park Rebirth. We also agreed somehow to watch the last

936
00:52:54,880 --> 00:52:58,560
Speaker 2: Jurassic World trilogy movie that we didn't watch twenty twenty

937
00:52:58,640 --> 00:53:03,319
Speaker 2: Two's dominion? Was I coherent for this? Was irong? No

938
00:53:03,840 --> 00:53:05,040
Speaker 2: ten am for this meeting.

939
00:53:05,120 --> 00:53:07,880
Speaker 3: I couldn't believe that any of this was getting past you.

940
00:53:07,920 --> 00:53:11,640
Speaker 3: In particular, the dominion part is what gives me pause.

941
00:53:12,239 --> 00:53:15,120
Speaker 3: You know, I Rebirth. There seems to be some energy

942
00:53:15,160 --> 00:53:17,880
Speaker 3: around Rebirth in terms of just movie goers interests. So

943
00:53:18,040 --> 00:53:20,480
Speaker 3: you know, if the screening fell in a night where

944
00:53:20,480 --> 00:53:22,480
Speaker 3: I was open, I was gonna go see it. Scarlett

945
00:53:22,520 --> 00:53:25,440
Speaker 3: Johansson is in it all right, Jurassic Park. I have

946
00:53:25,520 --> 00:53:27,680
Speaker 3: no problem revisiting Jurassic Park.

947
00:53:28,000 --> 00:53:28,239
Speaker 1: Yeah.

948
00:53:28,239 --> 00:53:32,400
Speaker 3: Then in our conversation I realized oh no, this means

949
00:53:32,520 --> 00:53:35,799
Speaker 3: I will have some homework being the completest that I am.

950
00:53:36,160 --> 00:53:40,319
Speaker 3: I had forgotten there was a third I know, third

951
00:53:40,360 --> 00:53:43,279
Speaker 3: Middle Trilogy. What I heard this is I thought I

952
00:53:43,360 --> 00:53:45,759
Speaker 3: had seen them all, and in the middle of the meeting,

953
00:53:45,800 --> 00:53:50,279
Speaker 3: I realize, well, I never saw Dominion. I now have

954
00:53:50,360 --> 00:53:52,719
Speaker 3: to watch Dominion. This is where I'm.

955
00:53:52,600 --> 00:53:53,520
Speaker 4: Well, you know, experiencing.

956
00:53:53,640 --> 00:53:56,200
Speaker 3: So I have to add them. I have to. It's

957
00:53:56,239 --> 00:53:58,600
Speaker 3: the only Jurassic movie I haven't seen, and I'm gonna

958
00:53:58,600 --> 00:54:00,160
Speaker 3: go see Rebirth. I can't live like that.

959
00:54:00,520 --> 00:54:02,560
Speaker 2: You know, we didn't say this during our twenty eight

960
00:54:02,640 --> 00:54:06,000
Speaker 2: years Later review just a few moments ago, but you

961
00:54:06,040 --> 00:54:08,759
Speaker 2: actually very much could walk into that movie having not

962
00:54:08,840 --> 00:54:11,040
Speaker 2: seen either of the other films. It wouldn't matter at all.

963
00:54:11,280 --> 00:54:12,480
Speaker 3: Yeah, I think that's that's true.

964
00:54:12,680 --> 00:54:13,439
Speaker 4: Don't you think that's true.

965
00:54:13,640 --> 00:54:15,279
Speaker 2: I mean, I'm just saying, for those who might be

966
00:54:15,320 --> 00:54:17,600
Speaker 2: considering going to that film but thinking I don't know

967
00:54:17,680 --> 00:54:18,880
Speaker 2: the other films.

968
00:54:19,080 --> 00:54:22,280
Speaker 3: Is this your argument for me skipping watching Dominion?

969
00:54:22,440 --> 00:54:25,920
Speaker 2: Is no, not necessarily, Okay, We're just just doing my

970
00:54:26,000 --> 00:54:27,840
Speaker 2: duty to try to prepare people to see it, and

971
00:54:27,880 --> 00:54:29,360
Speaker 2: I'm saying you don't need to be that prepared.

972
00:54:29,480 --> 00:54:30,319
Speaker 4: You could just go see it.

973
00:54:30,600 --> 00:54:33,759
Speaker 2: For a schedule of future film spotting shows, even though

974
00:54:34,120 --> 00:54:37,000
Speaker 2: apparently they can change week to week, and they do, and.

975
00:54:36,960 --> 00:54:40,480
Speaker 3: Apparently it's Jurassic content for the next month, it might.

976
00:54:40,360 --> 00:54:43,520
Speaker 2: Be visit filmspotting dot net slash episodes.

977
00:54:45,080 --> 00:54:46,759
Speaker 1: I don't like the way that guy looked at us

978
00:54:47,000 --> 00:54:49,640
Speaker 1: alien How how did he look like we're doomed?

979
00:54:50,719 --> 00:54:53,280
Speaker 3: Maybe we are, thank you, I've just been formed the president.

980
00:54:53,400 --> 00:54:55,440
Speaker 1: How long can they keep us an asteroid city?

981
00:54:55,560 --> 00:54:55,960
Speaker 3: Legally?

982
00:54:56,200 --> 00:54:58,279
Speaker 2: The world will never be the same time for some

983
00:54:58,400 --> 00:55:01,040
Speaker 2: poll results. That was from the t trailer for Wes

984
00:55:01,200 --> 00:55:04,920
Speaker 2: Anderson's Asteroid City. A couple weeks back, we had a

985
00:55:04,920 --> 00:55:07,960
Speaker 2: review of Wes Anderson's latest The Phoenician Scheme, and we

986
00:55:08,000 --> 00:55:12,400
Speaker 2: asked you, what is your favorite Anderson project since twenty

987
00:55:12,440 --> 00:55:17,919
Speaker 2: fifteen so post Grand Budapest. Your options, in chronological order

988
00:55:18,120 --> 00:55:22,759
Speaker 2: were Isle of Dogs, The French Dispatch, Asteroid City, The

989
00:55:22,800 --> 00:55:26,400
Speaker 2: Wonderful Story of Henry Sugar and three more and finally

990
00:55:26,920 --> 00:55:28,160
Speaker 2: the Phoenician Scheme.

991
00:55:28,320 --> 00:55:29,880
Speaker 4: Josh, how did it come out?

992
00:55:29,960 --> 00:55:33,319
Speaker 3: Some interesting results here. I think Phoenician Scheme it just

993
00:55:33,400 --> 00:55:35,880
Speaker 3: you know, people have to get those repeat viewings in

994
00:55:36,239 --> 00:55:38,120
Speaker 3: yet for that one it's too fresh, so it did

995
00:55:38,120 --> 00:55:40,640
Speaker 3: come in last place with three percent. Then we have

996
00:55:40,680 --> 00:55:43,840
Speaker 3: the French Dispatch with four percent, and the wonderful story

997
00:55:43,840 --> 00:55:47,000
Speaker 3: of Henry Sugar and three more in at sixteen percent,

998
00:55:47,120 --> 00:55:51,040
Speaker 3: which means a big jump for second place. And this

999
00:55:51,080 --> 00:55:53,560
Speaker 3: is a very heartening result for me. Twenty six percent

1000
00:55:53,600 --> 00:55:56,680
Speaker 3: for Isle of Dogs. I just don't hear people talking

1001
00:55:56,680 --> 00:55:58,839
Speaker 3: about that movie as much as they should, so I'm

1002
00:55:58,840 --> 00:56:01,120
Speaker 3: glad to see the affection for it. But winning the

1003
00:56:01,160 --> 00:56:05,360
Speaker 3: pole with a haft fort is Asteroid City.

1004
00:56:05,640 --> 00:56:08,520
Speaker 2: Now, did you ultimately go with French Dispatch because that

1005
00:56:08,600 --> 00:56:11,239
Speaker 2: had jumped up your rankings?

1006
00:56:11,360 --> 00:56:12,120
Speaker 3: Style of Dogs?

1007
00:56:12,280 --> 00:56:14,719
Speaker 2: Okay, yeah, and I also went Isle of Dogs just

1008
00:56:14,760 --> 00:56:19,200
Speaker 2: ahead of Asteroid City. For me, here's Julio Olivera, Oh

1009
00:56:19,280 --> 00:56:23,000
Speaker 2: buddy Asteroid City, and not just since Grand Budapest. Oh no,

1010
00:56:23,320 --> 00:56:26,160
Speaker 2: it's the best Wes of all time.

1011
00:56:26,840 --> 00:56:31,160
Speaker 4: The buote as it were, no, no, not allowing that,

1012
00:56:31,440 --> 00:56:32,399
Speaker 4: no Josh.

1013
00:56:32,440 --> 00:56:35,480
Speaker 3: As heard from Jordan Jersik, Isle of Dogs was the

1014
00:56:35,520 --> 00:56:39,960
Speaker 3: relatively easy choice for me, visually stunning, impeccable voice performances

1015
00:56:40,000 --> 00:56:43,400
Speaker 3: and emotionally effective. It's the most recent feature length anderson

1016
00:56:43,400 --> 00:56:45,720
Speaker 3: that I unequivocally love okay.

1017
00:56:45,880 --> 00:56:49,280
Speaker 2: Joel Rackle says, if Wes is approaching a woody Allen

1018
00:56:49,480 --> 00:56:52,440
Speaker 2: likes slow drop off, as some people argue, are people

1019
00:56:52,560 --> 00:56:56,520
Speaker 2: arguing that it's surely his writing people aren't responding to

1020
00:56:56,640 --> 00:56:58,640
Speaker 2: like they used to, since the look of his films

1021
00:56:58,680 --> 00:57:00,960
Speaker 2: are as immaculate as ever. This is why the Henry

1022
00:57:01,000 --> 00:57:03,640
Speaker 2: Sugar shorts are the best of the Late West period.

1023
00:57:04,000 --> 00:57:06,839
Speaker 2: Doll's blend of brutality and whimsy, humor and sadness are

1024
00:57:06,880 --> 00:57:08,239
Speaker 2: a perfect match for Wes.

1025
00:57:08,280 --> 00:57:08,440
Speaker 6: Well.

1026
00:57:08,480 --> 00:57:09,759
Speaker 4: I agree with the second part.

1027
00:57:09,960 --> 00:57:13,400
Speaker 3: Kate k weighed in with the wonderful story of Henry Sugar,

1028
00:57:13,520 --> 00:57:16,160
Speaker 3: said it made me weep and renewed my belief in

1029
00:57:16,200 --> 00:57:18,680
Speaker 3: the goodness of humans. I had to vote for it.

1030
00:57:19,280 --> 00:57:22,040
Speaker 2: Jeff Clark says, I voted for the French Dispatch out

1031
00:57:22,080 --> 00:57:25,200
Speaker 2: of gratitude for Wes finally giving us the homicidal maniac

1032
00:57:25,520 --> 00:57:27,960
Speaker 2: that Benicio del Toro was born to play.

1033
00:57:28,320 --> 00:57:30,960
Speaker 3: Might be right there, Jeff. Our last comment comes from

1034
00:57:31,040 --> 00:57:34,160
Speaker 3: Kurt Hansman among the three percent on this, but I

1035
00:57:34,200 --> 00:57:36,960
Speaker 3: am with sam our producer in my assessment of the

1036
00:57:36,960 --> 00:57:40,480
Speaker 3: Phoenician scheme. It takes on so many difficult current issues

1037
00:57:40,480 --> 00:57:44,000
Speaker 3: in such an interesting way, and it seems so personal. Reconciliation,

1038
00:57:44,200 --> 00:57:49,080
Speaker 3: our capacity to change, redemption, spiritual encounters, plus Jaja's cafe

1039
00:57:49,200 --> 00:57:53,040
Speaker 3: and the card game and Jaja's facial expressions and hands.

1040
00:57:53,280 --> 00:57:57,040
Speaker 3: Please watch the credits as well. They're are clues interesting.

1041
00:57:57,080 --> 00:57:59,280
Speaker 2: You've seen it three times and you are one of

1042
00:57:59,280 --> 00:58:02,000
Speaker 2: those people who to stay through the credits of everything.

1043
00:58:02,240 --> 00:58:03,360
Speaker 2: Have you seen these clues?

1044
00:58:03,600 --> 00:58:03,840
Speaker 1: Yeah?

1045
00:58:04,040 --> 00:58:08,720
Speaker 3: I think I'm assuming Kurt's referencing the paintings, all of

1046
00:58:08,880 --> 00:58:14,160
Speaker 3: the masterpieces that it turns out mostly Jaja owns and

1047
00:58:14,200 --> 00:58:16,480
Speaker 3: are sitting around in the background of so many of

1048
00:58:16,480 --> 00:58:19,760
Speaker 3: the scenes. Over the credits, we see the paintings themselves

1049
00:58:19,800 --> 00:58:22,440
Speaker 3: alongside the people who made the film. Kind of a

1050
00:58:22,480 --> 00:58:23,000
Speaker 3: cool touch.

1051
00:58:23,160 --> 00:58:25,600
Speaker 2: Our thanks to everyone who left a comment. Our new

1052
00:58:25,640 --> 00:58:29,280
Speaker 2: poll asks you to go to bat for your favorite

1053
00:58:29,320 --> 00:58:32,640
Speaker 2: film of twenty twenty five so far. That will be

1054
00:58:32,880 --> 00:58:36,840
Speaker 2: the subject of our show next week. The options we're

1055
00:58:36,880 --> 00:58:40,280
Speaker 2: giving you, it's always tough to narrow these down, but

1056
00:58:40,800 --> 00:58:42,960
Speaker 2: that's what we have to do. Except we always give

1057
00:58:42,960 --> 00:58:46,520
Speaker 2: you the option of writing in a choice and going

1058
00:58:46,560 --> 00:58:49,160
Speaker 2: with other Josh, will you do the.

1059
00:58:49,120 --> 00:58:53,160
Speaker 3: Honor Danny Boyle's twenty eight years later, Steven Soderberg's Black Bag,

1060
00:58:53,480 --> 00:58:58,600
Speaker 3: Seleine Songs, Materialists, Bong, June Hose, Mickey seventeen, Wes's The

1061
00:58:58,600 --> 00:59:02,200
Speaker 3: Phoenician Scheme, and what I think we're guessing will probably

1062
00:59:02,240 --> 00:59:06,600
Speaker 3: win Ryan Coogler's Sinners. We will also give you the

1063
00:59:06,640 --> 00:59:09,520
Speaker 3: option of other where you can write in your favorite.

1064
00:59:09,600 --> 00:59:11,960
Speaker 2: We will, of course announce our number one and the

1065
00:59:11,960 --> 00:59:14,200
Speaker 2: rest of our picks next week on the show. But

1066
00:59:14,240 --> 00:59:16,800
Speaker 2: I often like to ask you this question. Is your

1067
00:59:16,920 --> 00:59:19,240
Speaker 2: number one among the options?

1068
00:59:19,320 --> 00:59:22,200
Speaker 3: Josh, My number one is not among the options. There

1069
00:59:22,240 --> 00:59:26,680
Speaker 3: are three titles I think that are in play for

1070
00:59:26,800 --> 00:59:29,480
Speaker 3: that top five, But yeah, not my number one.

1071
00:59:29,600 --> 00:59:32,360
Speaker 2: My number one isn't there. I agree that there are

1072
00:59:32,440 --> 00:59:35,880
Speaker 2: three titles that are in play. We'll see how it

1073
00:59:35,960 --> 00:59:38,280
Speaker 2: all shakes out. You can vote in that poll and

1074
00:59:38,360 --> 00:59:40,200
Speaker 2: leave a comment. We'd love it if you do. At

1075
00:59:40,240 --> 00:59:44,720
Speaker 2: filmspotting dot Net, a few promotional things I suppose we

1076
00:59:44,800 --> 00:59:48,360
Speaker 2: wanted to mention here. Near the end of every show,

1077
00:59:48,680 --> 00:59:51,680
Speaker 2: we highlight the fact that you can get some film

1078
00:59:51,680 --> 00:59:57,400
Speaker 2: spotting merch by visiting film spotting dot Net slash shop,

1079
00:59:58,320 --> 01:00:02,400
Speaker 2: and that page needed a little bit of an overhaul.

1080
01:00:02,720 --> 01:00:06,160
Speaker 2: I'm working Josh here right after we record this show

1081
01:00:06,160 --> 01:00:07,720
Speaker 2: over the next couple of days, so by the time

1082
01:00:07,760 --> 01:00:09,880
Speaker 2: people hear this, you'll see a little bit of a

1083
01:00:09,880 --> 01:00:13,000
Speaker 2: better layout. It will take you to the place where

1084
01:00:13,320 --> 01:00:15,160
Speaker 2: you can buy some Film Spotting merch. We do not

1085
01:00:15,440 --> 01:00:19,240
Speaker 2: operate that shop, but it is where you can get

1086
01:00:19,240 --> 01:00:22,800
Speaker 2: our merch. There's hats, there's teas, there's long sleeve tees,

1087
01:00:23,040 --> 01:00:26,920
Speaker 2: varying colors, stickers, magnets, there's a few different things. I

1088
01:00:27,000 --> 01:00:31,720
Speaker 2: bring this up here because in the past, the way

1089
01:00:31,880 --> 01:00:36,120
Speaker 2: that all worked was such that it was mainly a

1090
01:00:36,200 --> 01:00:39,400
Speaker 2: marketing thing and it was an opportunity for people who

1091
01:00:39,440 --> 01:00:42,320
Speaker 2: were fans of the show if they wanted a Film

1092
01:00:42,360 --> 01:00:46,920
Speaker 2: Spotting T shirt. We wanted to provide that opportunity. We

1093
01:00:46,960 --> 01:00:49,280
Speaker 2: wanted to make sure that there was a way that

1094
01:00:49,320 --> 01:00:51,880
Speaker 2: you could get a shirt. It was certainly not a

1095
01:00:51,960 --> 01:00:57,480
Speaker 2: financial thing, Being totally honest, We typically made about a

1096
01:00:57,560 --> 01:01:03,440
Speaker 2: dollar a T shirt. That has changed recently and it

1097
01:01:03,440 --> 01:01:05,720
Speaker 2: does pay off a little bit better now, and I

1098
01:01:05,760 --> 01:01:09,880
Speaker 2: think that the merch options are a little bit better now,

1099
01:01:10,320 --> 01:01:13,600
Speaker 2: and we're really excited about the various items that you

1100
01:01:13,640 --> 01:01:18,320
Speaker 2: can get through that shop, So highlighting it here Filmspotting

1101
01:01:18,320 --> 01:01:20,600
Speaker 2: dot Net slash Shop if you're looking for anything. We

1102
01:01:20,640 --> 01:01:22,560
Speaker 2: recently had someone reach out and said, I want a

1103
01:01:22,560 --> 01:01:24,880
Speaker 2: film spotting hat. Well, you can get a film spotting hat.

1104
01:01:24,920 --> 01:01:27,880
Speaker 2: There's two different options and you can get different colors too,

1105
01:01:28,080 --> 01:01:33,040
Speaker 2: and it does financially now, it does truly financially support

1106
01:01:33,040 --> 01:01:35,240
Speaker 2: the show and keep us doing what we're doing. So

1107
01:01:35,560 --> 01:01:38,640
Speaker 2: if you're so inclined film spotting dot net slash shop,

1108
01:01:38,680 --> 01:01:38,960
Speaker 2: do we.

1109
01:01:38,880 --> 01:01:41,120
Speaker 3: Have any tote bags? Did you mention tote bags? Are those?

1110
01:01:41,160 --> 01:01:42,040
Speaker 4: There are tote bags.

1111
01:01:42,680 --> 01:01:45,520
Speaker 2: I have the tote bags here at home that we

1112
01:01:45,800 --> 01:01:49,440
Speaker 2: give out as Massacre theater prizes if people choose that.

1113
01:01:49,520 --> 01:01:52,400
Speaker 2: There are tote bags that are slightly different. But there

1114
01:01:52,400 --> 01:01:54,600
Speaker 2: are tote bags available okay on the show.

1115
01:01:54,680 --> 01:01:58,000
Speaker 3: I know those are big, and hey, you carry your

1116
01:01:58,000 --> 01:01:59,840
Speaker 3: tote bag, you wear your t shirt. Chances are you

1117
01:02:00,200 --> 01:02:03,160
Speaker 3: meet another film Spotting listener while you're out in the wild.

1118
01:02:03,200 --> 01:02:05,960
Speaker 3: We've heard of stories like that. So that's that's pretty cool.

1119
01:02:06,000 --> 01:02:08,680
Speaker 3: And as far as the financial part goes, I mean,

1120
01:02:08,720 --> 01:02:11,680
Speaker 3: another way to think about this is we have our

1121
01:02:11,720 --> 01:02:14,920
Speaker 3: family membership Film Spotting Family Membership. You can sign up

1122
01:02:15,240 --> 01:02:17,600
Speaker 3: and that's monthly or annually and it's kind of a

1123
01:02:17,720 --> 01:02:20,040
Speaker 3: you know, a big commitment to the show, to which

1124
01:02:20,080 --> 01:02:22,560
Speaker 3: we're very grateful. But if you can't pull that off,

1125
01:02:23,000 --> 01:02:24,840
Speaker 3: this is maybe an easy way to just toss off

1126
01:02:24,880 --> 01:02:27,200
Speaker 3: a one time donation, you know. Think of it that way.

1127
01:02:27,520 --> 01:02:29,400
Speaker 3: You can go to the shop, find something you like,

1128
01:02:29,480 --> 01:02:31,919
Speaker 3: and yeah, you've added a little bit to the show

1129
01:02:31,920 --> 01:02:33,720
Speaker 3: to keep us going, and you get a prize as well.

1130
01:02:33,800 --> 01:02:36,920
Speaker 3: So film Spotting dot Net slash shop.

1131
01:02:37,240 --> 01:02:37,800
Speaker 4: There you go.

1132
01:02:38,240 --> 01:02:40,160
Speaker 2: We also wanted to highlight and I don't know, Josh,

1133
01:02:40,160 --> 01:02:42,120
Speaker 2: if you've had a chance to fully take a look

1134
01:02:42,120 --> 01:02:45,400
Speaker 2: at it yet. As we're recording this, we've only seen

1135
01:02:45,520 --> 01:02:49,919
Speaker 2: two days worth, or the first forty picks, or maybe

1136
01:02:49,920 --> 01:02:51,440
Speaker 2: I should say the last forty picks.

1137
01:02:51,600 --> 01:02:51,800
Speaker 3: Right.

1138
01:02:51,960 --> 01:02:56,880
Speaker 2: One hundred down to sixty. The New York Times one

1139
01:02:56,960 --> 01:03:01,640
Speaker 2: hundred Best Movies of the twenty first century. Starting Monday,

1140
01:03:01,800 --> 01:03:06,360
Speaker 2: they've been revealing twenty per day, the countdown going down

1141
01:03:06,480 --> 01:03:08,520
Speaker 2: to one. This is how they describe the list. More

1142
01:03:08,560 --> 01:03:12,000
Speaker 2: than five hundred influential directors, actors, and other notable names

1143
01:03:12,000 --> 01:03:14,680
Speaker 2: in Hollywood and around the world voted on the best

1144
01:03:14,680 --> 01:03:18,640
Speaker 2: films released since January one, two thousand. Who are some

1145
01:03:18,680 --> 01:03:23,360
Speaker 2: of those influential directors and actors? Well, you'll find ballots

1146
01:03:23,400 --> 01:03:26,960
Speaker 2: from people like Pedro Madova, Bong June Ho, mel Brooks,

1147
01:03:27,480 --> 01:03:31,600
Speaker 2: Sophia Coppola, Ava Duverne, Mikey Madison, Julianne Moore, John Taturo,

1148
01:03:32,200 --> 01:03:37,560
Speaker 2: John Waters, Edgar Wright, so many others. But who else

1149
01:03:37,640 --> 01:03:42,240
Speaker 2: is among the other notable names in Hollywood or in

1150
01:03:42,280 --> 01:03:45,400
Speaker 2: this case, around the world. Josh, we were among those

1151
01:03:45,440 --> 01:03:48,560
Speaker 2: other notable names who got to submit a ballot, and

1152
01:03:48,600 --> 01:03:51,520
Speaker 2: we are very grateful and honored. No, you won't find

1153
01:03:51,520 --> 01:03:55,080
Speaker 2: our names because we are not Pedramdovar or Bong june Hoe.

1154
01:03:55,200 --> 01:03:58,280
Speaker 2: We didn't get listed. We're not like celebrity part like

1155
01:03:58,320 --> 01:04:02,000
Speaker 2: the celebrities did, but we got to submit. We're among

1156
01:04:02,080 --> 01:04:05,320
Speaker 2: the five hundred plus and it was fun to be

1157
01:04:05,400 --> 01:04:07,520
Speaker 2: part of. It was fun to submit a ballot, and

1158
01:04:07,760 --> 01:04:10,000
Speaker 2: we know our votes got counted and are part of

1159
01:04:10,000 --> 01:04:12,680
Speaker 2: that list. And we encourage you to check out the

1160
01:04:12,720 --> 01:04:15,040
Speaker 2: list and those ballots. By the time you hear this,

1161
01:04:15,760 --> 01:04:18,400
Speaker 2: all one hundred picks will be available. If you can't

1162
01:04:18,400 --> 01:04:20,640
Speaker 2: find it, we will link to it in our show notes.

1163
01:04:20,760 --> 01:04:23,680
Speaker 3: Yeah, it's kind of mind breaking to think that we

1164
01:04:23,720 --> 01:04:26,480
Speaker 3: had a little voice in this thing, and I had

1165
01:04:26,520 --> 01:04:29,400
Speaker 3: actually when they released the news, Adam. I had totally

1166
01:04:29,440 --> 01:04:33,800
Speaker 3: forgotten because I think the survey came out. I want

1167
01:04:33,840 --> 01:04:35,840
Speaker 3: to say, I might have been in the airport heading

1168
01:04:35,880 --> 01:04:38,760
Speaker 3: off to Japan just before I went offline that came

1169
01:04:38,800 --> 01:04:41,840
Speaker 3: in and I was like, oh, I've got to do this,

1170
01:04:41,920 --> 01:04:44,080
Speaker 3: and so I scrambled and thankfully we had our list

1171
01:04:44,360 --> 01:04:47,000
Speaker 3: from our own show when we did the Top twenty five,

1172
01:04:47,400 --> 01:04:50,440
Speaker 3: so I had that handy, but I'd totally forgotten because

1173
01:04:50,440 --> 01:04:52,040
Speaker 3: it was in such a rush. And then it came out.

1174
01:04:52,080 --> 01:04:54,200
Speaker 3: I was like, Oh, that's a cool idea, and then

1175
01:04:54,320 --> 01:04:56,680
Speaker 3: then remember, oh, that's right. We got to be a

1176
01:04:56,680 --> 01:04:58,320
Speaker 3: part of it. And of course I now want to

1177
01:04:58,640 --> 01:05:03,280
Speaker 3: dig into the direct's choices, right, And that's I love

1178
01:05:03,640 --> 01:05:05,919
Speaker 3: looking at that. I know for years Film Comment would

1179
01:05:05,960 --> 01:05:07,840
Speaker 3: do that every year for the best of the year,

1180
01:05:08,160 --> 01:05:11,400
Speaker 3: and it's just fascinating to see what the actual creative

1181
01:05:11,480 --> 01:05:14,880
Speaker 3: people think of the other movies that are out there.

1182
01:05:14,960 --> 01:05:17,400
Speaker 3: So pretty cool project, and yeah, I can't wait to

1183
01:05:17,440 --> 01:05:18,160
Speaker 3: read more about it.

1184
01:05:18,360 --> 01:05:18,520
Speaker 4: Now.

1185
01:05:18,560 --> 01:05:20,760
Speaker 2: I think I know the answer to this, just based

1186
01:05:20,800 --> 01:05:24,120
Speaker 2: on what I know about you, Josh, and also because

1187
01:05:24,600 --> 01:05:25,880
Speaker 2: as you just described, you.

1188
01:05:25,840 --> 01:05:26,800
Speaker 4: Were in a bit of a hurry.

1189
01:05:27,280 --> 01:05:30,920
Speaker 2: Did you in any way alter your top ten or

1190
01:05:30,960 --> 01:05:33,040
Speaker 2: did you go with exactly what you had when we

1191
01:05:33,080 --> 01:05:33,800
Speaker 2: did them on the show.

1192
01:05:33,960 --> 01:05:36,040
Speaker 3: I mean I might have considered it, but I was

1193
01:05:36,160 --> 01:05:39,000
Speaker 3: literally I was about to lose Wi Fi wherever I was,

1194
01:05:39,200 --> 01:05:41,040
Speaker 3: so it was if I want to be a part

1195
01:05:41,040 --> 01:05:43,640
Speaker 3: of this, I'm copying pasting the twenty five. But it

1196
01:05:43,680 --> 01:05:45,760
Speaker 3: sounds like you might have done a little I did.

1197
01:05:45,800 --> 01:05:47,160
Speaker 4: I made two different choices.

1198
01:05:47,280 --> 01:05:51,240
Speaker 2: I swapped in two different films from the top ten

1199
01:05:51,320 --> 01:05:53,320
Speaker 2: that I had as we announced them for the show.

1200
01:05:53,400 --> 01:05:55,720
Speaker 2: And I'll tell you I'll be coy a little bit

1201
01:05:55,760 --> 01:05:59,040
Speaker 2: and maybe save one of the two for another show.

1202
01:05:59,120 --> 01:06:03,280
Speaker 2: But the other one has been revealed so far or

1203
01:06:03,400 --> 01:06:07,680
Speaker 2: already in this first batch of the forty that we

1204
01:06:07,760 --> 01:06:11,800
Speaker 2: have learned as we're recording this, and two total have

1205
01:06:11,920 --> 01:06:15,360
Speaker 2: been revealed inside. Lewin Davis came in at number eighty three.

1206
01:06:15,680 --> 01:06:19,400
Speaker 2: That was on my ballot, among my top ten. And

1207
01:06:19,440 --> 01:06:22,320
Speaker 2: then in the next.

1208
01:06:22,160 --> 01:06:24,920
Speaker 3: Group you add that you didn't add that that was.

1209
01:06:25,520 --> 01:06:28,160
Speaker 2: There, that was already in my top ten. But one

1210
01:06:28,240 --> 01:06:31,840
Speaker 2: I did add came in at number seventy eight. I

1211
01:06:31,960 --> 01:06:34,440
Speaker 2: put it was in my top this one was in

1212
01:06:34,440 --> 01:06:37,360
Speaker 2: my top twenty five. It just wasn't in my top ten.

1213
01:06:37,480 --> 01:06:39,600
Speaker 2: I bumped it up into my top ten for the

1214
01:06:39,640 --> 01:06:42,560
Speaker 2: New York Times. It came in at seventy eight overall,

1215
01:06:43,240 --> 01:06:44,720
Speaker 2: Charlotte Wells after Sun.

1216
01:06:45,240 --> 01:06:47,520
Speaker 3: Oh, that's awesome to hear that it ranked that high.

1217
01:06:47,520 --> 01:06:48,720
Speaker 3: I think I had it. Yeah, I think it was

1218
01:06:48,720 --> 01:06:51,640
Speaker 3: in my top twenty. Also, forget exactly where is the

1219
01:06:51,640 --> 01:06:54,960
Speaker 3: one the other one you added last minute, the Revenant?

1220
01:06:54,960 --> 01:06:56,160
Speaker 3: Did you come around on the Revenant?

1221
01:06:57,360 --> 01:07:00,280
Speaker 2: No, not a chance.

1222
01:07:00,360 --> 01:07:01,040
Speaker 4: It is another one.

1223
01:07:01,120 --> 01:07:04,480
Speaker 2: It is another one that came in very high on

1224
01:07:04,520 --> 01:07:08,400
Speaker 2: my list, was just outside the top ten. So I

1225
01:07:08,400 --> 01:07:11,280
Speaker 2: felt pretty good about just bumping it up a couple slots.

1226
01:07:11,280 --> 01:07:13,720
Speaker 2: So all right, check out that list again. We will

1227
01:07:13,720 --> 01:07:15,720
Speaker 2: link to it in our show notes, but you can't

1228
01:07:15,760 --> 01:07:17,840
Speaker 2: miss it if you visit the New York Times website.

1229
01:07:18,120 --> 01:07:20,800
Speaker 3: I think there are maybe four Robert Altman movies that

1230
01:07:21,080 --> 01:07:23,880
Speaker 3: would be eligible for that list that came out since

1231
01:07:23,920 --> 01:07:26,920
Speaker 3: two thousand, Doctor t and the Women, Gosford Park, The Company,

1232
01:07:26,920 --> 01:07:29,440
Speaker 3: and A Prairie Home Companion. I doubt any of those

1233
01:07:29,440 --> 01:07:31,640
Speaker 3: would make it, but yeah, I have to dig into

1234
01:07:31,720 --> 01:07:33,600
Speaker 3: that yet. I'm bringing Pardon.

1235
01:07:34,360 --> 01:07:35,480
Speaker 4: Might have great shot.

1236
01:07:35,840 --> 01:07:39,200
Speaker 3: Yeah, that's potential. That's potential there yet. But I bring

1237
01:07:39,280 --> 01:07:42,080
Speaker 3: up Altman because the Player from ninety two. That's, as

1238
01:07:42,120 --> 01:07:43,920
Speaker 3: I mentioned on our last show, going to be our

1239
01:07:44,000 --> 01:07:47,400
Speaker 3: film for this summer's Cinema interrupt Us at Chicago's Gene

1240
01:07:47,440 --> 01:07:51,520
Speaker 3: Cisco Film Center and tickets are now available, so that's

1241
01:07:51,560 --> 01:07:55,000
Speaker 3: going to be August eleven through fourteen. You can go

1242
01:07:55,040 --> 01:07:59,400
Speaker 3: to Ciscofilmcenter dot org slash interrupt us if you want

1243
01:07:59,440 --> 01:08:02,480
Speaker 3: to get those again. This is four days of communal

1244
01:08:02,520 --> 01:08:05,120
Speaker 3: film criticism. We're going to watch The Player in its

1245
01:08:05,280 --> 01:08:08,360
Speaker 3: entirety on August eleven, and then come back for subsequent

1246
01:08:08,440 --> 01:08:10,400
Speaker 3: days to work our way through it scene by scene.

1247
01:08:10,800 --> 01:08:13,560
Speaker 3: Anyone in the audience can shout stop and ask a

1248
01:08:13,640 --> 01:08:16,400
Speaker 3: question or make a comment. It's always a great time

1249
01:08:16,439 --> 01:08:18,080
Speaker 3: and you'll be able to if you want to commit

1250
01:08:18,120 --> 01:08:20,560
Speaker 3: to the whole thing. There is a four day package,

1251
01:08:20,680 --> 01:08:23,000
Speaker 3: but if you can only pull off one day you

1252
01:08:23,080 --> 01:08:25,120
Speaker 3: just want to see the movie or pop in for

1253
01:08:25,240 --> 01:08:27,839
Speaker 3: one day of interrupting, you can do single day tickets

1254
01:08:28,280 --> 01:08:33,360
Speaker 3: as well, so look for those again at Cisclfilmcenter dot org.

1255
01:08:33,560 --> 01:08:37,760
Speaker 3: Slash interrupt Us. Over on our sister podcast, The Next

1256
01:08:37,800 --> 01:08:40,880
Speaker 3: Picture Show, looking at Cinema's present via its past, they

1257
01:08:40,920 --> 01:08:45,280
Speaker 3: have a new pairing out Saline Songs Materialists with Joe

1258
01:08:45,320 --> 01:08:49,040
Speaker 3: Wrights Pride and Prejudice. So a lot of attention lately

1259
01:08:49,120 --> 01:08:52,800
Speaker 3: for Pride and Prejudice and a lot of discussion about Materialists.

1260
01:08:52,840 --> 01:08:55,160
Speaker 3: This is one that I've seen from other podcasts I've

1261
01:08:55,200 --> 01:08:58,640
Speaker 3: listening to listen to or on social media. People are

1262
01:08:58,640 --> 01:09:00,800
Speaker 3: really chewing over that one. So they are a great

1263
01:09:00,880 --> 01:09:04,200
Speaker 3: pairing and a great subject for The Next Picture.

1264
01:09:03,880 --> 01:09:06,719
Speaker 2: Show, which you can get wherever you get your podcasts,

1265
01:09:06,720 --> 01:09:09,519
Speaker 2: And that is a perfect transition into some listener feedback,

1266
01:09:09,600 --> 01:09:12,200
Speaker 2: something we haven't I mean, we feature listener comments all

1267
01:09:12,200 --> 01:09:14,519
Speaker 2: the time in our episodes, but we really haven't done

1268
01:09:14,800 --> 01:09:17,040
Speaker 2: a full batch of it. Used to be something that

1269
01:09:17,080 --> 01:09:20,400
Speaker 2: we dug into all the time. We've collected some stuff

1270
01:09:20,439 --> 01:09:23,920
Speaker 2: we wanted to talk about here, including some Materialists feedback.

1271
01:09:24,200 --> 01:09:27,479
Speaker 2: If you recall Joe Wright's Pride and Prejudice, this isn't

1272
01:09:27,560 --> 01:09:31,040
Speaker 2: just random. I'm sure the Next Picture Show would have

1273
01:09:31,080 --> 01:09:34,480
Speaker 2: made the connection anyway, but Joe Writ's Pride and Prejudice

1274
01:09:34,600 --> 01:09:38,960
Speaker 2: was on the list of influences for Selene Songs Materialists

1275
01:09:39,000 --> 01:09:43,000
Speaker 2: that I referenced in the setup for our review last week.

1276
01:09:43,040 --> 01:09:47,479
Speaker 2: The setup where I mentioned the absence of any Woody

1277
01:09:47,520 --> 01:09:50,479
Speaker 2: Allen films, which I thought was curious. Well, we got

1278
01:09:50,520 --> 01:09:53,720
Speaker 2: this email, Josh from Audrey Taudrey.

1279
01:09:54,120 --> 01:09:57,400
Speaker 3: Looks like some sources went ahead and edited songs list

1280
01:09:57,479 --> 01:10:01,519
Speaker 3: of references, which on letterbox does actually include those Woody

1281
01:10:01,560 --> 01:10:03,920
Speaker 3: Allen movies. And I will say that I am currently

1282
01:10:03,920 --> 01:10:06,280
Speaker 3: watching all the movies on the list, but will likely

1283
01:10:06,320 --> 01:10:09,840
Speaker 3: skip the Allen myself. Anyway, great episode.

1284
01:10:09,320 --> 01:10:11,719
Speaker 2: So I will link. Thank you, Audrey. I will link

1285
01:10:12,000 --> 01:10:14,240
Speaker 2: to the link she sent in our show notes. And

1286
01:10:14,280 --> 01:10:18,800
Speaker 2: it is true that on letterboxed there is Letterbox list

1287
01:10:18,800 --> 01:10:23,639
Speaker 2: of influences. I was referencing a twenty four's email list

1288
01:10:23,720 --> 01:10:26,200
Speaker 2: that they got from Selene Song. And I've talked to

1289
01:10:26,840 --> 01:10:29,720
Speaker 2: our friend Mitchell beaupre over at letterbox and there are

1290
01:10:29,760 --> 01:10:34,519
Speaker 2: at least two versions of this list that exist. One

1291
01:10:34,520 --> 01:10:37,479
Speaker 2: thing it's interesting, if this interests you at all, is

1292
01:10:37,479 --> 01:10:41,160
Speaker 2: that Letterbox list not only has all these great titles,

1293
01:10:41,240 --> 01:10:43,880
Speaker 2: but it also has a link to friend of the show,

1294
01:10:43,960 --> 01:10:49,839
Speaker 2: mia Lee Viccino. It has her video interview on YouTube

1295
01:10:50,040 --> 01:10:53,120
Speaker 2: with Selene Song. It's about twenty one minutes long. Josh,

1296
01:10:53,160 --> 01:10:57,680
Speaker 2: and they dig in really deeply to six influences, in

1297
01:10:57,720 --> 01:11:02,559
Speaker 2: particular Phantom Thread, Age of Innocence, Howard's End Room with

1298
01:11:02,640 --> 01:11:06,720
Speaker 2: a View, the recent Emma and Ye. So they not

1299
01:11:06,760 --> 01:11:09,320
Speaker 2: only talk about those films and why they're influences, but

1300
01:11:09,600 --> 01:11:14,160
Speaker 2: they get into specifically how they influenced materialists. So that's

1301
01:11:14,200 --> 01:11:18,639
Speaker 2: really interesting. The discrepancies, which I don't have an answer

1302
01:11:18,680 --> 01:11:21,519
Speaker 2: for why there's at least two different lists out there,

1303
01:11:21,520 --> 01:11:24,479
Speaker 2: But if you're curious the discrepancies between the two lists

1304
01:11:24,560 --> 01:11:28,439
Speaker 2: Letterbox and A twenty four, they're exactly the same except

1305
01:11:28,479 --> 01:11:32,599
Speaker 2: for these titles. It's just these six titles, the three

1306
01:11:32,720 --> 01:11:35,160
Speaker 2: titles that were under that Matchmaker heading, that kind of

1307
01:11:35,160 --> 01:11:39,880
Speaker 2: weird matchmaker heading, Jerry Maguire, Hail Caesar and Moneyball, and

1308
01:11:39,920 --> 01:11:44,559
Speaker 2: then Breakfast at Tiffany's appears on the Letterbox list, but

1309
01:11:44,720 --> 01:11:47,599
Speaker 2: not on the A twenty four list. And then wouldn't

1310
01:11:47,600 --> 01:11:50,840
Speaker 2: you know it, on the Letterbox list, there's any Hall

1311
01:11:51,320 --> 01:11:52,240
Speaker 2: and there's Manhattan.

1312
01:11:52,600 --> 01:11:54,720
Speaker 3: I think I had to be that in our investigative

1313
01:11:54,760 --> 01:11:58,080
Speaker 3: reporter needs to stay on the case. The conspiracy needs

1314
01:11:58,120 --> 01:11:59,840
Speaker 3: to be exposed. What's going on here?

1315
01:12:00,320 --> 01:12:04,960
Speaker 2: I have a theory more two or maybe just a theory.

1316
01:12:05,040 --> 01:12:08,080
Speaker 2: It doesn't matter. All that does matter is there was

1317
01:12:08,200 --> 01:12:12,160
Speaker 2: no way. At minimum, those two Woody Allen films weren't

1318
01:12:12,240 --> 01:12:17,760
Speaker 2: tremendous influences on past lives and materialists, and it's there

1319
01:12:17,760 --> 01:12:20,320
Speaker 2: on the screen, and it was nice to see that

1320
01:12:20,320 --> 01:12:23,200
Speaker 2: that was acknowledged in a list that did we know

1321
01:12:23,320 --> 01:12:26,880
Speaker 2: for sure come from Selene's song herself. We move on

1322
01:12:27,040 --> 01:12:31,400
Speaker 2: to some additional feedback. This came from Aaron in Manhattan,

1323
01:12:31,400 --> 01:12:34,960
Speaker 2: who says, Adam and Josh, I've been genuinely envious of

1324
01:12:35,000 --> 01:12:37,559
Speaker 2: your love of Wes Anderson's films all these years. I

1325
01:12:37,600 --> 01:12:40,479
Speaker 2: love to love films, I just do not connect to

1326
01:12:40,520 --> 01:12:43,200
Speaker 2: them like you do. And listening to your review, I

1327
01:12:43,280 --> 01:12:46,640
Speaker 2: realized how you feel about this film is exactly how

1328
01:12:46,680 --> 01:12:49,719
Speaker 2: some of us feel about all of Anderson's film since Oh,

1329
01:12:49,840 --> 01:12:53,080
Speaker 2: Tenenbaum's not saying one is right or wrong, but now

1330
01:12:53,320 --> 01:12:56,360
Speaker 2: you perhaps understand hoping this isn't the end of your

1331
01:12:56,400 --> 01:12:57,440
Speaker 2: love of Anderson.

1332
01:12:57,760 --> 01:13:00,240
Speaker 3: Aaron says, yeah, I don't think either of us were

1333
01:13:00,320 --> 01:13:02,040
Speaker 3: quite negative enough for that.

1334
01:13:02,360 --> 01:13:03,439
Speaker 4: Yeah, I'm not worried about that.

1335
01:13:03,680 --> 01:13:06,960
Speaker 3: Yeah, in fact, I'd still say I'm positive on the film.

1336
01:13:07,000 --> 01:13:09,680
Speaker 3: But yeah, I mean, when when something isn't working for

1337
01:13:09,760 --> 01:13:12,400
Speaker 3: you entirely as you hoped it would there's that that

1338
01:13:12,520 --> 01:13:14,880
Speaker 3: distance you feel that I imagine is similar to those

1339
01:13:14,880 --> 01:13:17,799
Speaker 3: who you never or infrequently click with his stuff.

1340
01:13:17,960 --> 01:13:18,280
Speaker 4: That's it.

1341
01:13:18,360 --> 01:13:20,639
Speaker 2: I thought that resonated with me. I know that there

1342
01:13:20,680 --> 01:13:24,679
Speaker 2: are enough Aaron's out there who feel that way about Wes.

1343
01:13:24,920 --> 01:13:29,440
Speaker 2: So we appreciate that Aaron still listens to us usually

1344
01:13:30,439 --> 01:13:33,840
Speaker 2: just wax poetically about how great Wes is, even though

1345
01:13:34,120 --> 01:13:35,519
Speaker 2: that's his usual reaction.

1346
01:13:36,080 --> 01:13:38,880
Speaker 3: So let's move into some feedback from your show Adam

1347
01:13:38,960 --> 01:13:42,000
Speaker 3: with Aisha Harris on movie quotes.

1348
01:13:42,040 --> 01:13:42,920
Speaker 4: That is good.

1349
01:13:43,040 --> 01:13:45,800
Speaker 3: What was the the They were movie quotes in our

1350
01:13:45,880 --> 01:13:48,360
Speaker 3: lexicon and our lexica. Yeah, yes, so we use that

1351
01:13:48,439 --> 01:13:53,000
Speaker 3: you use regularly. Our first one comes from Juan Carlo Rodriguez.

1352
01:13:53,160 --> 01:13:55,679
Speaker 3: Dear Josh, Sam and Adam, if that's your real name,

1353
01:13:56,000 --> 01:13:59,320
Speaker 3: I said, love from Davenport, Florida, by way of Caracas, Venezuela.

1354
01:13:59,680 --> 01:14:02,320
Speaker 3: I love so much the recent show with Aisha Harris

1355
01:14:02,360 --> 01:14:04,920
Speaker 3: about movie quotes we use in our daily lives. As

1356
01:14:04,960 --> 01:14:07,080
Speaker 3: a fellow movie nerd, I have been known to make

1357
01:14:07,120 --> 01:14:09,679
Speaker 3: the occasional I will make them an offer they can't refuse,

1358
01:14:09,800 --> 01:14:12,280
Speaker 3: or a very serious you talking to me. But there

1359
01:14:12,360 --> 01:14:14,519
Speaker 3: has been one quote that I have used more often

1360
01:14:14,600 --> 01:14:16,720
Speaker 3: in real life than any other. And it's not only

1361
01:14:16,760 --> 01:14:19,240
Speaker 3: because I love the movie it's in. It's because Adam

1362
01:14:19,280 --> 01:14:22,400
Speaker 3: started using it rather frequently on the show. True, I

1363
01:14:22,400 --> 01:14:24,000
Speaker 3: haven't heard him use it in a while, but it

1364
01:14:24,040 --> 01:14:25,960
Speaker 3: was enough that it sort of seeped into my brain.

1365
01:14:26,400 --> 01:14:30,040
Speaker 3: That quote comes from John Goodman playing Walter Sabchek, when

1366
01:14:30,040 --> 01:14:33,599
Speaker 3: he states in no uncertain terms that this isn't no smoky,

1367
01:14:33,920 --> 01:14:37,240
Speaker 3: this is bollied. We have rules in The Big Lebowski.

1368
01:14:37,439 --> 01:14:39,080
Speaker 3: So I mentioned my surprise when I tune into this

1369
01:14:39,120 --> 01:14:40,840
Speaker 3: beautiful show, listen all the way to the end, and

1370
01:14:40,960 --> 01:14:44,280
Speaker 3: narry a mention of it, not even in the honorable mentions?

1371
01:14:44,640 --> 01:14:47,840
Speaker 3: Is my entire life built on a lie? I obviously, kid.

1372
01:14:47,880 --> 01:14:49,599
Speaker 3: It was a great show. Made me want to watch

1373
01:14:49,640 --> 01:14:52,559
Speaker 3: singles again. Aisha is beyond great, and I think we

1374
01:14:52,600 --> 01:14:56,960
Speaker 3: can now balance out the great Manimal debacle. Debacle guys

1375
01:14:57,080 --> 01:14:59,960
Speaker 3: for what you do and keep up the great work. So, yeah,

1376
01:15:00,120 --> 01:15:02,840
Speaker 3: you refuse to participate in the Mannibal top five and

1377
01:15:02,880 --> 01:15:05,479
Speaker 3: I bowed out of the movie quote, So I guess.

1378
01:15:05,320 --> 01:15:09,920
Speaker 2: We're here to go. Yeah, I guess. Thank you so much, one, Carlow,

1379
01:15:10,439 --> 01:15:14,840
Speaker 2: He's not wrong. Lebowski needed to be mentioned at least

1380
01:15:14,840 --> 01:15:17,599
Speaker 2: as an honorable mention. And it is true that I

1381
01:15:17,640 --> 01:15:19,840
Speaker 2: say that quite a bit on the show, and I

1382
01:15:19,880 --> 01:15:21,800
Speaker 2: love it. As you read that, it occurred to me

1383
01:15:22,240 --> 01:15:25,479
Speaker 2: that what he's really saying is he's quoting me.

1384
01:15:26,200 --> 01:15:27,000
Speaker 4: He's quoting me.

1385
01:15:29,680 --> 01:15:34,000
Speaker 3: Yeah, because you're a paraphrase, You're not exact.

1386
01:15:34,120 --> 01:15:36,400
Speaker 4: I'm not even doing the exact line. But here's the thing.

1387
01:15:36,439 --> 01:15:38,679
Speaker 2: I mentioned that I got to hang out with Sam

1388
01:15:38,760 --> 01:15:42,040
Speaker 2: last night and I was mentioning this email to him

1389
01:15:42,080 --> 01:15:46,599
Speaker 2: and before I could explain, Sam nailed the explanation. Sam

1390
01:15:46,680 --> 01:15:49,640
Speaker 2: nailed the explanation. He knows me well for why I

1391
01:15:49,680 --> 01:15:53,240
Speaker 2: didn't think about it for this list, because actually, one

1392
01:15:53,280 --> 01:15:58,320
Speaker 2: Carlo isn't quoting me quoting Walter subject. He's quoting me

1393
01:15:59,240 --> 01:16:04,160
Speaker 2: quoting Maddie ballgame, quoting Walter such ha okay, ballgame is

1394
01:16:04,200 --> 01:16:06,880
Speaker 2: the guy who said it all the time on the show,

1395
01:16:07,000 --> 01:16:10,320
Speaker 2: And so it seeped into my brain, gotch and I

1396
01:16:10,439 --> 01:16:14,240
Speaker 2: started saying it anytime rules were broken. So it didn't

1397
01:16:14,360 --> 01:16:16,479
Speaker 2: it didn't occur to me as one of my quotes.

1398
01:16:16,760 --> 01:16:18,280
Speaker 4: Right, it was a thing.

1399
01:16:18,560 --> 01:16:22,599
Speaker 2: So there you go, Wan Carlo. Here's Malcolm Cook in Surrey, UK,

1400
01:16:22,800 --> 01:16:25,400
Speaker 2: lovely episode with Adam and Aisha this week. I've always

1401
01:16:25,439 --> 01:16:27,120
Speaker 2: been a huge fan of Clueless, so it was a

1402
01:16:27,200 --> 01:16:29,559
Speaker 2: joy to hear you guys give it an anniversary review.

1403
01:16:30,120 --> 01:16:32,720
Speaker 2: I've dropped here again, listeners who know us well, I've

1404
01:16:32,760 --> 01:16:35,200
Speaker 2: dropped out of the episode halfway through to send this email,

1405
01:16:35,520 --> 01:16:37,800
Speaker 2: but I know that the top five quotes in our

1406
01:16:37,880 --> 01:16:40,920
Speaker 2: lexicon is coming up. I can't predict Ayisha's list, but

1407
01:16:40,960 --> 01:16:43,759
Speaker 2: I'm going to call out Adam's list as fatally flawed

1408
01:16:43,840 --> 01:16:47,400
Speaker 2: if it doesn't include that's a bold statement. Every time

1409
01:16:47,439 --> 01:16:49,479
Speaker 2: he says it on the show, I'm taken straight back

1410
01:16:49,520 --> 01:16:52,120
Speaker 2: to pulp fiction, so I have to assume that was

1411
01:16:52,160 --> 01:16:55,040
Speaker 2: the inspiration for this well worn phrase. Thanks again for

1412
01:16:55,120 --> 01:16:57,719
Speaker 2: all of your tireless work bringing us the show every week.

1413
01:16:58,040 --> 01:17:03,320
Speaker 2: It has never taken for granted. Bold move there, Malcolm

1414
01:17:03,560 --> 01:17:06,840
Speaker 2: calling your shot before you'd even listen to the top five. Yeah,

1415
01:17:06,880 --> 01:17:11,640
Speaker 2: correctly predicting my number three movie quote look in my lexicon.

1416
01:17:12,600 --> 01:17:13,400
Speaker 3: Pretty oppressive.

1417
01:17:13,840 --> 01:17:14,080
Speaker 4: Yep.

1418
01:17:14,600 --> 01:17:16,960
Speaker 3: Bianca from Queen's waded on this as well. Thinking of

1419
01:17:17,000 --> 01:17:19,400
Speaker 3: my own movie quotes used in everyday life that weren't

1420
01:17:19,400 --> 01:17:21,800
Speaker 3: already mentioned on the app. And there's two that are

1421
01:17:21,840 --> 01:17:25,400
Speaker 3: always coming into my head, or I will verbalize from

1422
01:17:25,439 --> 01:17:27,759
Speaker 3: the bird cage. In the dinner party scene, Dian Weist

1423
01:17:27,840 --> 01:17:30,200
Speaker 3: is startled by there being an egg in her soup.

1424
01:17:30,760 --> 01:17:34,240
Speaker 3: Robin Williams hilariously replies, why, and I'm not going to

1425
01:17:34,320 --> 01:17:36,479
Speaker 3: do this justice. Why, yes, it is. It's a juavo

1426
01:17:36,760 --> 01:17:41,120
Speaker 3: that is so Guatemala. To try and explain the nonsensical food,

1427
01:17:41,200 --> 01:17:44,840
Speaker 3: Hank Azaria's oh boy agador, it's been so long since

1428
01:17:44,840 --> 01:17:50,200
Speaker 3: I've seen Spartacus has concocted much like Adam's bacon is good,

1429
01:17:50,240 --> 01:17:53,160
Speaker 3: pork chops are good. Reflex. Whenever I'm cooking or baking

1430
01:17:53,200 --> 01:17:57,720
Speaker 3: with eggs, I will say it's a wavo, all right,

1431
01:17:57,720 --> 01:17:59,960
Speaker 3: she's got Miyaka has another one here from the Devilwares

1432
01:18:00,000 --> 01:18:03,120
Speaker 3: t rata. What of my road rage slash irritation with

1433
01:18:03,280 --> 01:18:06,960
Speaker 3: pedestrians phrases whenever people are taking their sweet ass time

1434
01:18:07,080 --> 01:18:11,120
Speaker 3: crossing the street or are generally oblivious staring into their

1435
01:18:11,160 --> 01:18:13,640
Speaker 3: phone crossing in front of me. This definitely sounds like

1436
01:18:13,680 --> 01:18:16,880
Speaker 3: it comes from queens. I will inevitably yell to them,

1437
01:18:16,920 --> 01:18:19,960
Speaker 3: slash myself by all means, move at a glacial pace

1438
01:18:20,600 --> 01:18:25,000
Speaker 3: about any means. Priestly jebuvid a glacial pace. That is

1439
01:18:25,080 --> 01:18:25,519
Speaker 3: so good.

1440
01:18:25,600 --> 01:18:28,400
Speaker 2: Both of those are really usable and I can see

1441
01:18:28,400 --> 01:18:34,840
Speaker 2: how they could factor into everyday life. Well done, Bianca. Okay,

1442
01:18:34,880 --> 01:18:37,599
Speaker 2: this is all gold as well. From Josh Ashon Miller

1443
01:18:37,880 --> 01:18:41,080
Speaker 2: in LA. For the past twenty years, I have lived

1444
01:18:41,120 --> 01:18:43,519
Speaker 2: across the street from Occidental College in LA, where my

1445
01:18:43,560 --> 01:18:46,439
Speaker 2: wife teaches economics. Oxy was the location for most of

1446
01:18:46,439 --> 01:18:48,519
Speaker 2: the high school scenes and Clueless. They still show the

1447
01:18:48,520 --> 01:18:51,200
Speaker 2: movie as part of first year orientation. Here are some

1448
01:18:51,280 --> 01:18:54,559
Speaker 2: of my favorites. These are movie quotes people use every day.

1449
01:18:54,840 --> 01:18:58,360
Speaker 2: Ed Harris the abyss keep your pantyhose on. It's a

1450
01:18:58,400 --> 01:19:01,280
Speaker 2: good phrase to try to stop someone from overreacting. Also,

1451
01:19:01,320 --> 01:19:03,000
Speaker 2: near the end of the film, he sends a proto

1452
01:19:03,040 --> 01:19:06,000
Speaker 2: text message from his dive suit keep pantyhose on.

1453
01:19:06,280 --> 01:19:08,000
Speaker 4: So I use that version when texting.

1454
01:19:08,160 --> 01:19:09,840
Speaker 3: I'm gonna start using that around the house.

1455
01:19:09,880 --> 01:19:11,000
Speaker 4: And there he goes over.

1456
01:19:11,040 --> 01:19:14,920
Speaker 2: I'm sure Debbie will love it. Nicholas Cage raising Arizona.

1457
01:19:15,120 --> 01:19:18,240
Speaker 2: Let's go get Nathan Junior. I've said this many times

1458
01:19:18,240 --> 01:19:20,559
Speaker 2: trying to rally family members to get in the car.

1459
01:19:21,040 --> 01:19:22,959
Speaker 2: I've never said it while holding a shotgun.

1460
01:19:23,040 --> 01:19:23,639
Speaker 3: Oh that's good.

1461
01:19:24,000 --> 01:19:24,400
Speaker 4: Here we go.

1462
01:19:24,520 --> 01:19:26,920
Speaker 2: My number one favorite I teach you to community college,

1463
01:19:26,960 --> 01:19:29,120
Speaker 2: and I have often been in meetings where there were

1464
01:19:29,200 --> 01:19:32,599
Speaker 2: tense discussions about whether somebody's words or actions were sexist.

1465
01:19:33,080 --> 01:19:35,880
Speaker 2: If the situation seems to call for comic relief, I

1466
01:19:35,960 --> 01:19:39,040
Speaker 2: put on my best Nigel Toughnel accent and ask what's

1467
01:19:39,080 --> 01:19:43,680
Speaker 2: wrong with being sexy? Which usually gets a laugh. It

1468
01:19:43,760 --> 01:19:46,240
Speaker 2: is one of the best lines in that movie. Spinal

1469
01:19:46,280 --> 01:19:48,559
Speaker 2: Tap is an er text for Generation X.

1470
01:19:50,080 --> 01:19:53,160
Speaker 3: I think, in the next meeting, try keep your panty

1471
01:19:53,160 --> 01:19:54,120
Speaker 3: hose on. See how that works?

1472
01:19:54,160 --> 01:19:54,720
Speaker 4: Yeah, try that.

1473
01:19:55,120 --> 01:19:57,400
Speaker 2: This is a seriously great idea for a top five list.

1474
01:19:57,640 --> 01:19:59,439
Speaker 2: Movie quotes can be a way to bond with a

1475
01:19:59,479 --> 01:20:02,080
Speaker 2: person over or shared love of the same movie. My

1476
01:20:02,160 --> 01:20:04,479
Speaker 2: wife often tells people then, when we first started dating

1477
01:20:04,520 --> 01:20:06,320
Speaker 2: in college, it took her a while to realize that

1478
01:20:06,360 --> 01:20:08,799
Speaker 2: fifty percent of the things I said were not original thoughts.

1479
01:20:09,160 --> 01:20:11,880
Speaker 2: Just meet quoting movies all day long. She has learned

1480
01:20:12,080 --> 01:20:15,519
Speaker 2: to live with it. So obviously Josh is in that

1481
01:20:15,600 --> 01:20:18,559
Speaker 2: same vein comes from that same cloth as me and

1482
01:20:18,640 --> 01:20:21,320
Speaker 2: Sam and not you, Josh. But here's what I'm gonna say. First,

1483
01:20:21,360 --> 01:20:23,160
Speaker 2: don't you feel like you missed out on some fun

1484
01:20:23,240 --> 01:20:25,000
Speaker 2: now that you read all this great listener feedback.

1485
01:20:25,560 --> 01:20:27,840
Speaker 3: Sure it is, yes, yes, okay, thank you. Sorry, I

1486
01:20:27,880 --> 01:20:29,639
Speaker 3: was trying to think of my number six animal.

1487
01:20:31,360 --> 01:20:34,439
Speaker 2: Second, here's the last bit of movie quote feedback. Tell me,

1488
01:20:34,520 --> 01:20:36,320
Speaker 2: I know you haven't looked at this yet, so you're

1489
01:20:36,320 --> 01:20:40,160
Speaker 2: gonna be reading this and reacting spontaneously. Read this out

1490
01:20:40,200 --> 01:20:44,040
Speaker 2: loud and tell me honestly that you won't use this,

1491
01:20:44,280 --> 01:20:46,920
Speaker 2: maybe even tonight, and not for the rest of your

1492
01:20:46,960 --> 01:20:47,960
Speaker 2: life on your wife.

1493
01:20:47,960 --> 01:20:49,080
Speaker 4: I promise you you will.

1494
01:20:49,360 --> 01:20:53,439
Speaker 3: Okay. This comes from Eric Mott. Been listening since twenty

1495
01:20:53,520 --> 01:20:57,000
Speaker 3: thirteen and have been to many events and music box screenings,

1496
01:20:57,080 --> 01:21:00,120
Speaker 3: including a Solaris screening. Josh Ho said, that's right. I

1497
01:21:00,160 --> 01:21:02,439
Speaker 3: did do that, but I've never felt the need to

1498
01:21:02,439 --> 01:21:04,559
Speaker 3: write in until now. The other night, I went into

1499
01:21:04,600 --> 01:21:06,559
Speaker 3: the freezer to get a Reese's peanut butter cup. I

1500
01:21:06,600 --> 01:21:10,160
Speaker 3: was hiding from my wife and when she saw she exclaimed,

1501
01:21:10,280 --> 01:21:12,880
Speaker 3: where did that come from? And I just whispered back

1502
01:21:12,880 --> 01:21:16,519
Speaker 3: to her black bag. I see this going on for

1503
01:21:16,680 --> 01:21:20,040
Speaker 3: years to come. That is a good one.

1504
01:21:20,520 --> 01:21:24,519
Speaker 2: That's a gift we just gave to every every partner

1505
01:21:25,000 --> 01:21:25,759
Speaker 2: in our audience.

1506
01:21:26,000 --> 01:21:28,240
Speaker 3: Now do they have to have seen Black Bag for

1507
01:21:28,320 --> 01:21:31,519
Speaker 3: it to work. Okay, I need to be seen it

1508
01:21:31,880 --> 01:21:33,280
Speaker 3: yet it's kind of been spoiled.

1509
01:21:33,360 --> 01:21:35,479
Speaker 4: Well, it's even it's even better if they've seen it.

1510
01:21:35,600 --> 01:21:38,479
Speaker 3: I have to say I haven't used it in a quote,

1511
01:21:38,479 --> 01:21:42,639
Speaker 3: but I have been referencing frequently flagrant monogamy since seeing

1512
01:21:43,280 --> 01:21:46,519
Speaker 3: Black Bag. I don't like that a lot, So maybe

1513
01:21:46,520 --> 01:21:49,599
Speaker 3: that'll be my answer when I mean this situation.

1514
01:21:50,400 --> 01:21:52,599
Speaker 2: We can we can turn you yet, we can turn

1515
01:21:52,680 --> 01:21:55,639
Speaker 2: you to the movie quote dark Side, dark Side, Oh boy, yeah,

1516
01:21:55,680 --> 01:21:59,599
Speaker 2: it's coming. Finally, we'll end on this lovely note from

1517
01:21:59,680 --> 01:22:04,120
Speaker 2: John Krueger, now of Medford, mass previously of Summerville and Cambridge.

1518
01:22:04,320 --> 01:22:06,600
Speaker 2: It was an immense pleasure to hear you guys my

1519
01:22:06,680 --> 01:22:09,920
Speaker 2: favorite movie podcast cover Before Sunset. I message you guys

1520
01:22:10,000 --> 01:22:11,559
Speaker 2: years ago and claimed it as one of my top

1521
01:22:11,560 --> 01:22:14,760
Speaker 2: five movies. It has only more firmly cemented itself there

1522
01:22:14,800 --> 01:22:17,800
Speaker 2: since ten logs on Letterbox and who knows how many

1523
01:22:17,800 --> 01:22:20,439
Speaker 2: I've forgotten to log or watch before Letterbox was the

1524
01:22:20,520 --> 01:22:23,080
Speaker 2: thing I love Before Sunrise It is very special to me,

1525
01:22:23,120 --> 01:22:25,800
Speaker 2: and Before Sunset elevates it and somehow is even better

1526
01:22:26,160 --> 01:22:28,639
Speaker 2: to take one of the most romantic premises which totally

1527
01:22:28,680 --> 01:22:30,479
Speaker 2: delivers and then double down in a way that could

1528
01:22:30,520 --> 01:22:34,000
Speaker 2: feel fantastical or forced and make it feel natural and organic.

1529
01:22:34,040 --> 01:22:34,640
Speaker 4: Is incredible.

1530
01:22:34,920 --> 01:22:37,360
Speaker 2: From the moment Selene shows up, the tears start flowing

1531
01:22:37,400 --> 01:22:40,000
Speaker 2: and never really stop. Your review had a similar effect.

1532
01:22:40,280 --> 01:22:42,960
Speaker 2: Not sure what people thought of a blubbering bicyclist on

1533
01:22:42,960 --> 01:22:45,080
Speaker 2: their way to work, but they got to repeat with

1534
01:22:45,120 --> 01:22:47,920
Speaker 2: the following talk about before sunrise on my way home.

1535
01:22:48,360 --> 01:22:49,200
Speaker 4: Love what you guys do?

1536
01:22:49,560 --> 01:22:52,400
Speaker 3: Oh? Thanks John, Hope you made it home safely.

1537
01:22:52,840 --> 01:22:53,280
Speaker 4: That's right.

1538
01:22:53,400 --> 01:22:57,000
Speaker 2: Thanks to all of our listeners who have submitted so

1539
01:22:57,120 --> 01:22:59,760
Speaker 2: much great stuff to the mailbag recently. As always, you

1540
01:22:59,760 --> 01:23:02,240
Speaker 2: can feedback at filmspotting dot net.

1541
01:23:03,200 --> 01:23:14,120
Speaker 1: Oh Yestaday, when did you write that? I didn't write it.

1542
01:23:14,200 --> 01:23:17,440
Speaker 1: Paul McCartney wrote it the Beatles.

1543
01:23:16,840 --> 01:23:22,679
Speaker 2: Hey, that is from yesterday which we're playing a clip

1544
01:23:22,680 --> 01:23:25,679
Speaker 2: from Josh because it's the single feature the director Danny

1545
01:23:25,720 --> 01:23:29,960
Speaker 2: Boyle made between twenty seventeen's T two Train Spotting and

1546
01:23:30,000 --> 01:23:32,920
Speaker 2: the new twenty eight years later. Are you Josh a

1547
01:23:33,080 --> 01:23:37,120
Speaker 2: Danny Boyle completest? Do you have a ranking on letterboxed?

1548
01:23:37,640 --> 01:23:41,679
Speaker 3: So? Speaking of my completest tendencies, I must have started

1549
01:23:41,720 --> 01:23:46,880
Speaker 3: my boil ranked list before yesterday came out because it's there,

1550
01:23:47,040 --> 01:23:50,000
Speaker 3: it's public. So you were at one scene yesterday. It's

1551
01:23:50,040 --> 01:23:54,000
Speaker 3: missing yesterday, and I've broken my own rule. I added

1552
01:23:54,080 --> 01:23:56,840
Speaker 3: twenty eight years later to that list. But there's that

1553
01:23:56,960 --> 01:23:59,160
Speaker 3: glaring hole I'm gonna have to fill soon.

1554
01:23:59,280 --> 01:24:01,960
Speaker 2: Okay, I got you. I've seen yesterday, so I am

1555
01:24:01,960 --> 01:24:05,400
Speaker 2: a completist. I haven't yet logged twenty eight years later.

1556
01:24:05,439 --> 01:24:07,559
Speaker 2: I need to get to that. T two was also

1557
01:24:07,600 --> 01:24:09,559
Speaker 2: the reason that we had a chance to sit down

1558
01:24:09,760 --> 01:24:14,439
Speaker 2: with Danny Boyle to do our top five Danny Boyle characters.

1559
01:24:14,439 --> 01:24:17,320
Speaker 2: We thought, you know, I've interviewed him at that point.

1560
01:24:17,320 --> 01:24:20,120
Speaker 2: I'd interviewed him at least once before for the movie Sunshine.

1561
01:24:20,800 --> 01:24:22,960
Speaker 2: We thought, let's do something different, let's do a top

1562
01:24:23,000 --> 01:24:25,840
Speaker 2: five with him. And I don't remember the exact circumstances,

1563
01:24:25,880 --> 01:24:28,559
Speaker 2: but we had to do it in two parts. I

1564
01:24:28,680 --> 01:24:31,800
Speaker 2: talked with Boyle about T two, a movie I like

1565
01:24:31,920 --> 01:24:35,080
Speaker 2: quite a bit, and then we did our top five

1566
01:24:35,120 --> 01:24:38,040
Speaker 2: Boyle characters. We then added you into the mix without

1567
01:24:38,080 --> 01:24:41,960
Speaker 2: Danny Boyle, and you got a chance to share your picks.

1568
01:24:42,000 --> 01:24:45,280
Speaker 2: And we're going to start with Boyle. We'll come back

1569
01:24:45,840 --> 01:24:46,719
Speaker 2: and we'll get to yours.

1570
01:24:46,960 --> 01:24:48,360
Speaker 3: Are we clear works for me?

1571
01:24:48,800 --> 01:24:49,120
Speaker 4: Okay?

1572
01:24:49,240 --> 01:24:52,439
Speaker 2: From twenty seventeen, here's Danny Boyle and I with our

1573
01:24:52,439 --> 01:24:54,240
Speaker 2: top five Danny Boyle characters.

1574
01:24:54,560 --> 01:24:58,719
Speaker 3: Hello, Mark, So what you've been up to for twenty years?

1575
01:25:03,200 --> 01:25:08,640
Speaker 1: Choose life? Choose Facebook, Twitter, Instagram, and hope that someone somewhere.

1576
01:25:08,439 --> 01:25:11,280
Speaker 3: Cares I missed you, man, I missed you too.

1577
01:25:11,320 --> 01:25:14,400
Speaker 2: Spot Well, that is a good transition into our next

1578
01:25:14,439 --> 01:25:16,080
Speaker 2: bit of fun here. You're going to be a good

1579
01:25:16,080 --> 01:25:17,840
Speaker 2: sport and you're gonna play along with one of the

1580
01:25:17,920 --> 01:25:19,760
Speaker 2: things we do here on the show. We do top

1581
01:25:19,800 --> 01:25:22,679
Speaker 2: five lists, and we thought it would be fun to

1582
01:25:22,800 --> 01:25:26,719
Speaker 2: look back on your career and think about your best characters,

1583
01:25:26,720 --> 01:25:29,080
Speaker 2: your most memorable characters, however you want to define it,

1584
01:25:29,120 --> 01:25:30,519
Speaker 2: And of course I don't know how you're going to

1585
01:25:30,560 --> 01:25:32,280
Speaker 2: define it, and I think we're gonna go a little

1586
01:25:32,280 --> 01:25:34,720
Speaker 2: bit chronologically here, but I imagine thinking back on that,

1587
01:25:35,120 --> 01:25:39,360
Speaker 2: it must be like trying to pick your favorite kid, right, Yeah, you.

1588
01:25:39,400 --> 01:25:41,920
Speaker 1: Kind of well that one. You often get asked, which

1589
01:25:42,040 --> 01:25:43,720
Speaker 1: is your favorite film? With your films, and you never

1590
01:25:43,760 --> 01:25:46,320
Speaker 1: really you should never really answer that question because that

1591
01:25:46,400 --> 01:25:50,400
Speaker 1: kind of accept to say that this because the successful

1592
01:25:50,439 --> 01:25:52,720
Speaker 1: ones the ones the show people really like they kind

1593
01:25:52,720 --> 01:25:55,640
Speaker 1: of drift away from you because they you end up

1594
01:25:55,680 --> 01:25:58,599
Speaker 1: knowing less about them than the audience because you forget things,

1595
01:25:58,760 --> 01:26:01,559
Speaker 1: but they are kind of very affectionate towards them. Yeah,

1596
01:26:01,600 --> 01:26:04,960
Speaker 1: so you tend to pick the one you look after,

1597
01:26:05,000 --> 01:26:07,280
Speaker 1: the ones that nobody's been to see, really because it

1598
01:26:07,439 --> 01:26:09,880
Speaker 1: kind of like they feel spurned, you know, your child

1599
01:26:10,160 --> 01:26:13,760
Speaker 1: being rejected from school or has no friends or so

1600
01:26:13,800 --> 01:26:15,599
Speaker 1: you naturally kind of want to look after those ones.

1601
01:26:15,640 --> 01:26:18,000
Speaker 1: But that's normally the way you would answer that question.

1602
01:26:18,080 --> 01:26:22,200
Speaker 1: But in terms of characters, Yeah, what I wanted to

1603
01:26:22,240 --> 01:26:25,680
Speaker 1: do was and it's something I'm not very good at,

1604
01:26:25,760 --> 01:26:28,880
Speaker 1: which is women characters because the films tend to be

1605
01:26:29,760 --> 01:26:32,880
Speaker 1: dominated by men. And of course you look at it

1606
01:26:32,920 --> 01:26:34,800
Speaker 1: and you think, well, that's probably because you know, you're

1607
01:26:34,960 --> 01:26:37,040
Speaker 1: kind of trying to make in some way, you're making

1608
01:26:37,040 --> 01:26:39,600
Speaker 1: them about yourself in some kind of way, and it

1609
01:26:39,680 --> 01:26:42,320
Speaker 1: is it's a significant weakness. I mean, I'm very fortunate,

1610
01:26:42,400 --> 01:26:46,040
Speaker 1: I have two I've got three kids, two wonderful daughters,

1611
01:26:46,400 --> 01:26:50,679
Speaker 1: you know, and they point out little time I spend

1612
01:26:50,720 --> 01:26:54,400
Speaker 1: other women, and in fact, train spot in two tea two. Yes,

1613
01:26:54,479 --> 01:26:57,439
Speaker 1: you know, it has some significant characters, but the main

1614
01:26:57,640 --> 01:27:00,640
Speaker 1: they're mainly dominated, obviously by these four guys. But so

1615
01:27:00,920 --> 01:27:02,880
Speaker 1: when when you I was told about this, I thought,

1616
01:27:03,400 --> 01:27:06,240
Speaker 1: there's a quote, and I think it's I think I

1617
01:27:06,400 --> 01:27:08,679
Speaker 1: may be wrong. I think I think it's by Frank Kapper,

1618
01:27:09,160 --> 01:27:13,599
Speaker 1: who said, behind every successful man stands an astonished woman.

1619
01:27:15,280 --> 01:27:18,200
Speaker 1: And I wanted to I wanted to do my list

1620
01:27:18,240 --> 01:27:21,000
Speaker 1: with that in mind. Really, so behind every successful man,

1621
01:27:21,040 --> 01:27:24,000
Speaker 1: every successful film there was a stands a series of

1622
01:27:24,040 --> 01:27:27,599
Speaker 1: astonished women or characters. So I would so I would

1623
01:27:27,600 --> 01:27:30,479
Speaker 1: start with Carry Fox in Shallow Grave.

1624
01:27:32,439 --> 01:27:33,440
Speaker 3: Just a few questions.

1625
01:27:33,520 --> 01:27:35,439
Speaker 1: I'd like to ask you about your hobbits. Why do

1626
01:27:35,479 --> 01:27:36,240
Speaker 1: you want a room here?

1627
01:27:36,479 --> 01:27:37,040
Speaker 3: Do you smoke?

1628
01:27:37,160 --> 01:27:37,200
Speaker 5: No?

1629
01:27:37,360 --> 01:27:39,519
Speaker 1: When you sacrifice her goal and your rip it's high

1630
01:27:39,520 --> 01:27:41,080
Speaker 1: with your bare hands, do you then summon.

1631
01:27:40,920 --> 01:27:42,880
Speaker 4: Help that It's a fairly straightforward question.

1632
01:27:43,400 --> 01:27:45,240
Speaker 2: Either you're divorced or not.

1633
01:27:45,479 --> 01:27:46,880
Speaker 1: She's the reason that film got made.

1634
01:27:46,960 --> 01:27:48,680
Speaker 4: Really, Oh yeah, because I.

1635
01:27:49,439 --> 01:27:51,800
Speaker 1: Was trying desperately to make a film. I was working

1636
01:27:51,840 --> 01:27:54,320
Speaker 1: in television and not like television is now, where it's

1637
01:27:54,320 --> 01:27:56,920
Speaker 1: a very exciting story place, but back then it was

1638
01:27:57,040 --> 01:28:00,439
Speaker 1: very much a junior to movies, and i'd may I

1639
01:28:00,479 --> 01:28:03,839
Speaker 1: made a television series a wonderful thing called Mister Rolls Virgins,

1640
01:28:03,840 --> 01:28:06,160
Speaker 1: which was about a series of women who were married

1641
01:28:06,160 --> 01:28:09,280
Speaker 1: off to a preacher in eighteen Thirti's Lancashire during the

1642
01:28:09,320 --> 01:28:14,000
Speaker 1: Industrial Revolution, and he was an evangelical preacher the Christian Israelites,

1643
01:28:14,040 --> 01:28:16,320
Speaker 1: which still exists in parts of Australia, and he was

1644
01:28:16,320 --> 01:28:18,320
Speaker 1: the head of them. And she played one of the

1645
01:28:18,320 --> 01:28:20,599
Speaker 1: parts because I'd seen her in Angel at my Table,

1646
01:28:20,600 --> 01:28:23,320
Speaker 1: that Janie Hempion, and somehow she agreed to do it.

1647
01:28:23,360 --> 01:28:25,200
Speaker 1: I think probably because she wanted to hang out in

1648
01:28:25,240 --> 01:28:28,280
Speaker 1: England for a bit. You know, she's a key we Yeah. Anyway,

1649
01:28:28,320 --> 01:28:30,439
Speaker 1: then this script came in as we were finishing that.

1650
01:28:30,479 --> 01:28:32,639
Speaker 1: This script came in Shallow Grave and I went into

1651
01:28:32,680 --> 01:28:36,200
Speaker 1: pitch for it and I said, listen, if you let

1652
01:28:36,240 --> 01:28:39,720
Speaker 1: me direct this, I'll get Curry Fox to play the

1653
01:28:39,800 --> 01:28:42,639
Speaker 1: doctor in it, the woman in it, and they were

1654
01:28:43,200 --> 01:28:45,400
Speaker 1: That was a big trigger because she knew you were

1655
01:28:45,400 --> 01:28:47,160
Speaker 1: going to get financed because at the time she was

1656
01:28:47,240 --> 01:28:50,200
Speaker 1: hot on the kind of indie film market and this

1657
01:28:50,240 --> 01:28:52,200
Speaker 1: film was going to be financed like an indie film,

1658
01:28:52,400 --> 01:28:56,040
Speaker 1: and so she was the turning point. And she's also

1659
01:28:56,080 --> 01:29:00,639
Speaker 1: a transcendent actor, really, and that was my first proper

1660
01:29:00,680 --> 01:29:03,919
Speaker 1: experience of filmmaking on a large scale, and she introduced

1661
01:29:03,920 --> 01:29:08,040
Speaker 1: me to it both by being the igniting point finance

1662
01:29:08,080 --> 01:29:11,120
Speaker 1: and financially, but also she was a hand guiding me

1663
01:29:11,200 --> 01:29:11,960
Speaker 1: into that world.

1664
01:29:12,280 --> 01:29:14,880
Speaker 2: Yeah, that's a fantastic choice. I was, without giving too

1665
01:29:14,960 --> 01:29:16,679
Speaker 2: much away here about T two, I was thinking about

1666
01:29:16,680 --> 01:29:19,519
Speaker 2: Shallow Grave quite a bit near the end of T

1667
01:29:19,520 --> 01:29:22,439
Speaker 2: two with some of the plot machinations there. If you will,

1668
01:29:22,800 --> 01:29:24,840
Speaker 2: I have a more conventional list, and we're not going

1669
01:29:24,880 --> 01:29:27,880
Speaker 2: to dwell on it, but I can balance the masculinity side,

1670
01:29:27,880 --> 01:29:30,639
Speaker 2: I guess with some more conventional choices. And Alex law

1671
01:29:30,640 --> 01:29:33,360
Speaker 2: ew and McGregor's character in that film made my top

1672
01:29:33,400 --> 01:29:35,559
Speaker 2: five of your characters. That I think it's just because

1673
01:29:35,680 --> 01:29:37,920
Speaker 2: it was our introduction to him, most of us, our

1674
01:29:37,960 --> 01:29:40,240
Speaker 2: introduction to you and to you and McGregor, And of

1675
01:29:40,280 --> 01:29:43,040
Speaker 2: course he's so hyper verbal in that film and so

1676
01:29:43,439 --> 01:29:45,800
Speaker 2: wonderfully charming, but there is also this sense that he's

1677
01:29:45,840 --> 01:29:48,800
Speaker 2: constantly hiding something from you, and I think there's a

1678
01:29:48,840 --> 01:29:50,920
Speaker 2: little bit of mystery there that makes them a fascinating character.

1679
01:29:51,040 --> 01:29:53,040
Speaker 1: That's very good. Yeah. Yeah, he's also one of the

1680
01:29:53,040 --> 01:29:56,080
Speaker 1: things that you and I've never worked with anybody who

1681
01:29:56,120 --> 01:29:59,560
Speaker 1: can depict pain. So there's a little bit in it,

1682
01:29:59,720 --> 01:30:01,839
Speaker 1: and there's a lot of it is he has hammered

1683
01:30:01,920 --> 01:30:05,280
Speaker 1: on the shin metal bar and that's painful enough, right,

1684
01:30:05,360 --> 01:30:07,120
Speaker 1: you know. But then there's a little bit later on

1685
01:30:07,160 --> 01:30:09,880
Speaker 1: where he bumps his shins on a car door and

1686
01:30:09,920 --> 01:30:14,439
Speaker 1: it's like one of those like real moments where and

1687
01:30:14,680 --> 01:30:15,960
Speaker 1: he's always been like that, and he is in the

1688
01:30:16,000 --> 01:30:19,439
Speaker 1: new film as well. He's got this ability to depict pain.

1689
01:30:20,360 --> 01:30:22,240
Speaker 1: Quite where that comes from, I don't know, but he

1690
01:30:22,360 --> 01:30:22,920
Speaker 1: is very good.

1691
01:30:23,240 --> 01:30:25,640
Speaker 2: I just want to envision that the casting process with

1692
01:30:25,720 --> 01:30:28,600
Speaker 2: him was something like the flat audition seen in the

1693
01:30:28,640 --> 01:30:30,800
Speaker 2: movie where it's like, why on earth, after being here,

1694
01:30:30,840 --> 01:30:33,439
Speaker 2: would you think we'd want to cast you in our film?

1695
01:30:33,560 --> 01:30:36,040
Speaker 1: It's very acerbic, wit, isn't it? And does it beautifully?

1696
01:30:36,880 --> 01:30:39,559
Speaker 1: It wasn't quite, but it was very interesting. Carry was

1697
01:30:39,560 --> 01:30:42,720
Speaker 1: in place as and everybody was cast around her, and

1698
01:30:42,760 --> 01:30:46,800
Speaker 1: at the time you and McGregor and Chris Ecklson, who

1699
01:30:46,800 --> 01:30:50,840
Speaker 1: played the other part, were I don't mean it pejoratively,

1700
01:30:50,920 --> 01:30:54,040
Speaker 1: they were relatively nobody's really and they had to audition

1701
01:30:54,240 --> 01:30:56,640
Speaker 1: and kind of they auditioned with Carrie and then the

1702
01:30:56,680 --> 01:30:58,800
Speaker 1: tapes were sent away to all the various people who

1703
01:30:58,800 --> 01:31:00,880
Speaker 1: were financing the film to see if they agreed with

1704
01:31:00,920 --> 01:31:03,360
Speaker 1: their choices. That kind of thing, really, and it's weird

1705
01:31:03,400 --> 01:31:05,599
Speaker 1: how things change. And they both went on, both him

1706
01:31:05,600 --> 01:31:07,920
Speaker 1: and Christoph Eckleson, who went on to play Doctor Who

1707
01:31:08,040 --> 01:31:10,799
Speaker 1: for Eckleson and you McGregor obviously went on to Star Wars,

1708
01:31:10,960 --> 01:31:13,400
Speaker 1: so they both went on to play Masters of the Universe,

1709
01:31:13,760 --> 01:31:15,360
Speaker 1: but not that back then they were.

1710
01:31:15,479 --> 01:31:17,479
Speaker 4: Now now you're next choice.

1711
01:31:18,000 --> 01:31:21,519
Speaker 1: So it's Kelly McDonald in Trainspotting, which obviously loops around,

1712
01:31:21,640 --> 01:31:23,840
Speaker 1: loops forward in a way to the new film as well,

1713
01:31:23,960 --> 01:31:26,320
Speaker 1: which he makes a significant cameo.

1714
01:31:26,520 --> 01:31:29,040
Speaker 2: Yeah, in the crowd, I'll say, having seen it last

1715
01:31:29,120 --> 01:31:32,000
Speaker 2: night with a large group of people, at that moment

1716
01:31:32,080 --> 01:31:34,519
Speaker 2: when she appears on screen, everyone kind of les out

1717
01:31:34,560 --> 01:31:36,400
Speaker 2: a nice sigh and nice reaction.

1718
01:31:36,439 --> 01:31:37,360
Speaker 4: We're all happy to see her.

1719
01:31:37,400 --> 01:31:39,400
Speaker 1: So when we were setting up the new film, that

1720
01:31:39,520 --> 01:31:41,559
Speaker 1: was the second question people ask, you know, because like

1721
01:31:42,160 --> 01:31:45,360
Speaker 1: film studios, when they agree to financial film they do

1722
01:31:45,720 --> 01:31:49,719
Speaker 1: these days there's focus groups about everything, and they obviously

1723
01:31:49,800 --> 01:31:52,080
Speaker 1: had focus groups asking people what would they expect from

1724
01:31:52,120 --> 01:31:55,360
Speaker 1: a sequel, and the first thing people expected was will

1725
01:31:55,400 --> 01:31:57,960
Speaker 1: those guys come back again? The same actors? And the

1726
01:31:58,000 --> 01:32:00,639
Speaker 1: second question was will Kelly McDonald being as well?

1727
01:32:01,320 --> 01:32:01,880
Speaker 4: So there you go.

1728
01:32:01,920 --> 01:32:04,360
Speaker 1: So she's but to go back to the original we

1729
01:32:04,640 --> 01:32:07,480
Speaker 1: if you remember in the original film, she's a schoolgirl,

1730
01:32:07,720 --> 01:32:09,879
Speaker 1: but who doesn't appear to be one at the beginning,

1731
01:32:10,080 --> 01:32:12,439
Speaker 1: quite the reverse, and that trick of her turning from

1732
01:32:12,439 --> 01:32:15,000
Speaker 1: one thing into another is obviously a delicious moment in

1733
01:32:15,000 --> 01:32:16,800
Speaker 1: the film. And so I had this idea that I

1734
01:32:16,800 --> 01:32:19,760
Speaker 1: probably shouldn't cast an actress that you were familiar with,

1735
01:32:19,800 --> 01:32:21,840
Speaker 1: you know, that you'd already knew, because I wanted you

1736
01:32:21,880 --> 01:32:24,479
Speaker 1: to have no recognition when you saw this woman in

1737
01:32:24,520 --> 01:32:26,720
Speaker 1: the nightclub that she could be who she turns out

1738
01:32:26,720 --> 01:32:28,960
Speaker 1: to be in the end, which can't go. So we

1739
01:32:29,320 --> 01:32:35,200
Speaker 1: advertised for newcomers, really, you know, way before, way before

1740
01:32:35,240 --> 01:32:38,439
Speaker 1: all the reality shows, competition shows, you know, the kind

1741
01:32:38,439 --> 01:32:41,519
Speaker 1: of like America's Got Talent, way before all those kind

1742
01:32:41,560 --> 01:32:43,320
Speaker 1: of things. We did our own version where we sent

1743
01:32:43,400 --> 01:32:46,120
Speaker 1: out flyers to everywhere and they said, oh, you should

1744
01:32:46,120 --> 01:32:48,280
Speaker 1: put them in hairdressers on a Friday night and you'll

1745
01:32:48,320 --> 01:32:50,920
Speaker 1: get girls coming in. So and then so we did.

1746
01:32:51,000 --> 01:32:53,280
Speaker 1: And then on the Saturday morning we turned up at

1747
01:32:53,280 --> 01:32:55,400
Speaker 1: this hall where we told people to turn up, and

1748
01:32:55,439 --> 01:32:57,200
Speaker 1: there were about two hundred girls turned up.

1749
01:32:57,280 --> 01:32:57,479
Speaker 4: Wow.

1750
01:32:57,680 --> 01:33:00,120
Speaker 1: And I saw her come in at the back. You know,

1751
01:33:00,160 --> 01:33:01,920
Speaker 1: there's all load of chairs laid out for them to

1752
01:33:02,360 --> 01:33:03,760
Speaker 1: and I saw he at this girl coming at the back,

1753
01:33:03,800 --> 01:33:06,200
Speaker 1: and I thought, I bet that's her. And it wasn't

1754
01:33:06,240 --> 01:33:08,880
Speaker 1: because she was the prettiest or anything like that, or

1755
01:33:09,360 --> 01:33:11,639
Speaker 1: because she's actually a very she's a very beautiful woman,

1756
01:33:11,720 --> 01:33:14,280
Speaker 1: but she's very modest the way to the way that

1757
01:33:14,320 --> 01:33:17,360
Speaker 1: she presents herself. But I remember seeing her walking thinking

1758
01:33:17,439 --> 01:33:18,840
Speaker 1: I bet that's her. And we went through the whole

1759
01:33:18,840 --> 01:33:21,400
Speaker 1: process of casting everybody, but it was I was. And

1760
01:33:21,439 --> 01:33:22,960
Speaker 1: she was extraordinary because what she had to do in

1761
01:33:23,000 --> 01:33:25,320
Speaker 1: the film was pretty brave, and she had to hold

1762
01:33:25,320 --> 01:33:27,240
Speaker 1: her own against these guys and she had never done

1763
01:33:27,280 --> 01:33:29,800
Speaker 1: it before, and she's naked and all this having sex

1764
01:33:29,840 --> 01:33:32,240
Speaker 1: with him and all this kind of stuff and comic sex,

1765
01:33:32,600 --> 01:33:35,400
Speaker 1: not just straight sex. It's like comic sex. And she

1766
01:33:35,479 --> 01:33:38,559
Speaker 1: was extraordinary, really, And then I suppose the reason particularly

1767
01:33:38,600 --> 01:33:41,080
Speaker 1: I picked her is the pride I felt then when

1768
01:33:41,479 --> 01:33:43,599
Speaker 1: not about what she did for us, which is pretty great.

1769
01:33:43,880 --> 01:33:45,719
Speaker 1: But what she went on too, because I remember walking

1770
01:33:45,760 --> 01:33:50,160
Speaker 1: down Sunset Boulevard like you do, and there was a

1771
01:33:50,160 --> 01:33:53,280
Speaker 1: poster for Gosford Park, they Robert Ulman film, and there

1772
01:33:53,320 --> 01:33:56,040
Speaker 1: was her name up in lights on Sunset Bulevard and

1773
01:33:56,080 --> 01:33:58,400
Speaker 1: I remember being filled with pride. And then I went

1774
01:33:58,439 --> 01:33:59,679
Speaker 1: I see her in the Coin Brothers movie.

1775
01:34:00,000 --> 01:34:02,320
Speaker 4: Oh yeah, no Country. She's just so good.

1776
01:34:02,560 --> 01:34:04,479
Speaker 1: She held her own with those guys who are really

1777
01:34:04,479 --> 01:34:06,840
Speaker 1: on home surgery and though she's from Scotland playing a

1778
01:34:06,880 --> 01:34:09,799
Speaker 1: Texan and it was like amazing. Yeah, and then Brave

1779
01:34:09,920 --> 01:34:12,000
Speaker 1: and there's so many things she's done on Broadwalk. Chemisty

1780
01:34:12,040 --> 01:34:13,960
Speaker 1: is wonderful. And then she comes back into a film

1781
01:34:14,000 --> 01:34:17,120
Speaker 1: to show you what to do and she represents really

1782
01:34:17,160 --> 01:34:19,559
Speaker 1: what you should have done with your life, yeah, as

1783
01:34:19,600 --> 01:34:22,479
Speaker 1: opposed to what our heroes or parashareros not done with

1784
01:34:22,520 --> 01:34:22,840
Speaker 1: that life.

1785
01:34:22,920 --> 01:34:23,479
Speaker 4: Yeah. For sure.

1786
01:34:23,560 --> 01:34:27,400
Speaker 2: I've got a much more typical pick from Trainspotting and

1787
01:34:27,400 --> 01:34:29,719
Speaker 2: it was actually my number one, and certainly after seeing

1788
01:34:30,360 --> 01:34:34,400
Speaker 2: T two, Begbie was was the character from your work

1789
01:34:34,400 --> 01:34:36,639
Speaker 2: that really does stand out. And I think he's probably

1790
01:34:36,680 --> 01:34:40,840
Speaker 2: most memorable because he's just so absolutely terrifying And I

1791
01:34:40,880 --> 01:34:43,800
Speaker 2: want to know how you and Robert Carlisle bring that

1792
01:34:43,840 --> 01:34:47,320
Speaker 2: out because of course Carlisle is not big in stature.

1793
01:34:47,520 --> 01:34:50,479
Speaker 2: He's not a physically imposing presence at all, and yet

1794
01:34:50,760 --> 01:34:53,839
Speaker 2: every moment he's on screen, anybody watching knows that anything

1795
01:34:53,840 --> 01:34:56,280
Speaker 2: can happen, and anything probably will happen, and it's going

1796
01:34:56,360 --> 01:34:58,920
Speaker 2: to be it's gonna be ugly and bloody. Yeah, And

1797
01:34:59,000 --> 01:35:01,960
Speaker 2: that's that's impressive that that he pulls that off on screen.

1798
01:35:02,040 --> 01:35:04,920
Speaker 1: He's originally written as a big guy, you know, which

1799
01:35:04,960 --> 01:35:06,720
Speaker 1: is the obvious way to go, you know, with an

1800
01:35:06,760 --> 01:35:09,960
Speaker 1: intimidating character. But I remember Bobby coming in and talking

1801
01:35:10,000 --> 01:35:11,599
Speaker 1: about it and he said, oh, it's the little guys

1802
01:35:11,640 --> 01:35:14,280
Speaker 1: you want to really worry about, because when they go,

1803
01:35:14,760 --> 01:35:17,559
Speaker 1: they fear no one. It's not a both size, it's

1804
01:35:17,560 --> 01:35:21,120
Speaker 1: about commitments. Yeah, yeah, And I remember him saying that.

1805
01:35:21,200 --> 01:35:24,880
Speaker 1: And he is an extraordinary actor, he really and has

1806
01:35:25,120 --> 01:35:30,800
Speaker 1: a lovely man who can access this ferocity. That's true,

1807
01:35:30,840 --> 01:35:33,280
Speaker 1: and some of it's obviously personal as an actor he

1808
01:35:33,320 --> 01:35:36,679
Speaker 1: can access that for whatever reasons, but it's also cultural.

1809
01:35:36,760 --> 01:35:39,960
Speaker 1: He's seen in Scotland. He grew up in Glasgow, which

1810
01:35:40,000 --> 01:35:42,439
Speaker 1: is a very very tough city. Well you know that here,

1811
01:35:42,680 --> 01:35:45,080
Speaker 1: you know, there are tough, working class cities where if

1812
01:35:45,160 --> 01:35:48,000
Speaker 1: you hang around the right bars, you'll see the tough

1813
01:35:48,040 --> 01:35:51,559
Speaker 1: guys talk and walk. Yeah, and a lot of it's

1814
01:35:51,600 --> 01:35:52,080
Speaker 1: based on that.

1815
01:35:52,160 --> 01:35:54,280
Speaker 2: I think, Yeah, him, And for begbe fans out there,

1816
01:35:54,280 --> 01:35:56,880
Speaker 2: I'll say that there is a very surprising moment with

1817
01:35:56,960 --> 01:35:58,400
Speaker 2: him in this film, but a moment that.

1818
01:35:58,800 --> 01:36:00,240
Speaker 4: Feels absolutely true to the casecharacter.

1819
01:36:00,320 --> 01:36:02,880
Speaker 2: And I think it's mainly because of course great right

1820
01:36:02,960 --> 01:36:05,520
Speaker 2: in great moment, the way you staged it, by their performance,

1821
01:36:05,680 --> 01:36:05,960
Speaker 2: I know.

1822
01:36:06,000 --> 01:36:08,680
Speaker 1: And he's also you think about him. He is terrifying,

1823
01:36:08,920 --> 01:36:12,080
Speaker 1: and yet you still like him for some reason deep

1824
01:36:12,120 --> 01:36:14,920
Speaker 1: down you quite like begbiing right away, you.

1825
01:36:14,880 --> 01:36:16,400
Speaker 4: Know, despite the sense at all.

1826
01:36:17,400 --> 01:36:18,679
Speaker 1: All that's the skill of an actor.

1827
01:36:18,760 --> 01:36:20,719
Speaker 4: Yeah, it really is. All right, your next.

1828
01:36:20,600 --> 01:36:23,439
Speaker 1: Choice, So the next one would be Naomi Harris in

1829
01:36:23,479 --> 01:36:26,320
Speaker 1: twenty eight days later. I remember her coming in for

1830
01:36:26,360 --> 01:36:30,040
Speaker 1: the audition, and I remember thinking, holy God, how talented

1831
01:36:30,080 --> 01:36:34,080
Speaker 1: she was. But she had this terrible hairdoo. She looked

1832
01:36:34,080 --> 01:36:36,639
Speaker 1: like you won't know this reference, but one of our

1833
01:36:36,720 --> 01:36:39,479
Speaker 1: royals is called Princess Anne. She's the daughter of the queen,

1834
01:36:39,840 --> 01:36:42,799
Speaker 1: and she had this terrible kind of comb over, really

1835
01:36:42,960 --> 01:36:46,559
Speaker 1: like Wiry comb over and Naomi had a haircut like that,

1836
01:36:46,600 --> 01:36:49,040
Speaker 1: and I remember thinking, I thought, the only thing I've

1837
01:36:49,040 --> 01:36:51,320
Speaker 1: got to do here is persuade her to change her hair.

1838
01:36:51,800 --> 01:36:54,320
Speaker 1: And I thought it was so bad. I thought, if

1839
01:36:54,320 --> 01:36:56,280
Speaker 1: she won't change her hair, I can't cast her. I mean,

1840
01:36:56,320 --> 01:36:58,280
Speaker 1: I just can't. We will not be able to watch

1841
01:36:58,720 --> 01:37:02,120
Speaker 1: that haircut perched onto this extraordinary actress, so ruin it.

1842
01:37:02,360 --> 01:37:04,320
Speaker 1: But she was cool about changing it, and we got

1843
01:37:04,320 --> 01:37:06,680
Speaker 1: a very cool haircut on her. And she had this

1844
01:37:06,840 --> 01:37:12,280
Speaker 1: extraordinary journey where she moves from a kind of savagery

1845
01:37:12,479 --> 01:37:15,800
Speaker 1: through which she survived, to a kind of tenderness at

1846
01:37:15,800 --> 01:37:19,920
Speaker 1: the end, which is invertly sold with the male character

1847
01:37:20,120 --> 01:37:23,839
Speaker 1: Killian Murphy's character. And that's what's lovely about the concept

1848
01:37:23,880 --> 01:37:26,599
Speaker 1: of it is that they invert really and the man

1849
01:37:26,720 --> 01:37:29,760
Speaker 1: turns to savagery from great vulnerability at the beginning. You

1850
01:37:29,800 --> 01:37:32,320
Speaker 1: see him intensely vulnerable, and she is the opposite of

1851
01:37:32,400 --> 01:37:35,160
Speaker 1: vulnerable at the beginning because she survived. And I remember

1852
01:37:35,200 --> 01:37:37,640
Speaker 1: seeing where she chopped up this guy that she was

1853
01:37:37,680 --> 01:37:40,320
Speaker 1: sort of hanging out with because she knew he was

1854
01:37:40,320 --> 01:37:43,160
Speaker 1: about to turn because he was infected. And it was

1855
01:37:43,280 --> 01:37:46,599
Speaker 1: like we were all like all right, Okay, I remember

1856
01:37:46,600 --> 01:37:49,720
Speaker 1: everybody going because she can really do it when she

1857
01:37:49,800 --> 01:37:50,360
Speaker 1: turns it on.

1858
01:37:52,360 --> 01:37:52,559
Speaker 5: Wire.

1859
01:37:52,600 --> 01:37:58,040
Speaker 4: You bitten, four doors? You were bitten?

1860
01:38:00,240 --> 01:38:02,000
Speaker 2: Did any of the blood get in your mouth?

1861
01:38:05,640 --> 01:38:07,360
Speaker 3: Fuck right?

1862
01:38:19,560 --> 01:38:21,599
Speaker 1: I've worked with her on the stage since since. She's

1863
01:38:22,160 --> 01:38:24,800
Speaker 1: an amazing actress and again that pride thing, which she's

1864
01:38:24,960 --> 01:38:27,719
Speaker 1: odd and I suppose is this the result of time

1865
01:38:27,760 --> 01:38:30,040
Speaker 1: passing on your old age? But when she got a

1866
01:38:30,080 --> 01:38:33,200
Speaker 1: nomination this year for her Workie Moonlight, I was like

1867
01:38:33,320 --> 01:38:36,719
Speaker 1: so proud. Though, yeah, played a tiny part in Kicks

1868
01:38:36,880 --> 01:38:37,360
Speaker 1: Sharing All.

1869
01:38:37,600 --> 01:38:40,120
Speaker 2: Yeah, she was here in studio with Barry Jenkins about

1870
01:38:40,120 --> 01:38:43,240
Speaker 2: six months ago and just a wonderful conversation with her

1871
01:38:43,560 --> 01:38:45,679
Speaker 2: again balancing it out a little bit. My number two

1872
01:38:45,840 --> 01:38:49,559
Speaker 2: was Brendan Gleeson's character in Frank the Cab Driver, Hannah's

1873
01:38:49,600 --> 01:38:52,479
Speaker 2: dad from twenty eight days Later, and he is that gruff,

1874
01:38:52,640 --> 01:38:55,920
Speaker 2: sort of tough, physically imposing presence that Robert Carlisle isn't.

1875
01:38:55,920 --> 01:38:58,439
Speaker 2: But there's just that deep well of compassion with him

1876
01:38:58,479 --> 01:39:00,120
Speaker 2: and this comes through in all of his performances. And

1877
01:39:00,120 --> 01:39:01,640
Speaker 2: he's a father to Hannah, but he's a father to

1878
01:39:01,640 --> 01:39:03,760
Speaker 2: that whole crew. And the reason why I think that

1879
01:39:03,880 --> 01:39:06,880
Speaker 2: character is so powerful. It actually really crystallizes from me

1880
01:39:06,920 --> 01:39:09,800
Speaker 2: with something. Naomi Harris's character says that moment when she says,

1881
01:39:10,360 --> 01:39:12,040
Speaker 2: when Hannah had her dad, it was okay, it was

1882
01:39:12,080 --> 01:39:13,800
Speaker 2: okay for them, it was okay for us.

1883
01:39:13,880 --> 01:39:15,599
Speaker 4: He was that present from all of them.

1884
01:39:15,760 --> 01:39:19,240
Speaker 1: Yeah, he's there's a wonderful scene. They're parked up in

1885
01:39:19,240 --> 01:39:22,280
Speaker 1: the countryside. It's a nothing scene and they're parked up

1886
01:39:22,320 --> 01:39:25,040
Speaker 1: in the countryside and there's some horses and he sort

1887
01:39:25,040 --> 01:39:28,000
Speaker 1: of waves to the horses and that's just like that's

1888
01:39:28,040 --> 01:39:31,360
Speaker 1: film acting, Yeah, because he kind of it says something

1889
01:39:31,439 --> 01:39:34,400
Speaker 1: about he salutes the freedom of those horses because they

1890
01:39:34,400 --> 01:39:37,760
Speaker 1: don't have the curse that humanity has and that he's

1891
01:39:37,800 --> 01:39:39,800
Speaker 1: carrying and he will be affected by and he is

1892
01:39:40,120 --> 01:39:42,479
Speaker 1: when he tries to save his daughter, which is very,

1893
01:39:42,560 --> 01:39:45,080
Speaker 1: very moving, and he's the more obvious scene to applaud,

1894
01:39:45,439 --> 01:39:48,240
Speaker 1: you know, as he tries to save his daughter from

1895
01:39:48,240 --> 01:39:51,400
Speaker 1: his own infection. But actually it's it's the waving to

1896
01:39:51,439 --> 01:39:54,400
Speaker 1: the horses that it proves what a great actor because

1897
01:39:54,439 --> 01:39:59,760
Speaker 1: he can work with almost nothing and yet move you. Yeah, Dad,

1898
01:40:00,240 --> 01:40:05,920
Speaker 1: you are right, Yeah fine, sweetheart s Tory.

1899
01:40:05,960 --> 01:40:06,879
Speaker 3: I lost with temper.

1900
01:40:08,439 --> 01:40:14,880
Speaker 1: Hannah I love you very much. Well keep away from me,

1901
01:40:16,200 --> 01:40:20,200
Speaker 1: stay where you are, dad.

1902
01:40:21,000 --> 01:40:23,240
Speaker 4: We have two more to gone.

1903
01:40:23,280 --> 01:40:25,519
Speaker 1: So the next one is I did this film with

1904
01:40:25,640 --> 01:40:28,240
Speaker 1: Steve Jobs and Kate Winslet was in it, and she

1905
01:40:28,320 --> 01:40:31,040
Speaker 1: played an amazing character who we met and Kate based

1906
01:40:31,040 --> 01:40:34,160
Speaker 1: on performance on and it's a fantastic it's it's a

1907
01:40:34,600 --> 01:40:37,680
Speaker 1: picture of a woman who it was fundamental apparently to

1908
01:40:38,200 --> 01:40:41,559
Speaker 1: Jobs's success because she didn't take any bullshit off him,

1909
01:40:41,760 --> 01:40:44,200
Speaker 1: and he loved handing that out, you know, but he

1910
01:40:44,280 --> 01:40:46,720
Speaker 1: was waiting for those the key people who wouldn't take

1911
01:40:46,760 --> 01:40:49,840
Speaker 1: it off him, and she was one of them. But

1912
01:40:49,920 --> 01:40:52,160
Speaker 1: it was Kate really to work with her, and she's

1913
01:40:52,560 --> 01:40:55,000
Speaker 1: He worked with lots of actors and then you know

1914
01:40:55,040 --> 01:40:57,800
Speaker 1: that most of the time they were amazing people to

1915
01:40:57,840 --> 01:41:01,479
Speaker 1: work with, but there's very few of them actually support

1916
01:41:01,520 --> 01:41:05,880
Speaker 1: you as a filmmaker utterly. And she has that. She

1917
01:41:06,120 --> 01:41:09,240
Speaker 1: kind of like becomes your guardian really, which is a

1918
01:41:09,280 --> 01:41:11,400
Speaker 1: weird feeling because you don't expect that.

1919
01:41:11,600 --> 01:41:14,200
Speaker 4: And she plays that role to the character Toote you Dave.

1920
01:41:14,320 --> 01:41:15,800
Speaker 1: But I think she's like that on pretty much more

1921
01:41:15,800 --> 01:41:17,479
Speaker 1: to movie. I don't think it was like method acting

1922
01:41:17,840 --> 01:41:20,160
Speaker 1: just to but she looked after me really in a

1923
01:41:20,200 --> 01:41:22,840
Speaker 1: way that I was really unexpected, and it reminded me

1924
01:41:22,880 --> 01:41:25,599
Speaker 1: of the first choice, Kerry Fox, who has that instinct

1925
01:41:25,600 --> 01:41:29,000
Speaker 1: as well, which is that she is she understands that, like,

1926
01:41:29,040 --> 01:41:32,559
Speaker 1: if she goes on stage, she's the auteur if you like,

1927
01:41:32,720 --> 01:41:35,400
Speaker 1: but when she's working on film, you're the auteur, and

1928
01:41:35,439 --> 01:41:38,040
Speaker 1: she's there to make it work for you. And that

1929
01:41:38,080 --> 01:41:40,840
Speaker 1: can mean the way she plays scenes, it can mean

1930
01:41:41,080 --> 01:41:43,960
Speaker 1: the way she nurtures other actors off camera. That means

1931
01:41:44,040 --> 01:41:47,720
Speaker 1: she can deal with She's a healer, you know, of

1932
01:41:47,760 --> 01:41:51,200
Speaker 1: everything around her. And she's a great mom as well,

1933
01:41:51,200 --> 01:41:53,400
Speaker 1: and I think she brings some of that sense of

1934
01:41:53,920 --> 01:41:58,840
Speaker 1: compassion and enclosure to the project she's working on. She

1935
01:41:59,080 --> 01:42:00,200
Speaker 1: would be very special for me.

1936
01:42:00,320 --> 01:42:02,679
Speaker 4: Yeah, I can see that your final choice.

1937
01:42:03,080 --> 01:42:05,679
Speaker 1: It's actually so I made a film Trance, which Nobbly

1938
01:42:05,720 --> 01:42:06,920
Speaker 1: l liked and nobody went to see.

1939
01:42:07,040 --> 01:42:08,960
Speaker 2: My co host was a big fan of it. Yay,

1940
01:42:09,360 --> 01:42:11,719
Speaker 2: that reviewed I discussed in detail here on the shelf.

1941
01:42:11,800 --> 01:42:14,479
Speaker 2: But it was Rosario Dawson's character in that. Yeah, And

1942
01:42:14,520 --> 01:42:14,880
Speaker 2: I tried.

1943
01:42:14,920 --> 01:42:17,559
Speaker 1: That was an attempt to and I'm really sad it

1944
01:42:17,560 --> 01:42:20,599
Speaker 1: didn't kind of do more business. But it was an

1945
01:42:20,680 --> 01:42:23,840
Speaker 1: attempt to actually see if I could harness a film

1946
01:42:23,840 --> 01:42:26,280
Speaker 1: and actually drive it from a woman only because none

1947
01:42:26,280 --> 01:42:27,559
Speaker 1: of the other films and none of the other people

1948
01:42:27,560 --> 01:42:30,280
Speaker 1: I've talked about were ever the absolute center of the film.

1949
01:42:30,479 --> 01:42:33,040
Speaker 1: They either shared the center equally like Kerry does in

1950
01:42:33,320 --> 01:42:35,360
Speaker 1: with You and McGregor and Chrits circleson in the first one,

1951
01:42:35,800 --> 01:42:38,400
Speaker 1: or they were supporting, to be honest, like Kate Winslety

1952
01:42:38,439 --> 01:42:40,720
Speaker 1: was supporting Michael Fastpender in the Jobs film. But in

1953
01:42:40,760 --> 01:42:42,960
Speaker 1: this one, it was all about Rosario's character, and I

1954
01:42:43,000 --> 01:42:45,880
Speaker 1: thought she gave an extraordinary performance in the film, which

1955
01:42:45,920 --> 01:42:48,400
Speaker 1: I think has been sadly because the film didn't do better,

1956
01:42:48,479 --> 01:42:51,040
Speaker 1: has been a bit neglected and looked and looked over. Really,

1957
01:42:51,080 --> 01:42:53,080
Speaker 1: but she's I was very proud of that, and I

1958
01:42:53,120 --> 01:42:57,440
Speaker 1: was able finally to say to my daughters, there there's

1959
01:42:57,600 --> 01:42:59,680
Speaker 1: she's the central figuring that film. Yeah, and I'm going

1960
01:42:59,720 --> 01:43:01,880
Speaker 1: to try and do that again at some point because

1961
01:43:01,920 --> 01:43:04,160
Speaker 1: having had one go at it with her with Rosario,

1962
01:43:04,640 --> 01:43:08,760
Speaker 1: you realize it's something that it's a missing leg for

1963
01:43:09,160 --> 01:43:11,479
Speaker 1: the movie industry really, which we're only just beginning to

1964
01:43:11,560 --> 01:43:14,799
Speaker 1: grow really, which is to let women drive to films

1965
01:43:14,800 --> 01:43:15,519
Speaker 1: as well as men.

1966
01:43:15,680 --> 01:43:15,880
Speaker 4: You know.

1967
01:43:16,080 --> 01:43:18,840
Speaker 2: Yeah, Embarrassingly, I could not find any of my notes

1968
01:43:19,000 --> 01:43:22,679
Speaker 2: from our review of Trance. But I remember being very

1969
01:43:23,120 --> 01:43:25,639
Speaker 2: very compelled by her performance and that character, so I'm

1970
01:43:25,680 --> 01:43:27,760
Speaker 2: not surprised to see her on your list at all.

1971
01:43:27,760 --> 01:43:30,680
Speaker 2: I did have one great female performance, one great female

1972
01:43:30,960 --> 01:43:34,160
Speaker 2: actress on my list, and it's Rose Byrne from Sunshine

1973
01:43:34,200 --> 01:43:38,600
Speaker 2: as Cassie. Everything about that character in terms of her competency,

1974
01:43:38,840 --> 01:43:41,479
Speaker 2: her calm, her rationality, her resolve, that's all there. But

1975
01:43:41,520 --> 01:43:44,840
Speaker 2: she also doesn't at all hide her emotional core that

1976
01:43:44,960 --> 01:43:47,480
Speaker 2: comes through so prevalent in that performance.

1977
01:43:47,640 --> 01:43:50,479
Speaker 1: Yeah, but you go and watch You're in Bridesmaids when

1978
01:43:50,520 --> 01:43:53,160
Speaker 1: you think that is an actress. For sure, she can do.

1979
01:43:53,640 --> 01:43:55,680
Speaker 1: You wouldn't think it when you're working with it. She's

1980
01:43:55,720 --> 01:44:00,479
Speaker 1: got this fantastic comic touch which is unbelievable and one

1981
01:44:00,479 --> 01:44:03,439
Speaker 1: of my favorite films, very funny, very very very funny film.

1982
01:44:03,520 --> 01:44:05,400
Speaker 1: She is dazzling in that poll.

1983
01:44:05,560 --> 01:44:06,240
Speaker 4: Yeah, she really is.

1984
01:44:06,320 --> 01:44:08,680
Speaker 2: Okay, we've made it through last bit of business, so

1985
01:44:08,720 --> 01:44:09,880
Speaker 2: we'll take about thirty seconds here.

1986
01:44:09,880 --> 01:44:11,320
Speaker 4: I just think so this would be fun.

1987
01:44:11,960 --> 01:44:15,240
Speaker 2: I was doing some searching and I found a list

1988
01:44:15,320 --> 01:44:17,280
Speaker 2: A little quiz that came out around the time Trance

1989
01:44:17,320 --> 01:44:19,920
Speaker 2: came out. Which Danny Boyle character are you? And I

1990
01:44:20,000 --> 01:44:22,360
Speaker 2: thought we'd play it, we'd see which Danny Boyle character

1991
01:44:22,479 --> 01:44:25,160
Speaker 2: you are. So the first question is your outlook on

1992
01:44:25,240 --> 01:44:28,519
Speaker 2: life is optimistic and hopeful or realistically bleak?

1993
01:44:28,720 --> 01:44:29,960
Speaker 1: Oh, optimistic and hopeful?

1994
01:44:30,000 --> 01:44:34,719
Speaker 2: Okay, toilets are four? Going one and two or diving into.

1995
01:44:34,840 --> 01:44:39,160
Speaker 4: Diving into Okay, choose life or choose love.

1996
01:44:39,760 --> 01:44:43,920
Speaker 1: Oh that's the tough one. It is, it really is. Yeah,

1997
01:44:45,320 --> 01:44:45,880
Speaker 1: she's life.

1998
01:44:46,439 --> 01:44:50,880
Speaker 4: Then you are renting. As simple as that, we've decided it.

1999
01:44:51,360 --> 01:44:51,600
Speaker 3: I was.

2000
01:44:51,760 --> 01:44:54,880
Speaker 2: I was Killian Murphy actually. From twenty eight days later. Yes,

2001
01:44:55,040 --> 01:44:58,120
Speaker 2: so yes, thank you so much for playing along with that,

2002
01:44:58,240 --> 01:45:00,439
Speaker 2: for playing along with the top five really fast stuff,

2003
01:45:00,640 --> 01:45:02,120
Speaker 2: and best of luck with the film.

2004
01:45:02,240 --> 01:45:04,320
Speaker 4: I really enjoyed it. I encourage everyone to see it.

2005
01:45:04,439 --> 01:45:06,439
Speaker 4: Danny Boyle again, thank you, thank you very much.

2006
01:45:06,840 --> 01:45:10,719
Speaker 1: Choose life, Choose a job, Choose a career, choose a family,

2007
01:45:12,080 --> 01:45:13,400
Speaker 1: choose a like television.

2008
01:45:15,400 --> 01:45:18,559
Speaker 2: From March twenty seventeen. That was the top five Danny

2009
01:45:18,600 --> 01:45:22,840
Speaker 2: Boyle characters with Danny Boyle himself. We ended with a

2010
01:45:22,920 --> 01:45:27,479
Speaker 2: little quiz which Danny Boyle character are you some website

2011
01:45:27,680 --> 01:45:29,040
Speaker 2: had this quiz.

2012
01:45:29,160 --> 01:45:30,719
Speaker 3: Oh, you could take it and get the results.

2013
01:45:30,760 --> 01:45:32,800
Speaker 2: I was Killy and Murphy in twenty eight days later,

2014
01:45:33,040 --> 01:45:37,439
Speaker 2: which I'll take Boyle was renting in train spotting.

2015
01:45:37,560 --> 01:45:37,960
Speaker 4: Oh wow.

2016
01:45:38,640 --> 01:45:42,639
Speaker 2: Sadly, so very sadly, the quiz is no longer active.

2017
01:45:42,880 --> 01:45:46,280
Speaker 2: The world will never know which Danny Boyle character you are.

2018
01:45:46,439 --> 01:45:51,160
Speaker 3: Josh, Oh, what a what a disaster? I mean, who

2019
01:45:51,479 --> 01:45:53,200
Speaker 3: do you remember? Any of the questions that were asking

2020
01:45:53,400 --> 01:45:54,360
Speaker 3: can we recreate it?

2021
01:45:54,439 --> 01:45:55,120
Speaker 4: I don't you know what?

2022
01:45:55,400 --> 01:45:57,519
Speaker 2: You know what? Though, it now occurs to me that

2023
01:45:57,680 --> 01:46:00,640
Speaker 2: maybe the wayback machine would let us access I have

2024
01:46:00,680 --> 01:46:03,080
Speaker 2: a gone to the Internet archive off air.

2025
01:46:03,120 --> 01:46:03,720
Speaker 4: I'm going to do this.

2026
01:46:03,880 --> 01:46:05,720
Speaker 2: Maybe by next show we will have an answer to

2027
01:46:05,760 --> 01:46:06,960
Speaker 2: this elusive.

2028
01:46:06,640 --> 01:46:10,200
Speaker 3: Sounds like question film spotting family bonus material to me.

2029
01:46:10,320 --> 01:46:10,880
Speaker 4: You have to do it.

2030
01:46:11,080 --> 01:46:13,479
Speaker 2: Well, just take the quiz. So we're going to continue

2031
01:46:13,479 --> 01:46:17,479
Speaker 2: the top five now with your picks. Back when we

2032
01:46:17,560 --> 01:46:20,040
Speaker 2: did this originally, we segued into the top five with

2033
01:46:20,160 --> 01:46:22,000
Speaker 2: me mocking your number five pick.

2034
01:46:22,439 --> 01:46:24,960
Speaker 4: Let's find out why you're the worst kidnap I've ever bet.

2035
01:46:25,040 --> 01:46:26,600
Speaker 2: So I'm trying to do my best, you know, on

2036
01:46:26,640 --> 01:46:28,400
Speaker 2: the really difficult circumstances.

2037
01:46:28,520 --> 01:46:30,720
Speaker 4: Sure, have you even asked for a ransom yet?

2038
01:46:31,280 --> 01:46:31,479
Speaker 1: Yeah?

2039
01:46:31,600 --> 01:46:35,320
Speaker 3: This one, you know, I maybe put on just for you, Adam,

2040
01:46:35,400 --> 01:46:38,640
Speaker 3: having seen how a lot never mentionedinary went over on

2041
01:46:38,720 --> 01:46:41,439
Speaker 3: a recent revisit. But I really do like this film.

2042
01:46:41,479 --> 01:46:44,320
Speaker 3: I have since the first day it came out. And Selene,

2043
01:46:44,400 --> 01:46:48,200
Speaker 3: played by Cameron Diaz, is just a jolt of energy

2044
01:46:48,400 --> 01:46:51,519
Speaker 3: in the movie, matched with you in McGregor's energy that

2045
01:46:51,800 --> 01:46:54,519
Speaker 3: makes this work. It is I'm alone on this. It's

2046
01:46:54,560 --> 01:46:57,600
Speaker 3: his disdained screwball comedy. You gave it what one and

2047
01:46:57,640 --> 01:46:58,720
Speaker 3: a half out of five on Letter, but.

2048
01:46:58,680 --> 01:47:02,640
Speaker 2: There's nothing about that film that works. One thing, it

2049
01:47:02,800 --> 01:47:04,960
Speaker 2: is so much of a Danny Boyle film.

2050
01:47:05,280 --> 01:47:08,360
Speaker 3: No, I think it's more trying to be a parody

2051
01:47:08,560 --> 01:47:12,200
Speaker 3: of earlier screwball comedies mixed with crime capers. It's very

2052
01:47:12,280 --> 01:47:15,960
Speaker 3: much in line of something like the Cohen Brothers Intolerable Cruelty,

2053
01:47:16,160 --> 01:47:18,040
Speaker 3: which is one I love and most people don't. So

2054
01:47:18,479 --> 01:47:21,840
Speaker 3: there must be something about this tone and this sort

2055
01:47:21,880 --> 01:47:25,880
Speaker 3: of slap dash. Gopher Broke run on the energy, and

2056
01:47:25,960 --> 01:47:28,640
Speaker 3: all of Boyle's films run on energy, and here I

2057
01:47:28,760 --> 01:47:32,000
Speaker 3: think with those two actors, including Cameron Diaz az Selene,

2058
01:47:32,160 --> 01:47:34,080
Speaker 3: they make it work for me. She plays the daughter

2059
01:47:34,120 --> 01:47:38,880
Speaker 3: of a wealthy businessman who's kidnapped by Iwan McGregor's disgruntled employee.

2060
01:47:38,960 --> 01:47:41,479
Speaker 3: So you can, you know, see the dynamic at play here.

2061
01:47:41,640 --> 01:47:45,000
Speaker 3: There's a fantastic beyond the scene dance scene they share

2062
01:47:45,040 --> 01:47:48,679
Speaker 3: together that just completely won me over. It's delightfully goofy.

2063
01:47:49,160 --> 01:47:51,120
Speaker 3: That's that's how the whole film is for me. So

2064
01:47:51,280 --> 01:47:53,280
Speaker 3: I really do like this one. I think Diaz is great.

2065
01:47:53,479 --> 01:47:55,320
Speaker 3: You know, she's not gonna win a Best Actress for

2066
01:47:55,360 --> 01:47:57,439
Speaker 3: this performance, but this is a movie that would hope

2067
01:47:57,760 --> 01:48:01,240
Speaker 3: going for something completely diff and I think she's got

2068
01:48:01,280 --> 01:48:02,080
Speaker 3: what the movie needs.

2069
01:48:02,320 --> 01:48:07,600
Speaker 4: Do you eat fish and poultry, yes, but not red meat, no,

2070
01:48:09,200 --> 01:48:10,840
Speaker 4: or eggs unless I know they're free range.

2071
01:48:11,439 --> 01:48:13,439
Speaker 1: Well then why didn't you tell me you don't like meat?

2072
01:48:13,680 --> 01:48:16,280
Speaker 1: Because you didn't ask, And as a matter of fact,

2073
01:48:16,360 --> 01:48:18,639
Speaker 1: I do like meat, I just don't eat it moral reasons,

2074
01:48:18,680 --> 01:48:20,160
Speaker 1: if you must know, And if you had.

2075
01:48:20,080 --> 01:48:22,800
Speaker 4: Taken the time too, why such a pain to be.

2076
01:48:22,880 --> 01:48:25,040
Speaker 3: With because you tied me to a chair.

2077
01:48:24,960 --> 01:48:28,280
Speaker 4: All night because I'm the victim and you are the

2078
01:48:28,360 --> 01:48:33,920
Speaker 4: kidnapper apparently meaning exactly what kidnap For beginners, Chapter one

2079
01:48:34,360 --> 01:48:35,520
Speaker 4: have you even asked.

2080
01:48:35,240 --> 01:48:36,120
Speaker 3: For a ransom yet?

2081
01:48:36,680 --> 01:48:38,559
Speaker 4: It's definitely going for something different.

2082
01:48:38,720 --> 01:48:41,320
Speaker 2: I think there are a lot of actors in this film, unfortunately,

2083
01:48:41,400 --> 01:48:44,120
Speaker 2: who are put in a position to embarrass themselves, including

2084
01:48:44,160 --> 01:48:46,120
Speaker 2: Holly Hunter and del Relrende.

2085
01:48:45,800 --> 01:48:47,839
Speaker 4: And Ewan McGregor and par of Angels.

2086
01:48:47,920 --> 01:48:50,559
Speaker 2: I would say Cameron Diaz as well, unfortunately. I think

2087
01:48:50,560 --> 01:48:53,200
Speaker 2: she's given some very good performances over the course of

2088
01:48:53,280 --> 01:48:55,639
Speaker 2: her career, including a couple of years later in There's

2089
01:48:55,680 --> 01:48:57,760
Speaker 2: Something About Mary, she had a run of those very merry,

2090
01:48:57,840 --> 01:49:02,040
Speaker 2: comedic performances. She's trying really hard in this movie, but

2091
01:49:02,320 --> 01:49:04,880
Speaker 2: I probably do blame the material more than anything, because

2092
01:49:04,880 --> 01:49:07,559
Speaker 2: she has about eighteen different personalities from scene to scene,

2093
01:49:08,200 --> 01:49:10,759
Speaker 2: and the movie feels that exact same way. I didn't

2094
01:49:10,760 --> 01:49:12,840
Speaker 2: go in with high expectations to this film. I kind

2095
01:49:12,840 --> 01:49:14,960
Speaker 2: of knew its reputation. It was the one Danny Boyle

2096
01:49:15,000 --> 01:49:17,320
Speaker 2: film I hadn't seen, and I was afraid that he

2097
01:49:17,439 --> 01:49:19,479
Speaker 2: was going to put a character from it on his

2098
01:49:19,600 --> 01:49:21,760
Speaker 2: top five list and I'd feel like an idiot. So

2099
01:49:22,120 --> 01:49:24,960
Speaker 2: I did watch it, and I was shocked at just

2100
01:49:25,080 --> 01:49:28,680
Speaker 2: how much I disliked the film. It felt to me

2101
01:49:28,840 --> 01:49:31,200
Speaker 2: very much like a case where And I have no

2102
01:49:31,400 --> 01:49:33,720
Speaker 2: background on this whatsoever, but I bet if we went

2103
01:49:33,800 --> 01:49:36,960
Speaker 2: back and found Premiere magazine articles from nineteen ninety six,

2104
01:49:37,200 --> 01:49:40,080
Speaker 2: there have to be huge writeups on how this film

2105
01:49:40,200 --> 01:49:43,120
Speaker 2: was just a disaster to make. It feels every bit

2106
01:49:43,200 --> 01:49:45,080
Speaker 2: of the movie where Danny Boyle coming off the train

2107
01:49:45,160 --> 01:49:48,799
Speaker 2: spotting success comes over. He gets some Hollywood folks involved,

2108
01:49:48,840 --> 01:49:51,080
Speaker 2: He gets a little bit into the studio system here

2109
01:49:51,120 --> 01:49:54,720
Speaker 2: with this film and tries to do something that is

2110
01:49:55,000 --> 01:49:58,479
Speaker 2: very different, even though it's crime based from Shallow Grave

2111
01:49:58,520 --> 01:50:01,840
Speaker 2: and Trainspotting, and and there had to be red flags

2112
01:50:01,840 --> 01:50:03,400
Speaker 2: along the way that this wasn't working.

2113
01:50:03,280 --> 01:50:05,679
Speaker 3: Maybe, but sometimes, you know, bringing that sort of chaotic

2114
01:50:05,880 --> 01:50:09,640
Speaker 3: energy to a Hollywood system or a Hollywood product is

2115
01:50:09,720 --> 01:50:12,040
Speaker 3: what makes it stand out and be something different and

2116
01:50:12,120 --> 01:50:14,800
Speaker 3: have its own unique vibe, which this certainly does.

2117
01:50:14,960 --> 01:50:17,760
Speaker 2: Of the major surprises in my life or over the

2118
01:50:17,800 --> 01:50:20,080
Speaker 2: course of doing this show with you, seeing you come

2119
01:50:20,160 --> 01:50:22,719
Speaker 2: to the defense of a life less ordinary on letterbox,

2120
01:50:22,920 --> 01:50:25,360
Speaker 2: not a surprise. Oh, I was going to very can

2121
01:50:25,520 --> 01:50:28,679
Speaker 2: low down on the list in that top five shot get.

2122
01:50:28,560 --> 01:50:31,200
Speaker 3: To someday, all right. My number four Danny Boyle character

2123
01:50:31,520 --> 01:50:35,559
Speaker 3: is Damien, played by the young Alex Etel from Millions,

2124
01:50:35,600 --> 01:50:38,479
Speaker 3: so a child actor here, and he has an un

2125
01:50:38,560 --> 01:50:42,080
Speaker 3: self conscious naturalism that I think is crucial to balancing

2126
01:50:42,680 --> 01:50:46,160
Speaker 3: what is otherwise a pretty whimsical film. So those two

2127
01:50:46,200 --> 01:50:48,760
Speaker 3: elements work together. This is a sweet little kid who

2128
01:50:48,800 --> 01:50:51,280
Speaker 3: comes across a bag of cash and struggles with what

2129
01:50:51,439 --> 01:50:54,400
Speaker 3: to do with it, and various saints then appear in

2130
01:50:54,439 --> 01:50:57,400
Speaker 3: these visions that he has to help him decide. This

2131
01:50:57,560 --> 01:51:01,400
Speaker 3: kid's face, alex at all, is so adorable and watching

2132
01:51:01,479 --> 01:51:04,840
Speaker 3: it wrestle with these big grown up questions, maybe for

2133
01:51:04,920 --> 01:51:08,000
Speaker 3: the first time in his life. It's just sort of

2134
01:51:08,040 --> 01:51:10,400
Speaker 3: heartbreaking to see a kid go through that, knowing that

2135
01:51:10,479 --> 01:51:12,200
Speaker 3: every kid is going to at some point in their life.

2136
01:51:12,360 --> 01:51:15,519
Speaker 3: This guy's maybe a little too young, and it's you know,

2137
01:51:15,600 --> 01:51:17,479
Speaker 3: he has his older brother to contend with. I think

2138
01:51:17,520 --> 01:51:20,599
Speaker 3: it's a great child performance and does hold this movie

2139
01:51:20,680 --> 01:51:21,479
Speaker 3: together really well.

2140
01:51:21,800 --> 01:51:25,160
Speaker 2: Yeah, the number four movie. I probably got wrong on

2141
01:51:25,280 --> 01:51:27,680
Speaker 2: episode two hundred and forty eight of this show. Not

2142
01:51:27,760 --> 01:51:31,240
Speaker 2: a fan of Millions, Sam the host at the time,

2143
01:51:31,320 --> 01:51:34,080
Speaker 2: the co host now of course, producer of Film Spotting,

2144
01:51:34,479 --> 01:51:36,880
Speaker 2: probably disliked it even more than me. I think he

2145
01:51:37,200 --> 01:51:43,920
Speaker 2: accuses Boyle of blatant vagrant cynicism in that film. So yeah,

2146
01:51:44,200 --> 01:51:45,920
Speaker 2: I did admit I probably got it wrong. I was

2147
01:51:45,960 --> 01:51:47,720
Speaker 2: probably a little too hard on it. But of course

2148
01:51:48,160 --> 01:51:49,720
Speaker 2: your love for it is just going to make me

2149
01:51:49,880 --> 01:51:52,200
Speaker 2: dig my heels in. I'm even deeper and I will

2150
01:51:52,240 --> 01:51:54,439
Speaker 2: never revisit that film. Let's get to some really good data.

2151
01:51:54,880 --> 01:51:57,120
Speaker 3: The charge of cynicism that, you know, especially after hearing

2152
01:51:57,160 --> 01:51:58,760
Speaker 3: that interview, I don't think that works with Boyle. I

2153
01:51:58,840 --> 01:52:00,960
Speaker 3: know it's got a bone in his body.

2154
01:52:01,000 --> 01:52:01,599
Speaker 4: Yeah, fair point.

2155
01:52:01,600 --> 01:52:03,479
Speaker 3: All right, Number three, you're gonna like this one. I'm

2156
01:52:03,520 --> 01:52:06,519
Speaker 3: finally getting to the conventional films train spotting here, Isa

2157
01:52:06,680 --> 01:52:11,080
Speaker 3: and mcwrig Josh as Mark Renton watching this again, you know,

2158
01:52:11,479 --> 01:52:12,920
Speaker 3: of course this is going to happen. You're making the

2159
01:52:12,960 --> 01:52:17,120
Speaker 3: physical comparisons. Wow, he must have weighed like eighty pounds.

2160
01:52:17,320 --> 01:52:19,920
Speaker 3: He's so pale. He's amazing. He's like the Scottish gollum

2161
01:52:20,000 --> 01:52:22,800
Speaker 3: in this movie, and Heroin is his precious. It's a

2162
01:52:23,000 --> 01:52:28,040
Speaker 3: really disturbing performance when you're watching it now as an

2163
01:52:28,080 --> 01:52:30,400
Speaker 3: adult as maybe when I was that age, and you

2164
01:52:30,520 --> 01:52:34,680
Speaker 3: connected more to the youthful rebelliousness or just sort of

2165
01:52:34,760 --> 01:52:37,680
Speaker 3: the wanting to lash out is what you're recognizing, and

2166
01:52:37,760 --> 01:52:39,720
Speaker 3: now you're looking at this kid who looks like he's

2167
01:52:39,880 --> 01:52:42,840
Speaker 3: half dead, and that brings another layer to it. So

2168
01:52:43,360 --> 01:52:46,640
Speaker 3: I really like how McGregor doesn't shy away, even though

2169
01:52:46,760 --> 01:52:49,320
Speaker 3: he's the charming narrator of this story from being feral

2170
01:52:49,840 --> 01:52:53,679
Speaker 3: and dangerous. Renton walks this the moral tightrope that trains

2171
01:52:53,680 --> 01:52:56,519
Speaker 3: Spotting walks. Renton is the guy on the wire, and

2172
01:52:56,720 --> 01:53:00,680
Speaker 3: he balances it beautifully. So my number two another one

2173
01:53:00,800 --> 01:53:02,760
Speaker 3: we can agree on our list, but I don't think

2174
01:53:02,760 --> 01:53:05,200
Speaker 3: we're going to agree on how he's used in T two.

2175
01:53:05,360 --> 01:53:09,479
Speaker 3: It's Begbie Robert Carlyle. I think that's probably the most

2176
01:53:09,520 --> 01:53:12,880
Speaker 3: fascinating character in the original Trainspotting. Even though he's not

2177
01:53:13,479 --> 01:53:15,640
Speaker 3: one of those who's addicted. He's a little bit to

2178
01:53:15,720 --> 01:53:18,280
Speaker 3: the side of the main narrative there, but you know,

2179
01:53:18,479 --> 01:53:20,679
Speaker 3: I feel like he's the movie's heart of darkness. He's

2180
01:53:20,720 --> 01:53:24,960
Speaker 3: the guy who's scary, and you would almost feel more

2181
01:53:25,120 --> 01:53:30,000
Speaker 3: comfortable with these addicts, even though Renton promises you we're

2182
01:53:30,040 --> 01:53:31,720
Speaker 3: going to rip you off when you turn your head,

2183
01:53:32,160 --> 01:53:36,400
Speaker 3: than you would with Begbie. I think, despite a few

2184
01:53:36,520 --> 01:53:39,120
Speaker 3: scenes that are calculated to make us feel for him

2185
01:53:39,160 --> 01:53:41,719
Speaker 3: the way we do in Trainspotting. In T two, especially

2186
01:53:41,800 --> 01:53:45,280
Speaker 3: in the end, he becomes almost a horror movie figure,

2187
01:53:45,600 --> 01:53:48,960
Speaker 3: and a lot of that dissipates. A lot of that

2188
01:53:49,120 --> 01:53:53,760
Speaker 3: conflicted humanity of that was built up for about a

2189
01:53:53,880 --> 01:53:56,360
Speaker 3: movie and a half through T two just kind of

2190
01:53:56,400 --> 01:53:57,840
Speaker 3: falls away with that climax for me.

2191
01:53:58,000 --> 01:54:01,160
Speaker 2: Really, yeah, you're saying because of how dark it goes

2192
01:54:01,280 --> 01:54:02,120
Speaker 2: with the horror.

2193
01:54:02,360 --> 01:54:04,599
Speaker 3: Or not, he could at that point he really could

2194
01:54:04,640 --> 01:54:07,040
Speaker 3: have been any villainous.

2195
01:54:07,120 --> 01:54:11,040
Speaker 2: Menaceney to me, because I'm thinking about his final moments

2196
01:54:11,120 --> 01:54:13,439
Speaker 2: we see in the film, and that conflict is inherently

2197
01:54:13,560 --> 01:54:16,519
Speaker 2: built into it. So again, we had completely different eyeballs

2198
01:54:16,560 --> 01:54:17,599
Speaker 2: watching T two.

2199
01:54:17,920 --> 01:54:20,920
Speaker 3: Should we continue to disagree? Sure? My number one Danny

2200
01:54:20,920 --> 01:54:23,439
Speaker 3: Boyle character comes from a film we reviewed and split on.

2201
01:54:23,600 --> 01:54:26,400
Speaker 3: It's trance like this character.

2202
01:54:26,200 --> 01:54:28,280
Speaker 2: Though, as I told Danny, I remember being a fan

2203
01:54:28,400 --> 01:54:29,920
Speaker 2: of the character and the performance, and this.

2204
01:54:29,960 --> 01:54:31,599
Speaker 3: Is the one he had hit on his list as well.

2205
01:54:31,680 --> 01:54:35,440
Speaker 3: Elizabeth the Hypnosis Therapist. I defended this at the time

2206
01:54:35,520 --> 01:54:38,640
Speaker 3: as sort of a dance club neo noir, and what

2207
01:54:38,760 --> 01:54:41,680
Speaker 3: I love about Dawson's Elizabeth she gets drawn into this

2208
01:54:41,840 --> 01:54:45,040
Speaker 3: art heist. That's the main plot is that she plays

2209
01:54:45,080 --> 01:54:47,600
Speaker 3: both the femme fatale and the Patsy. We don't know

2210
01:54:47,760 --> 01:54:51,360
Speaker 3: which one she really is until the very end. Fascinating character,

2211
01:54:51,800 --> 01:54:55,320
Speaker 3: a reinvention of maybe not reinvention, but a rethinking of

2212
01:54:55,480 --> 01:54:59,520
Speaker 3: how this genre could play out, especially with a female lead,

2213
01:54:59,560 --> 01:55:02,360
Speaker 3: which we don't get, as Boyle said, often in movies

2214
01:55:02,440 --> 01:55:04,920
Speaker 3: in general, but particularly when it comes to Neon Orus.

2215
01:55:05,000 --> 01:55:06,320
Speaker 4: Yeah, no jabs for me here.

2216
01:55:06,400 --> 01:55:07,960
Speaker 2: I didn't like the movie as much as you did,

2217
01:55:08,000 --> 01:55:10,680
Speaker 2: but I remember coming fairly close to recommending it, and

2218
01:55:10,840 --> 01:55:14,760
Speaker 2: Rosario Dawson's performance and that character was a big reason

2219
01:55:14,840 --> 01:55:18,360
Speaker 2: why you heard four of my top five there in

2220
01:55:18,520 --> 01:55:20,960
Speaker 2: my interview with Boyle. The one name I didn't mention,

2221
01:55:21,120 --> 01:55:25,520
Speaker 2: and I was going to consider throwing this candidate out

2222
01:55:25,640 --> 01:55:29,480
Speaker 2: because as I'm always searching for arbitrary ways to exclude

2223
01:55:29,560 --> 01:55:32,840
Speaker 2: people or include people, I thought, if you're talking about

2224
01:55:33,000 --> 01:55:36,120
Speaker 2: Danny Boyle characters, and of course you think about a

2225
01:55:36,160 --> 01:55:40,160
Speaker 2: lot of his characters don't come from his brain solely.

2226
01:55:40,600 --> 01:55:44,560
Speaker 2: He's a director who always collaborates with a screenwriter or

2227
01:55:44,640 --> 01:55:47,400
Speaker 2: it was based on original material, or whatever the case is.

2228
01:55:47,480 --> 01:55:50,320
Speaker 2: There are lots of collaborators involved. But we were really

2229
01:55:50,400 --> 01:55:54,680
Speaker 2: after the creations on screen that were most memorable to us,

2230
01:55:55,240 --> 01:55:57,800
Speaker 2: and it didn't seem fair to me in some way

2231
01:55:57,920 --> 01:56:01,160
Speaker 2: to include, let's say, Steve Jobs, a character based on

2232
01:56:01,400 --> 01:56:04,640
Speaker 2: real life, who is very much a character in our

2233
01:56:04,760 --> 01:56:07,960
Speaker 2: minds before we even walk into the theater, and then

2234
01:56:08,360 --> 01:56:10,400
Speaker 2: what we see on screen is something else entirely. So

2235
01:56:10,520 --> 01:56:13,560
Speaker 2: I was also going to kick out Aaron Ralston James

2236
01:56:13,600 --> 01:56:17,480
Speaker 2: Franco's performance in one hundred and twenty seven Hours obviously

2237
01:56:17,640 --> 01:56:19,960
Speaker 2: based on a true story as well, But unlike Jobs,

2238
01:56:20,040 --> 01:56:22,120
Speaker 2: we don't walk in with any of those preconceived notions,

2239
01:56:22,200 --> 01:56:24,920
Speaker 2: unless I suppose we read the book first. But he's

2240
01:56:25,000 --> 01:56:28,440
Speaker 2: not a public figure. He's not someone who's mannerisms or

2241
01:56:29,240 --> 01:56:32,000
Speaker 2: look or anything about him were hyper aware of. So

2242
01:56:32,120 --> 01:56:37,360
Speaker 2: that is a creation between Franco, between the filmmakers, and

2243
01:56:37,600 --> 01:56:40,480
Speaker 2: of course Danny Boyle at the top of that. So

2244
01:56:41,360 --> 01:56:43,360
Speaker 2: he was one that stood out to me, Josh, because

2245
01:56:43,360 --> 01:56:46,600
Speaker 2: of the fact that that performance is so central to

2246
01:56:46,680 --> 01:56:48,920
Speaker 2: that movie's success, and that movie is a success, and

2247
01:56:49,440 --> 01:56:53,760
Speaker 2: if we aren't interested in what Franco and what that

2248
01:56:54,040 --> 01:56:58,000
Speaker 2: character is doing, stuck there, literally stuck there for the

2249
01:56:58,200 --> 01:57:00,840
Speaker 2: entire or close to the entire running time of that film,

2250
01:57:01,240 --> 01:57:03,680
Speaker 2: it's not going to be much of an experience for us,

2251
01:57:03,720 --> 01:57:06,800
Speaker 2: and it is because of the journey that character goes on.

2252
01:57:06,880 --> 01:57:09,520
Speaker 4: And I credit, of course, Franco and Boil for that.

2253
01:57:10,520 --> 01:57:17,000
Speaker 6: Good morning everyone, It is seven o'clock here in Kenyonland, USA,

2254
01:57:18,040 --> 01:57:21,880
Speaker 6: and this morning on the boulder, we have a very

2255
01:57:21,960 --> 01:57:29,520
Speaker 6: special guest, self proclaimed American superhero, Aaron Rolfs.

2256
01:57:29,680 --> 01:57:29,920
Speaker 1: Dad.

2257
01:57:30,920 --> 01:57:31,880
Speaker 4: Let's hear Aaron.

2258
01:57:35,680 --> 01:57:35,800
Speaker 2: Hi.

2259
01:57:36,080 --> 01:57:39,000
Speaker 1: Oh gosh, that's a real pleasure to be here.

2260
01:57:39,160 --> 01:57:40,200
Speaker 3: Thank you, thank you.

2261
01:57:42,560 --> 01:57:45,280
Speaker 4: Hey, can I say hi to my mom and dad?

2262
01:57:45,600 --> 01:57:49,800
Speaker 2: Mom and dad mustn't forget mom and dad right erin?

2263
01:57:50,320 --> 01:57:50,960
Speaker 4: Yeah, that's right.

2264
01:57:51,360 --> 01:57:52,960
Speaker 3: Yeah, I think one hundred and twenty seven hours right

2265
01:57:53,000 --> 01:57:55,400
Speaker 3: in the middle there in Hi rank. You know, Danny

2266
01:57:55,440 --> 01:57:58,040
Speaker 3: Boyle film. So what I do like, I do appreciate it.

2267
01:57:58,240 --> 01:58:00,880
Speaker 3: And yeah, Franco had if Frank I wasn't going to

2268
01:58:00,920 --> 01:58:02,680
Speaker 3: be able to pull that off, the movie would not work.

2269
01:58:02,800 --> 01:58:04,160
Speaker 4: Okay, So what did you do wrong?

2270
01:58:04,200 --> 01:58:06,160
Speaker 2: You put twenty eight days later way down on the list,

2271
01:58:07,360 --> 01:58:07,680
Speaker 2: way up.

2272
01:58:07,840 --> 01:58:09,600
Speaker 3: I think that's number two Lifeles story.

2273
01:58:09,720 --> 01:58:10,880
Speaker 4: We're sadly in the middle.

2274
01:58:11,200 --> 01:58:15,600
Speaker 3: I'm going to say that having trance so high probably

2275
01:58:16,080 --> 01:58:18,840
Speaker 3: is you know, an outlier, and also I'm finding out

2276
01:58:18,840 --> 01:58:20,480
Speaker 3: which I knew. And this is a film I've been

2277
01:58:20,560 --> 01:58:23,600
Speaker 3: meaning to revisit because it's so up my Alley Sunshine

2278
01:58:24,280 --> 01:58:26,560
Speaker 3: sci fi genre, and I know most people love it

2279
01:58:26,920 --> 01:58:30,920
Speaker 3: and it should work for me. And I remember again

2280
01:58:30,960 --> 01:58:33,960
Speaker 3: it's a plot issue. I think this is something a

2281
01:58:34,000 --> 01:58:35,800
Speaker 3: recurring thing with a lot of Boyles films. Is that

2282
01:58:35,920 --> 01:58:38,000
Speaker 3: third act perhaps, you know, and getting a lit.

2283
01:58:38,240 --> 01:58:40,040
Speaker 2: I had that issue a lot of the film as well,

2284
01:58:40,160 --> 01:58:43,560
Speaker 2: but I liked those first two so much that that compensated, So.

2285
01:58:43,640 --> 01:58:45,680
Speaker 3: I think I probably have that too low for most people.

2286
01:58:45,760 --> 01:58:48,680
Speaker 3: But again one I've been meaning to look at again

2287
01:58:48,840 --> 01:58:49,520
Speaker 3: for a long time.

2288
01:58:49,680 --> 01:58:52,880
Speaker 2: Well, we'll link to our individual rankings of Danny Boyle's

2289
01:58:52,920 --> 01:58:55,440
Speaker 2: films now that I've seen all of them at film

2290
01:58:55,520 --> 01:58:57,760
Speaker 2: spotting dot net in our show notes, and you can

2291
01:58:57,800 --> 01:59:02,240
Speaker 2: compare and send Josh notes of embarrassment telling him how

2292
01:59:02,320 --> 01:59:02,720
Speaker 2: wrong he is.

2293
01:59:02,880 --> 01:59:04,840
Speaker 3: It's okay to send notes of support too, you can

2294
01:59:05,120 --> 01:59:07,160
Speaker 3: some people. Some people do that every once in a while.

2295
01:59:11,880 --> 01:59:15,280
Speaker 2: Once again, from March twenty seventeen, those were our top

2296
01:59:15,400 --> 01:59:17,960
Speaker 2: five Danny Boyle characters. That was a lot of fun

2297
01:59:18,040 --> 01:59:21,280
Speaker 2: for our complete picks and more Top fives. Visit filmspotting

2298
01:59:21,320 --> 01:59:25,800
Speaker 2: dot net slash lists links to our Danny Boyle rank list.

2299
01:59:25,960 --> 01:59:32,320
Speaker 2: Even if Josh's technically is illegal, this is not nom

2300
01:59:32,560 --> 01:59:34,720
Speaker 2: after all, there are rules, but I'm going to link

2301
01:59:34,800 --> 01:59:36,920
Speaker 2: to it anyway. You can find it in the notes

2302
01:59:37,440 --> 01:59:38,480
Speaker 2: for this show.

2303
01:59:39,000 --> 01:59:40,080
Speaker 4: That is our show, Josh.

2304
01:59:40,440 --> 01:59:43,120
Speaker 3: You can connect with Adam and the show on Instagram

2305
01:59:43,200 --> 01:59:47,160
Speaker 3: and Facebook, letterboxed as well. He's at film Spotting, I'm

2306
01:59:47,200 --> 01:59:50,800
Speaker 3: at Larsen on film We are independently produced and listeners

2307
01:59:50,840 --> 01:59:52,840
Speaker 3: support it. You can support the show by joining the

2308
01:59:52,920 --> 01:59:56,320
Speaker 3: film Spotting Family at Filmspotting family dot com. You can

2309
01:59:56,400 --> 01:59:59,120
Speaker 3: listen early in ad free. You'll get a weekly newsletter,

2310
01:59:59,200 --> 02:00:03,360
Speaker 3: monthly bonus episodes, and access to the entire show archive.

2311
02:00:03,960 --> 02:00:06,080
Speaker 3: And just a reminder, we do have a new setup

2312
02:00:06,160 --> 02:00:10,200
Speaker 3: for our merch shop t shirts, hats, tote bags, all

2313
02:00:10,320 --> 02:00:12,880
Speaker 3: sorts of good stuff. It's another way to support the show,

2314
02:00:13,000 --> 02:00:16,240
Speaker 3: especially with this new iteration. So if that interests you,

2315
02:00:16,560 --> 02:00:19,240
Speaker 3: go to film spotting dot net slash shop.

2316
02:00:19,760 --> 02:00:24,640
Speaker 2: In that film Spotting archive, reviews of many Danny Boyle films.

2317
02:00:25,440 --> 02:00:27,640
Speaker 2: The top five Boil characters that you just heard That

2318
02:00:27,760 --> 02:00:31,000
Speaker 2: was episode six twenty six. Steve Jobs, five point fifty

2319
02:00:31,080 --> 02:00:34,280
Speaker 2: nine Trance, plus our top five Neo noirs that's four

2320
02:00:34,440 --> 02:00:37,720
Speaker 2: forty one, one hundred and twenty seven hours episode three

2321
02:00:37,840 --> 02:00:40,440
Speaker 2: twenty six. We did our top five Manic Pixie dream

2322
02:00:40,480 --> 02:00:44,200
Speaker 2: Girls with the critic who originated the phrase, Nathan Rayven

2323
02:00:44,440 --> 02:00:46,720
Speaker 2: Slumdog Millionaire episode two thirty five.

2324
02:00:46,840 --> 02:00:47,680
Speaker 4: I don't know why.

2325
02:00:47,840 --> 02:00:50,920
Speaker 2: We also did our top five man crushes in movies,

2326
02:00:51,000 --> 02:00:54,680
Speaker 2: but there you go Sunshine episode one sixty nine that

2327
02:00:54,760 --> 02:00:59,760
Speaker 2: also featured my conversation with Danny Boyle, and yes, Millions

2328
02:01:00,080 --> 02:01:04,360
Speaker 2: episode two, along with our top five movies we're embarrassed

2329
02:01:04,400 --> 02:01:06,800
Speaker 2: to admit we've never seen and if you happen to

2330
02:01:06,840 --> 02:01:09,640
Speaker 2: be a blankie and maybe you missed it, I did

2331
02:01:09,720 --> 02:01:13,560
Speaker 2: appear a year or so ago on blank Check with

2332
02:01:13,640 --> 02:01:17,480
Speaker 2: Griffin and David to revisit my reaction to the movie

2333
02:01:17,800 --> 02:01:22,960
Speaker 2: Millions Trainspotting. Josh will be celebrating its thirtieth anniversary in

2334
02:01:23,120 --> 02:01:27,080
Speaker 2: twenty twenty six. I probably haven't seen it in about

2335
02:01:27,160 --> 02:01:29,480
Speaker 2: thirty years. I don't think I rewatched it. Maybe I

2336
02:01:29,560 --> 02:01:31,760
Speaker 2: did when T two came out off the check letterbox.

2337
02:01:32,160 --> 02:01:36,320
Speaker 2: Remember it's not very vivid in my memory. We are

2338
02:01:37,000 --> 02:01:40,000
Speaker 2: planning to give it the Sacred Cow Treatment next year,

2339
02:01:40,120 --> 02:01:44,040
Speaker 2: so look forward to that in limited release. A movie

2340
02:01:44,120 --> 02:01:46,920
Speaker 2: we recommended earlier in the show at the Cisco Film Center,

2341
02:01:47,120 --> 02:01:50,480
Speaker 2: Familiar Touch out Wide, a movie that make it some

2342
02:01:50,600 --> 02:01:53,040
Speaker 2: time next week. I think we both want to try

2343
02:01:53,080 --> 02:01:55,840
Speaker 2: to see it, even if we're going to be so

2344
02:01:56,120 --> 02:01:59,400
Speaker 2: busy doing all of our Jurassic Park home I mean,

2345
02:02:00,160 --> 02:02:02,560
Speaker 2: how important that is. We do want to see F

2346
02:02:02,640 --> 02:02:05,040
Speaker 2: one In the movie, Brad Pitt is a racing legend,

2347
02:02:05,120 --> 02:02:07,600
Speaker 2: lard out of retirement to lead a struggling F one

2348
02:02:07,760 --> 02:02:11,840
Speaker 2: team and mentor a hot shot young driver. Also why

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02:02:12,000 --> 02:02:17,320
Speaker 2: Mthreegan Mthreagan two point zero? Oh, I'm sorry Megan two

2350
02:02:17,400 --> 02:02:20,080
Speaker 2: point oh. Josh likes the first one. He's going to

2351
02:02:20,120 --> 02:02:21,560
Speaker 2: see the second one. Are you going to give us

2352
02:02:21,600 --> 02:02:22,040
Speaker 2: your review?

2353
02:02:22,280 --> 02:02:24,840
Speaker 3: I will report back on Mathreegan.

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02:02:24,680 --> 02:02:29,919
Speaker 2: Lovely next week. All Dinosaurs, All the Time, Jurassic World Rebirth,

2355
02:02:30,200 --> 02:02:35,560
Speaker 2: and a Sacred t Rex Conversation of Steven Spielberg's Jurassic

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Speaker 2: Park film.

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Speaker 3: Spotting is produced by Golden Joe Desso and Sam van Holgren.

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Speaker 3: Without Sam and Golden Joe, this show wouldn't go. Our

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Speaker 3: production assistant is Sophie Kempenar special thanks to everyone at

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Speaker 3: wbe Z Chicago. More information is available at wbeaz dot org.

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Speaker 3: For films Spotting, I'm Josh Larson.

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02:02:53,200 --> 02:02:55,360
Speaker 4: And I'm Adam Kempinar. Thanks for listening.

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02:02:55,800 --> 02:02:58,720
Speaker 1: This conversation can serve no purpose anymore.

2364
02:03:22,760 --> 02:03:25,680
Speaker 2: Film Spotting is listeners supported. Join the film Spotting Family

2365
02:03:25,760 --> 02:03:28,240
Speaker 2: at film spotting family dot com and get access to

2366
02:03:28,440 --> 02:03:31,880
Speaker 2: ad free episodes, monthly bonus shows, our weekly newsletter, and,

2367
02:03:32,040 --> 02:03:34,280
Speaker 2: for the first time, all in one place, the entire

2368
02:03:34,600 --> 02:03:37,000
Speaker 2: film spotting archive going back to two thousand and five.

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02:03:37,360 --> 02:03:39,280
Speaker 2: That's a film Spotting Family dot com

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Speaker 6: Panicly